Rembrandt

Kenn Sava’s Desert Island Art Books

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Written & Photographed by Kenn Sava (*- unless otherwise credited)

A BookMarks Special. 

A reader writes, “Hey, Kenn. Leaving cost as a secondary concern, what are the Art books you’d take with you to that desert island?”

Wow…one of the hardest questions you could ask me. First, I’d never go to a desert, or any island without a museum, but I’m game. I’ll take “Art” to mean Paintings, Drawing, Sculpture, leaving Photography aside. (That way I’d get to take more books! Ha!) Well, cost is a PRIMARY concern for me, but I’ll make it secondary here. My criteria are 1) the importance & quality of the Art and 2) how well is it presented? Ok. After months of pondering it, here they are! (In no particular order…)

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Kenn Sava’s Desert Island Art Books

Filled with a lifetime’s fruits of observations, insights, and revelations. No Art lover should be without it, in my opinion.

The Story of Painting, Sister Wendy Beckett, DK Publishing.
The first book I simply must mention is one that had a bit to do with inspiring me to start NighthawkNYC.com, which is about to begin its ninth year: Sister Wendy’s The Story of Painting. A phenomenal accomplishment, covering the history of Painting right up to very recent times, her observations are based in what she sees in the work itself! In so doing, Sister Wendy showed the world how to look at Art without the noise surrounding it from those who would tell you what you “should” see so you can see Art for yourself. I first read Sister Wendy Beckett back in her days as a contributor to the excellent Modern Painters Magazine, before her BBC & PBS TV Series make her world-famous. Still, at the moment, if you look for it (it’s out of print), The Story of Painting can be had reasonably. I prefer the hardcover, mine shown above, because I wore out my softcover copy years ago. Yes, some of the blown up details are out of focus, making me wonder about the editors, but’s that’s no reason for the slightest hesitation- most of the 450 images over 800 pages are fine. This is a book that should always be in print, so it’s past time for a new edition! There is an exceptionally well done TV Series of the same name that is available on DVD, and her other, lesser-known TV Series, like Sister Wendy’s American Collection, in which she visits 6 U.S. museums are also amazing. Seeing her in the same halls of The Met that I frequent always gives me chills. All her shows are essential and should be rerun as often as any show is. Luckily, there is a Complete Collection of her TV Series in a DVD box set. I missed her when she retired to live in seclusion in her trailer, as I wrote here, and more so since her passing, which I mourned here, but what she left us lives on in me, which I try and share here, and countless others. I hope it continues to inspire countless millions indefinitely.

Van Gogh: The Complete Paintings, Taschen
If I were to take only one Art monograph, you might be looking at it. I’ve looked at it more than any other Art book besides The Story of Painting. Vincent became an Artist late in life, at about 28, and his career barely lasted 9 years. Yet, the intensity of his dedication to his craft saw him create about 2,100 works, including about 860 Paintings! The evolution of his style is continual after his earliest, “dark” period. Meanwhile, his life was full of tumult, disappointment, and unimaginable pain & suffering. Currently the “Brick” edition, which measures about 6 by 8 inches, $25. list, and/or XL edition, $60. list, are in print. Virtually the exact same book in 2 different sizes. Large or small, either is an incredible value. I’ve got both and each sees steady use. Choose small, shown above, if you want a ready reference, perfect for your bedside or backpack. Choose XL if you want to see the Art in a larger size. My look at the reinstalled Van Gogh Paintings at The Met, pondering what Vincent would think, is here. I’ve begun a piece on Van Gogh’s Cypresses, currently at The Met.

With its NoteWorthy Art Book of 2020 designation.

Rembrandt: The Complete Paintings, Taschen XXL
The canon of the Master’s Oils seems to be changing daily, even 354 years after his death! It has already changed since this was published in 2019. Still, unless you hit the Mega Millions, or are able to fly around the world and see all the Rembrandts on view in the world’s museums, this is as close as you’ll ever get to seeing them all. Even if you were able to do that, you’d only see some of them because museums rotate/lend their collections and those in private hands are probably inaccessible to you. Still, even if you were somehow able to see all of them, you’ll never see them this close. Nuff said. My hope is they update it in a few more years. In selecting this, I must mention my other go-to Rembrandt book- The Rembrandt Book by the legendary Dutch Art specialist, NYC-born, Gary Schwartz. Aptly titled. Essential. My look at Rembrandt’s First Masterpiece at the Morgan Library in 2016 is here.

My sealed XXL before being “touched.” In this case, “XXL” equals 19 pounds!

Michelangelo: Complete Works,  Taschen XXL
Michelangelo’s canon doesn’t change nearly as often as Rembrandt’s does, but it does look different when his Art is cleaned or restored (like the Sistine, which looks incredible now, as seen in here, though I hope no damage was done to it in the cleaning). But as I mentioned for the Rembrandt XXL, you’ll never seen all of it, and never this close. Trust me- The Vatican is NOT letting you up on a scaffold in the Sistine! The XXL is out of print and goes for $500. and up in VG or better condition. The $60. XL is almost as good and is still in print as are the two Bricks that include this material- Michelangelo: The Complete Paintings, Sculpture and Architecture and Michelangelo: The Graphic Work for his Drawings, My look at the monumental Michelangelo Divine Draftsman and Designer, at The Met in 2018 is here. One of the top 3 or 4 Art shows I’ve ever seen, it brilliantly revealed for all-time that Michelangelo, the Draftsman and Designer, may be the most overlooked aspect of his super-human genius, and just possibly his most under-rated talent. The Met’s catalog accompanying Divine Draftsman and Designer is one of the very best books on Michelangelo there is- and I’ve owned a lot of them.

Pablo Picasso: A Retrospective, Museum of Modern Art
HOW could I do a list like this and NOT include a Picasso book? In 1980, I made two trips back to NYC while I was on the road with a band, just to see MoMA’s Picasso Retrospective. The hype leading up to it called in a “once in a lifetime, must-see show.” The reality was just WOW! It marked the beginning of my Art show-going life. If my Art-going career had ended then and there I really couldn’t complain; it’s never been topped by anything I’ve seen since. The show, which filled ALL of the “old” MoMA,  was just overwhelming…mind-boggling. Almost ONE THOUSAND Paintings, Sculptures, Drawings, Collages, Prints, Ceramics, etc., etc. MoMA lent 230 works to other institutions to make room for it. I’ll never forget seeing his earliest works, which the show began with, including Science and Charity, which he Painted at 15(!), and and already being staggered by his talent TWO GALLERIES in, with the entirety of MoMA (THREE FULL FLOORS!) still ahead of me! The catalog published to accompany the show is a classic as well. It’s still to be had quite reasonably in hardcover, like mine above, which I bought at the show, or softcover (check it for yellowing first. It’s 43 years old and my copy makes no mention of acid-free paper). It’s endlessly staggering to page through it and realize that ONE PERSON created ALL of this! If you said of it, “THIS was the ultimate testament of man’s creative accomplishment in the 20th century,” I, for one, couldn’t argue with you.

Kerry James Marshall: Mastry, Skira Rizzoli
THE Painting show of the 2010s among all those I saw lives on in the terrific catalog that accompanied it. It’s still one of the two best books on Mr. Marshall, one of the most important Painters working today, along with the Phaidon Contemporary Kerry James Marshall book. You need both, but in a pinch I’ll take Mastry. I wrote about the show here.

I bought my copy used so it was pretty much like this. Out of print for a long time, it’s very hard to find now in VG condition for less than $200.

Neo Rauch, Taschen XXL
Perhaps the world’s most enigmatic living Painter, Neo Rauch’s work continues to both baffle me and hypnotize me in equal measures. Leave it to Taschen to create the most stunning book on his work published so far, even though his bibliography is ever-expanding and the track is fast. 12-years-old at this point it sorely needs to be updated with the work he’s done since added though the essay remain excellent. Long out of print and commanding big bucks, I’d advise holding off on it now and hope Taschen gives us a new edition with all of his work for the past decade+ added. In fact, I spoke with Neo Rauch this spring about just that and he told me another Painting book is coming out next year. It didn’t sound like it would be an Updated Taschen Neo Rauch.

*- Estate of Francis Bacon Photo

Francis Bacon: Catalogue Raisonne, Martin Harrison, The Estate of Francis Bacon
It seems like the Francis Bacon bibliography gets bigger every few months, but this will ALWAYS be THE place to begin, and end, when it comes to seeing his work. Especially ALL of it! His 584 Paintings are beautifully shown in 800 illustrations over 1,500+ pages in five volumes. Text by the world’s foremost living Francis Bacon authority, Martin Harrison (who also contributed to Saul Leiter’s Early Color, one of THE essential PhotoBooks of the 21st century). Here’s the thing- the Estate has said that once it’s sold out, “it will never be reprinted.” Gulp.

The Complete Oil Paintings of Edward Hopper & The Complete Watercolors of Edward Hopper, both Norton
The 4-volume Edward Hopper Catalogue Raisonne by Gail Levin and published by the Whitney in 1995 is more well-known, but it sold out and copies currently BEGIN at $1,000. per. Lesser-known is that the Whitney then sold the two volumes of The Complete Paintings & The Complete Watercolors from the set as stand-alone volumes. At this point, they’re actually probably harder to find. Recently a reader asked me for a Hopper recommendation. It’s really strange that there isn’t a comprehensive book on Hopper’s Art over his whole career currently in print. (The Whitney’s catalog for Edward Hopper’s New York is good, but it’s focused on his NYC work.), as I recommended in Part 2 of my recent look at Edward Hopper’s New York, seek out Gail Levin’s Edward Hopper: The Art & The Artist, the catalog for the last Edward Hopper Retrospective at the “old” Whitney Museum in 1981. Just beware the book is 42 years old now. Look at it before you buy a copy and make sure the pages haven’t yellowed, which this book is very prone to, since that drastically affects the color of the Art.

Robert Rauschenberg: A Retrospective, Guggenheim Museum
By far the most comprehensive look at almost all of Robert Rauschenberg’s career to 1997. A show I saw and will never forget. Mr. Rauschenberg was involved in its making (there’s a great video online of a brief interview with him as he stands on Frank Lloyd Wright’s ramp). The Artist would go on to live & work for another 11 years, and I am particularly a fan of his late work. Still, this is a glorious book, one I have gone through 3 copies of. The essential visual reference to Robert Rauschenberg’s Art. He remains one of THE most influential Artists on the Art I see in 2023. My look at what I called “The Summer of Rauschenberg” in 2017 is here.

*-National Gallery of Art Photo

Georgia O’Keefe: Catalogue Raisonne, National Gallery of Art, Washington
A “name” here at home, Ms. O’Keefe is only beginning to be better known around the world. I believe her stature is only going to grow and grow from here on. This book shows why. Her work is singular, always based in nature with her one-of-a-kind vision, and just plain gorgeous. As we’re seeing right now in her terrific MoMA show, Georgia O’Keefe: To See Takes Time– her work holds up gloriously!

Rothko by Christopher Rothko & Kate Rothko Prizel, Rizzoli Electa
Runs, doesn’t walk, to the head of its class. Some may still prefer Yale’s Mark Rothko: The Works on Canvas, but it’s 25 years old now. Who better to write a book on their father than Mark Rothko’s son and daughter? They know whereof they speak on all things Rothko after spending their lives as closely involved with his work as anyone- not to mention actually living with the Artist. This all came home to me in spades when I met Kate and got to speak to her about a number of things Rothko-related. She thinks this is the better book, and when she told me that I didn’t get the feeling she was speaking out of bias. The handsome book in a slipcase includes an extremely wide range of work- on canvas and paper, from all periods. The 1999 Rothko Retrospective at the “old” Whitney changed my life, turning me back to being Art-centric from Music and made me a fan for life. My look at Mark Rothko: Dark Palette, 2016, is here.

Ralston Crawford by William C. Agee, Twelvetrees Press
Ralston Crawford is one of the most overlooked Artists I can think of, and I’ve been obsessed with his work since the Whitney Retrospective more years ago than I care to think about. Though shows have been scarce, books have begun to appear over the past decade. This is still the best comprehensive overview, but I hope a REALLY worthy Ralston Crawford book will be coming. Oh, he was also a very talented Photographer, as Keith Davis’s fine book The Photographs of Ralston Crawford reveals.

Vermeer: The Complete Works, Taschen
There are other excellent books of Vermeer’s complete Paintings, including those by Arthur Wheelock of the National Gallery, DC, and the late, lamented Walter Liedtke of The Met who was tragically killed in a train accident a while back. Both of those are excellent for their texts, the Taschen book is essential for its Photography. There hasn’t been an XXL-sized edition, but Vermeer: The Complete Works is now available in either the Brick size, pictured, or the XL size. You can’t go wrong either way- see my comment on Van Gogh: The Complete Paintings for why, though when it comes to Vermeer, you can’t get TOO close!

Caravaggio: The Complete Works, Taschen
The XXL is long out of print but seeing his work THAT large is an amazing experience if you can find one. The Brick and XL remain in print, and both work well. Caravaggio’s chiaroscuro has been infinitely influential, from Rembrandt on down, no less so today. And so his work remains essential for Photographers, those interested in Film, and of course Painters.

Dali: The Paintings, Taschen
Dali seems to be in a bit of eclipse these days, but anyone who saw the huge Dali Centennial Retrospective at the Philadelphia Museum in 2004-5 knows this is temporary. This remarkable book contains all his Paintings from a very long and very productive career that was marked by almost as many styles as his contemporary Picasso. Originally published as a Volume 1 & 2, now in one volume, available in the Brick or XL size. If you don’t think Salvador Dalí belongs on this list, look through a copy of this book and then tell me he doesn’t.

Getting harder to find- Frida Kahlo: The Complete Paintings, sealed, in its shipping box.

–Frida Kahlo: The Complete Paintings, Taschen
Unless you’re besties with Madonna, this is likely to remain THE very best place to see the astounding, indelible work of the Mexican genius. What else is there to say? Oh! My money is that Taschen will re-release it in smaller sizes, but if you want to see her work in FULL effect, the XXL, the only edition of it thus far, which seems to be disappearing, is likely to remain THE BEST place to do that. I wouldn’t wait long.

Diego Rivera: The Complete Murals, Taschen
Completing the only husband/wife team on this list, this is a terrifically important concept beautifully realized. It’s hard to feel now what a revolution Diego Rivera and the other Mexican Muralists created when they began making Murals in Mexico. They later created them elsewhere and along the way influenced many of the great Artists of 20th and now 21st century Art, including Jackson Pollock. Available in the XL size, I would have my doubts about how good it would be as a Brick.  But in the XL you can study all the marvelous detail on each Mural in a generous size.

Basquiat XXL seen here in its original, printed, shipping box, which has been replaced with an all brown box in recent printings.

Basquiat, Taschen XXL
The XXL is likely to forever be THE best place to see the most Basquiat Art as close to life size. There is a Brick edition, part of Taschen’s 40th Anniversary series, which is slightly edited, but that’s the tradeoff for the deep savings ($30 for the Brick vs $200 for the XXL). Neither can be beat among ANY Basquiat book currently in print, in my opinion, and I’ve owned or seen most of the books published on his work to date while I was doing research for the numerous pieces I’ve written on the Basquiat shows in NYC in 2019 and 2022, which can be seen here.

UPDATE, July 15, 2023- In response to my list, a reader wrote, “Basquiat? Could you tell me why he’s on your list?” Sure. Jean-Michel Basquiat is the most compositionally diverse and compositionally inventive Artist I can think of- besides Robert Rauschenberg. As I pointed out in my piece, his compositions alway surprise me, and virtually no two are alike. That’s remarkable. Jean-Michel was ahead of his time in addressing many issues that are now foregrounded in Art, and in the world, today. This is the best book to experience all of that.

Yes, my choices are books that contain Art. As an Art writer, I want to see the Art- as much as I can by any particular Artist I’m interested in. I’m also interested in his or her biography and the circumstances surrounding the creation of the Art. I don’t read Art criticism for 2 reasons. 1) I’m planning on writing my own take on the work, and 2) with all due respect, I don’t want to be influenced by what anyone else says about it. I need to see the Art for myself and I encourage (and have always encouraged) everyone to see Art for themselves. That being said, among Art books that are primarily text (well, the Sister Wendy is both), three stand out for me-

*-Van Gogh Museum/Thames & Hudson Photo

Vincent van Gogh: The Letters: The Complete Illustrated and Annotated Edition (6 volumes), Thames & Hudson
A long time ago I was gifted the 3-volume set of Van Gogh’s Letters edited by Johanna (“Jo”) van Gogh-Bonger who, also wrote a Preface/Rememberance of Vincent. I still have them. This will forever be a very special set. If you love Van Gogh’s Art and don’t know the name Jo van Gogh-Bonger, get thee to a nunnery! Mrs. Van Gogh-Bonger was Theo’s bride, then quickly his widow when he died 6 months after Vincent in 1891. She inherited Vincent’s estate (i.e. virtually all his Art and Letters) after his tragic suicide or murder (in spite of everything, I remain unconvinced he wasn’t ((accidentally?)) murdered. See below..). She is THE person responsible for making Vincent van Gogh the world-wide phenomenon he is today. She believed his Letters were the key to understanding his Art. She was proved right. She edited a collection of them, which has stood until this expanded edition. Her passion for Vincent’s Art led to the creation of the Van Gogh Museum, after her son donated their collection to the Dutch state who agreed to build the building. The VG Museum undertook an updated edition of Vincent’s immortal Letters in 2009, an unparalleled body of writing in Art history, and authorized the publication of Vincent van Gogh: The Letters: The Complete Illustrated and Annotated Edition in six volumes. WORD!- It’s ALL available for free online, with updates, which the books don’t get! (I just saved you the thousands of dollars the set goes for on Amazon right now! PLEASE donate so I can keep turning you on to things like that. Thanks.)

An older edition with black & white illustrations inside. Get the current edition. It has color illustrations.

