It's like an escape, it's something to do something to begin the situation" ( Ibid., p.4). So then it becomes a question of destroying the planned form. "There are moments or periods when it would be wonderful to plan something and do it and have the thing only do what you planned to do, and then there are other times when the destruction of those planned things becomes interesting to you. Kline suggests that this sense of peril, of a destructive force at play, is welcome. Orthogonal lines overlap, torque into shapes that seem untethered even as they enliven associations to abstracted forms from the everyday, whether bridges, rail tracks, or the human figure. Kline's singular idiom charts a visual vocabulary that also pushes perilously against its framing edges with a violent, almost rupturing force. The central rectilinear form strikes one as slightly off-kilter, a teetering displacement embedded in a thick facture of whiteness. Sylvester, Interviews with American Artists, London, 2002, p. As Kline remarked, "I thought about in a certain sense of the awkwardness of 'not-balance,' the tentative reality of lack of balance in it" (D. Dominated by a collision of towering crisscrossing brush marks, the resulting form seems to force vision, to shock the viewer into immediate apprehension of its bulking instability and compressed energy. For twelve years, from 1950 until his untimely death in 1962, Franz Kline created extraordinarily energetic abstractions in black and white, fertile combinations of slickness and viscosity, of which the present example is among the finest.
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