Spilling Over: Painting Color in the 1960s

Mar 29–Aug 18, 2019

This exhibition gathers paintings from the 1960s and early 1970s that inventively use bold, saturated, and even hallucinatory color to activate perception. During this period, many artists adopted acrylic paint—a newly available, plastic-based medium—and explored its expansive technical possibilities and wider range of hues. Color Field painters poured paint and stained unprimed canvas, dramatizing painting’s materiality and visual force. Painters associated with Op art deployed pattern, geometric arrangement, and intense color combinations to emphasize that vision is a commingling of physical response and unconscious association. At the same historical moment, an emerging generation of artists of color and women explored color’s capacity to articulate new questions about perception, specifically its relation to race, gender, and the coding of space. The exhibition looks to the divergent ways color can be equally a formal problem and a political statement.

Drawn entirely from the Whitney’s collection, Spilling Over includes important recently acquired works by Emma Amos and Kay WalkingStick, as well as paintings that entered the collection soon after they were made, by artists such as Alvin Loving, Ellsworth Kelly, Miriam Schapiro, and Frank Stella, among others. The title comes from a quote by artist Bob Thompson, whose work is also presented. He said, “I paint many paintings that tell me slowly that I have something inside of me that is just bursting, twisting, sticking, spilling over to get out. Out into souls and mouths and eyes that have never seen before.” Spilling Over demonstrates how painting retained an urgency for artists who wanted to see anew.

The exhibition is organized by David Breslin, DeMartini Family Curator and Director of the Collection, with Margaret Kross, curatorial assistant.


Support for Spilling Over: Painting Color in the 1960s is provided by the LLWW Foundation and the Helen Frankenthaler Foundation.

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Ellsworth Kelly

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Ellsworth Kelly’s abstract paintings are rooted in the world and lived experience. In Blue Green Red, he drew on the main colors used to mix the projected light of color television, which was a relatively recent invention at the time the work was made. Although direct in the symmetry of its forms, the painting’s intense colors prevent the image from being easily apprehended. Instead of rehashing the representations seen on television, Kelly responded to the way technology changes how we see—and to the act of perception itself.

Blue Green Red, 1964

A minimalist artwork featuring two elongated, rounded rectangles, one blue on the left and one green on the right, set against a vibrant red background.
A minimalist artwork featuring two elongated, rounded rectangles, one blue on the left and one green on the right, set against a vibrant red background.

Ellsworth Kelly, Blue Green Red, 1964. Oil on linen, overall: 73 1/4 × 100 3/8 in. (186.1 × 255 cm). Whitney Museum of American Art, New York; purchase, with funds from the Friends of the Whitney Museum of American Art 66.80. © Ellsworth Kelly Foundation

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Painting of a woman and legs in bright colors.
Painting of a woman and legs in bright colors.

Emma Amos, Baby, 1966. Oil on canvas, 46 1/2 × 51 in. (118.1 × 129.5 cm). Whitney Museum of American Art, New York; purchased jointly by the Whitney Museum of American Art, with funds from the Painting and Sculpture Committee; and The Studio Museum in Harlem, museum purchase with funds provided by Ann Tenenbaum and Thomas H. Lee T.2018.33a-b. © Emma Amos; courtesy of the artist and RYAN LEE Gallery, New York

"More often than not, you have to assume that there is some sort of relationship between radical gestures and art, and radical gestures and the world."
—Rashid Johnson

Hear from the artists, the exhibition’s curator, and scholars speaking about works on view.

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Explore works from this exhibition
in the Whitney's collection

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In the News

“It’s a perfect summer show that you will want to visit again and again. Its abounding freshness clears your eyes and lifts your spirits, so that everything around you, in and out of the museum, looks clear, bright, alive, and new.”
-Hyperallergic

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A 30-second online art project:
Maya Man, A Realistic Day In My Life Living In New York City

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