Conversations with Francis Bacon by David Sylvester, Thames & Hudson
I’ve never read better interviews with an Artist. Period. Mr. Sylvester is Cecily Brown’s dad. I’ve met Cecily, but didn’t get to ask her if she met Francis…

Van Gogh: The Life by Steven Naifeh and Gregory White Smith, Random House
There are a lot of great Artist’s biographies out there, and some terrific Autobiographies, too. However, I just can’t put Van Gogh: The Life down. Like so many others, I grew up believing the fiction written by Irving Stone (Lust for Life, which became the equally fictionalized Film, though it was shot in some actual places, and his Dear Theo.). It’s way past time the record on Vincent’s life was set straight! After I discovered his Letters I began to get the picture. Here the gaps are completely filled in. The decade of research, with the help/permission of the Van Gogh Museum, shows on every page. There’s also a website especially for the book’s footnotes(!), and, unlike many/most Art biographies written by non-Artists, the Art commentary is spot on. Not an easy thing to do with someone like Van Gogh. BRAVO!  I recommend looking for the hardcover, which is out of print. The cover of the paperback is a little thin for an almost 1,000 page book, and this book is almost guaranteed to be the definitive Van Gogh biography for, at least, the foreseeable future. It includes an appendix in which the authors lay out their theory that Vincent DID NOT COMMIT SUICIDE- he was accidentally murdered!!! They followed this up with an equally insightful supporting article in Vanity Fair. I find their case compelling.

The big takeaway of all this will no doubt be that I’m a big fan of Taschen. When it comes to Art books, I’ve said as much before. TEN books listed here are published by the German firm. Their Photography books, however, are VERY hit or miss, and could use a few more “hits.” I’ve said a few times that the Taschen small “Brick” sized books (with the newest releases bearing the “40th Anniversary Edition” moniker) are THE best value in Art books today. You could build a terrific Art library out of just Bricks, to coin a phrase. Taschen books consistently feature the most color illustrations of the Art in the highest quality Photographs and publication using excellent paper and always have a rock solid binding. From the Bricks to the XL to the XXL editions (of almost the exact same book, but, be aware, though Taschen doesn’t mention this: my side-by-side comparisons reveal the Bricks may be edited down subtly from the XXL in places- that’s the trade off for saving 85% of the price!), you pick your price point, and the size you want, and you’re good to go on so many of the Artists they include. In fact, only Phaidon can compare with them in terms of the roster of Artists they have published in-depth monographs on. Phaidon stands alone when it comes to their superb Contemporary Artists monograph series. Taschen’s roster is mostly older Artists, though more Contemporary Artists are being included. 

*-Soundtrack for this Piece is “Desert Island Disk” by Radiohead from A Moon Shaped Pool, 2016, the title of which is a play on the BBC Radio show Desert Island Discs.

This piece is dedicated to The Strand Bookstore, where I’ve discovered more great Art (& Photography) Books than anywhere else the past 45 years. This year, The Strand celebrates their 96th year. My previous BookMarks pieces are here.

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NighthawkNYC.com has been entirely self-funded & ad-free for over 8 years, during which 300 full length pieces have been published! If you’ve found it worthwhile, PLEASE donate to allow me to continue below. Thank you, Kenn.

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What’s Left Unsaid About Remixed Classic Albums

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Written & Photographed by Kenn Sava.

It’s 2023. Do You Know What Your Remix Is?

One of the monuments of modern western culture. An early Parlophone CD release (1987) of The Beatles Sgt. Pepper’s. At the moment, there are 1,099 DIFFERENT versions of Sgt. Pepper’s listed on Discogs. This one sells for about $5. If I wanted a CD version, this might be one I’d recommend. Why? Read on. Lps, CDs & DVDs shown are from my collection.

In my prior life as a musician and Music producer, as now, I have always respected the wishes of the Artist across whatever medium he, she or they worked in in the visual or aural Arts. Yet Artists, being human, have finite lives. Art, doesn’t.  As time has gone on, a lot of Music has outlived its creators. But, new listeners, even new generations of them, are continually discovering Music of the recent or distant past. The record companies are then faced with a dilemma. Do they keep reissuing the exact recordings that were originally issued?  Or, do they “update” the original recordings using the latest technology?  This has turned out to be an age-old question over most of the past 100+ years of sound recordings. It’s big business for those who own the recordings and/or the rights to them. Imagine making a product once, then being able to re-sell it to people over, and over, and over, and over again. 

The immortal Duke Ellington began recording in the 1920s in mono, of course, stereo being invented in 1931, but adapted slowly after. RCA, Decca and Columbia recorded him early on. Here in the first 20 volumes of their The Complete Works of Duke Ellington Lps, RCA has reissued their recordings from 1927-1943 in mono pretty much untouched except for the covers and the Lp format. Leaving aside the dated cover art, I believe this is the right way to do it.

After the Artist hands in the master recording on whatever format (i.e. tape or audio file), the label then takes that, packages it and releases it. After an indefinite while, the label decides to repress or rerelease the record. Then, the questions begin. Represses of vinyl or compact disc albums usually involve minor changes- a different pressing plant, perhaps, etc. These changes that no one except the dedicated fan or collector would notice are usually only documented on Discogs.com and on fan and collector sites.

Up to 1948, all sound recordings were mono, meaning everything was recorded on one track. In 1949, guitarist Les Paul invented multi-track tape recording, “sound on sound,” he called it1. This opened up a gigantic world of possibilities that was brilliantly explored by The Beatles and their Producer, Sir George Martin, among others. The amount of tracks you had to record on grew from 1 to 2 to 4 to 8 to 16, and on and on, and so did the possibilities.

If you see this message in GarageBand, it’s time to mix down some tracks to make room for more!

Today, everyone with Apple’s GarageBand app can have a whopping 256 tracks right at home! 48 tracks was the most I ever recorded on in my studio days, and even back in the early-mid 1990s, very few NYC recording studios had equipment to handle that many. After recording all the parts on to however many tracks, the Musician/Artist and their producer and engineer would “mix” the tracks together, adding equalization and effects, and placing each instrument within the aural space, to create the final sound of the piece. They would do this for every piece of Music to be released on an album. They would then make a 2-track stereo master tape of the finished album from start to end and hand that in to the record company as the finished, final product, to be manufactured and released to the public.

My copy of Miles Davis, Round About Midnight, Columbia CKS 8649, originally released in 1957, in the 1977 “Re-channeled for Stereo” reissue. More recently, Sony has begun to remix his immortal 1960s, and 70s albums that were originally recorded in stereo and produced by the legendary Teo Macero. Buyer beware!

When a record company decided to reissue an album, the changes to it may be small, or extensive. Some companies opted to reissue the original recordings, more or less the same, though there were caveats to that. Were they using the original materials- i.e. the original master tapes (in the tape era)? Or, were they working with a second, third, or fourth generation copy of the original?

As you move further and further away from the date of the original recording, tape begins to disintegrate. Copies had to be made. Uh oh! You’re then relying on the expertise of those making the copies doing a good job2  Later on, as stereo became all the rage, many earlier mono recordings were “electronically rechannelled” to mimic stereo, with varying results.

Charles Ives in Quad??? Wow, I’ve got to hear this! it turns out there are two types of Quadrophonic sound- both using 4 speakers arranged around the listener- Discreet, which featured different instruments coming from each speaker, and SQ, which this is, which artificially mixed the sound to mimic Quad, and “better suited” to be played on regular stereo equipment.

Next, it was quadrophonic sound, and some older recordings were, once again, processed to imitate quad, though they were originally recorded in stereo. More recently, there has been no shortage of technical innovations for the enterprising record companies to use as a reason (or excuse) to reissue older recordings. It’s gotten to the point that, according to Discogs.com, to date there are 1,099 versions of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band!

Roll over Beethoven. Tell Peter Ilich Tchaikovsky the news.

In my opinion, if you want to hear The Beatles records as THEY intended their Music to be heard go to the source. Get the original releases. Seen here on the verso of the Parlophone CD I showed up top the key information is lower center. Only Producer George Martin (who died in 2016) & Engineer Geoff Emerick (deceased in 2018) are listed in the technical credits. Meaning this CD was made from the master tape without someone else, who wasn’t involved in the original recording sessions, remixing them.

How many copies of it do you have? Why did you buy each of them? There are a heck of a lot of people out there who own more than one copy of Sgt. Pepper’s. And, probably, a heck of a lot of people who own more than one copy of other albums. Extra tracks, on many albums, and/or added documentation are a draw, in addition to so-called “technical improvements.”

What’s rarely mentioned in the rush to market the latest reissue is respecting the Artist’s wishes!

Recently, the record companies have started going back to the original multi-track master tapes and remixing them! Sometimes, reiusses are done under the direction, involvement, or at least the approval of the Artists. Other times, it’s hard to tell if that’s the case or not. As time goes on, fewer and fewer Artists or members of a group, may be living. Eventually, no one who was directly involved in the recording is left. Then what? There is big money at stake in the issuance of product by countless name Musicians or groups for the record companies. Of course, few bring in as much money as The Beatles, and given their enduring popularity, I used them as an example, but my thoughts apply to every recording Artist. Having been a musician, an independent record producer and a record aficionado for over a half century, a few things are clear to me- First, ONLY THE ARTIST knows what they want their Music to sound like. Everybody else who wasn’t involved in the original recording is guessing!

Rock and Jazz aren’t the only Music being rereleased of course. Here is a reissue one of the towering monuments of recorded Music- Glenn Gould’s 1955 recording of Bach’s The Goldberg Variations. His very first album. The 1955 recording was in mono, so much less to mess up here. Ironically, his final album was also Bach’s Goldberg Variations in 1981. The two performances are night and day different! If I could only have one album with me on a dessert island, it would be his 1981 recording. (Last year, Sony rereleased that album with all existing unreleased recordings in a box set to pair this with one, which I have not seen as yet.)

They may be making educated guesses, but they are guessing none the less. Artist’s ideas often evolve over time. Listen to both recordings of Glenn Gould performing Bach’s Goldberg Variations, for example, for proof. They are completely different. Who’s to say what Artist X would do in remixing an album he/she or they made 20 or more years ago? Basing a remix on what someone did before ignores this fact because NO ONE who is not the Artist knows for sure.

Second, when an Artist approves a Musicial “product,” that’s it. It’s finished. Done. The end of the story. It’s not subject to modification at some later date. How many Painters go back and alter a Painting years later? A few. maybe. Not most of them. But, someone else modifying a Painting greatly affects what it is, and opinions about it. It lessens that work in the eyes of Art historians! WHY isn’t that the case with Music remixed by others?

Glenn Gould was a perfectionist, in addition to being eccentric & unique. I’m left to wonder how he would have handled these reissues of his Goldberg Variations recordings, and IF he would have permitted the extra material, which was rejected in the first place, to be released at all! Surrounding his original masterpiece with 6 other CDs of rejected material may serve to diminish the effect and impression of the final album. The material should be preserved for historians, but releasing it to the public is highly questionable in my opinion.

Third, If someone who wasn’t part of the original recording remixes an album, it’s their vision of the Music, in my view. Their interpretation. If I want to hear The Beatles, I go to the original recordings they themselves made and were involved with producing and mixing (with Sir George Martin). Period.  

I bet no Musical Artist working in the 1960s, say, was ever approached with the following questions- “Is it ok with you if, at some later date, we remix your Music?” “Is it ok with you if, at some later date, we “electronically modify” your Music?”

What do you think the answers would have been?  “IF I’m involved in it, and personally approve the results,” might be the answer I would expect to hear most often. A LOT of time, work & care went onto getting things just right in making that original final mix and final master. To let someone else change it later? In my opinion, it’s outrageous. 

The reasons that these questions aren’t foremost on the minds of most Music listeners is, first, the Artist’s name is on it. It’s easy to assume the Artist approved anything with their name on it. That’s increasingly becoming up for debate! Then, in my view, some are too busy worrying about things that, frankly, are not as important! Be it CD vs Vinyl, or the new 40th anniversary edition with extra tracks and a 200 page book, with new mixes by the son of someone who was involved on the original record. Even how “good” something recorded in 2022 sounds compared to something recorded in 1999, 1969, 1959 or 1929. (Yes. I don’t think that’s as important.) Meanwhile, the original version, the one the Artist’s created & approved slips into oblivion, only to be found in the hands of astute collectors who spend time and money seeking out the original version.

IS THIS WHAT IT’S COME TO?

Terry Gilliam’s masterpiece, Brazil, in the Director Approved Special Edition DVD set from the Criterion Collection.

In books, 1st editions are the copies most valued. In Film, companies are issuing “Director Approved” versions and they receive the highest respect. This doesn’t always happen in Music. Why?

Simon & Garfunkel, Old Friends compilation and rerelease with extra tracks. I’m showing this without condemning or recommending it as an example of the difficulty the buyer faces in trying to understand just exactly what they’re buying.

When you buy an album, CD or digital album, look carefully at the fine print. You often have to look VERY long and hard to find out exactly who created the copy you hold in your hands. The Artist’s name may be on the front of it, but it’s the “other names” on the back, or inside who produced it and mixed it that are important, too, in my view. In 1995, I recorded a live Jazz quartet: alto sax doubling on flute, piano, bass and drums. When I shopped it to record labels, one very respected Jazz label (run by a Musician) offered me a considerable sum for it. On one condition. They wanted to replace the drummer. The drummer happened to be a “name” in Contemporary Jazz who won a Playboy Poll a few years earlier and had 11 solo albums out under his name. The Music was recorded in, basically, a one room studio with baffles set up to allow separation in the recording. The album was recorded live in the studio! The sax was in a separate booth, but there was still bleed from each instrument into the mics of the others. HOW was this label going to extract the existing drum track and substitute heaven knows whatever they had in mind? I refused out of hand. Frankly, it was the most ridiculous thing I ever heard! Their wanting to put “their stamp” on it was the only reason I could ever come up with. In the end, the label the drummer had been recording for subsequently picked up and released the album.

Detail of the hype sticker on the upper right of Old Friends. Read it carefully.

Now, I wonder…What will the record companies be re-releasing in 50 years? “New mixes by the son of the son of someone who knew a guy who was next door when they made the record?”

All the while, the most important thing is being lost. As time goes on, it becomes harder and harder to find those original mixes- the mixes the Artist’s created and/or personally approved.  Pick an Artist. Now, look for their original recordings, on whatever format you prefer. If you are into “vintage vinyl,” it’s easier to find them. Most pop/rock records in the 1950s, 60s, 70s, and 1980s were initially released on vinyl. Look for the first release and you’re gold.  If you listen to CDs, it begins to get tricky.

Notes from the Old Friends reissue producer who wasn’t involved in the original recordings.

There was an initial outrage when CDs came out because many of them sounded inferior to the original vinyl release. They usually retained the original mixes because the remix fetish hadn’t taken hold yet, but they often used 2nd, 3rd, or 4th generation 2 track master tapes to produce the CD with, resulting in inferior products. Whatever format you’re buying, spend a moment to look for the technical credits. It should be spelled out somewhere in the liner notes or credits. You have to compare the credits side by side (or listen to them A-B) to know for sure. 

The fine print. Rerelease credits on Page 34 of the Old Friends Booklet. According to Discogs, Vic Anesini has been at Columbia Records since 1988. Simon & Garfunkel’s last studio album, Bridge Over Troubled Water, was released in 1970.

In my view, there is a lot to be said for finding the original mixes. Most importantly, THEY ARE WHAT THE ARTIST INTENDED WE HEAR! If you love that Artist, in my opinion, you should respect their wishes and seek out what they created.

Legendary Blue Note Recording Engineer Rudy van Gelder was so involved in all steps of a record he often inscribed his name in the dead wax of Blue Note Lps as evidence of his involvement. He has done so here, on a copy of Andrew Hills’s classic album, Judgement. Many years ago I wrote to Mr. Van Gelder to see if I could work for him. He never replied.

Age is a fact of life. Every one and every thing gets older. Nothing stays new forever. Sooner or later every piece of Music ever recorded is going to sound “old” compared to the latest technology. The record companies are selling “new” in the face of this. With each passing day, every record ever made gets older. There’s nothing anyone can do about that. Listener priorities need to change. Technical limitations are not the point. Expensive audio equipment will make these recordings sound as good as possible, but they may pale alongside recordings made in 2023. Of course, recordings made today should sound “better,” but in all honesty, due to the mastery of the brilliant producers and engineers of the past, like Sir George Martin, Rudy van Gelder, or my Grammy Award winning friend, Engineer Benjamin J. Arrindell, they often don’t, at least to me.

Three version of an etching by Rembrandt. Over time, he was fond of changing his Prints, as you can see here, particularly in the backgrounds. This also highlights an Artist’s changing view of his work over time! Rembrandt’s etching plates survived him and some are now in private hands, 350+ years after his death in 1669! Suffice it to say that prints made now from Rembrandt’s plates are not taken seriously by Art historians. I believe that once the dust settles and people assess what’s going on, the same will be true of remixed albums made by folks who had nothing to do with the original recording. Seen here shown in a darkened gallery to protect the light-sensitive Prints at Rembrandt’s Changing Impressions, in 2015 at Columbia University.

My concern is that these changes will start to erode the cultural legacy these Artists have created. How many pieces can you add to, say, Michelangelo’s David, before you diminish what it was? Even adding a fig leaf did that. Record companies are playing to the desire for “new releases” by Artists who may be long dead. I remember the day Jimi Hendrix died and, along with the towering loss of the man and his genius in his prime,  the incredible sadness that there would be no more new Hendrix to go with the 3 studio albums he recorded and released by the time of his death. You wouldn’t know that from looking at his catalog now! A steady stream of releases have come out under his name ever since, and no doubt will for Prince, too. Personally, I’m not sure any of them have added to his stature. In my opinion, the release of material possibly already rejected for release by an Artist can serve to diminish their overall accomplishment.

It also brings up a bigger question- DID JIMI HENDRIX, or any Artist this has happened to, WANT THIS MATERIAL RELEASED TO THE PUBLIC?

So, LET THE BUYER BEWARE! There are many albums reissued each year. Every case is different and needs to be carefully assessed. For me, I’ll listen to the Artist approved recordings & mixes on the best equipment I can, and I’ll be perfectly happy with it because I’m listening for the Music. Everyone else can decide what their priorities are and make educated decisions accordingly.

Business, as usual. A local record and book store in action, 2023.

