Paintings and Commentary By Joyce Sampson

Joyce Sampson: "1998-1"

Joyce Sampson: "1998-2"

Joyce Sampson: "1998-3"

Joyce Sampson: "1998-4"

I was introduced/exposed to the teachings and work of Hans Hofmann in a Cooper Union drawing class taught by Nicolas Carone, a long-time student of Hofmann. Carone also had had a thorough and disciplined classical art training in which had begun in his early youth. In 1941 he was awarded a Prix de Rome which the war prevented him from accepting.

During the war he was stationed (in the Army) at the far end of Long Island and had hitchhiked to Manhattan every weekend to study with Hofmann. After the war, Carone went to Rome. He had a one-mans show there in 1948. He received a Fulbright in 1949 for the Rome Academy, then remained in Rome three more years. During these times he worked out his own personal Abstract Expressionist style. He showed in Rome, Paris, and Tokyo. His work was in the 1956 Venice Biennale and the 1958 Brussels Fair. When I was first studying with him he was showing uptown at the Stable Gallery and later at the Staempfli Gallery on Madison Avenue.

At the end of my Cooper Union draw class, a group of interested students "hired" him to teach us "more", in a loft space available to us free. Additional Carone classes were added on in ensuing years, other students joined us. As with Hofmann students, the more advanced students "explained" to the beginners what he had said. We ended in a cheap loft space, at 14th Street and 6th Avenue which Carone and two other teachers used to teach private classes.

Carone's class met on Sundays, the only night free for those still in school. The other teachers dropped out and we expanded to four nights of open drawing from the model. Bob Sievert and I drew free on the open sketch nights and I in Carone's classes. As all kinds of other work, happenings, Pop, Op, Minimal, conceptual, passed by, we continued on attracting people who wanted to draw from the model. We also organized "Saturday Specials" of one or two weeks of six hours of the same pose for painting, and also six hours of two models.

During the period of the 14th Street Drawing Studio I had the opportunity to try out many permutations of styles and media. Whatever resultant work came out, there was always plastic space, cubic space as defined by Hofmann and Carone.

Once I experienced using the possibilities inherent in seeing and working with cubic space, negative space, push and pull, shifting and moving to create a more dynamic and exciting picture plane, I could leave behing such things I had learned, but was not interested in, as perspective, light and shadow, etc., and start looking for ways to express my