Joan Mitchell On Mitchell
Published by Cheim & Read (2018), with text by David Anfam. Read more.
Joan Mitchell kept this sketchbook in or around 1990, at which point she had been living in the French town of Vétheuil for over twenty years. Her home and studio was surrounded by gardens and trees, with an expansive view of the Seine and a very distinct quality of light. Read more.
Joan Mitchell kept this sketchbook circa 1967–1968, during a time of significant change in her surroundings. After living in urban environments (Chicago, New York, and Paris) most of her life, Mitchell purchased a property in Vétheuil, France in 1967. In this small town, an hour northwest of Paris, her home was surrounded by gardens and trees, and overlooked the Seine. For the first time she had a large studio, separate from her home, which would impact her work dramatically. Although Mitchell did not move permanently to Vétheuil until 1968, she began visiting her new home on the weekends in 1967. Read more.
Joan Mitchell kept this sketchbook in 1948, when she lived in Brooklyn with future-husband Barney Rosset. After receiving a BFA from the School of the Art Institute of Chicago in 1947, Mitchell moved to 1 Fulton Street, near the East River and in the shadow of the Brooklyn Bridge, in the area now called DUMBO. The sketchbook, which measures 10 1/8 x 7 7/8 inches, primarily contains drawings in graphite, though it also includes text and several small gouache paintings. Read more.
From April 9–11, 2010, a symposium on Joan Mitchell’s life and work took place in New Orleans, in concert with three exhibitions of Michell's work. Co-organized by Tulane University’s Newcomb Art Gallery and the Joan Mitchell Foundation, this three-day gathering featured art historians, friends of Mitchell and screenings of select films on Mitchell. Read more.
The following oral history transcript is the result of a tape-recorded interview with Joan Mitchell on April 16, 1986. The interview took place at the Westbury Hotel in New York, and was conducted by Linda Nochlin for the Archives of American Art, Smithsonian Institution. Read more.
Master Printer Kenneth Tyler talks with artist Jaune Quick-to-See Smith about the prints he and Joan Mitchell made together at Tyler Graphics. Filmed by TungstenMonkey at the Contemporary Arts Center (CAC) in New Orleans, LA in 2010. See video.
Excerpted from "Joan Mitchell: Lady Painter" by Patricia Albers: "One of Joan's favorite haunts, the smoke-and stale beer-perfumed San Remo had black- and- white tiled floors, a pressed-tin ceiling, a dark-mirrored bar, and a clientele that included James Agee, Miles Davis, Judith Malina, Tennessee Williams, and young New York poets. There painter Jane Freilicher used to observe Joan and Mike across the room--she in jeans and the talismanic long leather coat- smoking, drinking, huddling conspiratorially over a little table, and looking 'very French New Wave.'" Read more.
Published by Steidl Hauser & Wirth (2007), with essay by Helen Molesworth. The book is 64 pages with 17 color plates of Mitchell's work. Read more.
Published by Cheim & Read (2005), with an essay by Klaus Kertess. Read more.
Published by Cheim & Read (2002), with essay by Nathan Kernan. Read more.
Published by University of California Press (2002)with essays by Jane Livingston, Linda Nochlin and Yvette Lee. This catalog accompanied the 2002 Whitney Retrospective. Read more.