“Industry rule number four-thousand-and-eighty; Record company people are shady So kids, watch your back ‘cause I think they smoke crack I don’t doubt it, look at how they act.”*

*- Soundtrack for this piece is “Check the Rhyme,” byPfife Dawg, Ali Shaheed Muhammad & Q-Tip of A Tribe Called Quest from their classic album, The Low End Theory, 1991.

I’m pleased to announce that you can support NighthawkNYC by buying Lps and CDs from my personal collection 40 years in the making! Mostly Jazz Lps are listed here. Mostly CDs of all types of Music are listed here. Art books & Fine Art from my collection may be seen here. NighthawkNYC.com has been entirely self-funded & ad-free for over 7 years, during which over 275 full length pieces have been published! If you’ve found it worthwhile, PLEASE donate to allow me to continue below. Thank you, Kenn.

Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

  1. He had been experimenting with multi-track recording using discs in the 1930s. ↩
  2. More recently, in the digital era, this is less of an issue, but it still is one. Digital copies are supposed to be exact copies. People assume the digital master copy, which won’t disintegrate but it is subject to shortcomings of its own, was made from the original master tape. In many cases in the CD era, it has come to light later that in the rush to market it wasn’t. ↩

NoteWorthy Art Books, 2020

Written & Photographed by Kenn Sava

While PhotoBooks have been an all-encompassing passion of mine these past four+ years (though of course I had some earlier), Art Books have been a passion ever since I first saw one, or, for over half a century. Before I could go to a gallery or museum, here was a way to see all, or a selection of, the work of an Artist or a group of Artists- in one portable package. I was instantly fascinated by that, and I still am. Yes, physical books because Art, or Photo, eBooks are few and far between- still. The quality of the physically printed Photo, or Photo of a Painting, is still unsurpassed. In 2020, museums and galleries were closed for much of the year all over the world. For me, and perhaps innumerable others, Art Books were there, 24/7, to provide a means of exploring, seeing and studying Art. Fittingly, as they were for me before I was able to go to shows in person, this year, in my world entirely without any other people for 11 months, Art & PhotoBooks were my sole companions.

Having presented my NoteWorthy PhotoBooks, 2020, (as well as in 2019, and 2018), this year,  I’ve decided to also present my thoughts on the Art Books I’ve seen in 2020 that I most highly recommend for the first time. All of these books, I highly recommend, so I’m not picking one out of them as “most highly recommended.” Here they are-

NoteWorthy Art Books of the Year, 2020

Philip Guston Now, DAP/National Gallery of Art, and
Philip Guston: A Life Spent Painting

After a gap of 15 years between retrospectives of his work, two excellent overviews of Philip Guston’s remarkable oeuvre are published in one year. Deciding which one to get is hard. Both have a lot going for them. For someone looking for one book with the most images in the largest size, along with one of the finest texts of Robert Storr’s career, Philip Guston: A Life Spent Painting is the choice. For someone looking for the only place to see the most controversial show of 2020, now postponed to 2024, along with an equally excellent text, Philip Guston Now is an excellent choice. For the serious Guston aficionado, the only choice is to buy both. For someone already familiar with Philip Guston’s work who wants to learn more about his work, either book will provide countless fresh insights.

Philip Guston: A Life Spent Painting may be the finest achievement in the long career of author Robert Storr. Yet, I give special credit to Philip Guston Now for being one of the most remarkable exhibition catalogs I’ve ever seen. Personally, I find its text by co-curators Mark Godfrey, Alison de Lima Greene and Kate Nesin, to be nothing short of brilliant both in its content and how it flows seamlessly from period to period through the Artist’s long career, treating the whole in a fresh way. This, alone, would be enough for a high recommendation, but the book is taken to another level by the addition along the way of pieces by 10 Contemporary Artists- William Kentridge, Glenn Ligon, Tacita Dean, Peter Fischli, Trenton Doyle Hancock, David Reed, Dana Schutz, Amy Sillman, Art Spiegelman and Rirkrit Tiravanija. Most provide unique insights into specific works by Philip Guston and a number of them directly address the “hooded”/klan works, the focus of the controversy around the show the book was published to accompany.

Dana Schutz’ Essay in Philip Guston Now.

The show, also titled Philip Guston Now, was first postponed due to covid to July, 2021, then  controversially postponed, again, to 2024 by the National Gallery of Art, Washington; the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; and Tate Modern, London, where it is scheduled to be mounted. “We are postponing the exhibition until a time at which we think that the powerful message of social and racial justice that is at the center of Philip Guston’s work can be more clearly interpreted.1.” Like many others, I am at a loss to understand that statement. On the one hand, it denigrates the intelligence of visitors. On the other, what if 2024, isn’t that nebulous “time” the message speaks of under whatever unmentioned criteria they’re using to determine it? However, the show’s catalog did come out this year in anticipation of the originally scheduled opening. Its inclusion of the featured pieces by those 10 Contemporary Artists is exactly the kind of thing Art monographs need more of, in my view, as they struggle to remain relevant- given how many other books already exist on most Artists, and the large expense involved in creating them in what may be increasingly challenging times for museums who, largely, publish these books.

The reproductions of the Art in Philip Guston Now only adequate in terms of quality, in my opinion, are best used for reference to the points large and small being made throughout the text. Some of the Art is reproduced one image on a page with a copious border, others are 4 to a page. It does include new Photos taken in Philip Guston’s studio, which appears to be largely as he left it. The other big reason for getting this book is to see the works in, and to have a record of,  this important show, so you can prepare yourself to see it, IF it ever opens. Also important to note- many works will not appear in each of the four scheduled stops the show will make. So, the catalog is the only place to “see” the whole show.

The large 13.35 by 11.5 inch pages create an almost 27 inch spread making the images in Philip Guston: A Life Spent Painting the largest in any Guston book to date, and with over 850, the most images in any Guston book as well. This will make it a slam dunk choice for many, but take a look at both.

The illustrations are better and more numerous (850) in Philip Guston: A Life Spent Painting, whose 13 1/2 by 11 1/2 inch size is more accommodating close study. Get that book for the best current overview of the Art. As for its text, Robert Storr contributes one of his finest efforts, apparently the results of many years of work. As good as the text in Philip Guston Now is, Mr. Storr’s doesn’t take a back seat to any Guston book I’ve seen to date, which is why a recommendation for both books is the only one I can give at this point. They join Philip Guston: Retrospective, published by the Modern Art Museum of Fort Worth in 2003, to accompany the last major retrospective of his work and now out of print, my go-to Guston book to this point, as standard references to the work of this enduringly contemporary Master.

Drawing for Conspirators, 1930, Graphite pencil, pen and ink, colored pencil, and wax crayon on paper, seen at the Whiney Museum in July, 2015, in America Is Hard To See, the most recent showing of this work. A number of the essays in Philip Guston Now reference this work.

Before continuing, I feel I must briefly address the controversy centered around the show’s inclusion of Philip Guston’s klan Paintings. I’ve been somewhat surprised that the attention seems to focus on his late klan pieces. I think it’s important to remember that they go back to when the Painter was about 18. In Philip Guston Retrospective, the backstory is relayed on pages 16 & 17. It begins by quoting Mr. Guston-

“I was working at a factory and became involved in a strike. The KKK helped in strike breaking so I did a whole series of paintings on the KKK. In fact I had a show of them in a bookshop in Hollywood, where I was working at that time. Some members of the klan walked in, took the paintings off the wall and slashed them. Two were mutilated. That was the beginning.”

(The text then continues) “The Ku Klux Klan, also known as the Invisible Empire, had a significant membership in California in the 1930s and 1940s, and Los Angeles County was its most active Klavern. Guston and several other of his friends also painted portable murals for the John Reed Club on the theme of ‘The American Negro.’ Guston’s submission was particularly volitile. Based on the Scottsboro case, in which nine black men were sentenced (many said on false and circumstantial evidence) to life in prison for raping a white girl. Guston’s mural depicted a group of hooded figures whipping a black man. The murals were eventually attacked and defaced by a band of ‘unidentified’ vandals. The experience of seeing the effect of art on life and life on art never left Guston, and the unsettling image of the hooded figure was branded into his visual imagination.”

In the 1930s, in addition to strike breaking, the klan also targeted Jews. Philip Guston, originally Philip Goldstein, was Jewish. Of course, their main target were Blacks.

Artists don’t live in the nebulous times those 4 museum directors speak of in their postponement statement. They live, work, and often respond to, the times of their lives. Philip Guston lived long enough to see that racism was deeply embedded in the fabric of American life, possibly even in his own life. I believe those are things that may have influenced his later hooded figure/klan works, though they are for each viewer to interpret for his or herself. If this ins’t the time for all of us to look inside at ourselves and see how we can be better, how do we know 2024 will be a better time to do so?

NoteWorthy Art Book of the Year, 2020

Noah Davis, David Zwirner Books. An early candidate for the most important new Art monograph of the new decade might be hard to top for that title in the next 9 years. Noah Davis passed away of cancer at the very young age of 32 on August 29, 2015. Still, the amount he accomplished and the work he created in such a short life will live on indefinitely. Editor Helen Molesworth was Mr. Davis’ personally chosen curator, and she curated the show that opened earlier this year in NYC, which  I wrote about before it moved to The Underground Museum, L.A.., which Noah Davis founded with his wife, the Artist Karon Davis. The text includes interviews with those who knew Mr. Davis, including legendary Painter Henry Taylor, Deana Lawson, Lindsay Charlwood, Dagny Corcoran, Daniel DeSure, Thomas Houseago, and Venus X by Ms. Molesworth. Only the second book on his work thus far, it will remain the standard reference for the time being, and a standard reference regardless of what else comes out on one of the most important Artists of  our time. It’s only too bad Mr. Davis didn’t live to see it. Noah Davis was not only an extraordinary Painter, he was one of the Artistic visionaries of our time. He showed it was possible to succeed as an Artist without gallery representation, and then he audaciously founded his own museum to serve audiences he felt were being left out by the existing museums. Generations to come will be influenced and inspired by his Art. Generations of Artists will be, also, influenced by his example. 

From 2020, let’s set the wayyyyy back machine back to the very first Art Book to captivate me when I was a kid was Rembrandt: His Life, His Work, His Time, by Bob Haak, published by Abrams in 1969. A large (13.5 by 11 inch), 348 page hardcover, with 612 illustrations including 109 hand-tipped color plates, it had these words on the front flap-

“There emerges, in this book, a Rembrandt who is human, fallible, majestic- a man who went through all the common vicissitudes of life and yet was determined to remain true to himself as an artist.”

I’d never seen anything like it. Here was an entire world, the entire life and work of an Artist that just exploded in front of me, singeing my mind as I turned each page, as Rembrandt’s wondrous turned painfully sad life went on, accompanied by the Artist turning his hand from Painting to Drawing to Prints, and back, each among the supreme works done in the medium by anyone, before or since. Most of all, it was the incredible humanity in his Art that has stayed with me to this day. He rendered everyone, from beggars to the exalted, babies and the very old, and foremost among them, he rendered himself, continually throughout his career, from early on, until near the end, creating a body of Self-Portraits, the like of which the world had never seen. Those words on the flap turned out to be the key! As the years went by, I began to understand where that unequalled humanity in Rembrandt’s work came from. Such is the power of a truly great Art Book.

Fast forward a half century to 2020 and the release of 3 great books on the Master, each one of my NoteWorthy Art Books, 2020…

The heavyweight champions. The Complete Paintings weighs in at 17.78 pounds, The Complete Drawings & Etchings at 14.99 pounds.

Rembrandt. The Complete Paintings, Taschen XXL Series
Rembrandt. The Complete Drawings & Etchings, Taschen XXL Series
Rembrandt. The Self-Portraits. Taschen XL Series. Nothing more needs to be said- These will remain THE standard visual reference books for Art lovers on the work of the foremost Painter of humanity in this house for the foreseeable future or until the experts change their minds, yet again, on what is, and what is not, from the hand of the Master and deserves to be included. And you know they will (though not the last WORD, for that Gary Schwartz’ amazing books on Rembrandt will retain their prominence in this household). Again. In the meantime, bliss out in peace. Even Mr. Schwartz approves in an Amazon review2. With all due respect to the esteemed authors, in my opinion, these books would be closer to “perfect” if they had his contributions. Photography, paper, binding, finish are first rate all around. 

After all these years, well into the age of the selfie, this first body of Self-Portraits still remain at the top of my list of favorite Art works.

It’s a bit bold of Taschen to publish these books given the still in-flux state of what exactly is a Rembrandt, and given that the esteemed publishers have not yet issued a revised version of any of the XXL books. My guess is they felt the completion of the Rembrandt Research Project’s work, published in a six volume set, the last in 2014, provided an opportunity for a collection. I’ve recently heard of at least one change to the accepted canon, but for better or worse, anyone wanting to see the most Rembrandt in a large size will be left with these three books as the best option for the foreseeable future.

Jean-Michel Basquiat, Taschen XXL Series
As I just got through saying about the original Dutch Master, if you want to see as much of the work of the late New York Master, Jean-Michel Basquiat as possible in one volume, as LARGE as possible, Taschen’s XXL Jean-Michel Basquiat is the only book for you. Yes, another Taschen XXL on this list this year. Look at the $200. list price (for this and for each of the Rembrandt Paintings and Drawings books) this way- You’d have to spend a large fortune to travel to the world to see all the Art contained in one of these, IF the work happened to be on view. Even then, you won’t get to see it this close up in what is usually, very good to excellent Art Photography. And consider that much of the key work of Jean-Michel Basquiat is in private hands because the museums were slow to accept and buy his work. They missed the boat. Private collections rarely show or lend their work making the chances to see more than 5 Basquiat Paintings anywhere at any time extremely rare! That’s exactly why I spent so much time running around seeing the 5 Basquiat shows mounted here in NYC last year. My pieces on them are here. In all that effort, I still only saw about 130 or so pieces!

David Hockney: Drawing From Life, National Portrait Gallery, London
The incredibly prolific Mr. Hockney has had a life long obsession with Drawing. That alone makes him a man after my own heart. I’ve followed along with his Drawing evolution with empathy. He’s often spoken of the challenges of Drawing and man, could I relate to them, as I spent 3 days every week Drawing at The Met for about a decade. Sometimes, I’d look at his Drawings and I could see my own efforts. But, most times I looked, he was light years beyond me. His use of an incredibly wide range of Drawing tools and media is unprecedented among major Artists 0in Art History- everything from chalk to graphite to the iPhone and iPad. With each new tool he found his own way, and achieved remarkable results (like his huge, multi page iPad Yosemite Drawings) that are all the more remarkable for being instantly recognizable as David Hockneys. He’s also been proflic in the number of books published on his Art. Yet here is the first collection of part of his Drawing oeuvre this century (the David Hockney: A Drawing Retrospective, 1996, the last overview I can recall). It’s wonderfully done and ingeniously designed, with chapters following the Artist’s evolution of a single subject each, culminating in his Self-Portraits. Published to accompany the show of the same name at the National Portrait Gallery, London, it’s a remarkable book that due to its ingenious concept has an unexpectedly personal feel to it- as you turn the pages, you begin to feel you know each subject. It’s particularly recommended to Drawing students and lovers of the endangered Art of Drawing.

Francis Bacon or The Measure of Excess by Yves Peyre, a friend of Mr. Bacon’s, stands in front of the new monograph on Cecily Brown. Cecily’s father, David Sylvester, was also a long time friend of Bacon’s and gave us the enduring classic Interviews with Francis Bacon.

Francis Bacon or the Measure of Excess, Yves Peyre, ACC Art Books.
Slowly, steadily and continually, the late, great British Artist has now established himself in the upper echelon of Artists I am absolutely obsessed with. To the point that the LAST thing I need is ANOTHER Francis Bacon book. I’d never heard of Yves Peyre, though the cover says he “was a close friend of the artist.” He’s also a poet and has authored a book on Henri Michaux. Well, some of Mr. Bacon’s other friends have already given us books on Mr. Bacon, from David Sylvester (Cecily Brown’s dad, who’s Interviews with Francis Bacon remains most essential) and Michael Peppiatt, down, including another poet, Michel Leiris, and most of them are quite good and have held up for a few decades already. Some of them also offer quite good collections of reproductions of Mr. Bacon’s Art (something EVERY Francis Bacon books seems to need to give us). Yet, as a one volume overview of Francis Bacon’s career with excellent, full 11.73 by 9.83 inch page reproduction, Francis Bacon or the Measure of Excess is my current recommendation and personal choice as a one volume visual reference. The texts of the earlier books remain important, and recommended, summing in a nutshell why it’s VERY hard to have only one Francis Bacon book. Even if you have other books, Mr. Peyre shines the new light of a fresh approach to Bacon, which is somewhat remarkable given how many others have chimed in on his work already, during his life and since his passing in 1992. Of course, if you want THE Francis Bacon publication, the 5 volume Catalog Raisonne is still in print at 1,000 British Pounds a copy, plus shipping. I’ve seen it, and it is exceptionally, even remarkably well done, with Martin Harrison, the foremost authority on Bacon today, astoundingly uncovering 100 previously unseen works (Oh! To find just ONE in a flea market…). The Bacon Estate says it will never be reprinted, and so likely will never be “cheaper.”

Sofonisba’s Lesson, Michael Cole, Princeton University.
Wait. What? Who? Sofonisba Anguissola, 1532-1635, was a female Painter & educator in the Renaissance. Believe it or not, a female Painter in the Renaissance. And a great one, in my view. To say her work has been in eclipse since would be an understatement. I, for one, was unfamiliar with her or her work until I saw this incredible, irresistible face staring out at me from the cover. I doubt I’m alone in that. The Met appears to have nothing by her. Neither does The Frick. Ah, but one person who immediately saw her talent was Il Divino himself, Michelangelo, who informally gave her advice! Nuff said. There is no possible higher recommendation in the Art world than that. Into the gap of knowledge for the rest of us mere mortals steps Michael Cole’s beautifully done, concise, monograph that goes a very long way towards putting her back on all of our maps, where she belongs to stay, in my view, henceforth, as the true Master Artist she was.

