John Mc Cracken - Work

Work

John McCracken developed his earliest sculptural work while studying painting at the California College of Arts and Crafts between 1957 to 1965. While experimenting with increasingly three-dimensional canvases, the artist began to produce objects made with industrial techniques and materials, including plywood, sprayed lacquer, and pigmented resin, creating the highly-reflective, smooth surfaces that has gained him international recognition. He applied similar techniques which are used in surfboard construction - pervasive in his Southern California environment - to his artistic production. McCracken was part of the Light and Space movement which includes James Turrell, Peter Alexander, Larry Bell, Robert Irwin and others. In interviews, however, he usually cited his greatest influences as the color fields of the Abstract Expressionist Barnett Newman and Minimalists like Donald Judd, Dan Flavin and Carl Andre.

Early objects created by John McCracken were derived from company logos such as the Chevron corporation logo. His sculptures deal with the interrelationships existing between the material world and design.

In 1966, McCracken generated his signature sculptural form: the plank, a narrow, monochromatic, rectangular board format that leans at an angle against the wall (the site of painting) while simultaneously entering into the three-dimensional realm and physical space of the viewer. He conceived the plank idea in a period when artists across the stylistic spectrum were combining aspects of painting and sculpture in their work and many were experimenting with sleek, impersonal surfaces. As the artist noted, "I see the plank as existing between two worlds, the floor representing the physical world of standing objects, trees, cars, buildings, human bodies, ... and the wall representing the world of the imagination, illusionist painting space, human mental space." The sculptures consist of plywood forms coated with fiberglass and layers of polyester resin. While the polished resin surface recalls the aesthetic of 1960s southern California surfboard and Kustom Kar cultures, the title was drawn from advertising slogans in fashion magazines. In addition to the planks, the artist also creates wall pieces and free-standing sculptures in varying geometrical shapes and sizes, ranging from smaller forms on pedestals to large-scale, outdoor structures in the shape of pyramids, ziggurats, tetrahedrons and occasionally crystals. He worked in highly polished stainless steel and bronze and occasionally made work that in effect sliced the planks into thin, repeating elements that leaned against the wall in rows.

In McCracken's work, color was also used as "material." Bold solid colors with their highly polished finish reflect the unique California light or mirror the observer in a way that takes the work into another dimension. His palette included bubble-gum pink, lemon yellow, deep sapphire and ebony, usually applied as a monochrome. Sometimes an application of multiple colors marbleizes or runs down the sculpture's surface, like a molten lava flow. McCracken typically makes each resin or lacquer work by hand rather than using industrial fabrication. Each is handmade by McCracken himself, who carefully paints them. The monochrome surfaces are sanded and polished many times to such a degree of reflectiveness that they seem translucent. He also made objects of softly stained wood or, in recent years, highly polished bronze and reflective stainless steel. In 2010, for example, he created various sculptures that are polished to produce such a high degree of reflectivity that they simultaneously activate their surroundings and seem entirely camouflaged.

In 1971-72 he made a rarely seen series of paintings based on Hindu and Buddhist mandalas, first shown at Castello di Rivoli in 2011. "John McCracken: Sketchbook" was published in 2008 by Santa Fe-based Radius Books.

During the 1970s and early '80s, a period when he devoted his time to teaching at the University of Nevada in Reno and Las Vegas and at the University of California, Santa Barbara, McCracken received relatively little critical attention. A 1985 move to Los Angeles with his wife, artist Gail Barringer, revived his career in terms of newly conceived bodies of work, gallery and museum exhibitions, and recognition by a younger generation of artists, dealers, and curators. McCracken had lived in Santa Fe since 1994.