THE CLUB
15 May 2023
by Carson Wilaert
In the 1940s & 50s, New York's Abstract Expressionist movement was on the rise, and was poised to change the paradigm of contemporary art in postwar America. Artists like Jackson Pollock, Willem de Kooning, his wife Elaine and Mark Rothko led the charge and while their work would go on to define American art, it was as much their social gatherings that truly birthed the movement. And at the centre of it all was The Club.
It was a vibrant melting pot where various art forms intertwined, forging an atmosphere of creative freedom. A rich dialogue bubbled up between artists, writers, sculptors, poets, musicians and even dancers, who found inspiration in the presence of their fellow visionaries. Not only did these gatherings catalyse the exchange of ideas and techniques, but they also laid the groundwork for collaborations that transcended artistic boundaries.
Located at 39 East 8th Street, The Club was a haven for artists, writers and thinkers of all stripes; as a place where they could discuss their work, debate ideas and form lasting friendships. It was equally a place of chaos, with alcohol-fuelled parties that lasted until dawn.
Inside The Club, the bare space was a mammoth pin board for work by members like Robert Motherwell. The furniture was mismatched and worn, with chairs and tables salvaged from scrapheaps and abandoned buildings. Even the kitchen bore the mark of the group’s DIY ethos. Willem de Kooning had broken it down completely, boiling the parts to remove the grime and rust, before re-installing them in the club's basement. It was a fitting symbol of the artists' determination to create something new and beautiful out of the chaos of postwar America.
On any given night, The Club was a whirlwind of activity. Artists and writers mingled with poets and musicians, their conversations hop-scotching and flowing freely as they drank and smoked. Joan Mitchell was a fixture, often the last woman standing, leaving only as the sun came up. Mitchell, already infamous for her fiery personality and love of nightlife, channelled that spirit into her work, with her paintings reflecting the intensity of a life lived without limits.
The club of Abstract Expressionists
Mitchell's work was heavily influenced by the natural world, with swirling brushstrokes that evoked the movement of water and wind. Her paintings were often large and vibrant, with bold colours that leapt off the canvas. While her work was praised by her peers, Mitchell herself was often frustrated with the male-dominated art world. She once famously declared that she would rather "paint a wall than paint a Pollock."
While evidently tolerant enough of the milieu’s chauvinism to marry one of them, Elaine de Kooning nevertheless had to employ her keen wit and sharp tongue at both The Club and its accompanying watering hole The Cedar Tavern as something of a vanguard against rampant mansplaining, even quipping to her husband once on seeing his canvas, “I think it needs more paint”.
Robert Motherwell, a founding member of The Club, was also a major force in the Abstract Expressionist movement. His paintings were marked by their dramatic shapes and pronounced colour contrasts, and he was known for his use of ‘automatic’ drawing techniques that emphasised spontaneity and improvisation. Motherwell was a frequent presence at The Club, and his contributions to the group's conversations were always insightful and thought-provoking, supposedly once telling the writer Fairfield Porter: “You know, Fairfield, that’s what I like about you. You’re always wrong, but you’re never trivial.”
The designer Isamu Noguchi, a friend of Motherwell's, was also a member and often provided a calming presence in the midst of The Club's chaos, reminding de Kooning and Franz Kline in the midst of a heated argument: “Gentlemen, let’s not forget that we are all here because of art.” Although it might also be noted that in order to still a rampaging Jackson Pollock while at the Cedar Tavern, Noguchi landed a couple of punches. His companion happened to be the iconic dancer Martha Graham, who it seems was not put off by the scuffling and went on to collaborate with him for many years. One can only wonder what the argument was about
But while The Club was a vital hub of creativity, it was also a place of excess and indulgence. Many members struggled with alcoholism and addiction, and the late nights and wild parties often took a toll. In the end, The Club's legacy would be defined not only by the art it produced, but by the lives it touched and the stories it left behind.
Today, The Club is long gone, replaced by a high-rise apartment building. But the spirit of the Abstract Expressionist movement lives on, in the work of Jackson Pollock, de Kooning, Joan Mitchell, Robert Motherwell, Isamu Noguchi and many others, and in the memories of those who were lucky enough to be a part of it all. For those who long for a glimpse of this legendary gathering spot, they need only head to the corner of East 8th Street and University Place, where a plaque commemorates the former site of The Club. Though the space may be gone, the memories of those wild, transformative nights live on in the annals of art history and the imaginations of those who long for a glimpse of the creative energy that once pulsed through its walls.
