NoteWorthy Shows- June & July, 2017

“Hot town, summer in the city
Back of my neck getting dirty and gritty
Been down, isn’t it a pity
Doesn’t seem to be a shadow in the city.”*

Summer in the City brings temperatures in the 90’s and short schedules in the galleries. Still, this summer has brought with it a surprisingly high number of very good shows. While the blockbusters “Robert Rauschenberg: Among Friends,” and “Frank Lloyd Wright at 150,” both at MoMA, have captivated me, they haven’t kept me from seeing the rest. Here are some I found especially NoteWorthy.

Installation View of Room 3, and part of 2, left. On the right, “The Waves of Sea and Love,” 2017, Oil, emulsion, acrylic and lead on canvas. The other works are watercolor on paper. Click any photo to enlarge.

“Anselm Kiefer: Transition From Cool To Warm” (at Gagosian, West 21st Street)- Hold the Apocalypse. Though there were moments recently where it seemed imminent some respite was to be found at Gagosian on West 21st Street this summer in a large show of lyrical works by renowned German Artist Anselm Kiefer. Yes, Anselm Kiefer- the same Artist who sees civilization as a  shining moment between dark ages. It’s been getting harder to argue with him.

The Evening of All Days, The Day of All Evenings,” 2014, Watercolor on paper.

Maybe Mr. Kiefer’s crystal ball also told him there would be a need for a “brighter” moment this summer. Whatever the inspiration for it, it’s certainly a bit shocking that this ray of light would come from this Artist after the dark shows that he’s had recently, like this one in London this past winter. You’ll look long and hard (as I did) for signs of it at Gogosian, where female nudes, many, apparently, under the spell of Eros, lush waters and copious flora abound instead creating a plethora of beauty that lingers in the mind, while we await whatever is coming next. And I mean plethora. Over 100 pieces, probably upwards of 300 individual works.  A “Transition from Cool to Warm,” a term used to describe color temperatures by watercolorists, in more ways than one.

“For Segatini: The Bad Mothers,” 2011-12, Oil, emulsion, acrylic, shellac, wood, metal, lead and sediment of an electrolysis on canvas. The book in the top half, and the tree branch in the bottom half, are mounted on, and extend from, the canvas. It’s hard to capture how thickly the paint is applied. All the other books in this show contain watercolors.

It’s rare, in my experience, to see a show this large that is, primarily, watercolors. Interspersed with them are some large landscapes in oils that are spread on thick and heavy, some combined with elements that include tree branches, lead and sediment of an electrolysis, like “For Segatini: The Bad Mothers,” above, which served as an echo for me me of Robert Rauschenberg’s groundbreaking “Combines,” from 60 years earlier, on view 30 blocks north at MoMA.

Installation view of the central gallery, “Klingsor’s Garden,” displaying 38 Artist’s Books, each one containing 8-12 watercolors.

Anyone who has tried watercolors quickly learns that this tricky medium tends to have a mind of its own. Kiefer long ago mastered them, as he demonstrated in 1977 in a book of them of the same name as this show. He’s been hard at work since creating a number of individual watercolors and about 48 unique Artists Books (the other 9 are in the final room) filled with them on view here. In this age of Artist’s Books, you’ll look long and hard to find even one that can match these (or their prices), each page of which contains a finished watercolor, many of the books containing 10.

Two books of watercolors in a vitrine, each bearing the same title as room, “Klingsor’s Garden.” Watercolor and pencil on plaster on paper, executed in 2016-17.

His watercolor nudes bear a passing similarity to Gustav Klimt’s and Rodin’s famous nude watercolors, but Mr. Kiefer (who says he didn’t know Rodin’s watercolors until after he had started doing his own) makes them seem as something of a jumping off point for his own striking poses, done from models, that seem to float on the gesso he uses to create an imitation marble “ground,” intertwined with snakes, or accompanied by other elements, typically water and flowers in the standalone work, which feature sunsets (as seen in the first photo), somewhat barren landscapes, with muddy roads, or seascapes.

The partially opened books lead the mind to construct whole images out of halves of different pages, as seen here. Mr Kiefer says books “are more than half of what I make…the pictures come and go away, and then a new one comes. So it is always the picture between two pages. You turn the page, you still have the other one, but you already have the new one. I like this very much because it’s not a fixed picture, it’s a transition, it’s an action.” (Interview with Gagosian, 2017)

In many of them Keifer alludes to a wide range of literature, from the bible to poetry, a good many of them being fairly obscure, with handwritten notations on the works. The central room, containing most of the vitrines of Artist’s Books filled with (mostly) nudes, is named “Klingsor’s Garden,” seen above, which I take as a reference to Wagner’s “Parsifal” where the magician Klingsor has a garden full of beautiful flower-maidens under his power.

An element of darkness creeping in? “Aurora,” 2015-17, Oil, emulsion, acrylic, shellac, and sediment of an electrolysis on canvas, seen adjacent to 6 watercolors.

This is the first show I’ve seen of Mr. Kiefer’s, who has had a large work continuously on view in The Met’s 5th Avenue Modern & Contemporary galleries, in the same spot, for over 20 years. Having given up looking for a “darker message” in these works, I succumbed to the beauty and preferred to simply study the technique in the large oils, and enjoy the chance to see so many unique watercolors in one place. It will be interesting to see what his next show is like. While the world and universe will end one day- sooner or later (the jury being still out on civilization’s longevity), it’s the fleeting moments of beauty, and Art, that make this temporal experience special.

“Ellsworth Kelly: Last Paintings,” “Ellsworth Kelly: Plant Drawings” & “Ray Johnson” (all at Matthew Marks Gallery)- Each of these memorable shows deserves it’s own writeup. Both Ray Johnson and Ellsworth Kelly are Artists whose importance seems to be increasing as time goes by.

In “Ray Johnson” at Matthew Marks, West 24th Street, “Untitled (David Bowie),” 1979-94 is one of a group of “silhouettes” on display, perhaps  the most complex. Ink and collage on board. The multiple dates of Mr. Johnson’s work reflect the fact that he often rethought a work many times.

In Ray Johnson’s case, substitute “being taken more seriously as time goes by.” It’s about time. Mr. Johnson studied at Black Mountain College with Artist, and legendary teacher, Josef Albers, and Robert Motherwell, while Rauschenberg, John Cage, and others, were there in the late 1940’s heyday of that legendary institution. After burning his early paintings, possibly to get out from under the cloud of his illustrious teachers, he became something of a “shadow figure” in the Art world, though he seemed to know almost everyone in it. He started the Mail Art movement, and the New York Correspondence (or “dance”) School, and worked, mostly secretly, on collages. After his tragic and mysterious death, a suicide (or “Rayocide,” as Mark Bloch called it, which many considered to be his final “performance,” in a life that had been full of performances, like his “Nothings” earlier on), a wonderful 2002 documentary, “How To Draw A Bunny,” seems to have begun a reassessment/fuller appreciation of Mr. Johnson’s work that is, finally, seeing it loom larger than his large, unique/endlessly quirky personality. This show consists of an excellent cross section of those collages, some doing double duty as Mail Art, and two other works that defy easy description, one seen below, the other further down.

Iinstallation View of the second gallery (with gallery #3 and 4 ahead), showing the “Candy Darling Cast,” 1970- of her face, complete with fabulous eyelashes, in it’s clear carry bag, center.

“Untitled (Self Portrait/Dance Diagram), 1992, Collage on board (double sided). The shoes are reminiscent of the ears on the Bunnies with long squishy noses that are Mr. Johnson’s “trademark.”

Ray Johnson was a unique Artist who was a Master of graphic design in my eyes, and still ahead of his time. He was a vital part of the NYC Artist community, until he opted to drop out of it, and NYC, moving to Long Island, and finally to Locust Valley, NY, where he lived as a recluse, like his friend, Joseph Cornell. He stopped showing, or selling, his work, other than continuing to mail some of it. Some see him as a precursor of “Pop art,” because of his use of celebrity portraits before Warhol (who he met in 1956), and benday dots before Roy Lichtenstein. He was also fond on including his own portrait in his work, and these are the works I find among his most engrossing given his reclusiveness. Every time I saw someone posing for a selfie in front of one of them, I couldn’t help wonder what Mr. Johnson would make of it. email and instant messages don’t have the charm of actual mail, or it’s creative possibilities. It’s a shame that it’s now unlikely another “Mail Artist” will come along to further what Ray Johnson started in this “medium.” It may have ended with him (or, “Post-Secret.”)

In this “Summer of Rauschenberg” in NYC, as I saw one writer aptly call it, Ray Johnson is not forgotten. In 1955, Rauschenberg was invited to participate in the Stable Gallery Annual. Artists had been allowed to propose new artists for the following years’ exhibition, but they changed the rule. To circumvent this, Rauschenberg asked Jasper Johns, his former wife/Artist Sue Weill and Johnson to each create a piece that he would install inside of his piece, thereby getting them in the show. Johnson’s contribution didn’t reach Rauschenberg in time to be included. “Short Circuit,” Rauschenberg’s resulting piece, and it’s circuitous story, are included in the MoMA Rauschenberg show. In Calvin Tomkins’ Rauschenberg biography, “Off The Wall,” Tomkins says that in 1955, he asked his friend Johnson to contribute to it in because he was “another young Artist who was unjustly neglected[P. 121].” 62 years later, the world is still catching up.

‘Untitled (Dali/Courbet/Dear Marilyn Monroe),” 1975-94, Ink and collage on board. One of a group of collages that are variations on Dali’s “Crucifixion.”

“A Shoe (John Cage Shoes),” 1977. Mixed media. Johnson met composer John Cage at Black Mountain College, and later lived in the same building with him in NYC. Both were parts of the Artist circle that included Jasper Johns, Cy Twombly, Morton Feldman, Merce Cunningham and Rauschenberg. What any of this has to do with these shoes? I have no idea.

John Cage, appears again, next to Picasso, across from Rene Magritte on top of the bottom half of a Photo Photo Portrait of Ray Johnson and the inscription “DONALD TRU” under. Could this be another piece referencing Donald Trump from years ago (this one, 1972), like Raymond Pettibon’s piece seen earlier this year from _____? “Untitled (Cage, Picasso, Magritte, Donald Tru),” 1972-90, Ink and collage on board.

At Matthew Marks on West 22nd, Ellsworth Kelly’s 9 Last Paintings, and a selection of 16 of his beautiful Plant Drawings spanning almost 60 years, occupied adjacent galleries. Kelly, seemed to be on a lifelong mission to “free shape from its ground, and then to work the shape so that it has a definite relationship to the space around it, so that it has a clarity and measure within itself of it’s part (angles, curves, edges and mass), and so that, with color and tonality, the shape finds it’s own space and always demands it’s freedom and separateness.” as he said. Included in the seminal 1959MoMA show, “Sixteen Americans,” along with Jasper Johns, Louise Nevelson, Jay De Feo, Frank Stella, and Robert Rauschenberg, his career lasted a long time. As a result, it’s sometimes easy to overlook his work, and that would be our loss, especially in these wonderful last works.

“Ellsworth Kelly: Last Paintings. This work is “Spectrum IX,” 2014, Acrylic on canvas, twelve joined panels, 107 x 96 inches

Installation view of “White Diagonal Curve,” 2015, Oil on canvas, 52 x 120 inches

Installation view of “Diptych: Green Blue,” 2015, Oil on canvas, two panels, 80 x 114 inches.

Installation view of “White Form Over Black,” 2015, Oil on canvas, two joined panels, 75 x 87 inches.

One look at his marvelous Flower Drawings, and I was transported back to my first encounter of them in a mesmerizing show at The Met in 2012. They still leave me wondering “Why hadn’t I seen anyone do this before?” And, I still haven’t. They are true to the statement quoted earlier, though they are more easily “seen” to be based on real objects, though real-life observations were at the heart of his abstractions, as well. As such, these two side-by-side shows provided a rare chance to compare two, seemingly quite different aspects of his work, and find the commonality. They share that zen-like essence, this time of line, rather than shape and color, like the last Paintings. Both, in relation to space.

Next door to “Last Paintings,” the entrance to “Plant Drawings”

From the  catalog for this show.

Installation view.

“Peony,” 1982, Graphite on paper, 30 x 40 inches.

Each shows is accompanied by it’s own wonderful catalog, adding to the line of excellent publications Matthew Marks Gallery has produced. The “Last Works” catalog includes photos by Jack Shear showing Mr. Kelly’s studio as he left it, complete with some of these very works. Touching and profound. Of course, seeing them in Matthew Marks beautiful, spacious Gallery is more akin to where these works will most likely be seen henceforth- on Museum walls.

“And babe, don’t you know it’s a pity
That the days can’t be like the nights
In the summer, in the city
In the summer, in the city”*

*- Soundtrack for this Post is “Summer In the City,” by Steve Boone, Mark & John Sebastian of the Lovin’ Spoonful, published by Sony/ATV Music Publishing LLC, Carlin America Inc, BMG Rights Management, US, LLC.

Please send comments, thoughts, feedback or propositions to denizen at nighthawknyc.com.
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This Post was created by Kenn Sava for www.nighthawknyc.com

Words To Live By From Man Ray, #3

Man Ray, “Lampshade,” 1919/1964, top, with “By Itself II,” 1918/1966 seen in the Man Ray Show at Francis Naumann Gallery, in 2016, that I wrote about, here.

“No. 89, DREAM

(A) My object is to realize my dreams, not simply record them.

(B) But when you write down your dreams or paint a picture representing the images that occurred in the dream, provided you are being faithful to these images, aren’t you simply recording the dream?

(A) Not at all, neither in the writing nor in the painting do I refer to the subject as a dream. In this way it becomes a part of my waking life, just as for every one else who is ignorant of the source of my inspiration, my work is accepted as a product of my own peculiar brand of reality. In this way are my dreams realized.”

Man Ray, “Writings on Art,” From “The Hollywood Album,” P. 204, Edited by Jennifer Mundy, Published by Getty Research Institute, 2016.

