The Artistic Evolution of George Morrison: A Deep Dive into 'Traversal'

George Morrison, an Ojibwe artist born in 1919, remains a pivotal yet complex figure in 20th-century American art. His 1958 painting, Traversal, serves as a profound lens through which we can examine his personal history, his engagement with the New York art scene, and his struggle to define his identity beyond the narrow expectations of his heritage.

Early Foundations and the Spirit of Experimentation

Morrison’s journey into the arts began under challenging circumstances, following a childhood illness that led to hospitalization. His academic path took him from the Minneapolis School of Art to the New York Art Students League. The latter was a critical environment, described as a "place of real experimentation," where Morrison was exposed to European artists who had fled the Nazis. This period was marked by his receipt of a Fulbright scholarship in 1952, allowing him to study at the École des Beaux-Arts in Paris. During this time, he immersed himself in "Cubist works of art" and practiced "automatic drawing," foundational experiences that would inform his later, more radical works.

The New York School and the Abstract Expressionist Influence

By 1954, Morrison had firmly established himself in New York, a "pivotal moment" for the art world. He moved in circles with titans of the era, such as Mark Rothko and Jackson Pollock. As the podcast notes, Morrison was "drinking with them," and his art began to mirror the "abstract expressionism" that defined the movement. Traversal is a testament to this era, characterized by a "sense of verticality" that echoes the shifting urban landscape of the time. The work is described as "absolutely abstract," yet it captures the "frenetic quality" and rhythm of city life.

The Physicality and Musicality of 'Traversal'

Morrison’s technique in Traversal is highly tactile. By squeezing "paint out of a tube onto the canvas," he created "thick layers of paint" that give the piece a distinct "physicality." The composition is notable for its "variety of brushstrokes," ranging from horizontals on the edges to curves in the center. The painting’s energy is often compared to jazz; it feels "syncopated," constantly "dissolving and resolving" in ways that evoke movement. The color palette—reds suggesting the day and blues punctuated by orange evoking "apartments lit up at night"—adds a layer of temporal ambiguity that keeps the viewer engaged.

Radicalism and the Politics of Identity

Perhaps the most significant aspect of Morrison's career is his defiance of categorization. In 1958, Traversal was a "radical experiment" because it rejected the "figural" expectations of American art, where viewers were accustomed to "recognizable guideposts."

Morrison faced constant pressure to conform to the "expectations of a wide audience for what a Native American painter should be doing." However, he famously asserted that he was "an artist who happens to be Indian." This was not a rejection of his roots—as evidenced by his later work in establishing Indian Studies at the University of Minnesota—but rather a demand that his "art be taken on its own terms."

Ultimately, Traversal represents a moment where Morrison reconciled his identity with his environment. While the "element of place" was an "overarching theme" in his life, in this specific work, that place was the vibrant, chaotic, and transformative landscape of New York City.