As you can see both of these Portraits are first rate, but look at the table covering, left, and the collars and cuffs on the right. For me, there are number of different techniques, even styles, on views in each work and that speaks volumes about the depth of her skill.

At 2.5 pounds, it’s not as big in size or as weighty as the Rembrandt or Basquiat XXLs on this list, yet I admire this book so much that if it weren’t for Noah Davis being released this year, it might well be my NoteWorthy Art Book for 2020. A lesson for all those Artists struggling for recognition today- Sofonisba’s Lesson comes 12 years before the 500th Anniversary of her birth in Lombardy in 1532. Better late, than never.

Goya Drawings, Thames & Hudson/Prado Museum.
Back in the day before Photography with chemicals ruled the world, Drawing & Painting were the primary means by which events of the day were recorded or, along with those past, recreated. Primary among the great Artists who recorded the events of their day remains Francisco Goya. While his The 3rd of May, 1808, is perhaps, his most well-known such work, though we have no way of knowing if the Artist actually witnessed this scene personally. He also created a large body of Drawings the scope of which, and the humanity of which, only Rembrandt’s can equal in my mind. Like the original Dutch Master, Goya’s Drawings magically capture a pose or an expression in an almost impossible economy of line, while looking for all the world like they were done quickly, without second thought. Ahh…Drawing at its most sublime. 

2020 saw the release (or at least the availability in this country) of two excellent Goya Drawings monographs, both of which are published by no less than the Prado Museum, home of the world’s finest & most comprehensive Goya collection, one of which is a NoteWorthy Art Book for 2020. Goya Drawings immediately becomes the choice resource for the lay reader, the Drawing or Painting student or Artist, and for the serious Goya student. A remarkable overview that does not scrimp on detail, insights, or the number of color images, in manages to stay concise and succinct. I picked it and didn’t know what to make of it from very generic front cover. “Goya Drawings”? That’s a huge subject for such a small book. Once I opened it I could not put it down. Sure enough, his Drawings over his entire career are covered, period by period in depth, and while not each and every one is covered, the overview is broad enough to convey the big picture  but can be dipped in to at any point for a closer study of any one work, which is written about on the page with its illustration- quite rare in a comprehensive book like this, and an indication of its superb design.

Finally, along with the other Goya Drawings book they published this year, Francisco de Goya: Cuaderno C (or Sketchbook C), which reproduces in facsimile one of his sketchbooks, both books are part of the Prado’s continued effort to make its Goya riches available to the public, online for free, and in these two modestly priced and superb books, Goya Drawings was released in honor of it’s 200th Anniversary in November, 2019. Bravo!

I Am Still Learning, c.1825-8, Lithographic crayon on grey laid paper,  on the next to final page. Goya was about 80 when he Drew this symbolic Self-Portrait. A fitting culmination to an immortal career, …and to this piece as words to live by.

Afterword/Forward to 2021

We’re not out of the pandemic woods yet. It might be a while before we are. I hope and pray not a long while. We shall see. Still, many smaller businesses have permanently left us. Many others are hanging on. I have been staying to myself this year, which means living in complete isolation for all of 2020. Yup. You read that right. I will only go into an enclosed space if I have to. Still, I have made very brief journeys into local bookstores, and peered in the window from the street of others, to see how busy they were. Frankly, what I’ve seen is very scary. Throughout the week, you could roll a bowling ball down the aisle of almost any bookstore here and hit no one. On the weekends, they’ve been closer to normal. Part of that is, no doubt, early holiday shopping. Still, the big takeaway for me is that the time is now- today and 2021, to support independent bookstores if you want them to survive. Many of the books and Artists I discover each year (and have my entire life) I’ve discovered browsing books in bookstores- including Rembrandt: His Life, His Work, His Time, by Bob Haak, shown earlier, 40 years ago. You can’t do that online. I’ve been waiting for eBooks to begin to replace physical Art & PhotoBooks for many years now. As 2020 closes, it doesn’t seem that we’re any closer to that than we were 5 or 10 years ago. A high quality eBook could replace most Art books published today- IF the image quality was comparable. They’re not. Screen image quality is nowhere near that of printed image quality. Then, there are Artist’s Books and PhotoBooks. Many of both are painstakingly crafted in every single detail, down to each material used, which no cyber experience can match. These books are often works of Art in themselves, and for many Artists & Photographers who don’t have gallery representation, they provide a primary focus for having their work seen on their terms, the way they intend it to be seen. Physical books in general have a charm and provide a tactile experience no eBook can match. If you value books, like I do, consider supporting your favorite local indie bookstore in person or online. While you can.

*-Soundtrack for this Post is “Better Days Ahead,” by Gil Scott-Heron & Brian Jackson from the album Secrets, 1978…

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  1. Here. ↩
  2. With a caveat on the Drawings volume, so he went ahead and created a concordance to ease referencing the new Schatborn reference numbers Taschen’s behemoth uses to refer to the work to the standard Benesch numbers, available here! ↩

Jean-Michel Basquiat: Now’s The Time

Written & Photographed by Kenn Sava (except *)

Part 1 of a series.

It’s hard to believe that not even 40 years have passed since Jean-Michel Basquiat burst upon the Art scene, (after his career as part of the legendary graffiti duo SAMO©), when the month long The Times Square Show opened 39 years ago on June 1, 1980 at 201 West 41st Street. Just eight years, one month and eleven days later, on August 12, 1988, he would be found dead from a heroin overdose at the infamous age of 27 at his home and studio at 57 Great Jones Street.

What appears to be an anonymously applied silhouette of the late Artist looms large here at the one time stable at 57 Great Jones Street, NYC, seen in May, 2019. Back in the day, it was owned by Andy Warhol who rented it to Jean-Michel Basquiat, who lived here from 1983 until he died here on August 12, 1988. His studio was on the ground floor, his living quarters upstairs. By the way? In an interview with Becky Johnston and Tamra Davis, Jean-Michel Basquiat said, “I don’t really consider myself to be a graffiti artist, you know?1” That might surprise those attempting to cover every square inch of the building now.

He didn’t live to see the Art market crash (unrelatedly) the following year, from which it has since recovered and grown many, many fold larger than it was during the bubble of his day, nor did he live to see the end of the controversy around him and his Art. It’s never subsided-

He Was Crazy, 1979, Mixed media on canvas, all of 5 x 3 inches, the earliest and smallest work on view at Jean-Michel Basquiat / Xerox.

-Robert Hughes titled his obituary “Requiem for a Featherweight.”

-“He was essentially a talentless hustler…,” according to Hilton Kramer in a piece titled,  “He had everything but talent” in 1997.

-“Come on…Basquiat? Really? Sort of an art hoax. Just the incoherent rantings of a tortured soul obsessed with drugs and a deluded quest for acknowledgment, which he did achieve. Doesn’t make it good.” A direct quote from the comments more recently here.

Yes, there are still plenty of haters hating on the work on Jean-Michel Basquiat.

The now infamous cover of The New York Times Magazine from February 10, 1985 by Lizzie Himmel shows the Artist in his studio. The article, by Cathleen McGuigan, included a look at the Artist that seems surprisingly balanced today given all the controversy surrounding him at the time.”The extent of Basquiat’s success would no doubt be impossible for an artist of lesser gifts,” she wrote.

On the other hand, there are the countless other members of the Art viewing public for who Jean-Michel Basquiat’s work has continued to speak since he started making it, and Painting that speaks to people over time is what comes to be accepted as “Art” a few centuries on it seems to me. Yet, the Art viewing public is not the only group divided on the work of Mr. Basquiat. On page 44 of the book, The Art of Jean-Michel Basquiat. Fred Hoffman, one of the curators of the 2005 Brooklyn Museum Basquiat Retrospective and a man who produced prints with Jean-Michel Basquiat (J-MB henceforth) for 2 years, writes, “Herbert and Leonore Schorr offered the Museum of Modern Art the opportunity to choose a painting from their collection as a gift. The museum replied that having a painting by Jean-Michel Basquiat was not even worth the cost of the storage.” On May 26, 2017, this quote appears in the New York Times, “‘It’s an artist who we missed,’ said Ann Temkin, the chief curator of paintings and sculpture at the Museum of Modern Art, which does not own a single Basquiat work2. ‘We didn’t bring his paintings into the collection during his life or thereafter3.’”

6 year old Jean-Michel Basquiat’s membership card to the Brooklyn Museum. It’s not well known that J-MB was an avid museum goer, attending the Brooklyn Museum and later, frequenting The Met with his friend Fab5Freddy. Credit 2015 The Estate of Jean-Michel Basquiat/ADAGP, Paris, via ARS, New York; Hiroko Masuike, via The New York Times.

In fact, as I write this? Of NYC’s “Big five” museums, only the Whitney owns a Basquiat Painting- they own 3, according to their online collection catalogue (none are currently on view as of my last visit, this past month. Also, I should note that among the 5 Manhattan museums The New Museum has no permanent collection. By the way, The Brooklyn Museum owns one print, seen below, and a Drawing.)

None of those feelings were mine though I wasn’t a “fan” of the work of Jean-Michel Basquiat. Then, as now, I was focused on Artists I felt were overlooked. My feeling in the 1980s was that too much money was being spent on, and too much attention given to, Contemporary Artists with no track record. Artists whose work hadn’t stood the test of time, hadn’t stood up to critical, and historical, assessment, whose work wasn’t in major museums, and on and on. By default, though not in particular, that included the work of J-MB. Still, I’ve always kept an open mind. There are very very few Artists or Musicians who’s work I will never, ever love- no matter what. But, there are some. Hitler was a painter- lowercase “p” for once- remember?

May 12, 2005. The only picture I was able to get (quickly) just outside the Basquiat Retrospective at the Brooklyn Museum, since pictures were not permitted inside. Back of the Neck, 1983, Screenprint, right, seen in the lobby and the show’s poster to the left. Glare was a problem in 2005, too. You can see the show in official shots, here.

So, on May 12, 2005, I went to that Brooklyn Museum Basquiat Retrospective that Mr. Hoffman was a curator of. When I got home, I wrote, “His work still doesn’t speak to me, beyond the fact that I so admire his freedom. The show was very well done.” I also came away struck by his love of Jazz. Anyone who loves classic Jazz is OK with me. I also remember being surprised at how prolific he was in such a short time, which reminded me of Van Gogh, who’s Painting career lasted only about a year or so longer. Looking back on it now? My head was elsewhere. I was drawing on a daily basis in a representational style, and so I was lost studying Ingres, Hopper, Richard Estes and Rembrandt, who I had recently gone to Chicago to see a show of. But? Having bought one at the show, I began wearing T-shirts with Jean-Michel Basquiat’s Art on them. His work just fits walking around NYC.

Untitled, 1980, the white on yellow original of which is in the Whitney Museum’s collection, is a work that was shown at New York/New Wave in 1981 at MoMA PS1, now appears on a Uniqlo SPRZ NY Women’s T, seen in June, 2019.

Slight digression- I’m not for giving a free ad here, but I must give props to Uniqlo for putting the Art and cover Art of so many great Artists and Musicians4 on their SPRZ NY line of T shirts. Some of the Art line is co-sponsored by MoMA. In turn, Uniqlo pays for the free Friday nights at the MoMA, which countless thousands attend each week. Uniqlo has continually featured J-MB’s work on their clothes, in spite of the problematic history of Basquiat and MoMA. Fred Hoffman in The Art of J-MB (P.175, footnote 2) relates this story about Untitled, 1983, a limited edition print of 10 copies he did with J-MB- “Untitled was given to the Museum of Modern Art in 1984. After it was in the catalogue for the MoMA 1984 exhibition An International Survey of Painting and Sculpture, the work was completely overlooked by the museum, and excluded when the museum first put its collection online. It was not exhibited in the galleries until 2015. Only with the collaboration between MoMA and Uniqlo beginning in 2014, when a cropped image of Untitled was used as the signature image for the marketing of the ‘SPRZ’ collection of iconic artist images applied to clothes, did the museum finally recognize the work as part of its collection.” 2015! To this day? I still wear Uniqlo J-MB T’s, even though I wasn’t a “fan.” End digression.

Jean-Michel Basquiat appears to be admiring  Nick’s Basquiat tattoo in one of Alexis Adler’s Photos of him at Bishop Gallery. Nick is an Art Teacher.

Ok. So, who’s “right?” The haters, the non-believers, and the NYC museums, who, unanimously, minus one, passed on acquiring his Paintings? Or, the incalculable number of members of the Art loving public to who the Art of J-MB speaks, perhaps, like that of few other Artists today, judging by how often I see others wearing his Art and icons, along with the innumerable Artists who’ve been influenced by his work, and those few collectors who bought up the bulk of his best work shortly after he created it?

All I can show you- pictures were not allowed in the show.

Fast forward. On May 7th, 2019, I went to see Picasso’s Women at Gagosian on Madison. It’s one of those shows that, though small, reminds you, as if you need to be, why Picasso was one of the towering creative geniuses of 20th Century Art, in my view. Each and every work is in a different style, and most were masterpieces. Yet, it’s a show that will only live on in the memory of those who saw it as no photos were permitted. I walked out through the building’s lobby, my head spinning. Just before I exited, next to the front door, I spotted this-

Minutes after I saw this poster my mind began to change.

Jean-Michel Basquiat / Xerox. I asked the guard where it was. “On 3,” he replied. Still recovering from Picasso, I pondered if I could clear my head enough for about 5 seconds, then I went back in and went up to Nahmad Contemporary on 3.

3 hours later, I left, realizing I’d never really seen the work of Jean-Michel Basquiat before. I had missed it. In Xerox, the term “Painter,” all of a sudden feels too small, even for an Artist notorious for getting paint everywhere- including on his multi-thousand dollar Armani suits, as can be seen in the infamous cover of The New York Times Magazine shown earlier.

But, this is a show that features his under-known multimedia works that include photocopies- color Xeroxes being one of his favorite tools, one he loved so much, he bought his own color Xerox machine. (I’m sure there are many others, but right now? I can’t think of many Artists who made color Xeroxes as big a part of their work- particularly Painters.) As a result, here images recur- his own images, exclusively, which is down right refreshing in this age of copious “reappropriation.” Drawings or Paintings that the Artist has Xeroxed and pasted onto canvas which he then proceeded to add to and modify in any number of ways, including Paint on.

Installation view. I was completely unprepared for the depth and endless detail in this body of work I had previously not known.

As a result, in Jean-Michel Basquiat / Xerox, we see J-MB the collagist as much as we do the writer, or the Painter. Suddenly, his work looks different. The figures recede, words come to the fore. Many, many words.

Odours of Punt, 1983, Acrylic, oilstick and Xerox collage on canvas, 40 x 83 inches

Odours of Punt, 1983, was one of the first works in Xerox and it was one of the first works to get to me. A “non-fan” up to that moment, something clicked in me when I saw this. In it, J-MB borrows Painting techniques from all over Art History on his way to making something…else. The history of Painting from 1947, on, was staring me in the face, to the left, while something entirely new and different was vying for my attention on the right. On the left, I felt Clyfford Still being channeled underneath Cy Twombly and Jean Dubuffet yet what he created is something distinctly his own- a remarkable thing in itself. And extremely abstract, at least to my eyes. While its right side felt like it was coming from another world, made up of fragmentary images. Neither side would seem to “go” with the other at first glance, yet, somehow, as my eye and brain moved between the two “worlds” of the work, they manage to hold together almost miraculously well. This is something I’ve felt in the presence of the greatest works of Abstraction, including those by, say, Kandinsky, Jackson Pollock from 1947 to 52, Mark Rothko, Jack Whitten, and Mark Bradford today. It’s incredibly hard to do, which is evidenced by the fact that almost none of them (who’s careers have completed), except for Kandinsky, (who was 77 when he passed away, and Painting abstractly for about 35 years), were seemingly able to do it indefinitely. Jackson Pollock seemed “to lose his fastball” in his last few years and his style began to change, and Mark Rothko lost…his life (I’m not saying that’s related to his Art). Perhaps these are only coincidences. J-MB didn’t make it to 30 years of age.

Detail of the upper center.

On the right, equally abstract to me was what seemed to be a new creative language. “BIRD OF GOD,” “VENUS VII,” “COSTOXIPHOID,””BLUE RIBBON,” and on and on, accompanied by innumerable drawings and diagrams. Man, there’s A LOT to see in this! Even now, almost 4 months later? I feel like I’ve only begun to look at it. For only one example- Costoxiphoid is a ligament that connects the ribs. At age 6, J-MB was injured in a car accident. While he was hospitalized (his spleen, i.e. his “filter,” was removed), his mother brought him a copy of Gray’s Anatomy. It would be a sourcebook for his Art for the rest of his life, and possibly here for “1. Cranial Cavity, 2. Facial,…” to the left of center. The title (assuming this is the Artist’s title- many of his works were “named” by others) is also an enigma. “Odours” referring to “any property detected by the olfactory system,” per Merriam-Webster, and “punt” have multiple meanings, including “an open flat bottom boat with squared ends.”

Untitled, left, and Peter and the Wolf, both Acrylic, lipstick and Xerox collage on canvas, both 1985, both 110 x 114 inches, seen from about 15 feet away, the figures in these pieces are almost entirely swallowed up by everything else.

Walking through Xerox, it was impossible not to begin to understand that J-MB‘s work is deep. Deeper than just about anyone has even written about so far. These works contain a staggering, almost obsessive, amount of detail, and details that swallow up the figures, one of the things the Artist is most famous for. Figuring out what’s going on in all of this detail is going to take 2 things- #1, an expert, most likely one who knew the Artist, or #2- A long time.

Not having known Jean-Michel Basquiat, I, like those born after August 12, 1988, can only look at his work and see what it says to me. In a short time, my looking thus far has given rise to some threads that I am going to continue to study.

First among them is Jazz. Being a former Musician, who produced Jazz records and wrote for a national Jazz magazine for 4 years, perhaps I am pre-disposed to spotting them. Fair enough. While many people talk about J-MB and Hip-hop, looking at the work in this show, I failed to see even one reference to it. This struck me, particularly because one thing that stood out to me at Xerox to the point that I couldn’t overlook it was the CONTINUAL, and extraordinary number of, references to Jazz- be it Jazz Musicians, records or song titles. In fact, they were so prevailing, you’d have to look hard to find even one work here without a Jazz reference somewhere in it (which I may, or may not, have).