 

The first two installments of this series are here (scroll down).

*- Soundtrack for this post is, what else? “Man Ray,” by the Futureheads from their 2004 self-titled album.

Please send comments, thoughts, feedback or propositions to denizen at nighthawknyc.com.
Click the white box on the upper right, for the archives, to search, or to subscribe.
This Post was created by Kenn Sava for www.nighthawknyc.com

Rod Penner’s Neighborhood

“It’s a beautiful day in this neighborhood,
A beautiful day for a neighbor,
Would you be mine?
Could you be mine?”*

In 1927, the Painter & Photographer Charles Steeler spent six weeks Photographing the 2,000 acre Ford Rouge plant in Detroit on assignment for an ad agency1. So taken by what he had seen there, over the next 9 years, he produced a series of Paintings of the plant based on the Photos he took. While both his Photos and his Paintings are now seen as classics, that’s perhaps the closest an Artist has come to creating a series of Paintings of a small neighborhood as seen at the same time. Now, the Artist Rod Penner tells me he has completed one such series. “Mr. Penner’s Neighborhood” (with apologies to Fred “Mr.” Rogers) of choice for his series of 2015-17 Paintings is San Saba, Texas, a town of about 3,000, an hour north of Austin, as seen in the source material he collected in various mediums (plural- they consist of more than Photographs he told me), during a trip he took there early one winter Saturday morning. To date, they had numbered 10 Paintings, 9 of which were shown at “Rod Penner,” at Ameringer McEnery Yohe Gallery, NYC in May2, (which I wrote about here and here. My follow-up “Q & A” with Rod Penner is here.)

“San Saba Butane,” 2015, Acrylic on canvas, 10 x 15 inches. Photo courtesy Rod Penner and Ameringer McEnery & Yohe. The first work in Rod Penner’s “San Saba Series,” and was not in the AMY show. Comparing this to the smaller work with the same title, I wrote about here, is endlessly fascinating. Click any to enlarge.

The tenth, (actually, the first to be completed in 2015), above, gives us a view of “San Saba Butane” seen from the side, which contrasts with the smaller painting of the same title that captivated me at the show where San Saba Butane is seen from the front. This perspective makes it part of a neighborhood, and not seem to be an island. A neighborhood where the other buildings seem to be in better condition, and most likely still in use. Here, it still looks like a relic, just a relic that is part of a large community, something we don’t often think of relics being. Interestingly for me, the lone car is stopped at a light, the only time this occurs in the San Saba series, as if symbolizing time standing still here.

The new 11th, and final, painting in his series is, interestingly, entitled “Welcome to San Saba.” I quickly moved past the irony of ending a series with a work that would seem to indicate it was the first work in the series to look at this photo of it.

The 11th and final work in Rod Penner’s San Saba Series, “Welcome to San Saba,” 2017, Acrylic on canvas, 10 x 15 inches. Photo by Rod Penner. Courtesy of the Artist and Ameringer McEnery Yohe.

Ah…G & R Grocery (cut off on the right), The Station (dead ahead, left of center)…some familiar sights from their own works in the show…the familiar damp streets… Yet? Much was new to me.  Take the mural on the yellowish wall seen facing us to the right of center, for instance. During the run of the show, I looked long and hard at the miniature version of that mural alongside the G & R in it’s 5 x 7 1/2 inch painting at Ameringer, below, where it is seen at a sharp angle, trying, in vain, to see what it depicted.

Flashback. “G & R Grocery,” 2016, 5 x 7 1/2 inches, as seen in the Ameringer show in May.

Seeing it now, face on, is “another part of the puzzle.” It’s a picture in a picture that adds a surreal element to this work, especially because we can’t really see all of the storefronts along the side of “Welcome to San Saba,” and so it seems to ask the question “Is THIS San Saba? Or, is what’s in the mural San Saba?” Well, I hear that hunting is second only to pecans as a business in San Saba, so? They both are. Maybe that’s why the deer in the mural has that “in the headlights” look, which mimics the distant car with it’s headlights on coming down the street. While we’re busy pondering all of that, one thing’s for sure, besides that car, there’s not a heck of a lot going on.

The perspective giving us this view strikes me as brilliantly subtle. We’re not exactly in the street, or on the curb. We’re not looking exactly straight down the sidewalk, or really, right down the street. Only the mural is seen whole, balanced by the facade of “The Station,” across the street in the distance. The pavement is masterfully done, as usual. It’s astounding, really. Right down to the varying degrees of wetness, and that horizontal crack breaking things up. While we’re admiring Mr. Penner’s technique, other visual pleasures include what can be seen of the facades of the stores seen in perspective, the peeling paint on the mural wall, and of course, the “Penneresque” skies, as I call them, this one different from some of the rest because it’s lacks any hint of the sun breaking through, or being covered up, as in the larger SS Butane. The bare tree on the left marvelously balances the piece, and is, like everything else, wonderfully done.

Flashback #2. “View of San Saba,” 2017, 5 x 7 1/2 inches. Looking down the same street as “Welcome to San Saba,” which takes place halfway up the road on the right, as seen at Ameringer in May.

Finally, there are the many festive lights, including those that run along the top of all the buildings, reinforcing that it’s the holiday season, which adds more poignancy for the viewer. The lack of people and cars, except for the distant one approaching makes this feel more haunting to me than “View of San Saba,” above, possibly because we’re not in the middle of the street now, and we’re right among the buildings. Odd for that time of year, there’s almost no activity, no one is shopping, doing errands, etc., save for the headlights of the car approaching in the distance.

It’s more than a terrific Painting. It’s a worthy end to a compelling, unique series.

As importantly, the more I looked at it, the more I realized it was effecting some of my thoughts about the rest of the series, and making me see “more” in them. As I mentioned last time, this series presents different views of much of the same small neighborhood in each succeeding work, with each angle presenting new information, and giving a new perspective. A subtly engrossing concept that adds another layer to the already meditative nature of his work, which takes us from pondering individual scenes to assessing the larger community, seen in the first, and last two works in the series. Assessing them, I’m reminded that I paid so little mention to the “Holiday” aspects I just mentioned that, also, recur in some of these works- “Yard Inflatables,” and “The Station,” as seen at Ameringer, (a pic of “The Station” I Posted previously). This combined with the universal absence of people, the often darkening skies lends a sense of isolation, even lonelieness that feels (to me, at least) akin to that in Hopper. But, that is the real joy of looking, and seeing what they say to you. Your results may differ.

It’s the holidays in the neighborhood. Rod Penner, “Yard Inflatables,” 2016, 6 x 6 inches, seen at Ameringer.

“Yard Inflatables” is, also, a charming example of Mr. Penner’s subtle humor. Something that also appears, in somewhat subtler form, in “Welcome to San Saba,” possibly in the title, itself. Mr. Penner, who describes himself as “an avid hunter, big on wildlife management and conservation,” also had to tell  me (because I’d never have guessed) the mural is a bit of a jab at some of his  some of his anti-hunting friends, and sent this photo of the actual mural along. I’m sure most residents disagree, but I like his version of it much better.

“Welcome to San Saba” Mural. Photo by, and courtesy of, Rod Penner. Interestingly different perspective than seen in the Painting.

The photo of the mural also puts yet another nail in the coffin of what’s called “photorealism,” something that has less and less to do with Mr. Penner’s work the more I see of it. Just compare it to the mural in the painting. So, if Rod Penner is not a “photorealist,” what is he? He’s an Artist. It’s becoming apparent to me that he is directly in the line of “American Realists”3 that goes all the way back to Gilbert Stuart (1755-1828), and extends up through George Caleb Bingham (1811-1879), the Hudson River School (including Thomas Cole 1801-1848 and Sanford Gifford 1823-1880),  Thomas Eakins (1844-1916), Reginald Marsh (1898-1954), Edward Hopper (1882-1967), and yes, Charles Sheeler (1883-1965) (Thomas Hart Benton, Grant Wood are among others included by many). Not a bad “neighborhood” to be in. Speaking of those “neighbors,” I find myself wishing the whole series had gone to a museum, like the Whitney, where it would look wonderful along side their Hoppers and Sheelers, while showing that tradition is alive and well in 2017.

Rod Penner’s “San Saba Series,” strikes me as walking that line between intimacy and distance. Standing in front of someone’s house, especially at Christmas, has an intimacy to it that it probably wouldn’t have seen at any other time of the year. The owners are “letting us in” a little bit into who they are through their decorations. So is the town with it’s “public” holiday decorations, seen in the streets of “The Station” and “Welcome to San Saba.” Yet, there is an undeniable distance and an almost foreboding sense of isolation that’s reinforced by the ever-present, slightly ominous “Penneresque” skies. Works like the smaller “San Saba Butane” are not at all welcoming. Even if you were to venture inside the crumbling building, you wouldn’t really “be” anywhere. “View of San Saba,” above, the next to last work Mr. Penner completed, is also not welcoming. We may be risking our lives standing in the middle of that street for long with our backs turned. In “Welcome to San Saba, some lights are on, but nobody’s out. It’s a bit reminiscent of those old western movies when the bad guys come to town and everyone’s hunkered down indoors.

As the 9 Paintings at Ameringer McEnery Yohe sold, I now feel lucky to have been able to see that many of them in one place, since their “interaction” adds so much, as I’ve tried to show, and since who knows when that might happen again. Walking through these 11 Paintings, in my mind now, “Mr. Penner’s Neighborhood” still fascinates me and still makes me look deeper. I guess I’ve become a neighbor.

*-Soundtrack for this Post is “Won’t You Be My Neighbor?,” by Fred M. (“Mr.”) Rogers.

On The Fence, #9, The Sitting Ducks” Edition

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  1. Some may be seen here.
  2. The show’s site is here.
  3. With all due respect to great Realists the world over.

Raymond Pettibon: Artist Americanus

Gumby had magical powers.

Gumby! You made quiet a mess on the floor of David Zwirner Gallery! Click any image for full size.

Using them, he was able to walk into books and become part of the story inside, usually solving whatever the problem was.

And, the walls, too! What? Raymond Pettibon did this? Oh. O.K.

Well, his “super human” powers really shouldn’t surprise anyone. He wasn’t human! He was 100% clay. Most people who remember Gumby remember him as a character in a kid’s TV show from the 1950’s that was reincarnated a few times over the succeeding decades. Most recently, he’s also had a reincarnation as the alter ego of Artist Raymond Pettibon1. In this “life,” he doesn’t have to walk through the walls David Zwirner to be inside the story, he’s been welcomed in as part of Pettibon’s latest show, “TH’ EXPLOSIYV SHOYRT T,”  as we shall see. Ok…ok…that’s my Gumby, above, that’s been a sidekick of mine going back to the 1990’s. But, Gumby, I mean Raymond Pettibon, really did create those paint splatters while he was creating many of the works in the show. Renown for the hand drawn & painted elements he creates for each show ranging from texts to wall drawings to murals, these splatters and drops provide mute testament to his creative process that recently occurred in this very space, possibly including this-

“No Title (It sounds powerful…)” 60.5 x 101 inches, 2017, Ink, acrylic, and collage on paper.

Fresh off the unabashed success of his blockbuster retrospective at the New Museum, “Raymond Pettibon: A Pen of All Work” (which I wrote about here), his first show at a major NYC Museum, some 40 years in the making, with EIGHT HUNDRED works dating back to the 1960’s filling three full floors, barely had my thoughts about it had time to begin to congeal, when along came word of a show of new works by Pettibon at David Zwirner, 519 West 19th Street, where the Artist had been holed up since January, I was told, creating many of them.

Down the rabbit hole I go, again. “No Title (Dear Master V…), 2017, “V” for Vavoom, the old cartoon sidekick, capable of only screaming his own name, is the other Pettibon alter-ego, along with my friend, Gumby. Pencil, ink, watercolor, goucache, acrylic and collage on paper.

Lo and behold, when the doors opened on Saturday evening, April 29, there they were, 99 new works, only 2 of which I saw at “A Pen…,” where they were tacked up as part of the lobby Mural, as if giving us a taste of what was to come. Talk about prolific. What’s another 100 after having just seen 800? It, also, provides an all too rare opportunity to get the “rest of the story,” from his beginnings as seen in “A Pen…” right up to the present moment.

David Zwirner Gallery, 519 West 19th Street. In it’s case, the doors roll up.

Meanwhile, “A Pen of All Work,” has now opened at the Bonnefantenmuseum, Masstricht, The Netherlands, where it will remain open until October 29, complete with it’s own brand new, hand painted, circular wall mural, in 4 parts, which may be glimpsed here. Look now while you can. Like his other murals, it will be history when the show is. But, here & now, in West Chelsea, the paint was barely dry on the walls, and the floor, too, of 519.

What was to come, as far as the new work goes, was a continuation of what we saw in “Raymond Pettibon: A Pen of All Work”- in almost every way, most importantly including quality. Also continuing are most of the themes Pettibon is known for. Well? There was only one work related to Music, perhaps surprising to those who still think of Pettibon as a “punk” Artist, even though that period was 35 years ago. On the other hand, of all things, wrestling appears to be on the ascent among his themes.

A week before the end of the show, “O.G.” Pettibon returned to graffiti his own sign.

But, before we get too far into it, let’s start outside. Above the door, in lieu of one of his usual wall drawings or murals Raymond Pettibon has simply written the show’s title. Keyword: “simply”-

Wow. He wrote this, and even I can read iyt!

Well? “The Explosive Short-T” is one version of the show’s title. On the David Zwirner website, the show is referred to as “TH’ EXPLOSIYV SHOYRT T.” That’s easy for Raymond Pettibon to say, in his unique “way with words,” something I am quite fond of doing, myself. Two titles? What gives? I was told the latter is the “official title.” Fair enough. But? What does it meayn? My research led me to the 1963 Football coaching guide by Homer Rice, a coach at the University of Oklahoma, called “The Explosive Short-T.” It’s back cover bills it as “A complete guide to building a winning football offense with the newest and most powerful variation of the T-formation.” And, compared to the massive “A Pen…” it is short-er.

