BEFORE YOUR VISIT

• Please go over our gallery norms with your class before your visit. Our artwork is priceless!• Please remind students to stand 18 inches away from the artwork and not to touch

the artwork or museum walls.• We ask that visitors walk through the galleries and be mindful of other groups and

guests enjoying the Museum.• Only pencils are allowed in the galleries for note taking and sketching.• Please ask students to use inside voices for discussions in the galleries.• Only non-flash photography is allowed in the galleries.

• Please review expectations with chaperones:• At least one adult chaperone for every 10 students is required; please observe this

ratio in the galleries.• Chaperones should assist students with adherence to the gallery norms listed above.• Chaperones should plan to stay with their group and play an active role in the museum visit.

• Use this packet to review what the Museum is all about and share as relevant with your students.

BUSES & PARKING

• Buses may drop students off on Bannock Street between 12th and 13th Avenues.

• There is no bus parking for groups at the Clyfford Still Museum.

• For cars, the Cultural Complex Parking Garage at 12th Avenue and Broadway is the most convenient place to park. The garage opens daily at 6 a.m. Enter the garage from 12th Avenue just west of Broadway. Parking rates start at $1 per hour and are posted inside the entrance.

PREPARING FOR YOUR INSTILL GALLERY EXPERIENCE

TABLE OF CONTENTS

I. Preparing for your Visit (Chaperone and Arrival Information)

II. Clyfford Still and the Clyfford Still Museum

III. Looking at the Work of Clyfford Still

IV. Abstract Expressionism 101

V. Clyfford Still Quotes

TEACHER RESOURCES FOR INSTILL GALLERY EXPERIENCES

This packet is designed to provide a snapshot of key ideas related to the art and life of Clyfford Still to help teachers prepare for their visit. We hope you enjoy your visit to the Clyfford Still Museum.

M A T E R I A L S F O R T E A C H E R S

FACILITIES

• The Clyfford Still Museum does not have lunch facilities for school groups.

• Backpacks and other items should be left at school or on the bus. Coats may be stored in unsecured bins upon arrival.

• During nice weather groups may eat on the lawn. Please be responsible to clean up any trash.

ACCESS

• The Museum is accessible to wheelchair users. We have a wheelchair available on-site, which is available pending use by museum patrons.

• Accessible parking spaces for visitors with disabilities are available in the surface lot directly across from the Museum on Bannock Street. Metered spaces are also available on Bannock Street and 12th Avenue near the Museum.

LEAVING THE MUSEUM

• Remember to collect any belongings that were stored in bins upon your arrival.

• Groups should exit through the front entrance of the Museum and walk around to the rear of the building if meeting buses for pick-up.

• Buses may wait at the rear entrance of the Museum to pick up groups for no longer than 15 minutes.

TELL US WHAT YOU THINK

• Please tell us about your museum experience. What did your group enjoy? How did you use the museum? Was this information useful to you?

• Contact Victoria at (720) 354-4876 or victoria@clyffordstillmuseum.org or fill out a comment card at the Visitors Services’ desk with your feedback. We are currently building our school programs and piloting school materials. Please check our website, www.clyffordstillmuseum.org, for updates and to keep in touch with us.

ARRIVAL AT THE MUSEUM

• Please arrive as a group. School groups should arrive at the rear entrance to the Museum and ring the bell for security.

• A Museum representative will greet you at the rear entrance, hand out inStill badges, and review gallery norms.

• They may also direct you to a coat rack and bins where coats may be stored for the duration of your visit

C L Y F F O R D S T I L L - A B R I E F B I O Clyfford Still was born in Grandin, North Dakota in 1904. A self-taught artist, he began to paint at a young age. Even by the age of 18, his works showed a mastery of traditional drawing and SDLQWLQJ�WHFKQLTXHV��6WLOO�VSHQW�WKH�ÀUVW�SDUW�RI�KLV�OLIH�OLYLQJ�LQ�Canada and the Western United States, working as a teacher of art at the college level, before moving to New York in 1951 at the height of the Abstract Expressionist art movement. Although Still was considered to be a leader in the movement by other artists like Jackson Pollock and Robert Motherwell, he became increasingly critical of the people and politics of the art world. Still eventually severed ties with the commercial art world by withdrawing his work from gallery representation and moved to Maryland in 1961. In 1979, Still was honored with a major one-person exhibition at the Metropolitan Museum of Art. It was the largest exhibition of his work, with 79 paintings spanning the years 1942 to 1978, and to date, the only time the Met has afforded a living artist this type of exhibition.

T H E A R T I S T ’ S V I S I O NClyfford Still believed that his art should be seen in groupings that included only his work. Still wanted his paintings to be experienced by the viewer as a body of work, without the distraction of the work of other artists. His desire that his paintings be seen together was, in part, what led Still to keep the majority of his works in his possession (about 94% of his entire artistic output). At the time of his death in 1980, Still’s will revealed that he wished to give all of the work in his posession to an American city that would establish permanent quarters for the exhibition and study of his life’s work.

T H E C L Y F F O R D S T I L L M U S E U MSince the artist’s death in 1980, several major cities had seriously pursued the Still collection, all of which were denied by the Still estate. In August 2004, the City of Denver, under the leadership of then Mayor John W. Hickenlooper, was selected by Still’s wife, Patricia Still, to recieve the substantial Still collection. In 2005, Patricia Still also bequeathed to the city her own estate, which included select paintings by her husband as well as his complete personal archives. The Still Museum collection represents nearly 94 percent of the artist’s lifetime output. It includes approximately 825 paintings and 1575 works on paper created between 1920 and 1980, many of which had never been seen by the public until the opening of the Museum.