Untitled, 1985, Xerox collage mounted on panels, 48 x 85 inches.

In Untitled, 1985, a collection of color Xeroxes mounted on panels, the Jazz references are almost overflowing.

Almost right in the middle of Untitled is this portrait of Miles Davis, playing, or holding, his horn.

Fittingly, smack dab in the middle of it is this portrait of trumpeter and bandleader Miles Davis. Which reminds me of this still from a Miles Davis video from the late 1950s-

Miles Davis performing “So What” in a 1958 film called The Sound of Miles Davis in a group that also included the great John Coltrane.

And then there’s the work shown in the Xerox poster, King of the Zulus, 1984-5. “King of the Zulus” is, also, the name of a Louis Armstrong and his Hot Five record from 1926.

The work from the poster seen in the flesh. King of the Zulus, 1984-5, Acrylic, oilstick and xerox collage on paper mounted on canvas, 86 x 68 inches.

Detail of the lower left corner of King of the Zulus. This gives a little idea of the depth of what’s going on in this work.

The lower left corner of King of the Zulus includes a drawing of another Louis Armstrong record, “Potato Head Blues,” which some feel is at the top of the list of his finest recordings (those are some mighty brave folks. Miles Davis once said that Louis played everything you can possibly play on the trumpet. He would know. I’d never dare a guess at “greatest.” It doesn’t exist.). In his 1979 movie Manhattan, Woody Allen (who is also a Jazz Musician) has his character say that “Potato Head Blues” is “one of the reasons that life is worth living.”

Red Joy, 1984, Oilstick and Xerox collage on canvas, 86 x 68 inches.

Later, I came across the transcription of an interview with J-MB by Becky Johnston and Tamra Davis in which Becky Johnston asks him-

“BJ: What music do you like?

J-MB: Bebop’s I guess my favourite music. But I don’t listen to it all the time; I listen to everything. But I have to say bebop’s my favourite.”

Detail of the lower right corner of Red Joy. That’s a portrait of the great saxophonist and composer Charlie “Bird” Parker, with a musical quote from his composition “Red Cross” on the top.

“Bebop” was a revolutionary, new, style of Jazz that Bird, Dizzy Gillespie, Thelonious Monk and Charlie Christian developed in the late 1930s and early 1940s. Louis Armstrong predated and outlived Bebop (which peaked in the 1940s), so it’s obvious that J-MB listened to Jazz from other periods as well as Bebop. Regarding the work that might omit a Jazz reference? Interestingly, look as I might, I didn’t find any Jazz references in Odours of Punt, seen earlier, rare among the works in Xerox. Unless the repeated “BIRD OF GOD,” near the upper left is a reference to Charlie “Bird” Parker. What else could it mean? My guess is that it is- until an expert comes forward. When he died, it’s reported in Pheobe Hoban’s biography that crates of Jazz records belonging to the Artist were thrown out, along with a carton of copies of Ross Russell’s 1973 Parker bio, Bird Lives!5.

Jean-Michel Basquiat holding a copy of The Subterraneans by Jack Kerouac. He was reported seen carrying one around in Pheobe Hoban’s biography of the Artist. *Photographer unknown.

As for the second thread, the proliferation of words in the works included in Jean-Michel Basquiat / Xerox got me to look closer than I ever did before. Then, in my research, I discovered something interesting. Jean-Michel Basquiat had a love of the Beats. At various points he is reported to be continually reading William Burroughs Naked Lunch (a picture of him with a copy of it was taken by Alexis Adler was shown earlier- the picture with Nick’s tattoo, in which Naked Lunch is shown mounted on the wall behind J-MB) and Junky, as is reported in Pheobe Hoban’s Basquiat: A Quick Killing In Art, (eBook P.75). Later on, he is reported to be carrying around Jack Kerouac’s The Subterraneans, as is seen above. These struck me. Then, I discovered something more. J-MB knew both William Burroughs and Allen Ginsberg, and can be seen with both here! He was also Photographed by Allen Ginsberg, a terrific and still somewhat overlooked Photographer in his own right. While others make cases for J-MB being a member of this or that “group,” how crazy is it to make a case for J-MB as a descendant of the Beats? There’s more direct evidence for it than there is for some of the claims I’ve seen. Some have made the case for J-MB the Poet. From his SAMO© days to what we see in his Notebooks, he does have one of the most unique ways with the English language of any writer known to me.

Detail of the lower left section of Untitled, 1987, Acrylic, oil stick, and Xerox collage on canvas, 100 x 114 inches, reveals lists of song titles, under two semi-circular Drawings of record labels.

It’s become apparent to me that the cult of personality surrounding the Artist, and his fame (which, he longed for while he was homeless early on, and chased later, which makes him, at least partially responsible for) has, also, served to delay the serious critical assessment of his work. I’m not saying there isn’t any. There is. There are some very fine essays in the catalogues for the shows done so far, beginning with Richard Marshall’s excellent piece, “Repelling Ghosts,” in the catalogue for the very first J-MB Retrospective, at the Whitney Museum in 1992, and, as I said, Fred Hoffman has done a yeoman’s job of pointing the way to where Basquiat scholarship may be finally going, but the need for this is most urgent in my opinion, before the work is left to those who did not personally know the Artist. From what I’ve read thus far, Jean-Michel Basquiat’s Art was best “understood” by those who knew him. Some of them have already passed away, taking with them whatever they didn’t write down or share in interviews about the Artist and his work. Since the real critical assessment of his work has taken so long to get underway, there is, it seems to me, a real danger that if this continues to happen, J-MB‘s Art will remain an eternal mystery, like say, Vermeer’s, is to us today. Part of this is due to the fact that museums have been slow accepting J-MB‘s work, or even borrowing it to mount shows of it. Museum shows generally result in new scholarship published in the accompanying catalogs. The pace of museum shows has picked up over the past decade, both in the US and in Europe, but, in my opinion, when it comes to actually studying the work, the scholarship has been spotty so far. So? Anyone delving into the work of J-MB for the first time, as I am, is left with a lot of biography and a little Art criticism to fall back on- no matter how many books you see. As a result? I was largely left to make of it what I can- like viewers who weren’t alive in J-MB‘s time are.

Untitled, 1985-6, in front of Embittered, 1986, Graphite, paint and Xerox collage on wood.

Also apparent from some of the pieces written thus far that people fall all over themselves trying to “claim” J-MB for this school or that, from so-called “primitivism” to so-called “expressionism” to so-called “neo-expressionism,” to (more recently) so-called “conceptualism”- none of which J-MB, himself, used for his work, which is the only thing that matters, in my opinion, to hip-hop.

Jay Z, who did not know him, said this in his autobiography, Decoded, published in 2010, on page 95-“…People always wanted to stick B in some camp or another, to past on some label that would be stable and make it easy to treat him like a commodity. But he was elusive. His eye was always on a bigger picture, not on whatever corner people tried to frame him in. But mostly his was probably on himself, on using his art to get what he wanted, to say what he wanted, to communicate his truth. B shook any easy definition. He wasn’t afraid of wanting to succeed to get right, to be famous…”

The visual evidence in the work itself shows me, at least, something different from all the claims I mentioned before Jay Z. Jean-Michel Basquiat belongs in one “box,” and one “box” only- the “Jean-Michel Basquiat box.” Though he definitely belongs to the continuum of Art History, as Richard Marshall lays out in detail in his excellent essay in the Whitney Retrospective Catalogue, which probably surprises many, Jean-Michel Basquiat is unique unto himself. Period.

Kokosolo, 1983, Acrylic, oilstick, and Xerox on canvas, 43.3 x 82.6 inches.

Meanwhile, back at Xerox, I love the use of paint here. Jean-Michel Basquiat’s work is about layers and here it’s hard to know what’s on top and what’s on the bottom layer. J-MB spoke many times about his use of crowding out words and letters and said one of the reasons he did it was to make the viewer look closer. I can’t help wonder if he’s doing the same with the yellow here- making us look closer at what’s under the yellow. 

Galileo Galilei, 1983, Acrylic, oilstick, and Xerox on canvas, 78.75 x 51 inches.

In Galileo Galilei, 1983, I was struck by a number of things, first, from a distance, the circles, ostensibly the outline of the moon. But the circle is quartered, which is not like the moon. It’s something done in graphs and in Drawing. That reminded me- Drawing a circle is something that has a long and legendary history in Art. The great ancient Greek Painter, Apelles, and later the Renaissance master, Giotto, both used their ability to draw perfect circles freehand as calling cards.

Rembrandt, Self Portrait with Two Circles, c.1665, *Kenwood House, London.

I am one of those who believes Rembrandt followed suit, leaving his own “calling card” as their heir in his Self-Portrait with Two Circles.

Detail, or rather, Details. Note the multiple lines that make up the circles and the repeated list. I recognize these part words as being a list of songs from Charlie Parker’s Savoy recordings because I have these records. “Koko Take 1,” and so on. As for everything else going on in this work? I’m hoping someone who knew J-MB will come forward and discuss it.

Here, we happen to have two, or parts of three, drawn circles. Was J-MB aware of the Apelles/Rembrandt circles? 

This body of work is an example of one of the last vestiges of reproduction in Art before the digital age took hold. Seeing this now does really make it feel like more than 35 years have passed, yet, they don’t look dated. Nor do the beginnings of this work, the “(Anti) Product Postcards” he created, many with Jennifer Stein, who speaks about them here.

Early on, J-MB created Postcards, including these, many hand labelled “(Anti) Product” on the verso, which he sold for $1 each. Andy Warhol bought one when J-MB first met him while he was eating at a restaurant with Henry Geldzahler. They are among the earliest examples I’ve seen of J-MB’s collage. Some of these were collaborations with Jennifer Stein.

I returned to see Jean-Michel Basquiat / Xerox twice more since it proved to be a “personal rosetta stone” into the Art of J-MB. It was an extraordinary gallery show in many ways. The 33 works on view that ranged from He Was Crazy from 1979, shown earlier, through 1987, covering all but the final year of his Painting career and his life. Alas, even in three visits, I can only hope to scratch the surface layer of all that lies in these work by Jean-Michel Basquiat. But, there was something else. Alone with the security guard in the show for most of the 7 or 8 hours I spent there over 3 visits, I was struck by something else.

Silence.

A silence that was singing in a way that would bring a smile to John Cage’s face. If there’s been too much of any one thing around the work of Jean-Michel Basquiat to this point, it’s noise. A byproduct of his tragic death far too young is there are no more “Page 6” scandals, no more gossip, no more rumors. Only the work remains, hanging silently in these rooms. That silence said it’s time to let that Art speak for itself. And it’s time that those who knew and/or worked with the Artist to share what they know, and provide whatever insights they have before those, too, are lost forever.

Current and older books on Jean-Michel Basquiat and his work. Of these, the catalogs for the J-MB Retrospectives at the Brooklyn Museum (first, upper left) and the Whitney Museum, 2nd from left, front, were the two I referred to most often. The Unseen Notebooks (4th from the right, top) is also excellent. Fred Hoffman’s books are available for download from his website and are recommended. While it contains images of the most works available in print, I found the new Taschen XL, far right, problematic. A catalog for Alexis Adler’s traveling show, seen bottom left, of her collection is a revelation.

After I left Xerox for the last time, I, too felt the clock ticking. I immediately launched a deep dive into Basquiat monographs, in and out of print, and read everything I could get my hands on. As my research began, I quickly came upon a startling fact- Jean-Michel Basquiat: Xerox (which ran from March 12 through June 1st) is one of no less than SIX shows of Jean-Michel Basquiat’s work, or pertaining to the Artist, going on in the NYC vicinity in 2019!

The other five are-
Jean-Michel Basquiat at The Brant Foundation, March 6 – May 14th
The 12th Street Experiment: Photography of Jean-Michel Basquiat By Alexis Adler at Bishop on Bedford, Brooklyn, May 3 – June 13th
Lee Jaffe: Jean-Michel Basquiat at Eva Presenhuber, June 28th – July 28th
Basquiat x Warhol at The School/Jack Shainman Gallery, Kinderhook, NY, June 1 – September 7th
Basquiat’s Defacement: The Untold Story at the Guggenheim Museum, June 21st – November 6th
and…two Paintings from the collaboration of Jean-Michel Basquiat and Andy Warhol, along with ephemera from their collaboration, were on view in Andy Warhol at the Whitney Museum earlier this year, which I wrote about, here.

First? I wondered- Why six shows now?

Jean-Michel Basquiat was born on December 22, 1960 and died 31 years ago on August 12, 1988. 2020 will be a double anniversary for J-MB- 60 years since he was born, 40 years since The Times Square Show launched his career. 2019? No special significance, as far as I know, four months into my research. The Brant show shares the same curator (and many of the 120 works) with the Jean-Michel Basquiat show at the Foundation Louis Vuitton, Paris, which ended on January 14, 2019. The Brant’s opened on March 6th. So, beyond commemorating a “Basquiat anniversary,” the timing of that show may just have been fortuitous and practical, as in “we’ve got all these works together, why don’t we also show them in the new space in NYC?” As for the timing of the others? I have no idea.

Nola Darling lying on Jean-Michel Basquiat’s grave in She’s Gotta Have It.*

Between these six shows, the total number of works by Basquiat (counting those in collaboration with Andy Warhol) should total slightly more than the 120 shown in that Foundation Louis Vuitton, Paris, show, in addition to Photographs of J-MB by early roommate, Alexis Adler, and Musician and friend, Lee Jaffe. As such, these shows present the opportunity to see the most works by the Artist since the 160 pages from his Notebooks along with other works and some Paintings were shown in the Jean-Michel Basquiat: Unknown Notebooks show at the Brooklyn Museum in 2015, and the most Paintings by the Artist in NYC since that 2005 Basquiat Brooklyn Museum Retrospective. Unlike the “Summer of Rauschenberg,” which I covered extensively in 2017, where the satellite shows “revolved” around MoMA’s Robert Rauschenberg: Among Friends Retrospective, this time, the only museum show in the bunch, Basquiat’s Defacement at the Guggenheim, is a satellite show to the blockbuster Brant Foundation’s (a private organization) first public exhibition- Jean-Michel Basquiat, which included a whopping 70 Paintings and 1 Sculpture, the main act. Given that the vast majority of J-MB‘s best work resides in private collections, this brings home the fact that going forward, unlike with most Artists, the public is going to depend on the generosity of collectors displaying their work to see them, and researchers are going to depend on them to study it.

As a result, I quickly realized after that it might be now or never if I wanted to see a large body of Basquiat’s work and reassess it, and see WHO is “right”- the haters or the believers. With 39 years elapsing since J-MB‘s debut at the Times Square Show, enough time has elapsed to get a bit of perspective. So?

Detail of Now’s The Time, a Painting that looks like the classic 1945 Charlie Parker record of the same name, with “PRKR,” J-MB’s “shorthand” for Bird’s last name.

Now…is INDEED the time. It’s the time for the real assessment of Jean-Michel Basquiat’s Art to take over from the sensational biography. For me? Who knows when I’ll have the opportunity to see this much of his work in NYC again. It might be now, or never. NOW is my time, too.

My thoughts immediately turned to the Brant Foundation’s inaugural show in their new East Village location, Jean-Michel Basquiat, which was up and running and the clock was ticking on its run. NHNYC researcher Kitty, a Basquiat fan since she saw him in person back in the day at the Mudd Clubb, had seen it and gave a glowing report. I began scrambling to get a ticket. No luck online. The show had been completely sold out (though tickets were free) since it opened. Hmmm…HOW to see the most publicized and talked about show in NYC in early 2019? Or, would my glimpse at Xerox of what I had missed remain a lingering tease?

To be continued…

This piece is dedicated to my former friend, grae, who knew J-MB, and to Kitty, who was in the same room with him in the clubs back in the day, and who has patiently accepted his work not speaking to me all these years. My thanks to Nick. 

This is Part 1 of my series on the five Jean-Michel Basquiat shows going on in NYC this year. Part 2 may be found under this one, or here. Part 3 is here. 

*-Soundtrack for this Post is what else? “Xerox” by Julian Casablancas + The Voidz. If  you’re a Strokes fan, check this out, if you haven’t. Also, it doesn’t sound all that distant from J-MB‘s own band, Grey. Maybe they were an influence.?

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  1. Here. He repeated this elsewhere as well. ↩
  2. By “work,” I believe they mean a Painting. According to its site, MoMA owns 12 prints and Drawings by Jean-Michel Basquiat. No Paintings. ↩
  3. //www.nytimes.com/1985/02/10/magazine/new-art-new-money.html?searchResultPosition=1 ↩
  4. They were the only company in the world to acknowledge the 100th Anniversary of the 1st Jazz record in 2017, though the record in question is not what I call “Jazz,” and featured an astounding array of classic under-known Blue Note Record covers on T shirts. ↩
  5. Both, Pheobe Hoban’s Basquiat: A Quick Killing In Art, eBook P.19 ↩

On Painting & Photography

Written & Photographed by Kenn Sava (except *)

Note- Robert Frank has been mentioned in many of my pieces over the past 3 years of my “deep-dive” into Modern & Contemporary Photography, a realm that he had a seminal role in creating with the publication of  The Americans. When the sad news came that he had passed away at 94 on September 9th, I was finishing yet another piece that he is a part of- one that summarizes some of my thoughts on Painting & Photography these past three years, and also marks the 60th anniversary of the American publication of The Americans. Too far along to change, I’ve left it as it was, and added this as my “R.I.P.”  That Robert Frank was, and remains, one of the most influential figures in Art of our time was already testified to within.

Subtitle- “On Rembrandt’s 350th, and Robert Frank’s 60th”

Rembrandt, Self-Portrait, 1660. The Artist is seen here in the last decade of his life. Seen on March 26, 2015 in The Met’s former European Paintings galleries.