The cover of Home Rice’s rare 1963 book. I don’t think he suspected his title would also be that of an NYC Art show 54 years later!

I know what you’re thinking- “Of course!” Further adding to the intrigue of the title, among the works inside pinned, (yes, Art, some of which was priced at $150,000.00 per, was all pinned to the walls), Raymond Pettibon, sports aficionado, has depicted the following sports (and in parenthesis how many times each in this show). For those of you keeping score at home, my count by sport is-

-Baseball (4)

-Wrestling (3. One could be boxing, but I think it’s wresting.)

-Surfing & Waves (2. 1 of waves, 1 of surfers changing their clothes)

-Football (None)

“No title (The false thread…,)”,…is easily found,” it concludes. All works are by 2017, Ink and acrylic on paper, unless noted.

Ok, so if the show’s title is a Football reference and there’s no football to be seen, what does it have to do with the 99 Art works on display? Unless it’s a “false thread?” I don’t claim to have any “answers” when it comes to the work of Raymond Pettibon. I just enjoy pondering what his work says to me each time I look. Not willing to give up on this “thread” so quickly, I chose to take the “formation” part literally, and see what the groups (the formations) the work is arranged in might offer.

I decided to focus on this group of 11 works.

The first thing that struck me about the curating of this show was a major difference with the New Museum Retrospective, which was arranged by themes throughout it’s 3 floors. This show is not, as far as I can tell. I asked who was responsible for the arrangement and the answer I got from the staff was Pettibon and David Zwirner. I’ll go with that. It’s hard for me to imagine the Artist didn’t have a hand in it. Afterall, he had been in this space working, and he did paint the title over the door, and? The grouping is as interesting to consider as the individual works they consist of. But, I must bear in mind what Pettibon said in 1999-

“When I hang a show, for the most part, it’s usually just as well to put up the drawings randomly, because that’s the nature of the work. There are dissociations and attachments and the mind will fill in the blanks. Beyond that, it becomes overly fussy and contrived. So just about any way the work is hung, really, it’ll work.”

Yes, my mind couldn’t help but to “fill in the blanks,” helping to see the combinations as “explosive.” Take the group, above, for example. Right smack dab in the upper middle is a work, who’s upper thought bubble says-

Detail of “No Title (Was there any…),” Ink and acrylic on paper. It could be my mantra.

But then, the “kicker.” Under a pile of black lines, the words “Was there any going back on that? It seem’d ready to unravel.” What do they refer to? Slightly higher, on the left, is a skull, with a thought bubble that reads “Little Cloud That Cares.” Two brains, one in a skull, connoting a “dead” brain, and one, of an apparently “live” brain, without a skull, both with thought bubbles. On the left side, directly under the “Cloud That Cares” is a drawing of 2 Baseball players. Bo Billinsky and Dean Chance. During the opening, on April 29, Raymond Pettibon told me that his son, Bo, who was in attendance, was named after Bo Belinsky. Bo Belinsky, was a 6′ 2 left-handed starting pitcher for the L.A. Angels, from 1962-64, when his record was 21 wins and 28 loses. An interesting choice, to say the least.

Pettibon’s son’s namesake, alongside his own favorite player. “No Title (And then other…),” Pencil, ink, watercolor, gouache and acrylic on paper.

He also told me that Dean Chance was his favorite player, so (my interpretation) their dual portrait is a way of putting himself and his son into a work. (The Artist also has a dog named Boo.) Bo Pettibon announced to all who would listen that he wanted to become an Artist. In an interview with Dan Redding, Raymond Pettibon said that he looked forward to collaborating with Bo. So? This piece may also be a harbinger of Raymond Pettibon’s future work. It appears to me, though, this this is a rare work that may have some personal relevance to Raymond Pettibon. It’s fascinating to me how very few of his works that I’ve seen seem do. It seems to me his work is more about “self,” not about “him self.”

Surrounding these 3 works are pieces that speak of luck- good (below, center, a skier apparently narrowly misses a tree), bad (upper right- a bomber on fire, seemingly about to crash), faith (a bible, or bibles, seemingly falling),  fate (a naturalist monitors the progress of his disease in a piece that seems to equate the progression of a disease to a pen that finally produces ink). Beneath it is a most interesting image. Gumby/Pettibon and Shakespeare are joined by a quintet of 4 men and a woman. The man in the center holds what appears to be a frame. The text reads, “As withouyt the advantage of educatioyn or acquaintance among them.” The man holding the frames looks like he could be Churchill, a passionate painter throughout his life, to me. The man to his left (the far right) could be Stalin. The man “Churchill” shows what’s in the frame to (F.D.R.?) appears to be startled by it, as does the man looking over his shoulder at it. Gumby, “represents me as an alter ego,” he said on PBS’ Art21. Yet, both he, and Shakespeare have blank expressions, appearing as witnesses, and either the piece in the frame is blank, if it’s facing us, or hidden, if it’s not. Either way? No matter how long we look at it, it will never become clear.

“No Title (Rereading Pettibon)”

Fascinatingly, to it’s immediate right is an image of what might be a demon, with a red tooth, who is busy “Rereading Pettibon,” something many viewers to his New Museum Retrospective had just been busy doing, revisiting his work going back decades.

“No Title (Whipper paused a…)” Ink, watercolor and acrylic on paper.

The final piece in this section’s bottom left features a pitcher nicknamed “Whipper,” who, it says, won 19 games in 1960. The only major leaguer to win 19 games in 1960 was Lew Burdette, but he lost 13 games, not 8 as it says on the drawing, and his lifetime record was 203 wins and 144 loses (not 161-127). So? Whipper may be fictional, or a non-major leaguer. Still, I find it, another, compelling Baseball work. While so much ink is devoted to Raymond Pettibon- “punk Artist,” very little is devoted to Raymond Pettibon- extraordinary “Baseball Artist.” Which leads me to ponder- Who is the OTHER great Baseball Artist?

So, the right half of this wall is dark with war, death, disease, demons, and trying to maintain your sense of self during this. In the middle might be luck- at writing one good thought or narrowly escaping serious injury/death. On the left side is an image of the Washington Monument with text reading “There is no other that in comparison with it stands,” but it mirrors the narrowly missed tree to it’s immediate right, and above everything else on this wall is a skull, a symbol of death, that somehow manages to produce a thought bubble “Little cloud that cares.” Clouds care? The dead have thoughts? I’m deeply inside the rabbit hole now. I make no claim to “understand” any of them. But? I just can’t stop looking at them, and thinking about them.

This is only one section of the show- 11 works. It leaves 88 others to consider! Don’t worry. Every now and then I remind myself that this is a Blog, not a Book, so I’m not going to go through all the rest. But, I will show a few others.

Installation view of ALL of “Raymond Pettibon: TH’ EXPLOSIYV SHOYRT T” at David Zwirner. The wall I was speaking about is just to the right of the left corner.

Of the other noteworthy works here is, of course, the huge Wave piece shown earlier, which, though 4 of his 5 highest selling works at auction to date have been large Surfer/Wave pieces (one sold for 1.5 million dollars), this one is mounted all the way in the back corner, high on the wall. So high, it’s very hard read the small text fragments among the collaged waves. Of course, it was sold early in the show’s run (if not before it opened), and most likely was the most expensive piece in the show. Well? It’s safer high up. It also does give the effect of looking up at a huge wave.

The intriguing rear wall and right corner of the show. A show of power- natural, and man made.

In his oeuvre, Pettibon’s surf pieces are like the “golden section” in a piece of Music-they live at the center of his universe. He’s said he enjoys Drawing waves more than anything else. It shows. This one is displayed above leftover paint splatters, and the portraits of two tyrants- Stalin, looking like he was the target of a paint gun war, and to his right, J. Edgar Hoover, cornered. For a change. Around the corner, on a wall by himself, hangs the only Self Portrait of the Artist, looking “cautiously” out on all he has wrought. Well, he not only can’t see Stalin or J. Edgar from there- he has his “back” to them.

“No title (I glance cautiously around the room…)” And…

moving cautiously around it, too. Raymond Pettibon enters his show at the opening, April 29, with a cane. That small figure running in the distance is his son, Bo.

Hobbled by what he said was a bout of gout, the Artist, himself, nonetheless persevered and arrived to surprise visitors to the opening, including yours truly, with his presence, and I had the privilege to meet him and speak with him.

Raymond Pettibon at the opening, April 29, while we were chatting.

We spoke about a range of things after I remarked that since he is associated with many things California, I was still getting used to him being a New Yorker, which he has been for six years already. We then touched on the Biennial, Owls (which appear fairly often in his work. He then proceeded to sketch this one-),

Baseball (as I mentioned, above), and some of the books about his work. His son, Bo, came by and drew in a fan’s book his father was signing, and announced to all present his intention to become an Artist. Pettibon has spoken about looking forward to collaborating with Bo, so Craig? Hang on to that drawing! Bare chested, Bo then proceeded to run out to the sidewalk and take startled passersby by the arm to try and get them to come and “see Daddy’s show.” As I commented to the staff, you can’t buy that kind of marketing!

If you thought the first group of 11 was “complex,” 42 works line the very long eastern wall in one group. At the far left is a work about the beginning of life (shown below), at the far right, one about death (JFK’s). Smack in the middle is a large cathedral piece, with a UFO work over it, and one, perhaps, about suicide, and the luck of dice to their right.

The piece on the far left side, above. “No Title (Think What It Took…) Ink and acrylic on paper.

Detail of the text. If I had the money, I might buy this one.

It’s too early to calculate Raymond Pettibon’s influence because it’s still in the process of spreading, something which no doubt surprises many who only know him as a “punk Artist.” His has become a world-wide presence, with shows going on in Moscow, and “A Pen of All Work” reinstalled in the Netherlands as I write this. Over the past 40 years, he’s gone from being a shadowy background figure, creating fliers, record covers, zines and Artist’s Books, to being an established Artist in the world of “Fine Art,” who’s work is now being shown, more and more, in Museums. Around the world, in press releases, he’s invariably referred to as an “American Artist.” “Artist Americanus” is my play on “Homo Americanus,” the title of a large traveling European show of his work last year (which I take to mean “American Male”). When I think of that term in a “classic” sense, it means thinking for yourself, making up your own mind, and expressing yourself in your Art.

Regardless of whatever “meaning” you take from one of his works, Pettibon is an Artist who has maintained a remarkably consistent creative path since, at least, the mid- 1970’s. He’s said in interviews that he’s worked like this (putting words to drawn images) since he was a small child. Right now, 40 years on, Pettibon’s influence can already be seen even beyond his work, itself. The “alternative means” he used to get (fliers, zines, record covers, Artist’s Books, et al) his work seen2 is being followed by countless others, as can be seen at New York’s “Printed Matter.”

New York’s renowned “Printed Matter,” where the work of some Artists following in Pettibon’s footsteps is available, has over 15,000 titles in stock.

I, too, have been inspired by his example with this site, and I thanked Pettibon for the “inspiration,” when we parted. I’m not sure he knew what I meant. Beyond this, his other great influence is helping Drawing to be reborn in Modern & Contemporary Art. Artist (and Pettibon collaborator), Marcel Dzama credits Pettibon for being the Artist who put Drawing on the map in Contemporary Art3, and getting it taken “as seriously” as “finished works of Art,” and not as preliminary works for a Painting. That, too, seems like it’s already ancient history.

Inside “Printed Matter,” a table features recent Drawing books. A few years back, you’d look long and hard to see books of Contemporary Drawing.

 Some 900 works in to exploring his work and career Raymond Pettibon remains a fascinating mystery for me as he probably is for almost anyone else interested in his work. Much of his Art seemingly defies (easy) “understanding.” Regarding the “crypticness” of his work, in an interview, he said, “I think if I brought you through the work you’d see what I was trying to get at. You can say it’s open-minded, whatever, but it’s never a random association between the language and the image. There’s always a reason.” I keep looking for it, and more importantly, thinking about it, and whatever the topic(s) he’s addressing. That a good many of his topics relate to either current events, American History (previously drawn from a distance of time, because history tends to repeat, as he has said, and more recently including almost current events), or social & cultural history, give them an ongoing relevance, and importance that is rare in Art seen in Museums these days.  It’s taken him almost 40 years to get there. Fittingly, Raymond Pettibon turned 60 today, June 17, as I write this. Happy Birthday!

Sorry. Gumby insisted on a selfie.

When “A Pen…” opened at the New Museum, it was February 8th. 900 works later, when the Zwirner show ended, it was June 24! Most of 5 straight months of Raymond Pettibon! Still? I was already thinking- When’s the next show? It turns out I didn’t have to wait long. On June 27th, David Zwirner opened the “Thread Benefit Exhibition,” featuring 26 works donated by gallery Artists, a few doors west at 533 West 19th Street.  It includes this piece by Raymond Pettibon,

“No title (I luyv y’all…), 2014, “You Don’t Love me?” Ink, graphite, and acrylic on paper. Seen at the June 27th opening of “Thread.”

which speaks for itself. Or? Does it. I’ve been “trained” to look twice. Thus far, it strikes me as a terrific culmination to this remarkable “half year of Pettibon, NYC.”

The Artist didn’t appear, at least while I was there, that night. Leaving, I passed by 519, where “TH’ EXPLOSIV…” had ended 3 days before. I looked in and saw the wall he hand painted had already been painted over in preparation for whatever is going in there next. I turned the corner onto 10th Avenue, and a few hundred feet down, I saw this, propped up against the wall…

Unknown Artist, “I Love You.” Dated June 27, 2017 along the bottom, Unknown medium, seen on 10th Avenue, June 27, 2017,

What? The show had been open all of one hour, and already someone had copied Pettibon and had it up for sale on the street! WHOA. I was reminded of this quote of his- “I’ve never really thought of it in this way, but it is kind of cool to be the Gucci of my kind of work. I mean that in the way that Gucci and all those type of trademarks can be cheaply copied and reproduced like my comic books or flyers. I don’t get any royalties from that. I haven’t got a cent from SST ever, and I don’t get any royalties from the tattoo trade. The tattoos are when it becomes an even more substantial brand because it’s stuck on someone permanently. And if someone wants it off, then the mother has to go through even more pain to have it taken off than he did to put it on,” he said here.

