Courtney Sharps | Curator, New York, NY

I recently read Laura Morris’s piece on Joan Mitchell’s farewell to her friend, acclaimed art critic Harold Rosenberg, in the summer issue of Hauser & Wirth’s culture magazine, Ursula. Her essay provides the context of Mitchell’s tribute and includes some anecdotes of their relationship. The most poignant takeaway for me was the reminder that personal bonds, like the one Mitchell and Rosenberg shared, helped shape and elevate the art world we know today. It’s a reminder that community and connection should be at the forefront of what we do.

The article opens with an image of Mitchell’s letter to Rosenberg’s family, expressing her condolences and reminiscing on times they had on East 10th St. in the East Village, New York City. I live on East 10th St. myself, with a view of Rosenberg’s former residence from my living room window. The idea that these great artistic figures once drank wine on my stoop and wandered down St. Marks Place evokes a feeling I can’t quite name in English. Perhaps it’s Sehnsucht in German or Hiraeth in Welsh, a profound nostalgia for a time I never experienced. If you haven’t guessed by now, I’m a romantic at heart, particularly when it comes to art. These great figures in American art ran around my neighborhood, supporting artistically, criticizing constructively, and gathering joyfully. They were friends.

Morris mentions Mitchell and Rosenberg ran with a crew that included icons like Willem and Elaine de Kooning and Franz Kline. She shares my romantic view of that time, noting that, “the art world was smaller then, and friendlier.” I was struck again by this sentence, especially coming from a correspondent of a major gallery. It’s true that the art world was scrappier and more quaint back then, and it feels noticeably colder today. How depressing it is to have to admit this. Isn’t it our duty as modern-day culture leaders build friendships within the field? Reflecting on past friendships should inspire us to rekindle the kinship that shaped our field. The article beautifully captures Mitchell’s poetic nature, and it provides a whimsical snapshot of the moment and place where Abstract Expressionism’s star players converged. However, it offers little reflection on the present or how we’re meant to carry this history forward. I look to our cultural leaders for guidance; community is the foundation of growth and success. It truly takes a village to create culture and inspire change.

One quote from Mitchell especially resonated with me: “Everybody was poor—not that that’s so heavenly—but everyone liked each other. If somebody sold a painting, it was beers on the house and… people were very generous to each other, the artists.” This spirit of generosity and camaraderie is exactly what C-lective honors and nurtures. Our community models a new kind of patronage, one built on reciprocity and genuine connection. We show up for each other by engaging with artists and their work, sharing moments at events, and supporting one another’s creative journeys. Success and fulfillment for everyone in our circle is the goal, and that circle remains open to all who wish to belong. To me, that’s friendship in action. Be the change you want to see in the (art) world, right?

Joan Mitchell ended her letter to Rosenberg’s loved ones with a beautiful gesture of community: welcoming them to her French chateau at anytime - a property that overlooked one of Monet’s former residences. She offered them comfort in Monet’s light and with the company of her dogs.

While we remember the greats of the past, it’s also important to recognize we are living among the next greats, now. The figures of the Abstract Expression era didn’t know they were investing their time in people who would become historical icons of culture.

They just wanted to be friends.

If you are reading this, I consider you a friend. Let’s go out there and let friendship lead to something great.

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