When I look at Art, sooner or later, my thoughts involve Rembrandt for any one of a myriad of reasons. I do my best, however, to keep my thoughts about his death to a minimum, so this is going to be purposely short. Rembrandt was pretty poor the last decade of his life. His prior fame had deserted him as if he were a fad, or a “mania,” like tulips were in 1637 when he was 30, and combined with an extravagant lifestyle1 that he could no longer maintain, he lived in housing for the poor at the end2. When he died, at just 63, he was buried in an unmarked pauper’s grave. 20 years later, his bones were destroyed, as was the custom with the remains of such unfortunates. The church, where his unmarked grave was, finally got around to erecting a plaque, inside, in 1909. It redeemed itself some 30 years later when a young Jewish girl who was in hiding nearby from the Nazis took solace in the sound of the church’s bells. Today, there’s a statue of Anne Frank outside the church. His Art largely fell into eclipse, except for a few artists he influenced, for about 100 years, as hard as that is for us to imagine today. October 4, 2019, happens to be the 350th anniversary of his death.

Seen in situ. One of the glories of New York. Five of The Met’s Rembrandts seen in the European Paintings Galleries on June 10, 2017, before the current skylight renovations caused their relocation to the Robert Lehman Collection galleries. When I think of “home,” this gallery comes to mind.

I’ve remained passionate about the work of Rembrandt van Rijn since I was in my early teens and he is one of very very few Artists I can say that about. Almost no where else have I found the humanity, and the depth and range of humanity, I find in Rembrandt. Because of this, I find his Self-Portraits particularly fascinating. In the end, they show me that the Artist, himself, was every bit as human as anyone he ever depicted.

Rembrandt after Leonardo da Vinci, The Last Supper, ca.1634-5, Red chalk, 14 x 18 inches, From The Met’s Lehman Collection. Seen in 2016.

Few other Artists I’ve seen have the power to say as much with just a few strokes as can be seen time and time again in his Drawings- like this one, in which Rembrandt manages to capture the entirety of Leonardo’s masterpiece (and add some additional elements that may have come from a print of the Painting he saw- Rembrandt never left Holland) in so few strokes, you can almost count them.

Self-Portrait in a Soft Hat, 1631, Etching completed with black chalk. The Artist was about 25 at this point at the beginning of his career. Seen at the Morgan Library in September, 2016.

Today, he’s honored as Holland’s favorite son. Public places have been renamed in his honor. (“Rembrandt Square,” etc., etc.). In 2015, the country paid a record price for 2 portraits by the Master, 180 million dollars, splitting the cost with France (for the Louvre and the Rijksmuseum), partially (largely?) because of their value to tourism, (i.e. so they can continue to cash in on him). Pretty ironic given how he was treated near and at the end of his life.

The most Rembrandt Self-Portraits in one place I’ve yet been in were these five etchings seen at Rembrandt’s First Masterpiece at the Morgan Library in September, 2016. I was shocked to see them when I walked in. I had no idea they were included.

So, to me, his end is one of the most unfortunate, and saddest, chapters in Art history. I’m not so sure it’s a cause for all that much celebrating. The world of Art seems to agree. There’s only one museum (as far as I know) anywhere in the world mounting a show of Rembrandt’s work that might be construed as honoring/memorializing it anytime close to that date, with that one actually opening on October 4th3.

Nonetheless, the chance to put a big round number on the front of a marketing campaign seems to be all that’s required for Taschen to leap into the breach with three new volumes in their XL (aka “HUGE!”) series of books. Well? In 87 years, for the 400th anniversary of his birth in 2106, actual physical paper books may be a thing of the past4 Whether they arrive as physical books, ebooks, or whatever form books will take in 87 years, I won’t be here to see them. As I write this, the first of Taschen’s “trilogy,” Rembrandt: The Self-Portraits (R:TSPs, henceforth) is out and in wide distribution. It’s a handsome volume, with a nifty cover image that displays one of 6 different Rembrandt Self-Portraits depending on the angle you look at it. I picked it up in a store and passed, even though nothing Rembrandt did has held me more spellbound for so long as his Self-Portraits have. So, why did I pass on this complete collection of them?  I was extremely disappointed that the great Rembrandt scholar Gary Schwartz wasn’t involved in it, and from what I understand isn’t involved in the other two volumes either. That statement will serve as my protest since I subsequently bought R:TSPs. With all due respect to the scholars chosen, no one will replace Gary Schwartz for me when it comes to Rembrandt- or any other Artist he turns his unique skillset to (Dear Mr. Schwartz, If you happen to see this? Jan van Eyck, Please?). Suffice it to say that the renowned Professor, Simon Schama, host of the PBS series, The Power of Art, dedicated his own Rembrandt biography, Rembrandt’s eyes, to Gary Schwartz.

“I regard Rembrandt’s self-portraits less as assertions of a strong personal identity than as a means to help the artist, like Saint Paul, become more like other people. Behind them lies a man who depended on his art to offset imbalances in his life and his relations with others.” Gary Schwartz.

Focusing on what we do get, the book itself is large, oversized as they say in the trade, a full 10 x 13.5 inches and weighs about 4 1/2 pounds, very light for a true Taschen XL which generally weigh in around 20 pounds. Its 176 pages contain a succinct essay and the rest of the book is Rembrandt, in my view, at his best. The reproductions are very good5, with many being reproduced in actual size.

A publicity shot by Taschen. Rest assured the copies sold in the USA are in English.*

Rembrandt was the first Artist to create a body of Self-Portraits. Yes, the cheap headline is “Rembrandt Invented The Selfie,” which, without looking, I’m sure has already been used to death. That’s not true. He was not the first to do a Self-Portrait, just to create a body of them among Artists known to us today. And what a body of work they are! We don’t have his diary, but, though it’s dangerous to read too much into the SPs (unless you want to), they are not really “pure” autobiography beyond the fact that yes, they do indeed depict the Artist, and we get to see his famous visage evolve as the years and decades go by. Exactly what is going on in each of them has been the subject of much conjecture, and I suspect will continue to be for as long as people look at them. He created them in oil, in ink, and with an etching needle (in Paintings, Drawings and Etchings). Though I love everything the man did, for me, they have been THE supreme body of Art since I saw my first one, shown up top, at The Met way back when. If I had to live the rest of my days only being allowed to look at one work of Art (oh jeez), it would be a Rembrandt Self-Portrait. But, please don’t ask me which one. Right now, I would select his Self-Portrait with Two Circles in England, but that choice is often a factor of which one I’ve looked at last. I’d take any of them- Painted, Drawn or Etched. And in R:TSPs, we get to see every one of them (they say).

Two pre-release copies of Rembrandt: The Complete Paintings, left, flank a copy of Rembrandt: The Complete Drawings & Etching, which complete Taschen’s “trilogy.” As close as I’ve gotten- so far.

While I am very much looking forward to seeing Rembrandt: The Complete Paintings (TCP, henceforth), it should be mentioned that though The Rembrandt Research Project issued its latest volume of what it calls the “Corpus” of the Master’s Paintings in 2016, the controversy around what that body “should” consist of shows no signs of ending, and so? Buyer beware! What’s agreed upon as his complete Paintings will, very possibly, change in the near future. So, even 350 years after his sad demise, this will most likely not be the “final word” on the subject.

Still, there’s so much of what RvR has accomplished in his other work that can be seen in his Self-Portraits. You can trace a good deal of his development as an Artist in this work. And then? There is the incredible Painting! No matter how much Painting I’ve seen in the 40 year (next year6 I’ve been going to shows, my mind always comes back, for a variety of reasons, to “how Rembrandt Painted it.”

Ok. So, you’re wondering- What does all of this have to do with Robert Frank?

Robert Frank: The Americans, my copy of Steidl’s 50th Anniversary edition, 2008.

Questionable timing aside, for me, the real value of RvR:TSPs coming out now has been the bath of the icy cold water of “reality” it’s thrown on my deep dive into Modern & Contemporary Photography, by which I mean post-Robert Frank’s The Americans, the most seminal PhotoBook of our time. 2019 marks the 60th Anniversary of American publication of The Americans (and there’s been almost no fanfare about that- as far as I’ve seen thus far)7. This fall/winter marks 3 years of my “deep dive” into this realm of M&C Photography that I consider The Americans the first bookmark in, a beginning of, in a sense. I started from the place of believing that Photography had not, as yet, earned its place with Painting, Drawing and Sculpture. Looking at R:TSPs? I realized that after everything I’ve seen, I can’t say my mind has been changed all that much. For one thing, though, it’s still a very young medium- particularly when compared to thousands of years of Painting. After all, they’re marketing the 350th anniversary of Rembrandt’s passing, and he’s thousands of years after Artists started Painting. Jan van Eyck was one of the first to use oil paint in the early 1400’s. Photography (with chemicals) has been around since Sir John F.W. Herschel coined the word in his paper “On the Art of Photography; or the Application of the Chemical Rays of Light to the Purpose of Pictorial Presentation,” on March 14, 18398– 180 years. But, the more I look at both, there’s one thing that strikes me as a major difference between Painting and Photographs-

Time.

It takes time to create a Painting. Even if the Artist does one quickly. In most Paintings, it takes longer to apply one brushstroke than it does to create most Photographs.

I think I can see that. And, I think it’s telling.

I’m not the only one.

David Hockney, Don & Christopher, Los Angeles, 1982, Polaroid collage “Joiner.” Seen at David Hockney, The Met, January, 2018.

Earlier this year, while I was formulating my thoughts on this subject, before I saw R:TSPs, I came across 2 books by David Hockney, Cameraworks, 1984, and Hockney on ‘Art,’ conversations with Paul Joyce, published in 1999. In both of them, Mr. Hockney 9, a man who has created both Paintings and Photographs (since 196710), and innovated in both realms, put into words much of what I was thinking- uncannily. “During the last several months I’ve come to realize that it has something to do with the amount of time that’s been put into the image. I mean, Rembrandt spent days, weeks, painting a portrait. You can go to a museum and look at a Rembrandt for hours and you’re not going to spend as much time looking as he spent panitng- observing, layering his observations, layering the time.” “My main argument was that a photograph could not be looked at for a long time. Have you noticed that?,” David Hockney, Cameraworks, P.9. There. He just said it for me.

Recently, in these very pages, without any question from me or the knowledge that I was working on this piece, the Photographer Fred Cray said– “One of the concerns I’ve always had with photography is the way it holds up on the wall with paintings and other media. Photography often seems thin and quick compared to painting.”

Anytime I see a Photographic portrait, my mind (at times, unconsciously) always turns to Rembrandt’s Self-Portraits (though, much of what I’m saying here could also be said for almost all of his portraits, as Mr. Hockney inferred). Not as a way of qualitatively comparing them. As a means of gauging the impact. They are the benchmark for me. Most of the time, the impact of the Photography in question isn’t the same. I wondered why for most of the first two years of this dive. Early in 2019, it hit me. Time. Time is a key element in Painting. In so many ways. From the time each stroke takes to apply, to how long it takes to complete the work to the rendering of time, itself, in the work. These are not questions most Photographers have to face. They deal with questions of light and setting before the fact, then they’re finished- unless they modify it later in printing, or digitally.

Unknown Artist seen Painting on 7th Avenue, NYC, September, 2019. Yes, he got a parking ticket. Many Street Photographers would have been done long before this gentleman got set up.

Of course, Painters have ways of dealing with this question to ensure whatever level of consistency in the lighting they want. They can work in their studio, or they can work from a live subject, a still life, a Photograph, a Drawing, or what have you. Even au plain air, as the Artist above, is doing. Time is effecting the result in other ways. My feeling is it’s this passing of time, in this multiplicity of ways, that it takes the Artist to create the work that is manifesting itself in the work in subtle ways, maybe some of them are so subtle as to be subconscious, but that are nonetheless part of what the viewer experiences. With each brush stroke, time is passing, and in a real way, time is being layered on to the canvas. Time is absolute in a Photograph- it’s the same time at the top as it is at the bottom, unless you’re shooting with a time lapse, like Stephen Wilkes.

All of this also serves to remind me, again, of possibly why great Contemporary Painters, like Richard Estes, John Salt, Rod Penner, and David Hockney as well, among many others, use their own Photographs as part of their working process, but the reason they are Painters and not Photographers is because of what they find lacking in Photography- what it can’t present of their vision that Painting can. They’re not alone. The list of great Painters who also took Photographs at some point is long- ranging from Thomas Eakins, Edgar Degas and Edvard Munch, through Ralston Crawford and Robert Rauschenberg, and even Picasso. I find it telling that not a single one of them identified himself as a “Photographer.” Only Charles Sheeler was dually identified and that might be because his Photography earned him money to support his Painting.

Then, in the midst of all of these thoughts, a terrific new book was released by Steidl, Dave Heath: Dialogues With Solitude, the catalog for a show at LE BAL, Paris in 2018. It gave me pause for thought.

My copy of Dave Heath: Dialogues With Solitude, Steidl, 2019.

WHO is Dave Heath?

From Dave Heath: Dialogues With Solitude, Steidl, 2019. *Photo courtesy of Steidl.

It turns out that Mr. Heath was, not is, unfortunately, but his work struck me every bit as hard as any I’ve seen in this 3 year deep dive. Particularly, his portraits, and specifically his portraits of one subject not looking at the camera.

Dave Heath’s earliest body of work are Photographs he took while serving in Korea in 1953-4, including this one. From Dave Heath: Dialogues With Solitude, Steidl, 2019. *Photo courtesy of Steidl.

It turns out that he was not only a master with a camera- a master of the Portrait, he was, also, a master printer. To the point that no less than the aforementioned, esteemed, Robert Frank paid Mr. Heath to print his work for what I believe was his first solo show at no less than the Art Institute of Chicago in April, 1961, a byproduct of The Americans’ release here two years earlier. That says it all.

My copy of Dave Heath’s A Dialogue With Solitude in the 2000 Lumiere Press edition. The books is on the right. The print is in the sleeve to the left.

Captivated by what I’d seen in the Steidl book, which is very well printed, in my opinion, though, unfortunately, Mr. Heath, who passed away in June, 2016, was not involved in it, I learned that Dave Heath’s “masterpiece” is the PhotoBook, A Dialogue With Solitude, 1965, a subject I am quite familiar with. I hunted down a “reasonably” priced copy of the 2000 Lumiere Press limited edition reprint with a signed & numbered print. The reprinted edition includes a letter from Robert Frank. The print in my set is “Washington Square, New York City, 1958.”

Washington Square, New York City, 1958. A Photograph that leaves me speechless, and turns my thoughts to Rembrandt.

It’s one of the very greatest accomplishments in PhotoBooks I’ve yet seen. Given what I said about his printing, the inclusion of a signed & numbered print in the Lumiere Press edition is a key. When I saw it for the first time I had a feeling that was closest of any Photograph I can think of to that I get while looking at a Rembrandt Portrait. Of course, as always, your results may differ.

For some reason that I can’t fathom, the word is that “Mr. Heath’s work went out of style.” Well? Rembrandt, too, “went out of style,” for well over a century, as hard as that might seem to believe to us now. Now, with Steidl’s Dave Heath: Dialogues With Solitude, it seems to me that a show or a book that returns a great, overlooked or forgotten Artist to the world has done that world a great cultural service. I can’t think of a higher purpose for either.

David Hockney, Perspective Is Tunnel Vision, Outside It Opens Up, 2017, Acrylic on two canvases. David Hockney shows how the camera sees in “tunnel vision,” single point perspective,” versus how humans see with what he calls “reverse perspective,” with infinite vanishing points, born of driving through a 10 mile long tunnel in Europe then suddenly coming into the great outdoors in 198511.

Reading David Hockney further, which I highly recommend to anyone interested in Photography, he speaks time and again that cameras, while being great at reproducing two dimensional objects12, do not see the way humans do. He has devoted much of his subsequent Painting career (as seen in his fascinating recent shows) to challenging traditional perspective and exploring the innovations of both Renaissance masters and the masters of Cubism.

David Hockney, Grand Canyon I, 2017, Acrylic on canvas, 48 x 96″ hexagonal, seen in April, 2018. Outside, it, indeeds, “opens up.” The Artist has also begun cutting the corners off his canvases to reinforce his ideas.

In 1999, Mr. Hockney asked, “How many truly memorable pictures are there? Considering the millions of photographs taken, there are few memorable images in this medium, which should tell us something. There have been far more images made this way than the sum of all previous images put together.” (Paul Joyce, Hockney on ‘Art’, P.43.) One thing that’s changed since Mr. Hockney said those words is that there are now more cameras in the world then there are people. It seems to me that that’s going to be a factor in this. The sheer number of Photographers versus Painters is, and is likely to remain indefinitely, skewed incredibly. Incalculably. It makes the odds of a “great” Photograph out of the billions being taken incrementally greater. “Quality only comes with quantity,” legendary Photographer Daido Moriyama said explaining why he takes so many Photos, in How I Take Photographs, page 7313.

I’ve noticed that the rise of Photography has coincided with a relatively ”quiet period” in Painting, in some ways. While this has lasted a few decades, more recently, I don’t have to look any further than my own 200+ piece Archive. I’ve said a number of times that one of the reasons I decided to focus on Photography the past three years was the lack of Painting shows that spoke to me sufficiently to undertake the work these pieces require. I wonder how much longer this will last- Is this an anomaly, or is this the beginning of the way things are going to be? Will we see the number of painters going forward that we’ve seen for the past 500 years? Of course, sheer numbers, or the lack of them, don’t guarantee masterpieces or geniuses. Greater numbers only serve to increase the odds.

At the three year mark, I’m still not convinced that Photography will come to be seen as Art in hundreds of years when that question is decided, IF anyone still cares about Art then. But? If they do, my bets are that Rembrandt’s will still be among the work most highly appreciated.

A work like Dave Heath’s Washington Square, New York City, 1958, gives me hope that Photography may still get there. Is it, as Mr. Hockney said, an image in a billion? Or is it an indication of what might be possible in the medium? I will continue to look…

Meanwhile, on October 4th? I’ll just light a candle. To go with the one in memory of Robert Frank. While I continue my dialogue with Davids Hockney and Heath…

*-Soundtrack for this Post is “Grace,” written by Jeff Buckley and Gary Lucas from Jeff’s immortal album, Grace. I worked with Mr. Lucas, and I booked Music into the now legendary NYC Music Club/Cafe, Sin-E in 1993, shortly after Jeff had played and recorded there. And then? He was suddenly…gone. I never met him or heard him perform in person. One of the great regrets of my life.

