How has your approach to teaching art changed over the years? And what areas are your students especially responsive to? It’s really a bitch trying to teach this—sorry for the language—because you need an organizing framework, not just for abstraction but for modern art in general. As with the book, I’m caught between the way I learned it from William Rubin—the old school—and all this new stuff I’ve learned that I’m incredibly eager to tell my students about. It is hard to come up with a new narrative. Right now, I’m teaching a course called “Abstract Expressionism to Pop Art,” but at least half the material wasn’t in it when I started teaching this course 15 or 20 years ago.
It started as the former and became the latter. I started by trying to make sense of what I already knew, and then once I came up with this new framework, I thought, This makes it possible to think about other things. I was teaching global contemporary art, and I started to write about global art back in the mid-’90s, when I was writing for the Times. So I thought, Well, I need to look for global abstraction. Why should it be limited to a round-up the usual suspects? So I started just systematically looking at books like Lü Peng’s history of Chinese art—which is overwhelmingly figurative, but there’s some abstract painting in it—and basically catalogues of art from any place I could get my hands on; Australia, South America, Africa, you name it.
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