“Give me a dead color,” Mitchell once said. “It’s dead because of what’s next to it. Then if it’s not a color, then move something to make it into a color.” “Mitchell herself liked to look from a distance–in part because of her eyesight, and in part to see how the painting held together as a whole. When you step back like this, you feel the landscape effect: the sweep of the river, the vertical bracket of the trees... exhibition co-curator and Baltimore Museum of Art Senior Programming & Research Curator Katy Siegel told Forbes.com “Take a step closer, and you enter the landscape–the painting fills your peripheral vision, your up and down, and that immersion can be magical. One more step and the landscape dissolves into color and brushstroke. Now you sense Mitchell’s paint handling, her motion, her reaching arm and her touch, alternately declarative and sensitive. Gorgeous color, paint that is dry and wet, thick and thin. It’s another way to get lost.”
Becoming “lost” in a Joan Mitchell painting is an experience everyone should have the chance to enjoy.
https://www.forbes.com/sites/chaddscott/2021/10/31/joan-mitchell-is-everything-at-san-francisco-museum-of-modern-art/?sh=9952e38789c1