BookMarks–

My copy of The Rembrandt Book, (THE Rembrandt Book, or TRB, as I call it), by Gary Schwartz. In my opinion, it’s a model of everything a truly great Art monograph should be.

In addition to the books I referred to above, if someone were to ask me to pick one book on Rembrandt? I would choose The Rembrandt Book, by the aforementioned Gary Schwartz. It’s a book designed for readers both new to Rembrandt or expert on the Dutch Master, and so, it’s a book for a lifetime of enjoyment and research. Published in 2006 by Harry N. Abrams, it’s the SECOND full length monograph on Rembrandt by Gary Schwartz, and they couldn’t be more different (In a world where ANYone else would be thrilled to write one magnificent book on Rembrandt? HOW incredible is that?) or compliment each other better. TRB is oversized at 10 x 13 and weighs 6 pounds, but it is my bible on Rembrandt, and if I can’t find what I’m looking for there? I go to his prior monograph, the equally highly regarded, Rembrandt: His Life, His Paintings, 380 pages and 3.6 pounds, published by Viking in 1985 (and I believe this book has been reissued at least once). Both books can be found very reasonably (for less than they were originally published for) in very good condition. Along with my Sister Wendy books, they are the foundations of my Art library.

Another book that’s very relevant to this discussion, and has been essential for me- one I don’t see recommended nearly often enough, is Believing Is Seeing (Observations on the Mysteries of Photography) by the renowned Errol Morris. 

My prior pieces on PhotoBooks are here. 

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  1. You can still visit the beautiful, large, expensive house he bought at Jodenbreestraat 4, in Amsterdam. ↩
  2. Excuse me for seeing a lesson for today’s Art world in this, but I do. If this could happen to one of the greatest Artists who ever lived? It can happen to anyone. ↩
  3. The Wallfar-Richartz-Museum, Cologne, Germany is having a show of Rembrandt’s Graphic Work that opens on, yes, October 4, 2019. The Rijksmuseum, Amsterdam, is hosting a Rembrandt-Velazquez show that opens a week later. ↩
  4. Gary Schwartz says there are some documents that raise the possibility that Rembrandt may have actually been born in 1605 or 1607  (Gary Schwartz, The Rembrandt Book, P.15). I don’t think a year on either side of 2106 is going to make a difference regarding my being around to see it. ↩
  5. My one caveat being that they chose to reproduce only the detail of the early works in which RvR Painted himself as an onlooker in a crowd, denying the viewer the full context and setting. ↩
  6. I consider the incomparable 1980 Picasso Retrospective at MoMA the real beginning of my “looking career” at shows. Looking at Art books predates that by about a decade. ↩
  7. The Americans was first published in 1958 in France by Robert Delpire, and in 1959 by Grove Press in the USA. ↩
  8. //iphf.org/inductees/sir-john-frederick-william-herschel/ ↩
  9. Who, in addition to being a world-famous Painter, has also authored two important books on Art & Art History- Secret Knowledge and A History of Pictures ↩
  10. David Hockney, Something New Exhibition Catalog, 2018, P.6 ↩
  11. David Hockney, Something New Exhibition Catalog, 2018, P.5 ↩
  12. Afterall, what we have in Rembrandt: The Self-Portraits, and every other mass produced book of Paintings, are Photographs of Paintings. ↩
  13. For much more on how Daido Moriyama feels about whether Photography is Art, see P.205-6 in the chapter titled “The Real Daido Moriyama,” in this same book, How I Take Photographs. ↩

AIPAD: The Picture Show

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Written & Photographed by Kenn Sava (*- unless otherwise credited)

This is the fourth Post in my series on “The Photography Show, 2017,” aka “AIPAD.” The first three Posts are here. AIPAD was, also, my NoteWorthy Show for March. 

This time, I’m finally going to show some Photographs! After all? Isn’t that why anyone went? I’ve shown some in my prior Posts, and here are some more (with who was presenting it, of course), along with a few shots of Gallery Booths (after all, it’s the work being shown that matters, right?), and one of the Collections, (which were included this year for the first time), that stood out to me. Then, I’ll wrap up all of my coverage with the reaction to the show of the Gallerists I spoke to, as well as my own. Ok. Let’s see pictures!

“Look at that cloud
As high as a tree
At least that’s how it looks to me

How about you?
What do you see?
What if we see things differently?

Show me how the world looks through your eyes
Tell me about the sunrise, let me see the stars shine
Show me how the world looks through your eyes”*

Speaking of “Look at that cloud…,” this is Glenda Leon’s “Between the Air and Dreams,” 2008, from The Plonsker Collection of Cuban Photography (see below). I don’t know if the clouds REALLY aligned like this, but it sums up the global scope of The Photography Show, 2017. Click any image to enlarge.

A world, and 140 years apart, gives an idea of the range seen at AIPAD. Sohei Nishino’s incredibly complex “Diorama Map of New Delhi,” 2013, at Bryce Wolkowitz left, across the hall from Edward Muybridge’s equally incredible 1873 “View of Yosemite” at Robert Koch Gallery, right.

Ashley Gilbertson’s “Refugees Disembark on Lesvos, Greece, 2015,” quickly becoming iconic, at Monroe Gallery, where…

I still can’t believe that really was the legendary Tony Vaccaro. Seen with a wall of his masterpieces to his right. Georgia O’Keefe (below), Picasso, “The Violinist,” Hitler’s Eagles Nest and a fallen GI, from the far right corner, behind him, at Monroe Gallery’s booth.

Living history. Mr. Vaccaro actually knew Georgia O’Keefe (seen in both of these), Jackson Pollock, Frank Lloyd Wright, and on and on.

Want to buy top quality work by major Photographers in signed, limited editions for as little as 300.00? Check out Light Work, at lightwork.org, a non-profit in Syracuse, NY. The money goes to help Photographers. Their astounding list of their Artists In Residence to date, which includes Cindy Sherman, can be seen here.

Wonderfully friendly Gallerists were on hand from all over the world, like Raffaella De Chirico, all the way from Turin, Italy, bringing stunning work…

like that of Fabio Bucciarelli, with her, which she sold shortly after I got this photo.

Tribe came all the way from Dubai, U.A.E. to represent the thriving Photo world in 22 Arab countries.

With Galleries as far as the eye can see (check out the signs up top), you’ll need a plane. This is only one aisle of them.

Collections were a new feature this year, including the Plonsker Collection of Cuban Photography, above, and the renowned Walther Collection.

 

Intermission. In case you need a rest, here’s a little thing I call “On The Fence, #1- AIPAD Edition,” 2017. The Owl in question was by no less than Masao Yamamoto at Yancey Richardson.

 

Far & Away THE most amazing book on view, and that’s saying something- “Rijks”. $7,000.00 per, and 55 pounds. Huge! It comes with the table.

Seen the way Rembrandt created it. An immortal “Self Portrait,” as never seen before- UNFRAMED, gives a remarkably different effect.

More workmanship went into the cover of it than I could explain in an entire Post.

I know what you’re thinking- “The ‘Painting guy’ goes to The Photography Show and winds up writing about what else? A PAINTING BOOK- The ONLY Painting book in the place, no less! Well…Yes, and no1. It’s “Rijks: Masters of the Golden Age,” published by Marcel Wanders (Uitgeverij Komma and Magic Group Media), a book of photographs of paintings, but not just any paintings. 64 masterpieces from the Rikjsmuseum, Amsterdam’s “Gallery of Honour,” like you will never see them- UNFRAMED. Yes. You read that right (It STILL blows my mind) with details of each blown up to over 1,000%! Of course, I couldn’t stop looking at it, and just WOW! It may well be the greatest, the most beautiful, and the most well done Art Book I’ve ever seen. I’ve never seen Rembrandt in anything close to this level of detail. I told them that most of it’s pages would make stunning posters. For the “rest of us,” who don’t have the 7 grand, the space, or both for this incredible book, there is a smaller version available for 150.00. It’s cheaper than a plane ticket to Amsterdam!

Forever young. “Two Sisters,” 1850, by Southworth and Hawes at Contemporary Works/Vintage Works, Chalfont, PA.

Interesting to contrast with these hauntingly beautiful portraits of the moment by Ruud Van Empel at Jackson Fine Art

“Washington Merry Go Round,” 1950, by Weegee. An unusual work of his using lens experiments, and a very rare signed piece by the NYC Legend, at Michael Shapiro Gallery.

“Mommy, Are you SURE Kate Moss started out this way?”

Fred Herzog, who began doing color street photography in Vancouver circa 1954, and continued for 50 years, has only been shown since 2007. He has a marvelous eye, and a universal charm that is only beginning to be as recognized in the USA, as he is in Canada. Vancouver’s Equinox Gallery revealed his range over about 25 wonderfully chosen works.

Todd Hido, from his classic series, “House Hunting, 2002,” at ClampArt, NYC. Somebody better buy this before I do!

And, Finally- Summing up AIPAD…

I spoke to approximately 25 Gallerists (out of the 115 or so attending) about their experience at AIPAD starting on Thursday, and followed up on Sunday as the show was about to end. I’ve continued to do so with those I encountered this week as the dust was still settling. (Amazingly to me, most of the NYC Galleries had shows going on WHILE they were at AIPAD!) Of course, there was a range of reactions. Most of the Gallerists I spoke to seemed pleased. Some thought the show was too big, others wondered about the inclusion of the book area. Early on (through Thursday night), most of those I spoke with weren’t happy. “I could have done this from home,” one told me, summing up the general feeling. This was understandable as there was an absolutely torrential rain storm that lasted all day and night Thursday. Given Pier 94’s out of the way location (the trade off for getting it’s generous size), only the very, very dedicated somehow found a way to get to the show (the MTA runs not exactly near it, and cabs in hard rain that far west are as rare as finding a real, signed Diane Arbus at a flea market. There were shuttles, but I never tried them). Friday, the crowds returned, and the show seemed well attended, as far as I could tell, from then on. Activity seemed steady at the Gallery booths, in the book area (aided by a never ending string of book signings), and in the talks. The two cafe areas looked pretty full much of the time. It was hard to judge sales by only looking for red dots on title cards or lists, so I asked. No one dodged my question. On the contrary, most seemed eager to express their experience and feelings. A surprising number had taken the time to wander around and see the show, and were well versed in specifics of what they saw, which was fascinating. Some bemoaned the encroachment of “video,” which I agree with, unfortunately extending to Colleen Plumb’s “Path Infinitum,” a very laudable work about animals in captivity, being out of place in a Photography show. Some felt there was relatively little older/classic work. I found this interesting given that the Art/Painting Gallery world is so skewed towards Modern & Contemporary Art- the number of Galleries showing “classic” works is, relatively, small. I expected to see something similar at AIPAD, especially since I have been to most of the NYC Galleries who were exhibiting. (This was my first AIPAD.) Personally, I was surprised by the number of beautiful classic works by Ansel Adams and Robert Frank, though I was disappointed to see only one William Eggleston, only a handful of Saul Leiters, and no Araki’s (I am sure I just missed them. Many of Araki’s books were present in the book area).

The hair of the dog that bit me. William Eggleston’s “Yellow Market Sign and Parking Lot,” 2001, at Jorg Maass. The only work by the Photographer that I saw. He started all this “trouble” for me back in December, and STILL only continues to grow in my esteem, which surprises the heck out of me, Typically, this work haunts me. What better way to close this chapter?

From the following generation of Photographers, there were only a couple of Bruce Davidsons, and Sebastiao Salgados, though there was a nice group of Ernst Hass, who’s “Route 66, Albequerque, New Mexico,” 1969, seemed to stop everyone who passed it at Atlas Gallery. Personally? I came looking for great Photographers previously unknown to me, and aided by an expert, the man called Jackson Charles, I added about 100 names to my lists. Most of the Gallerists I spoke with agreed that there was an impressive amount of PhotoJournalists on display, a number of who turned their cameras on the refugee crisis, with amazing results. Particularly surprising, and impressive, for me were the Galleries that came the longest distances, like Raffaella De Chirico from Turin, shown above, often showed PhotoJouralism, or other similar work that many deem “difficult” to hang. Others who traveled significant distance, featured Photographers who are not big names here, but who’s work deserves more attention, like Shoot Gallery, Oslo, I wrote about earlier.

Too Much Is Never Enough In New York. That’s Pier 92, seen from half way down Pier 94 (where AIPAD was) to give a sense of size. Pier 92 is SMALLER than Pier 94!

The reaction of the attendees I heard most often later on Saturday was their feet were getting tired. It dawned on me that if there wasn’t so much worth seeing, they would have left before their feet got tired. I heard mixed things in the book area. Some Booth-holders were very pleased with how they did. Others not so much. It seemed to me it drew a lot of visitors, not surprising given how many Photographers were on hand for book signings throughout the show. A number of publishers debuted titles, or brought about to be released books. I think there were quite a few people who went to AIPAD purely for the book area. (Maybe this will lead to a separate PhotoBook show…?) Some of these tables seemed a bit small and crowded together (just like NYC Apartments), but the range of Publishers and Organizations present in this area I found most impressive. I hope they are included next year, and the layout is improved.

Personally? I found AIPAD to be professionally staged, managed and run throughout. I think most visitors were impressed by it. I found little to complain about- and I looked hard. Getting to and fro was the biggest downside, in my opinion. In the end, I hope lessons are learned from this year’s show to make a very good experience even better next year.

Thank You’s-
I can’t leave AIPAD without thanking the following people-

-Jackson Charles- Photography & PhotoBook Expert Extraordinaire, for his guidance and insights above and beyond the call of duty over FOUR days.
-Kellie McLaughlin of the legendary Aperture Foundation for introducing me to Gregory Halpern, and considerations throughout
-Paul Schiek and Lester Rosso of TBW Books for introductions to Jim Jocoy, Raymond Meeks, and other considerations
–Jim Jocoy for sharing his extraordinary experiences, and amazing new book with me
–Raymond Meeks for sharing his beautiful work, especially his lovingly crafted hand made new release
-Danny who turned me on to Curran Hatleberg
-Forrest Soper of PhotoEye for turning me on to Moises Saman’s “Discordia”
-Sophie Brodovitch of Equinox Gallery, Vancouver for her Fred Herzog expertise, and consideration
-All the Gallerists and Organizations who spoke with me and shared their expertise and insights with me.
-Margery Newman of Margery Newman Communication for her help and consideration throughout

And, finally, to Bruce Davidson, and all the great Photographers, past and present, all over the world, who are the reason we went to AIPAD- To see the world through their eyes.

*-Soundtrack for this Post is “Through Your Eyes,” written by Richard Marx and Dean Pitchford, published by Wonderland Music Co., Inc.

This is the 4th and final Part of the most extensive coverage of AIPAD, 2017, available anywhere! The rest of this 4-part series is here.

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Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

  1. I’ve written about a number of excellent PhotoBooks I saw at AIPAD in the earlier parts of this series. ↩

NYC Art Shows 2016- Sheena Wagstaff Rules The Waves

This year past, Manhattan Art was largely dominated by two themes. There was a seemingly continual string of shows by many of the bigger names in Abstract Expressionism (i.e. AbEx), one after the other, and I wrote about every one of them, beginning with Jackson Pollock @MoMA, Lee Krasner, Philip Guston (two- here and here), Richard Pousette-Dart, Joan Mitchell and Mark Rothko, along with a few excellent satellite compilation shows, each in a different venue, which, apparently is continuing into 2017 with Jackson Pollock set to open at the Guggenheim, completing the circle, for now. It was also a year of Women Artists getting important shows. Patti Smith, Nasreen Mohamedi, Diane Arbus, Cindy Sherman, Marilyn Minter1, June Leaf, Carmen Herrera, Nan Goldin, Mary Bauermeister, Carrie Mae Weems, Latoya Ruby Frazier, Krasner and Mitchell were only some of the highlights. Still? Artists weren’t the only women making a big impact on the NYC Art Scene in 2016. In fact, for my money, the biggest impact of all was made by another woman, The Met’s Chairwoman of Modern & Contemporary (M&C) Art, Sheena Wagstaff.

As far as I’m concerned, no other single person had the impact on NYC Art, all year long, that Ms. Wagstaff and her department did.

Sheena Wagstaff was named Chairwoman of TM’s M&C Department on January 20, 2012. Four years later, her 2016 began with putting finishing touches on TM’s new “branch Museum,” The Met Breuer (TMB), the first “branch” The Met has opened since The Cloisters in 1926! No pressure there. As it was about to open, ostensibly as the showcase for The Met’s “new” M&C Art iniatative, The Times’ Roberta Smith put the situation perfectly into perspective, speaking about the task Ms. Wagstaff faced/faces-

“But the Met is huge and old, with a history of treating contemporary art as an afterthought. Getting it to change is like turning around an ocean liner.” Roberta Smith, NYT, March 3, 2016.

It sailed into it’s mid- March opening with 2 shows- Unifnished: Thoughts Left Visible, a veritable Museum in itself covering 2 full floors (the third and fourth), and, easy to overlook, tucked away on the second floor, Nasreen Mohamedi, the first American Retrospective of the Indian woman artist who passed away in 1990, aged 53. Wait…Who? Yeah. Me, too.

Met Breuer, Opening Lineup, March 8, 2016. 11 months on? The 5th Floor is now gallery space, the 1st Floor Gallery is now the Gift Shop. Those 2 shows? They live on, indelibly. Notice that for all of Art History that’s represented in Unfinished, the signature image chosen is by Alice Neel, a woman, of James Hunter Black Draftee.

Vijay Iyer (piano, left) performs with his trio. Met Breuer, Member’s Opening Day, March 8, 2016.

The first members of the public get to see Unfinished on March 8, 2016. That tiny drawing on the far opposite wall is by Michelangelo.

After over 15 visits later, to my eyes, “Nasreen Mohamedi” was nothing less than 1) an epiphany. Here was an Artist who was a Major figure in Art in the 20th Century who’s name exists in not one Art History survey that I know of.

I now haunt these galleries, in my memory.

2) Therefore, it was easily one of the best shows of the year, and 3) the more I think about it, for many reasons, it was one of the best shows I’ve seen in years.