I’m not the only one who owes Raymond Pettibon a “Thank you,” at least, for the inspiration.

“Raymond Pettibon: TH’ EXPLOSIYV SHOYRT T” is my NoteWorthy Show for June, 2017.
My thanks to Craig, Anisa & Caslon of David Zwirner for their assistance, and forbearance, during my dozen or so visits. 

*-Soundtrack for this Post is “Don’t Believe The Hype,” by Public Enemy, for all those who hear that Pettibon is a “punk Artist.” And, because Pettibon loves hip-hop, some East Coast.

Please send comments, thoughts, feedback or propositions to denizen at nighthawknyc.com.
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This Post was created by Kenn Sava for www.nighthawknyc.com

  1. “Gumby represents an alter ego for my work as an artist. He represents me as an alter ego. There’s actually a lot more to that figure than just ninety-eight ounces of clay or whatever. Art Clokey was into Zen Buddhism and into a lot of pretty deep stuff for Saturday morning cartoons. Clokey was a pretty hip figure in Los Angeles and in the counterculture of the ’60s and the ’50s—the beatniks and the hippies. I have a lot of respect and affection for him, and for Pokey as well, and Goo, Prickle, and even the Blockheads. One other thing that I’ve never thought of—that Gumby does for me in some of his cartoons—is he goes into a biography or historical book and he interacts with real figures from the past: George Washington or whatever. And I tend to do that in my work and in my videos, as well.” From Art21.
  2. Not always successfully. He’s said repeatedly he wound up giving away or destroying most of the copies of his self published early books, making them very rare today.
  3. Along with William Kentridge, R. Crumb, Robert Longo, and a few others.

On Buying Art

For NighthawkNYC’s 2nd Anniversary, I decided to share some thoughts based on my experiences buying Art over 3+ decades. I hope they’re useful. My thank yous for year 2 appear at the end. 

Everyone should have something that speaks to them on their walls or in their space.

It could be something personal, something from your past, or, it could be a piece of Art. If you find both lacking in your space(s), I hope you’ll think about changing that and seeing what it adds to your life. If you choose something personal? You’re on your own. If you would like to try a piece of Art? I’d like to share my experiences and thoughts about it with you, for whatever they’re worth.

Todd Hido “Untitled #7910,” from “House Hunting,” 2012, seen at AIPAD, as I mentioned, here. It only took me 2 trips to see it to buy it. It’s me, right? Click to enlarge.

Of course, you could make something yourself. Most people take photos, so it might be worthwhile to get them all together and go through them and see if you have one you’d like to print and display. Or, you could create something from scratch- a Drawing, a Painting, a Sculpture, or…? While almost no one is a brilliant Artist right away, if you’re determined to create something that speaks to you and you feel proud enough of to display? With a bit of work, you might surprise yourself with the results. But, if you decide to buy something, there are some things to consider. Since I don’t know how much readers might be looking to spend on Art, I’m going to take the big picture view of it, to include as many cases as possible. If you haven’t bought Art before, it’s probably something you don’t want to rush right in to. While there could be a virtually endless amount to learn if you want to do this on a “serious” level, there are some essential things to keep in mind when you’re starting out that I think also apply to those with experience buying Art.

Of course, setting an amount you’re comfortable spending of your budget is essential. It’s too easy to spend over your means on Art and that might well mean having to sell it quickly, usually at a loss. I’ll call this budgeted amount “$X” since it varies by person. Once that amount has been determined, over many years, there’s one thing I’ve learned that, as far as I’m concerned, comes closest to being THE #1 “Rule” for buying Art-

ONLY BUY WHAT YOU LOVE.

Buying only what you love establishes your philosophical approach to buying Art. There’s a number of reasons I recommend this approach, most importantly the long term satisfaction with your purchase. If you love something, you’re going to enjoy it more than something you don’t, right?

Should I buy it? Umm…What is it? Is it Art? I think it’s actually an air vent for the 8th Ave Subway under it until some clever fellow decided to try to sell it for a cool 1.2 million. Maybe he was kidding? Well? I’ve been known to laugh at asking prices, too.

Of course, any time you spend more than a few hundred dollars on something, the investment aspect of it comes into play. Before you buy, look at comparable examples of the Artist’s work and see what they have sold for and when. After you buy the work, you should continue to do this- how often is up to you. But, in terms of buying Art purely because of what it’s value may be in the future? That’s an unknown. NO ONE knows what’s going to happen to Art prices in 5 years, or 50 years, or 200 years. Therefore, this can’t be your main reason for buying Art. Plain and simply, buying Art primarily for investment purposes is nothing but a crap shoot. The Art market has gone up and down during my lifetime, something that those who have only been in it for the past decade of rising prices can’t imagine. IF, heavens forbid, the Art market tanks, again…No. Not “IF.” WHEN the Art market tanks, again, and the piece you own becomes worth less than you paid for it, you can still get real value from it by enjoying it, IF you love it.

“Cos I don’t care too much for money
Money can’t buy me love.”*

They’re a bit more “bullish” on the “Art market” than I am.

I say “When the Art market tanks, again,” because the historical data shows that it’s VERY likely to happen. Sooner, rather than later. NOTHING goes up for ever- not even NYC real estate. Across the board, Art prices are as high right now as they’ve ever been. I look long, hard and generally fruitlessly to find any Artist who is “undervalued” today, and that includes many Artists who are not even in major museum collections yet. Is this sustainable? Very possibly not. Will prices go higher? Maybe. Will they go A LOT higher? I’m not convinced. I’ll put it this way- Right now, in my opinion, in general, there is far more risk that prices will go down than there is the chance they will go a lot higher (an increase of 40%, or more).

As strange as this might sound to say, I also believe that the Art market going through a substantial downturn might not be a bad thing all the way around. Yes, there will be a ton of pain. Many Art galleries and some institutions will no longer be with us, and many jobs will be lost. Many Artists will turn to other fields of endeavors. I may not have anything left to write about. None of these things are good, and I don’t want any of them to happen. Yet, it might also return some semblance of sanity to the Art market. If the investors are out of Art, only Art lovers will be left.

Ok. So now that I’ve gotten the negativity out of the way (i.e. the risk), let’s get back to why you want to buy Art- because you love Art. In the end? I think that people will always love Art. Some/many/most of them will want to have some in their spaces. Those are the people I’m talking to here. If you buy Art you love? Your risk is less than someone who buys it as an investment. As an Art lover, the good news is that even now you don’t have to spend a fortune to buy Art. There is Art for sale at every price imaginable. Set a budget and you’re good to go.

Whether you should, or shouldn’t buy something will rarely be this easy to know.

If you’re buying Art today, or in the future, here are a few things to keep in mind-

First, educate yourself as much as you can about the Artist, the piece, the medium it’s created in (Is it a Painting? A Drawing? A Limited Edition Print? Or…what?). Does it appear in any book on the Artist? If so, what does the author say about it (description, dimensions, year created, size, etc.). Does all of this match the piece you’re considering? If so, this is good, but it may not completely close the question of authenticity, forgery, or being “right” I’ll get to in a moment. The second part is to educate yourself on the Artist’s “market”- what is their work selling for. Selling for. Not what people are asking for it. What are people actually paying for it. People are free to ask whatever they want for it (like our friend with the air vent, above). But? ANYthing is ONLY worth what someone is willing to pay for it. How do you find all of this, and more, out? You have to dig.

Going up to dig. Once a week I climb these stairs to The Strand’s Art Book Dept on the 2nd floor. More often if I’m really stumped.

Second, is it genuine? This is a very sticky question that, unfortunately, rears it’s head in almost every Art transaction- or, it should. I will say that it seems to me that forgers seem to focus on Artists who have a certain status, and a well-paying market, but you never know. Pieces that are “not right” in some meaningful way (they’re damaged, repaired, mis-identified, stolen, “sketchy” is some other way, etc.) are more common in my experience. You want to know you’re getting what you paid for. What does the Artist’s genuine signature look like? What are the telltale signs of his or her style, and on and on. Is it an original (one of a kind) piece, or is it a limited edition? If it’s a one of a kind- is it signed, dated or titled? Does it appear in the Artist’s Catalogue Raisonne, or other authoritative guide? If it’s a Limited Edition- How many copies are in the edition, how many “Artist’s Proofs” are there, and what was the Artist’s involvement in making the print, are some of what I’d need to know. You may never get to be expert enough to replace the opinion of a real expert but it’s your money and you should know as much as you can about what you’re buying. I stay away from pieces that are not signed by the Artist. Why? Though they are, generally, (much) cheaper, I want to have that connection, and it means less chance of a forgery or an unauthorized edition. I also stay away from prints that are “open editions,” because, in theory, additional prints can be created indefinitely, and the larger number there is of anything out there, the less valuable it generally is1.

I KNOW this Raymond Pettibon Owl sketch & signature are genuine because he drew them right in front of me. “Obtained directly from the Artist,” is, also, the best provenance there is, though the hardest to get.

Third- What condition is it in? You may need an expert’s opinion on this, and you should get one if the work is over 50 years old or you’re spending substantial money on it, but you should look it, and whatever supporting documentation the seller has for it, over carefully yourself. If he doesn’t have it? That’s likely a deal breaker. I think you want to get in the habit of getting complete documentation for the Art you buy which may include a receipt, the provenance, a letter of authenticity from an expert or someone personally involved with the Artist, a condition report, etc. Learning the terms of, and some of the ins and outs of the various mediums (Oil Painting, Acrylic Painting, Watercolor Painting, Drawing, etc) will help you and help you understand what the experts tell you. Old paintings may have been subject to restoration, cleaning, or even additional painting added to it by others, and these are very sticky waters for any Art buyer- even museums2. If you’re buying a piece that is already framed, it is possible the frame is hiding damage that could materially effect the value. At some price level, it becomes imperative the work be examined unframed, and the seller may, or may not, be willing to do this.

Pettibon, again. Very rare among Artists, his work is pretty easy to examine unframed at his shows, but any buyer of it should immediately take it to a framer. A view of part of the final room of “A Pen of All Works,” at the New Museum, includes work he created right on the wall itself!

Fourth- Who am I buying this from? What is their background and area of specialty & expertise, and is this Artist in that area? What is their connection to this piece, and to the Artist? Do they represent the Artist, or their estate? What is the provenance of the piece? I will not buy a piece without a known provenance, and ask it be spelled out in writing by the seller. Why? Whoever buys this piece from you will ask you for it, and it helps assure me the work is not stolen. How knowledgable is the seller about this specific work, and it’s condition? Anyone who knowingly withholds information about damage or something “not right” with a piece is not ethical, and shouldn’t be in business. But? They’re out there. It’s happened to me. They’ll claim they “missed it,” so? Buyer beware. What’s the return policy if something turns out to not be “right?” Ideally. you want to buy from someone who stands behind what they’re selling and what they’re saying about it. There are an unlimited number of people and places selling Art these days. I’m not going to recommend any one. (Oh, and for the record, no one sponsors me). However, I will say that I think if you’re buying Art for the first time, go and look at it in person. Buying Art online that you’ve never seen in person is hard for an experienced Art buyer, very hard for an inexperienced one. For one thing you can’t get the full effect of the piece, in my opinion, from a photo, and you can’t assess things like condition and damage anywhere near properly enough from one. Terms vary by seller. Look over them closely before you commit to buying anything from anyone. Learn to develop your own terms- what you require and what you won’t accept regarding payment, paperwork, returns & refunds, authenticity, condition, etc. If you see something that doesn’t sound reasonable, or is against your terms, walk away. Keep in mind that where limited edition prints are concerned there’s a chance you can find the same item being sold by someone else, especially if it’s less than 10-15 years old.

Almost every window in this Photo is of an Art gallery on West 26th Street, which is full of them from 10th to 11th Avenues, as are many of the adjoining Chelsea streets.

It’s vital to get out there and look. Books and the internet can provide information, but there’s still no substitute for seeing Art in person, as I said, especially when you are forming your tates. Even if nothing is being offered for sale (as in a museum show), you’ll learn something every time you look. See what’s being shown and how your feel about it. Gradually, your tastes will come into focus. Wait until you get “that feeling.” You know- like when you fell in love. If you don’t? Keep looking, enjoy what you see, and learn about it. Another thing that’s become apparent to me is that I like Art that says something different to me every time I look at it (as I’ve mentioned in prior Posts). This has become an essential element I need to have in anything I actually buy because I’m going to be looking at it a lot for, hopefully, a long time. While I have never bought a piece I didn’t love, as in other types of “love,” I find it’s the piece you can’t live without that may be the piece to buy. Keyword- may be. Obviously, many other things are more important to life than Art- Shelter, food, health, and those things effecting survival come way before one gets to the point of considering buying Art. Art adds to and enhances life. But, no one ever died from not having Art, as far as I know. (Though, some people who live without Art may not be living!) So? Wait until you find a work that gets inside of you and won’t let go.

Looking is hard work. Quick- What do you see? A rabbit facing right, or a duck facing left? From Wittgenstein’s “Philosophical Investigations,” as reprinted in Errol Morris‘ superb “Believing Is Seeing,” which I recommend to everyone who looks at Art.

Fifth- What other expenses am I going to incur buying this piece? Tax, shipping, framing and insurance are the most usual ones. Packing and appraisal (which you may need for insurance if the value rises above what you paid) may be others.

Professional Art handlers and movers may be needed to handle large, heavy, delicate or unusually sized pieces, like these seen here during an installation earlier this year at Metro Pictures. Doing it yourself may risk damaging it. Damage= lower value.

Deinstalling Richard Serra’s “For John Cage” series at Gagosian last year. Hopefully your needs won’t be this involved.

