To define a feelin Joan Mitchell 1960–1965

Dedicated to Joan Mitchell’s remarkable paintings from 1960 to 1965, this richly produced catalogue illuminates a pivotal chapter in the internationally acclaimed artist’s career. After settling permanently in France in 1959, Mitchell spent long stretches living on a sailboat along the Côte d’Azur, absorbing the shifting light, water, and rugged coastlines of the Mediterranean. Back in her Paris studio, these experiences gave rise to canvases that diverged dramatically from her earlier work, replacing structured compositional frameworks with more experimental, atmospheric forms. Characterized by dense, central currents of deep greens and blues that veil luminous colors beneath, the paintings of this period pulse with turbulence and lyricism. Poet John Ashbery described them as “an unhurried meditation on bits of landscape and air,” capturing Mitchell’s ability to translate sensation and memory into paint. This catalogue, published on the occasion of the exhibition To define a feelin Joan Mitchell, 1960–1965 at David Zwirner, New York, explores how these works advanced her approach to structure and color while engaging the enduring themes that define her oeuvre. The volume features an essay by the exhibition curator Sarah Roberts, a text by Saul Nelson on Mitchell’s relationship to the critic Clement Greenberg, and reviews from the 1960s by Ashbery and Pierre Schneider, offering rich historical context for this transformative moment in the artist’s career.