Asger Jorn: Artist

“One day Pierre Loeb said to me that the ideal picture is one which is completely clear in the artist's mind before he puts a mark on the canvas, and this was, at any rate in this period.... Léger's opinion. It is the basis on which classical art is built. Therefore the setting-down of the picture on the canvas is in itself something quite unimportant. This is connected with [Fernand] Léger's hatred of textural effects in painting. But I love these effects. I remember that I was once told off because I had applied a thick layer of color instead of the thin and even layer that Léger wanted. To him that was not painting but mere color. If he could have got a machine instead of a brush to apply the color, he would have done so.”

Asger Jorn

Quote in Jorn's letter, 1952; as cited on the website of the Jorn Museum 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255,
his critical comment on the art teachings of Fernand Léger, which Jorn started to follow circa 1936, in Paris.
1949 - 1958, Various sources

Love , Art , Color , Painting

“It seems to me that today the Surrealist crisis is the central problem in French art. It is essential for future development that this crisis should be solved… The principal error in the aesthetic program of Surrealism is that it is too literary. Painters have experimented with visions, images, dreams, but not with painting, not with color... The unpainterliness of Surrealism has inevitably produced a reaction among younger painters. [Jorn is thinking here of French painters such as Bazaine, Esteve, Lapique, Singier, Le Moal, and he suggests there should be reciprocity]... These artists cannot get any further unless they absorb the lessons of Surrealism into their painting, just as Surrealists can only advance if they adopt the painterly methods of the other group.”

Asger Jorn

Quote in a writing of Jorn on modern art in Paris, 1947; as cited on the website of the Jorn Museum. 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255,
1940 - 1948, Various sources

Dreams , Art , Color , Error

“GO TO HELL BASTARD STOP. REFUSE PRIZE STOP. NEVER ASKED FOR IT STOP. AGAINST ALL DECENCY MIX ARTIST AGAINST HIS WILL IN YOUR PUBLICITY STOP. I WANT PUBLIC CONFIRMATION NOT TO HAVE PARTICIPATED IN YOUR RIDICULOUS GAME.”

Asger Jorn

Quote from Wikipedia: the text of Asger Jorn's telegram in 1964, to the president of the Guggenheim Museum, Harry F. Guggenheim
Jorn was awarded a Guggenheim Award including a generous cash prize, by an international jury assembled by Lawrence Alloway; he rejected!
1959 - 1973, Various sources

Game , Hell

“My work is based on a tradition quite distinct from the Eckersberg tradition, a Nordic line of development that had never been clearly and consistently defined in the literature on art. This line is not a straight one; it has the strangest and most fascinating twists and curves, and includes such artists as Edvard Munch, Ernest Josephson, Hill, Hansen Jacobsen, Johannes Holbek, Jens Lund, and Emile Nolde. Not all of them equally well known.”

Asger Jorn

Statement in the late 1960s, as quoted in Fortaelleren Asger Jorn (1984) by Gunnar Jespersen, p. 121
1959 - 1973, Various sources

Art , Literature

“Our experiments [the artists of 'Cobra'] the aim at letting thought express itself spontaneously without the control which reason represents. By means of this irrational spontaneity we get closer tot the vital source of life. Our goal is to liberate ourselves from the control of reason which has been and still is the thing which the bourgeoisie has idealized to seize control of life.”

Asger Jorn

1949 - 1958, Speech to the Penguins' (1949)

Life

“The reverse process is extremely important to me — that artistic images can inspire to words and different myths, and that in certain cultures this process has been the normal relation between images and words. It is known as a rule in the so-called Germanic art, and through the middle ages heaps of such stories are directly inspired by fantastic images.”

Asger Jorn

Quote in Jorn's letter to anthropologist Francis Huxley (1970) - on the relation between words and images
1959 - 1973, Various sources

Age , Art

“Being an artist is being an isolated individual. But the development of the creative foundation of the encumbers the individual artists more and more with the prevailing problems. You are of your time whether you like it or not. Developing ones foundation to an artist means continually revising it. The artistic formulae wear thin quickly and yet daily the artist — when developing his own foundation — must enter his own time and the problems of other contemporary artists. Paths cross and the soil of time is starting to be turned.”

Asger Jorn

Quote in the late 1960s, as cited in Asger Jorn (2002) by Arken Museum of Modern Art, p. 28
1959 - 1973, Various sources

Problem , Time

“Nordic art casts a spell on the mind which ranges from laughter to tears and from tears to violent rage. One can see how dangerous it is, we can be tyrannized by a cynical person endowed with the power of art. Much has been said about this demonic aspect. In it lies the ultimate demand that the artist must take responsibility for the states of mind that he produces, or at least he must answer for them by knowing them in his own person. This psychic demand in both the artist and the viewer has made Expressionist art so hated by devotees of aestheticism and formalism.”

Asger Jorn

as quoted on the website of the Jorn Museum 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255, - Jorn talks about the Nordic concept of Expressionism
1959 - 1973, Alpha and Omega', (1963–64)

Hate , Art , Tear , Laughter

“If one tries to understand the position of art today, one must also try to understand the conditions that have created the development of our perception of art and our perception of the relation to the individual and to society. The artist takes an active part in the campaign to deepen this our knowledge of the basis of our existence, the basis which, for him, makes possible an artistic creation. The artist's interest cannot be restricted to a single field; he must seek the highest perception of everything, of the whole and its details. Nothing can be sacred to him, because everything has become important to him.”

Asger Jorn

1940 - 1948, Intimate Banalities' (1941)

Art , Understanding , Knowledge , Parting

“This is not an objective, historical or psychological evaluation of Danish experimental art and its historical roots, but an ideological and artistic, collective representation of our own work, thoughts, and ideas. It shows how we ourselves view our work and our way of working, and considers which of the many traditions that make up our foundation we feel connected to.”

Asger Jorn

from Jorn's 'Notebook', containing the draft for a book on Danish experimental art (1948)
1949 - 1958, Various sources

Art , Way , Feeling , Idea