Also, once you buy a work, you are then responsible for “curating” it- keeping it in as good condition as you bought it to maintain it’s value. If you are considering having a work framed? Go to an established pro who regularly does work for museum and gallery shows. I only use City Frame, in NYC. I have used many other framers and since I don’t believe in being negative here, I’ll simply say, call Corinne Takasaki at City Frame if you want something framed. They’re the best I’ve found. No. I don’t get a cut from them for saying that. If you’re buying a work on paper that is from before the days of acid-free paper be aware that you’re going to have yellowing to deal with over time going forward. Consult an expert about what this might entail before buying it.

The first stage of framing at City Frame. A photo about to be measured.

Sixth- So, if you’ve bought what you love? Hang it and enjoy looking at it each time it comes into your view. If, after time has passed, you’ve decided to part with it? Selling is a subject for a whole other Post (or 10). I will say this, though- In general, it takes time to sell Art for what it’s worth. I mention it now because it’s something to keep in mind. BEFORE you buy something. You should ask yourself- IF, and when I decide to sell this, what are my options? One thing many people fail to realize is that new & largely unknown Artists have one market- the dealer who represents them. Most likely, you are buying their work from them. When it’s time to sell it? They may well be your only option. They know the Artist’s market and his/her existing collectors. They’re going to take a piece of the sale price to do so. How much varies by dealer, but it’s something to keep in mind. Auction houses may not accept the work of Artists who don’t have a proven track record of sales. You can search for this online and it’s something you should do before you buy a work that costs more than $X (unless you’re prepared to lose this money). I applaud people who buy the work of “under-known” Artists because they love their work. You are helping that Artist survive, and make more Art. I’ve been able to actually buy Art directly from the Artist, which you might be able to do before they sign with a gallery to represent them and handle their sales. It adds a personal element that’s hard to forget, and hard to equal.

Christie’s, Rockefeller Center. The big auction houses rarely sell the work of Artists who aren’t “established.” On the other hand, living Artists don’t get a percentage of re-sales of their work at auction (though most auction houses get paid by both the buyer and the seller). Look! They have their own flag (center)!

ALL of this being said, you don’t need to spend a fortune on a piece of Art! Art is available at almost any price you can mention. Just remember everything I’ve said above still applies, and that buying even relatively inexpensive Art may require some of the additional expenses I mentioned earlier, or others I didn’t. Everything I’ve said is based on my own experiences over the past 30 some years. I make no “warranty.” This is by no means meant to be “advice” or a “complete guide.” In my opinion, there is no such thing.

It’s a good thing I don’t have one of those stencils.

Another thing I’ve learned from looking at a lot of Art is that I will never own 99.99% of all the Art out there in the world. I’ve come to terms with that. Sure, I want to take Hopper’s “Nighthawks” home and hang it here, though that’s incredibly selfish. Yes, I see things every time I look that I think about buying (with varying degrees of seriousness). But? That’s ok. I’ve learned to use shows as another room in my home. It’s like if I go to a show often it’s a bit like living with the work on display, which is kind of fun-and? It’s as close as I’ll ever get to really doing that.

I still walk around this show in my mind. “Nasreen Mohamedi” at The Met Breuer, 2016

25 visits was easier than getting one of these home. Ai Weiwei at Lisson Gallery, 2016

Another important consideration in buying Art that you love is timing. As I’ve mentioned, I believe the Art Market is (at, or) near a peak in value. As a result it becomes extremely hard to find Art that is “undervalued.” Far more Art is “overvalued,” in my opinion. Of course, there is no way for anyone to really know what Art is going to speak to, and be valued by, future generations. We can only make assumptions. One of those is- “If it’s spoken to people for x hundred years, why won’t it continue to do so?” Another is, “They’re not making any more Vermeer’s.” So, yes, supply and demand is always the key element. And that brings me to a final point. While “Contemporary Art” has a certain “sex appeal” that comes with being new, as I touched on earlier, most new Artists don’t have an established market. This is very, very risky, in my opinion for anyone buying their work for more than $X, which, apparently, many people are doing. It seems to me that most people, especially those new to buying Art, would be better off buying the work of Artists with (long) track records, which also allow a wider ranger of selling avenues, if/when the need arrises.

Henry Taylor & Deana Lawson shown together at this year’s Whitney Biennial, where they were among the “stars.” Being included, means it’s too late now to “get in at the bottom,” on either, but it’s still no guarantee either will “make it,” and their prices will rise substantially the next 20 years, since both are still in “mid-career.” Therein lies the rub, and the risk, in buying the work of good Artists who are beginning to “make it.” Are you now paying for the quality of their work, or it’s future price potential? At least the Artists get paid.

Going back to the Master of Delft, it’s hard for us to realize that Vermeer lived in obscurity after his death for many, many decades (like Van Gogh lived during his entire life).

Yes, that really is Van Gogh’s “Starry Night” at MoMA, or as close as I could get to it. I often wonder what Vincent would have made of his incredible popularity now.

It’s quite possible “another Vermeer” is out there waiting to be discovered right now. Carmen Herrera, who’s now 102 years young(!), had only one major show (in 1984) before being given a solo show at the Whitney Museum LAST YEAR (2016)!

Carmen Herrera: Lines of Sight” at the Whitney Museum, January, 2016.

With all the Art that’s been created in just the past, say, 300 years, I think it’s a virtual certainty that someone major has gone over looked. So? If you get good at this, you go to see enough Art, know what to look for, and you have your eyes open? Who knows what you might find!

But? Don’t buy it if you don’t love it.

*- Soundtrack for this Post is “Can’t Buy Me Love,” by John Lennon & Paul McCartney, of The Beatles, published by Sony/ATV Music Publishing LLC.

Two Years! This Post marks the Second Anniversary of NighthawkNYC.com. I can’t let it pass without saying “Thanks!,” first to Sv for pushing me to start it, to kitty for research assistance above and beyond the beyond this past year, to all the fine people I’ve met who work in the galleries and museums I haunt who have answered questions, shared insights, helped, and especially for putting up with “him, again,” to all the Artists who have spoken with me this year, and everyone who has taken the time to check out the 150 Posts I’ve done so far. Thank you! Oh! And I almost forgot- to my two fine feathered friends, aka “The Birdies” of “On The Fence.” For those who have wondered “What the heck?”  They represent the random voices I hear commenting at shows, though, unfortunately, only I am to blame for what comes out of their mouths. Don’t worry- No actual Birdies were harmed in the making of that series. But? Their picture has sure taken a beating!

Please send comments, thoughts, feedback or propositions to denizen at nighthawknyc.com.
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This Post was created by Kenn Sava for www.nighthawknyc.com

 

  1. I’m not speaking further about buying Photographs in this Post. From what I’ve seen, and learned, this year, that is a whole other topic.
  2. If you want to get an idea of HOW sticky it can get, or you want to see how world-class experts work, check out the Rembrandt Research Project’s controversial findings on all of the Master’s Paintings, here. Well, the ones they accept as being by the Master, himself.

About My Art Show Posts…

There are so many writers who write about shows immediately as they open, and that’s great. It gives people an idea if they want to see them or not. As you may have noticed by now- I’m not one of them. Many (most) of my Posts on Art shows appear after the show closes.

Why?

If a show is large, there’s too much to see in one visit for me to do it justice. I only scratch the surface of it the first time I see it. If it’s over 100 pieces, I’ll typically do a walkthrough to get “the lay of the land,” so I can strategize how to approach seeing it in full, based on how long it’ll be there. I prefer to see larger shows in sections.

Just keep moving towards the light. April Gornik @ Danese Corey

I find it takes me time to see Art. To see 100, 200, or 800 pieces? That takes me A LOT of time, and visits. In such cases, I’ll go and see it as many times as I can. While many shows have some works that may be familiar from books or photos, no matter how much Art you’ve seen, most of the work on display in any given show are pieces that are either not famous, rarely seen, unseen, or new. Also, great curators hang shows in unique ways and combinations that need to be appreciated and pondered on their own. Beyond all of this, really good Art rarely reveals all it’s secrets in one viewing. I find that Art I especially admire says something new, or something different, to me each time I see it. Given the high prices of Art these days, there is no other way to see these works, unless they are publicly displayed. Therefore, making multiple visits is as close to “living with the Art” as I’ll ever get. Often, while I start writing about a show while it’s up, the real work begins once I can no longer see it and I have time to let the dust settle, and see what remains.

Outside Alexi Torres‘ excellent show @ UNIX Gallery in 2016.

On the other hand? If I don’t like a show? You’re not going to read about it here. The same applies to music. This has always been my policy, even when I was writing for a national music magazine. There’s too many great things around to waste time and space writing about things I don’t like. Besides, I also believe that “Someone who loves something may know more about it than someone who doesn’t.” So? I prefer to revisit whatever it is I don’t like on another day. Maybe I’ll “get it” then. (But? Yes. There are things I can’t stand that I know I will never come around about!)

Outside “Jeff Elrod” @ Luhring Augustine. I walked through that door quite a few times while it was up.

It further seems to me that once a show is over, it’s gone. It only continues to live on in the show’s catalog (if there was one), and whatever was written about it or posted online. Therefore, my aim is to Post something as substantial as I can about the shows I write about, to that end. Most people don’t live in or near NYC, and so, will have missed much of what goes on here. Hopefully, these will provide a bit of a sense of what the show was like.

The Skylight @ Matthew Marks Gallery

This is the approach I’m taking in this Blog. So be warned- My Posts aren’t meant to be the “This just opened,” type.

A Skylight @ The Met. At night, when I’m usually there.

Sorry, Jeff!

The bottom line is that while some shows may still be up by the time I get my Post about them up. Increasingly? They are not. Even a long running show like “Unfinished,” which opened on March 8, 2016 (to members), and only closed on September 4, 2016 ended TEN DAYS before my Post was finished! I find that I’ve been spending months doing additional research about the shows, and Artists, I’m working on writing about, but I never read what anyone else has said about something I’m going to write about. I research the Artist, what they’ve said, or written about the work, and what was going on before and during the period they were creating the work being displayed. And this is taking more time than I expected it to. Even with Artists I have been looking at for a long time- like Robert Rauschenberg & Frank Lloyd Wright, who I’m currently working on.

February, 2015. It’s good to be Home. 1,500 visits to The Met later I’ve spent more time there than I have at all but 2 places I’ve ever lived in.

Most of what’s out there doesn’t speak to me. Much of it is decorative, which is fine, but it’s not for me.

“It has to go with my wallpaper.” Yes. I’ve actually heard prospective buyers say this in Art galleries.

With so much going on, I’m lucky if I can keep from missing something great, which, unfortunately still happens no matter how hard I try to keep it from happening.

The fliers for old and new things going on are probably inches thick on this wall. No one can see everything going on in NYC.

These Posts are more meant to be- “This was here, and here’s a bit of what it was like, and what remains with me.” So, buyer beware!

Until the next time I darken your gallery doorway, again.

Thanx for your understanding.

Have a great night,
Kenn.

On The Fence #10, Him, again, Edition “

*-Soundtrack for this Post is “I’ll Remember You,” by Bob Dylan.

Please send comments, thoughts, feedback or propositions to denizen at nighthawknyc.com.
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This Post was created by Kenn Sava for www.nighthawknyc.com

NoteWorthy Shows: March Through May, 2017

Catching up from my March computer meltdown. To recap, AIPAD-The Photography Show, was my NoteWorthy Show for March, “Raymond Pettibon: A Pen of All Work” at the New Museum for April, “Rod Penner” at Ameringer McEnery Yohe for May. Here are some other “NoteWorthy Shows” I saw from March through May (in no particular order). Better late than never…especially where these fine shows are concerned. 

“Elliott Hundley: Dust Over Everything” (@ Andrea Rosen Gallery)- According to Siri there were 41 days between January 1 and February 10, during which Elliott Hundley must have been THE busiest man on the planet creating the 22 works for this show, which opened on February 10. He must not have eaten, slept, or gone to the food store, saving every second of every day to create what are the most intricate works I’ve seen in years, each one of which is dated “2017.”

“the song dissolves,” Paper, oil, pins, fabric, foam and linen over panel, 11 3/8 x 14 3/8 x 2 3/4 inches. Click any image to enlarge.

Side view.

Theatrical…Intimate…Grand…Microscopic…Bombastic…Quotidian…There are as many styles as there are works, and almost as many materials listed having been used on them. Ok. He probably had (some) help creating these. Practically? I get that. But, you can’t see it. Every single detail seems to spring from the same source- a seemingly boundless imagination that shows us a different side of it in each piece.

“Dust Over Everything,” Paper, oil, plastic, fabric, pins, foam and linen over panel. 36 1/4 x 24 1/4 x 6.

And the pins! I feel for whoever has to count them when these works wind up in Museums. “Countless” is how I’d describe them. It must have taken an army of acupuncturists a week to do even one of these works, because they are so extraordinarily well placed I found myself continually looking at the works from a 45 degree angle so I could appreciate them all. They’re such a tour de force as to be, a bit, distracting. I wondered what order they were placed in, which took away valuable moments I should have spent pondering the work as a whole (before getting to the details.) They are a bit like veil on a stage that you have to look through (after you’re done appreciating them) to ponder all that’s under them. But, they are not present in every work here. What’s under them struck me as being a whole life told in episodes, glimpses, memories and relics.

“Gallows Bird,” Oil and paper on linen, 80 1/8 x 96 1/4 x 1 7/8

Suffice it to say there’s, also, a life time’s worth of looking ahead for whoever buys these obsessive works- some of the freshest work I’ve seen in the first 65 days of this year, and among the densest work I’ve ever seen.

“Until the end,” Paper, oil, pins, glass, lotus, plastic, foam and linen over panel, 96 1/2 x 80 1/4 x 8 1/2

Detail of the right side. Mr. Hundley features friends & family in his work, giving them a personal depth he feels comes across to the viewer.