C L Y F F O R D S T I L L A N D T H E C L Y F F O R D S T I L L M U S E U M

Clyfford Still.

Metropolitan Museum of Art , 1979 Still Exhibition.

Photo: Raul Garcia.

A B O U T T H E A R C H I T E C T U R E'HVLJQHG�E\�%UDG�&ORHSÀO�DQG�$OOLHG�:RUNV�$UFKLWHFWXUH�(Portland, OR), the Clyfford Still Museum is primarily constructed from cast-in-place concrete. The architects designed the building WR�VSHFLÀFDOO\�KRXVH�WKH�&O\IIRUG�6WLOO�FROOHFWLRQ��&RQFUHWH�ZDV�poured into an extensive wooden framework and upon removal WKH�IUDPHZRUN�FUHDWHG�YHUWLFDO�´ÀQV�µ�ZKLFK�HFKR�WKH�LPSRUWDQFH�RI�´YHUWLFDOLW\µ�WR�WKH�ZRUN�RI�&O\IIRUG�6WLOO��7KH�EXLOGLQJ�ZDV�DOVR�designed to make use of its surrounding environment, particularly the daylight, a prime feature of Denver’s location. The changes in QDWXUDO�OLJKW��ÀOWHUHG�WKURXJK�WKH�FRQFUHWH�FHLOLQJ��DIIHFW�WKH�ZD\�the works are seen in the galleries.

W O R K S O N P A P E RA large portion of the Clyfford Still Museum’s collection consists of drawings and works on paper executed in various media, including: pastel, crayon, charcoal, gouache, tempera, graphite and pen and ink. Sometimes these works were made in preparation for larger works; in other cases Still revisited his ÀQLVKHG�SDLQWLQJV�LQ�VPDOOHU�VFDOH�ZLWK�GLIIHUHQW�PHGLD��VXFK�DV�in prints. The works on paper provide key insights into Still’s working process and methods.

T I T L E S ( P H - 1 0 1 )Still did not title his artwork. Instead, he used an alphanumeric system to identify each artwork. Still eschewed the use of titles because he wanted viewers to experience the work for themselves, without the interference of pre-determined associations that titles might create for the viewer. PH stands for Photo, and the number refers to the order in which the artworks were photographed (not made) for documentation. Other abbreviations include PP (Photo Pastel), PD (Photo Drawing) and PL (Photo Lithograph).

M A T E R I A L S & T E C H N I Q U EClyfford Still was known for his large-scale canvases as well as his innovations in painting techniques. Still painted with his canvases stretched and set up against a wall, using ladders when necessary. After a painting was dry he would typically roll them up, stacking several paintings at a time, for storage. Still mixed most of his paint with dry pigment and linseed oil. To apply paint to canvas, the artist used a palette knife to trowel paint onto the surface, building up layers and scraping paint away. Often, Still intentionally chose to leave areas of his canvases bare.

Photo: Raul Garcia.

Clyfford Still Museum Installation View, 2011.Photo: Raul Garcia.

Clyfford Still, PH-963, 1957.

M A T E R I A L S F O R T E A C H E R S

Palette Knives.

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L O O K I N G A T T H E W O R K O F C L Y F F O R D S T I L L

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PH-414, 1934-35

1942-No 2. (PH-85), 1942

1944-J (PH-67) 1944

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E N V I R O N M E N T S & E X P E R I E N C E$EVWUDFW�([SUHVVLRQLVW�DUWLVWV�ZHUH�LQWHUHVWHG�LQ�FUHDWLQJ�HQYLURQPHQWV�ZLWK�WKHLU�ZRUN��7KH\�ZDQWHG�WKH�YLHZHU�WR�EH�DEOH�WR�IRFXV�HQWLUHO\�RQ�WKHLU�SDLQWLQJV��WR�EH�LQ�WKH�DOO�RYHU�FRPSRVLWLRQV��WR�H[SHULHQFH��QRW�MXVW�VHH��WKH�DUWZRUNV���6WLOO�WRRN�WKLV�LGHD�HYHQ�IXUWKHU��ZDQWLQJ�KLV�SDLQWLQJV�WR�EH�VKRZQ�LQ�JURXSV�WRJHWKHU��ZLWKRXW�WKH�GLVWUDFWLRQV�RI�RWKHU�DUWLVWV��FUHDWLQJ�D�FRPSOHWH�6WLOO�HQYLURQPHQW��7KH�QHZ�PXVHXP�IXOÀOOV�WKH�DUWLVW·V�YLVLRQ�IRU�WKH�H[KLELWLRQ�RI�KLV�ZRUNV��&RQVLGHU��+RZ�GRHV�VHHLQJ�6WLOO·V�ZRUNV�WRJHWKHU�ZLWKRXW�WKH�ZRUNV�RI�RWKHU�DUWLVWV�VKDSH�\RXU�H[SHULHQFH"

PH-272, 1950Detail

1957-J-No.2

Clyfford Still Museum Installation View, 2011. Photo: Raul Garcia.

M A T E R I A L S F O R T E A C H E R S

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W H A T M A K E S A P A I N T I N G A B S T R A C T E X P R E S S I O N I S T ?

Clyfford Still, PH-1123, 1954.

Barnett Newman, Cathedra, 1958.

Jackson Pollock, Autumn Rhythm, 1950.

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Jackson Pollock, 1950.

Franz Kline, Mahoning, 1956.

Clyfford Still, 1950-A-No. 1 (PH-272), 1950.

M A T E R I A L S F O R T E A C H E R S

Q U O T E S B Y C L Y F F O R D S T I L L

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