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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Richard Anuszkiewicz

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Richard Anuszkiewicz, who studied with Josef Albers at Yale University from 1953 to 1955, composed this painting with only three colors. But the visual impact—as the title implies—opens beyond that simple arithmetic. Although working with relatively straightforward combinations of line and color, he created complex visual effects, including optical illusions, movement, and the impression of colors mixing. Here, a simple shift in a line’s width impacts the intensity of color and how depth and surface are read. Marcia Tucker, a curator who included Anuszkiewicz in her exhibition The Structure of Color at the Whitney in 1971, pointed out in the catalogue that the artist had once “remarked that one ‘test’ of a color painting might be whether or not the structure of the work is lost entirely in black and white.”

The Fourth of the Three, 1963

An abstract painting with a bright red background and pattern of green and blue squares
An abstract painting with a bright red background and pattern of green and blue squares

Richard Anuszkiewicz, The Fourth of the Three, 1963. Acrylic on composition board, 48 1/16 × 48 1/16 in. (122.1 × 122.1 cm). Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 64.4. © 2019 Richard Anuszkiewicz/Licensed by VAGA at Artists Rights Society (ARS), New York

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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

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“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.”
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