“Seurat’s Circus Sideshow” (@ The Met)- From the first time prehistoric man made a mark on a surface, countless billions of people down through the intervening millennia have drawn. Where is the OTHER one among them who draws, or drew, like Georges Seurat? Seurat only lived 31 years, so he didn’t get the chance to create either a lot of drawings, or a lot of paintings, so this was a very rare chance to see (mostly) his drawings, along with 2 paintings, and works by others, all more or less related to the theme of the circus, with Seurat’s “Circus Sideshow,” from The Met’s collection, as the centerpiece. How fascinating it must have been to watch him make one of these unique Drawings, let alone one of his even more remarkable paintings? So, even the otherworldly presence of Rembrandt’s “Christ Presented to the People” wasn’t enough to distract from focusing on the extremely rare opportunity to see a number of Seurat’s drawings in one place.

Looking down at the entrance for “Seurat’s Circus Sideshow”. Exactly one year ago this Robert Lehman Wing Courtyard was full of scaffolding for the false floor of the “Ghost Cathedral” of the Manus X Machina Fashion Show sat at the level of the upper floor here- a few hundred feet in diameter! Amazing.

“Seurat’s Circus Sideshow” entrance, features the titular work.

“Trombonist,” 1887-88, Conte crayon with white chalk

“At the Gaiete Rochechouart,” 1877-78, Conte crayon with gouache

“Lygia Pape: A Multitude of Forms,” & “Marsden Hartley’s Maine” (@ The Met Breuer)-

Meanwhile, across town, Sheena Wagstaff , The Met’s Modern & Contemporary Art Chairwoman, continues to give us unexpected shows of M&C Art at TMB, this time focusing on the late Brazilian female Artist, Lygia Pape (1927-2004), and American Painter Marsden Hartley (1877-1943)- two Artists who have almost nothing in common, except, perhaps, Ms. Wagstaff as a champion, and that neither has had a substantial show in NYC, for at least anytime in the recent past (as far as I know). I couldn’t escape the feeling that Ms. Pape has a style not all that unlike the great Nasreen Mohamedi, who Ms. Wagstaff chose to be the very first show of M&C Art at TMB. Mr Hartley, however, does not. “The Painter from Maine” has a strong, muscular style that is worlds away from the from the geometric abstraction Ms. Pape’s and Ms. Mohamedi’s works may seem to be at casual view. His in another part of the story of American 20th Century Art, one that is often, unfortuatley, overlooked, perhaps because it’s rare to see more than one of his works at a time. His place in the long line of important Maine Artists that runs from Thomas Cole to Winslow Homer (a key influence on Hartley) through Edward Hopper to the Wyeths and Richard Estes is assured. While the opportunity to see more of these interesting Artists was most welcome, for me, these shows were equally interesting for what “more” they might reveal of Ms. Wagstaff’s direction, which, given the state of flux The Met is in at the moment, I believe in supporting.

Lygia Pape’s vision extended from paintings to sculpture to people, as seen on the screen on the left,”Divisor (Divider), 1968, performed in 1990,, which seems to mimic the effect of the wall sculpture, “Livro dos caminhos (Book of paths),” 1963-76, paint on wood,  on the right.

Lygia Pape, “Tteia, 1, C,” 1976-2004, Gold thread, light and a few staples create a haunting, shimmering vision.

Lygia Pape, “Liver do tempo (Book of time),”1961-63, A tour de force of almost endless creativity & variety in 365 tempera and acrylic on wood pieces in relief.

I particularly admire these 3 early Landscapes by Marsden Hartley done between 1907-09, with their unique, almost “Pointilistic” technique, (26 years after the Seurat’s death), which is much “softer” than his “muscular,” later landscapes, like the next one.

“The Lighthouse,” 1940-41, Oil on masonite

Perhaps the most “muscular” painting since the Mannerists.

“Romare Bearden: Bayou Fever and Related Works” (@ DC Moore Gallery)- Highlighted by 21 collages from 1979 Romare Bearden (1911-88) created for a ballet entitled “Bayou Fever” that he hoped Alvin Ailey would choreograph, they confirm Mr. Bearden’s place as a master of collage who was ahead of his time. While some works have an overt Matissean influence, everything here is uniquely Bearden, an Artist who is not seen nearly often enough and never seems to fail to impress when he is seen. I mentioned him in in my Post on his friend, Stuart Davis, and my Post on Kerry James Marshall, who selected a piece by Bearden for his “KJM Selects” section of his excellent TMB Retrospective.

Installation view. The 21 collages from “Bayou Fever,” 1979, are seen to the right.

2 works from “Bayou Fever”- “Untitled (The Conjur Woman),” left and “Untitled (The Swamp Witch, Blue-Green Lights and Conjur Woman), both Collages from 1979

“Feast,” 1969 21 x 25,” Collage

“Noah Means A New Day,” No date, Collage

“Prevalance of Ritual/Tidings,” 1964, Gelatin silver print

“Rat Bastard Protective Association” (@ Susan Inglett Gallery)- Who? The RBPA was “an inflammatory, close-knit community of Artists and Poets who lived and worked together in a building they dubbed ‘Painterland,'” in San Francisco, to quote the press release. As I wrote about last year, Bruce Conner was, somehow, new to me when I first walked through the black curtain at the entrance of the utterly amazing “Bruce Conner: It’s All True” at MoMA last year but, Susan Inglett had a long history with Bruce Conner, as I learned in speaking with her briefly, earlier this year. So, her (always excellent) gallery’s show of works by “The Rat Bastard Protection Association,” a group of San Fran Artists that included Mr. Coner was something special, and quite rare. In addition to the chance to see amazing work by Bruce Conner I’d never seen before, the show marked my first chance to see work by his Artist wife, Jean Conner, an important Artist in her own right. Add Jay DeFeo, Wallace Berman, Michael McClue to the roster and this was a small show that packed a punch, and pointed out, once again, that the East Coast needs to become much more familiar with this whole group of San Francisco based Artists, who were associated in the Rat Bastard Protection Association from the late 1950’s to early 1960’s. Up from April 27 to June 3, it anticipated the Robert Rauschenberg show now at MoMA and provides a reminder that these Artists were working strikingly similar veins at the same time, 2570 miles, as the crow flies, apart1.

Bruce Conner, “THE EGG,” 1959, Mixed media assemblage in a convex brass frame. Even his extraordinarily wide-ranging MoMA Retrospective didn’t prepare me to see this.

Bruce Conner “MARY, MOTHER OF GOD,” 1960, Charcoal on paper. Almost “conventional,” it shows little sign of the revolutionary drawings to come.

Two collages from 1960 by the overlooked Jean Conner, both titled “(ARE YOU A SPRINGMAID)

Two assemblages by Bruce Conner, “UNTITLED (DO NOT REMOVE),” 1960 and “FLOATING HEAD,” 1958-59

“Alice Neel, Uptown” (@ David Zwirner Gallery)- An increasingly beloved and respected New York Artist (she settled here at age 27, and lived here for over 50 years), her star continues to rise, though it’s taken a long time (she passed in 1984, at age 84). She always leads with her humanity, and it seems to me that that’s something that makes New York proud of her. Though one of her works was the featured/poster image for The Met Breuer’s 2016 blockbuster “Untitled: Thoughts Left Unfinished,” a perfect choice, IMHO, there hasn’t been an Alice Neel show all that recently, as far as I can recall. This one would still prove itself different even if there had been a few. For one thing it focused on work Ms. Neel did while she was living “Uptown,” in East Harlem (aka Spanish Harlem), from 1938 to 1962, and, as the press release says, it focuses on portraits of her family, friends and neighbors. The results are classic Alice Neel. Though not everything here is a major work, the breath of fresh air it provided only hints at how much pent-up longing I think there is to see more of her work.

The time has come!

The show has moved to Victoria Miro, London, where it can be seen through July 29.

Shown in two adjoining David Zwirner locations, this is one of the two entrances.

“Building in Harlem,” 1945, Oil on canvas. Ms. Neel lived in East (Spanish) Harlem from 1938-62.

“Alice Childress,” 1950, Oil on canvas. An actor who became a playwright and novelist when she found “little dramatic material that represented the lives of black women she knew,” per the show’s curator, Hilton Als.

“Two Girls,” 1954, Ink and gouache on paper.

Georgie Acre, a young Puerto Rican boy who often ran errands for Ms. Neel, seen in 4 Drawings and a Painting from 1950-58. In 1974, Mr. Arce was convicted of murder. He’s shown praying in the second Drawing from left.

“Ron Kajiwara,” 1971, Oil on canvas. A son of Japanese immigrants, he was detained in a California internment camp during WW2. He later became a design director for Vogue before dying of AIDS in 1990.

And finally, Kevin Francis Gray (@Pace, West 24th Street)- I can’t recall encountering anyone who’s doing what Mr. Gray is with “figurative” sculpture.

“Reclining Nude 1,” 2016, All works are Carrara Marble

Does he use a secret laser ray? Has he discovered how to melt marble, then work it in it’s molten state? Somehow, he’s able to make Carrara marble attain the properties of clay!

“Salamander,” 2017

Ummmm…Yes, I had to remind myself continually, after tying my hands behind my back so I wouldn’t touch them to appease my wonder… These are MARBLE!

“Reclining Nude 1,” 2016, front, and “The Aristocrat,” 2017

I find it daring, exciting, and revolutionary. Along the way, he blurs the lines between the representational and the abstract, while adding all sorts of new levels of appearance, meaning, and possibilities to “portraiture.”

Detail of “Reclining Nude II,” 2017

While some of his past works, especially his “Twelve Chambers,” 2013, group of 12 life-sized figures vaguely reminded me of Rodin’s “Burghers of Calais“, these recent works appear, to me, to be a breakthrough. Is Kevin Francis Gray the successor to Rodin? He’s only 45. We’ll see where his new developments lead him. Stay tuned…he said, with bated breath.

“Heavenly bodies…”

*-Soundtrack for this Post is “It’s Quiet Uptown,” by Lin-Manuel Miranda, from “Hamilton.”

Please send comments, thoughts, feedback or propositions to denizen at nighthawknyc.com.
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  1. My fine feathered friends (aka “The Birdies”) just smirked when I said that, again, and said they stand by their prior comment on the matter, here.

Drop What You’re Doing And Read The Story of Emil Ferris

NOTHING stops Emil Ferris.

-Not the West Nile virus that left her paralyzed from the waist down at 40, while she happened to be the single mom of a 6 year old daughter.

-Not the resulting loss of the use of her right (drawing) hand.

-Not being so poor she learned to live on free bank coffee and food store samples.

-Not having to relearn how to use her hand and eventually even rising from her wheelchair to be able to walk, again, with the aid of a cane, or two on a “bad day”.

-Not even the loss of the entire run of her book when the Chinese shipping company transporting them went bankrupt resulting in their ship being confiscated at the Panama Canal.

“‘I was also severely hunchbacked, which is why I loved monsters,” Ms. Ferris said. “‘Absolutely astonishing,’ Chris Ware,” is quoted at the bottom

Those are some bullet points. Ms. Ferris, herself, draws her story better than I can tell it—–> here. And, you can actually hang out with her while she draws, here. The Times wrote about her, here.

There are few, if any, stories in today’s Art world more compelling, and more downright remarkable than that of Emil Ferris. What this Artist has overcome to produce her riveting and extraordinarily well done first graphic novel, “Mr Favortie Thing is Monsters” is nothing short of astounding.

All 400 pages of it.

A signed copy.

Though I recently listed her among those I feel should have been included in the Whitney Biennial, I would be extremely remiss if I did not add my voice to the chorus lauding her accomplishment, unbelievable inner fortitude, unimaginable dedication, AND talent. But, my voice will not even register alongside those of the “father of the graphic novel,” Pulitzer Prize winner, Art Spiegelman (Ms. Ferris’ “hero.” She cried after he shook her damaged right hand in congratulations last winter), and the contemporary master of the graphic novel, fellow Chicagoan Chris Ware- both have heaped raves on Ms. Ferris and her book.

I’m not here to sell you anything, but if you were to go out and buy a copy of it from your favorite brick and mortar Bookstore, now that the second edition of it is out, you’d be supporting a very deserving Artist.

…like The Strand. I love Heather’s signs, but I don’t endorse violence…especially against Art books.

No matter what the rest of the year brings the Art World, 2017 will, also, be remembered as the year Emil Ferris overcame EVERYTHING, and, then astonished the world.

*- Soundtrack for this Post is “Shining Star,” by Earth, Wind & Fire.

Thanks to kitty for research assistance.

Please send comments, thoughts, feedback or propositions to denizen at nighthawknyc.com.
Click the white box on the upper right, for the archives, to search, or to subscribe.
This Post was created by Kenn Sava for www.nighthawknyc.com

Q&A With Master Painter Rod Penner

During the recent show, “Rod Penner,” at Ameringer McEnery Yohe, I was fascinated watching visitor’s reactions to the work.

While it was hard to know if they were familiar with Rod Penner’s work, most seemed taken, startled & impressed with his incredible technique. But then, they lingered. Often for quite a while. I well know that feeling. How well the paintings are done is a hook that grabs your attention and pulls you in. What happens then? Well…That’s up to the individual viewer.


When you finally step back, you marvel that all of that took place in a space that’s 6 by 6 inches or 5 by 7 1/2 inches. When this first happened to me, in April, 2016, I was left with wonder. I wanted to know more about him and his art. Since I’ve now written about him and this show twice, perhaps others are curious, too. The AMY show answered some of my questions, primarily- Yes. He is THAT good. But, it raised others. I am very pleased to report that, after the show ended, and he arrived safely back in his now long time home in Texas, Rod Penner graciously agreed to answer some of my questions in a very rare Q&A. (For those interested in exploring his work still further, I’ve appended a list of resources known to me at the end of this Post. I welcome hearing about others I don’t know of.) What I’ve learned thus far has confirmed, at least to me, his place as a major Artist. That leaves the other question…

Who is Rod Penner?

“It’s your last chance
To check under the hood
Last chance
She ain’t soundin’ too good,
Your last chance
To trust the man with the star
You’ve found the last chance Texaco”*

Having previously shown his recent, small paintings, here’s one of his larger works. “Farmers Co-op Gin/Anson, TX” 20″ x 32,” 2012, All works by Rod Penner, Acrylic on Canvas, and are from rodpenner.com and amy-ny.com, unless otherwise noted. Click any image to see it full size.

Every work in virtually every show of Rod Penner’s work these past 25 years sold. Remarkable. Those owners are not parting with those pieces, which can be seen in his work not coming up at auction (as far as I know). 8 of the 9 pieces in this recent show were sold before the show opened. I believe the time has come for a closer look at what’s going on here.

“Joker Coffee Shop,” 6″ x 6,” 2016

What’s going on here, succinctly, is that Rod Penner is quietly creating a remarkably excellent body of Paintings, one that provides all the proof needed that he is a Master Painter.

“Ranch View, Vaughn MN,” 12′ x 18,” 2013. Compare this with the next two.

Not wanting to take up too much of Mr. Penner’s valuable time, with repetition of things John Seed has addressed in his 3 pieces about the Artist, my questions serve as supplements to those articles (linked at the end). What follows is about his life, and his Art, but I also felt it was important to ask this Master Painter about Art- What he looks for when he looks at Art. Mr. Penner has a deep knowledge of Art History and he is very open minded to styles & periods, perhaps surprisingly so to some. Typically, when I met him at the show’s opening, he told me he was off to The Met while he was in town to see “The Mysterious Landscapes of Hercules Segers.” So? Having a great interest in all of this, I also had to ask him which Painters and periods he feels go under-appreciated these days.

“54 Grill, Vaughn, MN,” 30.5″x 64,” 2016

“Ranch View, Vaughn MN,” 4 INCHES x 4 INCHES!, 2013. These three works show 3 views of the same place, something Mr. Penner would revisit, in a way, in his recent show. This is the work that hooked me- the first piece of Mr. Penner’s I saw in April, 2016. Previously, I associated scenes like this with William Eggleston. Now? I think of Rod Penner.

Kenn Sava (KS)- In reading about your background, you’ve mentioned your folks being supportive of your skill and development, but I haven’t been able to learn if you studied with someone, if you studied Art in school, or if you are self-taught, as well as what road your education and development as an Artist took. Were you painting when you arrived in Texas? If so, were they the same (general) style as the work we see on your site from 1992, or did you ever work in a different style?

Rod Penner (RP)- Growing up, our family enjoyed camping, hunting, and fishing. I painted wildlife during this time, emulating the work of Robert Bateman and other Canadian wildlife artists.

After graduating from high school, I attended a local community college for one year and then transferred to Oral Roberts University in Oklahoma where I graduated with a B.A. degree in Studio Art, and while I found myself at odds with certain aspects of the theology, overall it was a positive experience. It was at ORU where I met my beautiful wife, Debbie, and we both made lifelong friends among the students and faculty.

Following college, we married in 1986 and moved to British Columbia. when I started intensely studying the work of Canadian realist painters, Christopher Pratt and Alex Colville. I had a lot of wildlife art commissions at this time and even started selling through a well-known gallery in Denver but the animals became less and less important in my paintings. In 1988, Debbie’s brother was killed in a biking accident, so we moved down to Texas to spend time with her family. We ended up staying and I welcomed the change as a way to start over with my art and break away completely from what I was doing. I got a part-time job teaching, but Debbie worked full time so I could paint. She has always believed in me and supported my efforts. The same year that our second child was born in 1991, my youngest brother died in a plane crash. Nine months later, I gained representation by Ivan Karp and his O.K. Harris gallery, allowing Debbie to quit work in order to stay at home to raise our children. I’ve supported our family ever since solely on the sales of my paintings.

“American Inn,” 6″ 6,” 2011

KS- What inspired you to get into Art? Who were the Artists you liked early on, and which influenced you early on?

RP- Shortly after arriving in the Lone Star State, I rediscovered the work of John Salt and felt an instant connection. I couldn’t drive past a trailer home (and there are many in Texas) without thinking “Salt.” At this point, I wanted to spend more time in the studio and less time searching out subjects to paint, so I started driving around the town we lived in and took photos of these tract houses that were everywhere. I found them visually interesting. As with all the streets and buildings that I paint, these homes, under certain weather and lighting conditions, became transformed. I painted my first tract house in 1989 and it sparked a series of paintings that were later shown at O.K. Harris in NY.

“Pink House with Big Wheels,” 36″ x 54,” 1992, the earliest work in his online Archive.

KS-Your last show at AMY was in 2013. Two of these pieces are dated 2016, the rest 2017. How do you feel your work has changed/evolved since your last show?

“Mr W, Lubbock, TX,” 12″ x 18,” 2013, which appeared in his 2013 AMY, NYC show

RP- Up until 2016, all my previous “micro” paintings were square in shape, but for this show, most of the canvases have a 2:3 size ratio.

I’ve also been exploring more towns in New Mexico.

KS- The work on the catalog’s cover, which is dated 2015 (and is not in this show) appears to be part of this series- a fascinating, alternate view of San Saba Butane. Are there others works in this series?

“San Saba Butane, San Saba, TX,” 12″ x 18,” 2015, which appears on the recent show’s exhibition catalog’s cover, but which was not in the show. The Painting that was in the show is below.

RP- The painting you’re referring to measures 12 x 18 inches and is based on the photos I took for the series in my show. I’m currently working on a 10 x 15 inch painting of San Saba which will be my final painting in this series. These two paintings will be included in my next exhibit.

KS- I’ve seen you’ve done two views of a same scene in the past, but is this the first “series” of paintings you’ve done (I know of 10 that are a part of it) of a relatively small area (which feels like it’s within a few blocks), with source material from the same time? Was this a conscious decision- to do a series? Or, is it just coincidental, and the works should be considered independently of each other. (I’m not sure I can do that!)

RP- This show is a first for me in the sense that it is a series of paintings based on photos taken on a single morning of a single town. Most of the locations are in and around the town square of San Saba, TX, and when viewed together they form a more comprehensive “portrait”, both of the town itself, and my personal experiences in this place. That being said, each painting is also meant to stand on its own.

KS- How is your work received locally? Especially in San Saba, if these have been seen there?

RP- I sent a news release for the exhibit, along with some jpegs of my paintings, to a local paper in San Saba but never heard back. Since I don’t show in my hometown of Marble Falls, and rarely in the state of Texas, my work is largely ignored and/or misunderstood. Texas residents have an understandable pride in their communities and my paintings don’t always portray these towns in a cheerful light. However, I’m not interested in painting a romanticized and sanitized version of small-town America. San Saba, along with every town I paint, has its own character, its own curiosities and quirks, its own grit, as well as its own beauty…

So many good memories have been made in this town, but it’s taken almost 16 years for everything to come together in order for me to paint it.

KS- I’m fascinated by “San Saba Butane.” Without giving away it’s mystery, is this a place you’re at all familiar with, or is your interest in it purely pictorial?

“San Saba Butane,” 6″ x 6,” 2017, as seen in this show.

RP- I first photographed San Saba Butane around 15 years ago and have witnessed its slow deterioration over the years. Who owned it and what it was used for doesn’t interest me.

KS- We’ve discussed people calling your work “photorealism,” yet there is a lot of abstraction in your work- the clouds, the cracks in the pavement, the tree branches, patterns of bricks, peeling paint, and on and on. Of course you know it’s there. What role do you feel abstraction plays in so-called realistic or representational Art? Do people ever notice it? I also saw you mentioned John Zurier, and that makes me wonder if he’s influenced your skies.?

RP- The formalist qualities in my paintings are important. The placement and shapes of clouds, pavement cracks, branches, etc, is always intentional. I’m good at arranging these components within a picture plane while photographing, but afterward, I edit, so that these elements ultimately serve my purpose which is to create a certain mood and a strong composition. Also, you’ll find smaller engaging areas of abstraction within the paintings which I enjoy incorporating. I think this comes from studying and appreciating a range of different styles of painting.

Regarding Zurier, I’m not consciously thinking of his work while painting my skies, but I’m sure he’s influenced certain elements of my art. He creates this terrific sense of light and weather with just pure pigment and the mood in his paintings elicit a certain quiet meditative self-reflection.

“Commerce St, Brenham TX,” 24″ x 36,” 2002. One of two Paintings I’ve seen of his with an actual person in it.

KS- You’ve been in Texas just about 30 years now, would you have been shocked if someone told you in 1988 you’d be here for (at least) 30 years? Does being originally from somewhere else (a city, no less) help you in painting these scenes you’ve been doing all these years?

RP- The Texas Hill Country is a wonderful place to raise a family. Moving here from Canada allowed me to observe my surroundings with the objectivity of an outsider. I don’t have any memories of these locations before the age of 22; however, they do evoke memories from my childhood, but it has little or nothing to do wth a specific building or street. On the flip-side, living here for almost 30 years has endeared me to Texas, and prevents me from patronizing my subject matter.

KS- In the introduction to the show’s catalog, Mr. Seed mentions your reacting against big (large) painting by others in these quite small works. What is it about big paintings that you don’t like?

RP- I don’t dislike large paintings per se, only pretentious, self-serving large paintings that tell me what to think and feel, and much of the current art world seems to embrace that kind of work.

“Bertram Supply Co, Bertram, TX,” 36″ x 54.” 2016. One of Mr. Penner’s larger works.

KS- Your taste in art is wonderfully eclectic, ranging from the Dutch & Flemish Masters to the Hudson River School to contemporary Artists including Andy Piedilato. Is there a common thread to the Art you like? When you look at painting, what do you look for? What makes someone an excellent or great painter in your book?

“Ice Spine,” 102″ x 126,” 2015, left and “Pinched Red Sail,” 100″ x 117,” 2016, right, by Andy Piedilato, seen at Danese Corey, NYC, in October, 2016

RP- Someone who has command of their medium and uses it to express mature ideas.

KS- What do you think of NYC? Has anything you’ve seen here ever grabbed you to paint it?

RP- NYC is our favorite place to visit but no, I have never felt an urge to paint it.

KS- Finally, if you were going to suggest to Art Lovers they look at one thing, one style, period or (I’m not a big fan of this word- “school”- unless the Artists themselves put themselves in that group), or the work of one Artist, that you feel has been overlooked, or is especially “important” today, what, or who, would it be?

RP- Perhaps the Tonalists; John Francis Murphy, Bruce Crane, and Birge Harrison are three of my favorites. Contemporary painter Catherine Murphy is in a class of her own. John Salt definitely deserves more attention and credit.

For anyone interested in knowing more about Rod Penner’s Art, as I write, the current resources are-
-Rod Penner has a website, which includes an Archive of his work that goes back to 1992, and includes links to his FB and Instagram pages.
-Ameringer McEnery Yohe has additional info, and details on the past shows they’ve held for Rod Penner here. They also published a catalog for this recent show, and copies of it may (keyword “may”) still be available through them. I’d hurry.
-John Seed’s two pieces may be found here, and here. He also wrote a piece for the AMY catalog.
(And, I have written about him twice, here and here.)

I’m grateful to Rod Penner for taking the time to answer my questions, for speaking with me at the very hectic opening of his show, and to his wife, Debbie, and their family, for allowing him to take some time away from them to do so. They’ve been married 31 years. I should have asked him what the secret to that is!

*-Soundtrack for this Post is “Last Chance Texaco,” by Rikki Lee Jones, from the classic album of the same name, and published by Rikki Lee Jones. You can see her perform it here.

Please send comments, thoughts, feedback or propositions to denizen at nighthawknyc.com.
Click the white box on the upper right, for the archives, to search, or to subscribe.
This Post was created by Kenn Sava for www.nighthawknyc.com

Rod Penner: Brilliance, Under Cloudy Skies

“Rod Penner” at Ameringer McEnery Yohe is my NoteWorthy Show for May.

“Little darling, it seems like years since it’s been clear”*

It turns out to have been more than worth the wait. The chance discovery of Rod Penner’s rarely seen work in April, 2016, left me eager to see more of it for the past year. Finally, that chance came. Yes, I wrote about this show’s opening, and my first impressions of it, a while back, when I was also lucky to meet Mr. Penner. Having returned to see the 9 remarkable Paintings that made up “Rod Penner” at Ameringer McEnery Yohe through May 26 (his first NYC show since 2013) a number of times after the April 27 opening, I realized I needed to also revisit it here because these are works that do not reveal all their secrets at first glance, and also because so little has been written about the work of Rod Penner, basically, three pieces by John Seed. Given the amazing & consistently high quality of his work, and the fact that he’s been a successful Painter for over 25 years, who’s shows routinely sell out (8 of these 9 were sold before the show opened), that’s hard to believe. This show is a great chance to get a closer look, as it represents most of the work he’s created in the past year, and because the works are related, they form a “series.” When I asked the Artist about this, he told me-

“This show is a first for me in the sense that it is a series of paintings based on photos taken on a single morning of a single town. Most of the locations are in and around the town square of San Saba, TX, and when viewed together they form a more comprehensive “portrait”, both of the town itself, and my personal experiences in this place. That being said, each painting is also meant to stand on its own.”

San Saba is about an hour north of Austin, almost smack dab in the middle of Texas. The resulting works are at once intricate and sublte, so deep, so brilliantly conceived and almost miraculously executed, I now have a feeling they will be revealing their “secrets” indefinitely.

“View of San Saba,”also 5 x 7 1/2 INCHES. The “center” of Rod Penner’s painted “neighborhood.”All works by Rod Penner, 2017, Acrylic on canvas, unless specified, seen at “Rod Penner,” at Ameringer McEnery Yohe. Click any image to see it full size and better see the detail.

When I met Mr. Penner, he spoke about the newest work in the show, “View of San Saba.” So new, it wasn’t completed in time to appear in the show’s catalog, the first book ever published on Rod Penner (and available from Ameringer McEnery Yohe, as I write this). It’s a work that a quick glance fails. I wondered about the empty spaces in the foreground, left and right. Why is there so much of it in a work that’s supposed to be a “view” of a town? It scrunches the actual town into a narrow band that accounts for maybe one third of the Painting. These empty spaces along the sides give us a sense of perspective, a sense of space that is, after all, a trade mark of Texas, I hear, which would be missing if Rod Penner had cropped the view closer to the “BUY PECANS HERE” sign, and which would also give the sign an importance he, apparently, didn’t want it to have. The feeling would be completely different. Also, doing this “sets a stage” for the rest of the composition, something Mr. Penner seems fond of doing.

And? It turns out the foreground is an extraordinarily interesting part of the work. Ok, that’s coming from a die hard Manhattanite, a true connoisseur of pavement, street, curbs, and sidewalks, someone who never sees grass. Mr. Penner told me that as the work neared completion, he became unhappy with the pavement to the front left, so he redid it. Take that, everyone who thinks he’s a so-called “photorealist,” or “hyper-realist,” someone who paints exactly and only what’s in a reference photo. First, there’s a very unusual (in real life) crack that runs directly down the very middle of the street, which serves to draw us further and further into the painting.

Detail of the pavement in the foreground, larger than actual size, reveals almost endless details, down to the reflection of the back of the Stop sign in the puddle. Interestingly, every Stop sign in these works is seen from the back. Even in reflection.

It’s an old street. The curbs are worn, where they are still there. The pavement has been patched. Well, some of it has. Water pools in holes that still need to be. Yet, for the most part, the concrete is holding together. After all these years. After all these cars, trucks, people, and whatever else travels on the roads of San Saba, Texas have passed over them. Yes. You can still get there from here.

Beyond the technical tour de force of skill on view in this, and in everything in this show, more importantly, every centimeter of it drips with character.

The skies always seem to be ominous. Sometimes a small patch of sun is fighting to make it’s way through. Maybe it will. Maybe rain is on the way. (I call theses skies “Penneresque” now when I see one). Just as long as it’s not a tornado, right? The old County Court is still standing. You can see it’s tower to the left, in the first Photo up top. Interestingly, it’s not quite as tall as the phone pole1

When I look at the finished work, the feeling of isolation, life lived, the present time, and time past (as in the patched pavement to the right in the front), and the feeling of being an outsider is reminiscent of that in works by Edward Hopper or Charles Sheeler, but not specific works. Though he has a foot in Art History, Rod Penner is an original.

But we aren’t in San Saba. We aren’t in Texas. We’re 1,744 miles away by car or 1,513 miles as the crow flies at Ameringer McEnery Yohe Gallery on West 22nd Street in Manhattan, NYC. An entirely different world, right? We’re not even looking at Photographs, which seems to be a reaction of some who only see these works online in, yes, Photographs, and have trouble believing someone can really paint THIS well. We’re looking at Paintings. VERY small Paintings that are either 5 by 7 1/2 inches, or 6 by 6 inches each! Acrylics on canvas. In creating these works at paperback book size, I don’t believe the purpose was to show off his extraordinary skill (which happens as a byproduct). The size brings an intimacy that makes the viewer look closely to see, and once you start looking, you’ll see more and more, which can turn the experience into something of a meditation.

“View of San Saba” is installed on one of 3 walls where the paintings look out, and on to each other. Therein lies an additional element that becomes apparent when seen together. As Mr. Penner said, each work stands alone. Yet being at this show one can’t help noticing that there’s, also, a “little world” in these 9 Paintings that comes together in “View of San Saba.” Taken as a whole, this gives a feeling of walking around a small neighborhood (typically New York comment, right?), and based on “View of San Saba,” it is walkable. No less than 5 of the buildings featured in the 8 other works here reappear in it, making it something of a centerpiece of this “series” for me.  I constructed these maps to show what I mean,

Installation View of “Rod Penner” @ Ameringer, McEnery & Yohe shows it’s a small neighborhood. The lines connect 5 individual works with “View of San Saba,” far right, where the same buildings are seen, again.

“Map” of “View of San Saba” showing the location of the 5 Buildings also shown in their own Paintings, which follows. The numbers are from the order they appear in the show, as seen in the prior Photo.

So, yes, as I said, “you can still get there from here,” if you walk straight down the street, following that center crack. Along the right, first, “Buy Pecans Here,” is the subject (and title) of a closer view of the same structure, below. Then, on it’s corner, and across the street on the right is G&R Grocery, which is seen in no less than two other works here- “G&R Grocery,” and “Armadillo Country.” And finally, a few blocks almost dead ahead (slightly left) is the building in “The Station.” Here are the five Paintings in question. There could be much to be said about each.

#1 in the “Map” above, “G & R Grocery,” 2016, 5 x 7 1/2 inches. That reminds me. G&R is also the home of Texas’ famous “Bill’s Season All,” as the sign says. I have to remember that when I need to reorder it.

NYC’s & Texas’ finest in the NighthawkNYC kitchen.

#2- “Buy Pecans Here,” 5 x 7 1/2 inches

#3 “The Station,” 6 x 6 inches. It’s foreground pavement endlessly enthralls me.

#5 “Armadillo Country” 5 x 7 1/2 inches

#4 does get a section to itself. My personal favorite among all of these works (not an easy call) is one I find endlessly fascinating, on a number of levels- “San Saba Butane.” All 6 by 6 inches of it. The right rear side of it is, also, #4 in the Map, above.

#4- “San Saba Butane,” 6 x 6 inches. Depending on the device you’re using, this photo may be close to the actual size of the Painting.

On one level, you could look at it and think about hard times, about a business that stood for a long time, carrying the hopes and dreams of it’s owner, until it finally moved elsewhere, or went under. There’s no indication of which here. What there is, it seems to me, is a masterpiece of realism in which abstract and realistic elements are weaved together so seamlessly, they achieve an almost perfect balance, each supporting the other. After all, when we see the world, our eyes see things that are abstract as well as “real” (be they reflections in windows or water, and on and on- they are everywhere once you look for them). It’a all based on a rectangular box seen at an angle that provides the basis of everything else that Mr Penner hangs on it or adds to it, and around it. One time I looked at this and thought “It’s a Robert Rauschenberg meets Anselm Kiefer structure under a “Penneresque” sky, as I named them last time, maybe with a hint of John Zurier in it, and with Lucian Freud pavement. Another time, I fancied that the historic “Battle of San Saba Butane” had been fought here, leaving Texas another monument, akin to the Alamo. But, alas, history records no such battle (as far as I know). There is, instead, a completely peaceful stillness to the building, though it’s surrounded by turbulent skies and pavement that appears almost liquified in places. To get to it’s door, you have to cross the rough, wet road in the foreground before arriving on the slightly surer footing of the (wet) pavement, and then to the “safety” of the awning, only to find the building it’s attached to is just an empty shell, and not a real “destination.” This “having to cross questionable or unstable ground in the foreground to get to the heart of the work” is present in many of Rod Penner’s works. It takes the eye on a journey, and makes it work to get to the core of the composition.

This section is about 3 inches tall by 6 inches wide in the Painting, shown here larger than actual size (once you click on it). Even the wear and tear on the sign’s lettering is brilliantly rendered.

Whatever struggle took place here, even the struggle of day to day business survival is over, and all is quiet in the building. In all it’s brilliantly rendered dilapidated glory, it’s still standing. Though it says “San Saba” on it, if you took the lettering off (but please don’t) this is another scene that can be seen in any state in the USA. It’s a part of the lifecycle of a business- the part where one has ended and a new one may begin. In that sense, it could also stand for life & death. It’s a tombstone for the business that was once here, and all the memories and history that went with it. It’s also a space where something new can begin. It’s real and surreal, intimate and repelling, liquid, solid and air, a place that it wouldn’t seem could possibly exist, somehow, except for that sign- “San Saba Butane” anchors the scene to earthen reality. I wondered about that sign at first, in my first Post, then thought- “No. It’s probably a real name. No one could make that up, right?”

One look at “San Saba Butane” in comparison to how it appears on the extreme left of “View of San Saba” and you realize that there’s no building behind it now! The Artist, himself, pointed this out to me. The whole right side of “San Saba Butane” shows a different view than what’s behind it in “View of San Saba.”

Detail of the right side of “San Saba Butane”

Detail of the left side of “View of San Saba”

Mr. Penner said, “In San Saba Butane, I removed the building you see in View of San Saba. The area right of the station needed to be opened up some… too claustrophobic… in order to allow the eye more room to wander. The stop sign and hydrant are the same ones you see in “View of San Saba.” That sound you heard was a hammer putting the final nail in the coffin of “photorealism” in regards to the work of Rod Penner.

Well? If this is a real place? I don’t care one bit what it “really” looks like. I don’t want to know. Well, I do know this- As much as I dislike qualitatively comparing creative work. I can’t put it any other way- I can’t think of a better Painting I’ve seen in the past year than “San Saba Butane.”

The next one is right up there, too.

“Commie’s Tacos,” 5 x 7 1/2 inches.

“Why did we stop here?,” I can hear someone in the backseat saying.

After all, we’re stopped in the middle of the road. “The light’s red up ahead,” might be one reply. “Not much to see here,” might be the new complaint. Hmmm…..The longer I look at this, the more I disagree.

First, there’s the skill involved in depicting this in all of 5 by 7 1/2 inches of canvas.

The same Painting, “Commie’s Taco’s,” seen from only 6 feet away.

When I looked closely at this one, I marveled at the detail on the two buildings to the left of center. The more I looked at this, the more I see. Every last clapboard is perfectly rendered, but all of it has character. Check out the bands on the back of the Stop sign, and on and on…

Detail of about 2 and 1/2 inches of the left side seen with a zoom lens.

To the right is a tan building, with a Spanish Tile roof, which would be fitting for a business with the name of Commie’s Tacos, the work’s name-sake, which is painted at an angle, and cut off making me wonder if Commie would ever want to buy this work and display it in his/her’s fine establishment, since it’s not even showing the whole restaurant. In fact, we wouldn’t know what the name of it was if it wasn’t the work’s title!

Commie’s, itself, in about 2 inches, with incredibly detailed concrete.

Then, I stared straight ahead, down that beckoning road you see in the first photo, which is what the composition seems to want. The looming street seems a bit more uneven, a bit rougher, than the fairly level ground we’re on now, judging from the masterfully rendered pavement.

Detail of about 4 inches of the foreground. Mr. Penner frequently puts pavement right in the front of his work, which is both daring and serves to set the stage. It’s a stage so well executed it looks real, and used. Notice the wide variety of surfaces.

We’ll pass trash cans, Yield signs and the ever present telephone poles. Further on, past the white house, it’s hard to say what we’ll encounter, well, before that vehicle with it’s headlights on. If we were standing on either of those corners, maybe we’d think that vehicle was coming for us. But, in the middle of the intersection? All bets are off. It’s hard to tell if Commie’s is even open for business. As in every work here, no one else is around.

As a result? There are none of the distractions people in a painting bring. None of the drama. Uh oh. Speaking of drama…

On the Fence, #6- Crow-No-Lisa”

Same with Commie’s. It’s painted at an angle and chopped off which serves to reduce it’s power and importance. The import, seems to me, to be in the feeling of place- of being here, now. Imagine for a moment what it must feel like to be a new resident to this street, seeing it for the first time, (as most viewers of this work are), and seeing the place you’ll now call home? What would living here be like? The residents are already connected to each other by wires, but you’re not. Would you be welcome? There’s rain on the ground, as there is in a number of these works, but the skies seem to be clearing. Keywords- seem to be. It looks to be a very typical street in a small town in Texas, in or near San Saba, but it could be almost anywhere. This scene could be in just about any one of the 49 states not named Hawaii.

Robert Frost talked about taking the road less traveled, “and that made all the difference.” What would he make of this road? Would he take it? Situated here, as we are, the answer isn’t clear, but if we are going down that side street, we’re in the wrong lane of traffic. Unless, we’re across the street at the other corner, waiting at a Stop sign there. Or, maybe it’s a scene seen in passing, or while stuck at a light to the left or right. One of those things we see for a minute, just long enough to wonder what’s down there? What it’s like down that street?

Seen from a normal distance, “Commie’s Tacos,” in it’s double frame.

Or? You could consider it a mediation on what once was on the corner, perhaps a house you grew up, that’s now gone. The level of detail enhances the “realism” of the work, and so, enhances the viewer’s ability to “experience” whatever he or she thinks and feels when they see it. Beyond the date the painting was done, we don’t know when this scene takes place (as we don’t in any of the works on view). It could be today, last year or 30 years ago. As such, it, and all the works here, are “portraits” of a place that’s beyond time and place. A place frozen in time that portrays an equally frozen moment that, the closer you look at it, you see “more” in. It raises more and more questions, or maybe even reminds you of a place and time, and brings back it’s feelings. Seeing this on the wall at Ameringer, in it’s interesting double frame, it’s a portal into a distant place that somehow doesn’t feel all that far away. A place somehow “known.”

Ameringer McEnery Yohe, 525 West 22nd Street, NYC, seen during the run of the show, appropriately, from the middle of the street, with wet pavement, under “Penner-esque” skies, that I hear came all the way from Texas.

I don’t know how the 2,783 residents of San Saba (in 2014) feel about these paintings, if they’ve seen them. More than likely, they prefer Mr. Penner paint other locations in their fine community. As someone who’s never been to Texas, when I look at them, as I’ve said, except for a sign here or there, I see places that could exist elsewhere. So, while they’re based on actual places in and around San Saba, as Mr. Penner said, they strike me as much as depicting America- places and things that could be seen anywhere in the country. I’m sure San Saba is a very different place than NYC is in a lot of ways. When I look at these Paintings? Not entirely different.

(My subsequent Q&A with Rod Penner is hereMy experience at this show’s opening and my initial impressions of it are here.)

*- Soundtrack for this Post is “Here Comes The Sun,” by George Harrison from “Abbey Road” by The Beatles.

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This Post was created by Kenn Sava for www.nighthawknyc.com

  1.  Old Mother Pecan, one of the most unique trees in the world (I love trees), is still standing, too (thought not seen), not all that far away, 200 years later! Important for a place that calls itself the “Pecan capital of the world.”