Most Memorable Art Work of the Year. Nasreen Mohamedi Untitled, circa 1970. When I first saw it, I thought it was a piece of fabric. Nope. This is a DRAWING.

Detail (about 10″ x 6″). Two amazing things about this- 1- The superhuman focus & manual skill on display. 2- The disease that would kill her would take these incomparable motor skills first, and shortly.

The subtlety, uniqueness and micro/macro impact of Nasreen Mohamedi’s drawings is seemingly without precedent. They speak to the “grand design” of the universe, while also giving the feeling that they are somehow familiar, though they are not.

Some call this work The Seven Planes of Existence. All her works were left untitled and undated, only 5 here were signed. Many were given to friends as gifts. She created most while dealing with an illness that would kill her family members, then rob her of her skills, and eventually kill her, as well.

Also an accomplished photographer, I find her photos every bit as wondrous as her work in other mediums. Each Untitled, ca. 1970

Closeup of the photo on the right. What exactly are we looking at?

I spent an hour sitting right next to Sheena Wagstaff at a “Nasreen Mohamedi Symposium,” at The Met 5th Avenue in June. After it was over, I had the chance to speak to her. All I could say to her was “Thank you,” for Nasreen Mohamedi, which gave me the chance to discover her. Then, I told her she had made “the perfect choice” to begin M&C Art at TMB.

Sheena Wagstaff, right, Met curator Brinda Kumar, center, and an Artist who’s name I didn’t get, left, at the Nasreen Mohamedi Symposium, June 3 at The Met. Ms. Wagstaff then sat down immediately to my left.

Six month later, I stand by those words.

Think about how much guts it took to make that call. How daring it was. TMB famously costs The Met 15 million dollars a year to operate. The Met, reportedly, ran a deficiet in 2016, costing jobs.  To say “a lot” was, and is, riding on the success of TMB would be an understatement. Not to mention TM’s world leading prestige. Nasreen Mohamedi was followed by diane arbus: in the beginning. Perhaps it would have been “safer” to have run Diane Arbus first. Maybe. Probably. I’m glad it was Sheena Wagstaff’s call (along with the rest of TM’s powers that be), and they chose Nasreen Mohamedi.

A page from one of her diaries. She blotted out much of what she had written. I wonder why. They left these patterns, reminiscent of her drawings.

The show was, apparently, a labor of love for Ms. Wagstaff. Hidden away in the very last gallery, in an iPad on the tables where visitors could peruse the now out of print and rare catalog, were some of the few extant photos from Ms. Mohamedi’s life. One of the last photos was a photo of Nasreen Mohamedi’s unmarked grave. I marvelled that someone had found it and photographed it. I looked for the credit to see who the photographer was. Sheena Wagstaff.

Nasreen Mohamedi was more than a terrific show. It was a statement. What was as easy to miss as the show itself was, as visitors made a bee line to see the copious treasures upstairs, it was more. It was the “answer” to the question about where Ms. Wagstaff was likely to steer The Met’s “new M&C initiative” going forward. As such, it was a shot over the bow of the future.

The future of M&C Art at The Met, and The Met Breuer, appears to be international, and inclusive. I expect more of the unexpected, more of the unknown and under-known. Bring it on. MoMA is running on all cylinders, putting on shows that are spectacular. It’s good for them, the Whitney, The Guggenhim, et al, to have some competition in M&C Art from The Met, and for us.

While Nasreen Mohamedi was blowing my mind on the 2nd floor, upstairs on 3 & 4, Unfinished was blowing everyone’s who saw it. Right off the elevator on 3, you make a right and in a small gallery you’re confronted by Leonardo da Vinci AND Michelangelo (all too rarely seen together in this hemisphere), AND Jan Van Eyck, and a few other works I can’t even remember because my mind was already overloaded. Oh yeah, some guy named Dürer did one. This was TM “showing off,” as I read Ms. Wagstaff say in an interview. Boy, did they. The rest of the show had a roster that would make 90% of all other whole Museums in the USA jealous.

For a New York Minute, Michelangelo, left, and two Leonardos were on display in “Unfinished,” as the show opened. The triumvirate was soon broken up, no doubt due to the fragility of the works.

So? Ok. This was a “fail safe” show. Ms. Wagstaff was by no means finished.

Rembrandt & Velazquez- the two greatest Painters who ever lived, according to many, very rarely seen side by side.

After Nasreen closed, diane arbus: in the beginning came in on 2, with an installation unique in art & photography shows in my experience. Every piece got it’s own wall. Yup. You read that right. Over 100 pieces. Over 100 walls. Amazing. No beginning. No ending. The point being that it was all her beginning.

A rare shot of Tatsuo Miyajima’s Arrow of Time, on view in TMB’s first floor gallery. The only show to take place there before it became the gift shop.

After “Unfinished,” the year at TMB ended with another blockbuster success- Kerry James Marshall: Mastry. This is the kind of show that makes you wonder WHY it took so long for Mr. Marshall to be so recognized. He’s been creating at a very high level for a long time. It was only 3 years ago that he was showing at the always excellent Jack Shainman Gallery in Chelsea. But? Not everyone was sleeping on KJM. Walking through this show it’s a sad feeling for a New Yorker to read the tags and see great work after great work that belongs to Chicago or Los Angeles. Not even MoMA has stepped up to a large degree with Kerry James Marshall. TM FINALLY got a major work of his last year.

The beginning of Kerry James Marshall: Mastry. In many ways, this was the show of the year.

Now? It’s probably too late.

This, unfortunately, highlights one area where much work remains to be done. The Met’s collection is sorely lacking the work of M&C Masters. As I recently pointed out, as far as I know, they own no work by Ai Weiwei. no work by Nasreen Mohamedi, and only one work (albeit a very, very good one) by Kerry James Marshall (and this was only acquired in 2015), to name but 3 cases. Frankly? I find this shameful. TM recently elected three new trustees, two of which are M&C specialists, so hope springs eternal for a little more wind to be added to those sails.

New York had until January 29 to enjoy seeing a lot of KJM in one place. (My piece is coming soon.) Now? It’s going to be a long wait. Los Angeles? You get your chance beginning March 12.

So? By my scorecard, that’s 4 shows in 9 months that will be remembered and talked about for a very long time, including no less than TWO that were major breakthroughs for the Artists- Nasreen Mohamedi and Kerry James Marshall2, putting both in the pantheon of the Artists who belong in our greatest Museums.

But? Ms. Wagstaff, who struck me as having so much energy, downtown NYC could have used her during the Hurricane Sandy Blackout, still wasn’t finished. Over at 1000 Fifth Avenue…(remember The Met’s Main Building?), she and her staff have also rehung TM’s M&C Galleries there, and done an amazing job.

While at sea, mind the lighthouse! Edward Hopper’s iconic The Lighthouse at Two Lights, 1929, receives pride of place in TM’s newly rehung M&C Galleries. Which reminds me- Sheena Wagstaff edited the Tate’s 2004 Edward Hopper Show catalog.

Works have come out of storage that haven’t been seen there in…?, and some, thankfully, have gone there in their stead. The arrangements are new, too. Themes take the place of chronological arrangements in many rooms, while the AbEx Galleries still remain largely together, but subtly ammended. We get to see, what I consider to be, a major work by Philip Guston that I never knew TM owned! Other works are given new prominence, notably Edward Hopper’s famous The Lighthouse at Two Lights, and Richard Pousette- Dart’s Symphony No. 1- The Transcendental, (photo, here, further down the page.)

In this one gallery, I was shocked to discover works by Pousette-Dart (Path of the Hero, 1950, right) and Philip Guston (left, and below) that I didn’t even know The Met owned because they haven’t shown them!

Philip Guston, Performers, 1947. WHERE has this been? With one foot in his past, and one in his future, for my money, this is one of the most important periods of Guston’s career, and very few works from it exist, after he destroyed most. A major Guston.

The result is a veritable breath, no, wind of fresh air throughout. More wind for the sails of that S.S. Met Roberta Smith wrote about.

Sheena Wagstaff had a great year, in my book. Here’s to her. May the wind be at her back. That sound you heard in January was my giving a major sigh of relief at the news that we didn’t lose her when the Tate Museums chose a new Director (Ms. Wagstaff was Chief Curator at Tate Modern before she joined The Met).

P H E W…

Elsewhere, in the big City…

Other Museums and Galleries, of course, put on shows that linger in the memory, and I would be remiss in not including them. In addition to Nasreen Mohamedi’s, another Retrospective tried to make the case for it’s Artist’s place in the canon on 20th Century Art History, and wildly succeeded, in my opinion- Bruce Conner: It’s All True @ MoMA  Though he spent some time early in his career in NYC3, he, and his work, were rarely seen here after, and as a result, seeing this broad & in-depth look at his accomplishment over a mind-bending number of mediums was nothing less than a bombshell in it’s impact on myself, and I suspect many other New Yorkers. The depth, the staggering detail in the work (most famously in his films, but we see here it was carried over in most of his other work in other genres.), the mediums he probably invented, (like the music video), techniques he created or mastered, and on and on. This show was a capstone on a great year for shows at MoMA. Picasso Sculpture, Edgar Degas: A Strange New Beauty, were must see/won’t soon forget in their own right. Bravo, MoMA. Now? About that building and the new one on the way…

Picasso, Owl, seen in Picasso Sculpture. One sure way to make this list? Include an Owl in your show. ; – )

In the galleries, what lingers with me were Ai Weiwei’s return to NYC at long last with 4 concurrent shows, Mark Rothko: Dark Passage, Patti Smith: 18Stations, Philip Guston: Laughter in the Dark, Stuart Davis: In Full Swing, at the Whitney, and William Eggleston: The Democratic Forest (mostly for the chance to study his work at length, which only made me want to look again). And, I always enjoy the chance to be captivated by someone I previously didn’t know, like the amazing Sydney Cash at Heller Gallery, or the up and coming Robert Currie at Bryce Walkowitz- both of who share a fascinating ability to make you see things that aren’t really there.

Sydney Cash’s Split Selfie, 2016, oversees two of his other works that no photo can “capture,” at Heller Gallery. See them better here. When you watch, remember all that’s happening is the viewer moves slightly side to side.

And finally, personally, the chance to meet Patti Smith and Sheena Wagstaff, or run into Chuck Close, were things that remain rich, as much for the opportunity to speak with them as for what I learned from each encounter.

All of these experiences reminds me that in the final analysis? Art is personal. For every one of us.

*-Soundtrack for this Post is “Andy Warhol” by David Bowie (who we lost this year, and who is Ms. Wagstaff’s fellow countryman, and an Art collector), from his classic album Hunky Dory.

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  1. in 3 shows- 2 in Manhattan, 1 at the Brooklyn Museum, as part of their “Reimagining Feminism” Series ↩
  2. It must be noted that KJM: Mastry is a show organized by The Museum of Contemporary Art, L.A. the Museum of Contemporary Art, Chicago, and The Met. ↩
  3. when legend has it he was denied entrance to MoMA for the opening of a show that included one of his works. ↩

Noteworthy Shows, December, 2016 (Updated)

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Written & Photographed by Kenn Sava

William Eggleston- The Democratic Forest @ David Zwirner. It’s impossible for us to “see” Eggleston’s work now the way the way it was seen in 1976 when 69 images were presented at MoMA in the legendary show, Photographs by William Eggleston (which you can relive, here, in glorious black & white). In that black & white world, it was received as “shocking,” and widely panned (famously by The Times). If anything, today, there are “too many cameras and not enough food,” as Sting sang, and too many pictures in the world, so, perhaps I shouldn’t be surprised to read a number of comments on Eggleston’s books, shows and works where commenters say they don’t see what’s special about it, or, that, as has often been said about Jackson Pollock, they could do it. Hmmm…Many, many have tried, and are still trying. What’s lost in translation in seeing Eggleston in 2016 is how many photographers have “gone to school” on his work, over the past 40 years, learned from it, and yes, copied it 1, so that much of what he is famous for is now omnipresent. Yet, it’s barely 40 years since his breakthrough at MoMA.

Depth of Field. Untitled, 1983-86, as each work here is so named and dated. Leica can’t buy advertising like this, and the rest of what is on the walls of this show. Note the endless mirror Self Portraits, that mimic all the bottles, jars and cans.

Countless professionals and amateurs shoot “the everyday,” the seemingly mundane now. Who’s to say what’s good, what’s bad, and what’s “Art?”

The road less traveled…It doesn’t exist in Manhattan.

As always? Time will. In the meantime, what about the work of William Eggleston in 2016?

On the left, a classic shot of the so-called “mundane.” On the right, possibly a color Homage to Robert Frank’s The Americans, an early influence.

William Eggleston, now 77, has been making photographs since his college days, closing in on 60 years ago. He’s often called “the father of color photography,” which puzzles me. He was not close to being the first Photographer to shoot in color, nor the first to create a substantial body of work in color. Nor was he, as has often been reported, the first Artist to have a solo show of color Photography at MoMA. Ernst Haas beat him to that honor by 14 years with Ernst Haas: Color Photography at MoMA in fall, 1962! It can be seen here. Still, it’s enough passage of time for some things to be known. For one thing, his work still seems to be gaining in popularity. For another, it still garners a lot of respect from both his fellow Photographers, and Museums, judging how widely they hold and show his work. William Eggleston Portraits at the National Portrait Gallery, London this fall, drew raves. Millions of dollars are being spent on his work at auction. He, and his Eggleston Artistic Trust2, left the Gagosian Gallery this past June and signed with the equally prestigious David Zwirner Gallery for representation, (this being their first show), and this century has already seen a steady stream of stunning books and huge box sets by Steidl, which have the look and feel of monuments, that sell out and some then command a thousand dollars a copy, and more, on the aftermarket.

Famous for his very vivid colors, I found the shot on the left, with it’s pastel colors, equally effective.

In October, The New York Times featured him as one of their six “Greats,” along with superstar (my term) Artist, Kerry James Marshall, and Michelle Obama. William Eggleston is big time. Ok. So, back at David Zwirner on West 20th Street, how’s the show?

The shot on the left (who’s  location is unknown to me) makes me yearn to see shots of his taken in NYC.

30-odd years after these works were created they retain a surprising freshness and resonance that’s not easy to explain. I’m not sure it’s entirely the famous(ly) bright colors that are solely responsible for this, either. They’re undoubtedly a hook, but there’s far more going on, and there are works that don’t feature “knock your eyeballs out” colors that are equally compelling. Following in the tradition of Cartier-Bresson and Robert Frank, he has taken their ideas someplace else. Someplace subtle, or very subtle, mundane, often easily overlooked. A place decidedly “American” (in these works), that American viewers instinctively recognize, and one that must look like Mars to the foreign eye. Heck, in a few more years, it’s going to look like Mars to ANY eyes. Yes, so many others have tread this ground since Eggleston’s work became widely seen. They shoot similar subjects, using the same camera. But, in the hands of a visionary master of the medium, the results are truly unique. Seeing 40 works together reinforces all of this, and reveals intimacies about his approach and style. Seen in isolation this sense is harder to glean. His work has a feeling of spontaneity that is, also, often copied, perhaps, increasingly. Watching him at work in documentaries, we see this spontaneity is not contrived. Frankly? I marvel at it. What is going on in his mind as he approaches his spot? As he composes and frames? Untold millions walk around with cameras, raise them and take a photo. None are these. How is this possible? Also an Artist (his book Paris featured his Art alongside his photos), as well as a musician, it should be no surprise that he has one hell of an eye for composition (which can be seen in even his earliest black and white work), and which I feel is under-appreciated given how rarely I hear anyone mention it. It may be as big a part of his impact as color. His is, also, a painter’s eye, which also sets him apart as a photographer. Perhaps it is this that gives him his eye for the “secret life” of what most overlook in the world. All of these things work together to make a composition of random “things” a personal statement, even without people present in most of his photographs, and they seemingly come together in the instant the exposure takes. With a master technician of photography who’s also an Artist behind the shutter, I think his results are going to intrigue viewers for a very long time no matter how many try to copy and imitate him.

A wall of the smaller, 20 3/4 x 28 3/4 inch, prints for comparison. The work in the center is also in the Whitney, though smaller.

Eggleston said he has over a million and a half images in his archives. They ALL can’t be classics, can they? According to the press release, the show includes 40 works, “the majority of which have not been exhibited previously.” The “Democratic” in the show’s title speaks to the camera’s ability to “render equally what is in front of the lens.” What is rendered in these 40 works includes very few people.

 

Each work here bears the same title and dating- Untitled, 1983-86. Very democratic, indeed. Not mentioned is that these works are recent prints in a larger size, somewhat controversially, (about 65 x 45 inches, though a few are 20 x 28) Digital Pigment Prints, instead of the  Dye Transfer Prints that Eggleston is renowned for, which his works in the collections of MoMA, The Met, and many other places are. For me, the larger size (the original sizes were of the order of 16 x 20 inches), seem to reach for a “painterly” impression. This struck me as soon as I walked in, not surprising, perhaps, since I have looked at mostly Painting in my life. Some succeeded larger, some didn’t. Interestingly, I found images I’ve long struggled with to be among those I am still struggling with larger.

One I’ve struggled with.

This one continues to haunt me with it’s unique blend of a photograph that “borrows” much from painting, then takes it somewhere else.

Another thing that most impresses me…no…blows my mind, is that Eggleston does it taking only a single shot. While he would, no doubt, prefer his work remind me more often of Degas (who, among many other things, was a photographer, as well as a master print maker and immortal Painter), I found myself thinking of him as being somewhere between Edward Hopper/Charles Sheeler and Ed Ruscha/Richard Estes. To study the individual photos in this show closer, check out the exhibition’s catalog. I’ve mostly opted to show the very interesting combinations in which they were hung, which I assume Mr. Eggleston, himself (who was in NYC for the opening, also making rare appearances at The Strand and at Aperture), was involved with, since those won’t be widely documented.

“Well I hope you’re happy with what you’ve made
(Puzzling evidence)
In the land of the free and the home of the brave
(Puzzling evidence)”*

William Eggleston’s worldwide reputation as an important American Artist of our times increases seemingly daily. While his Artistic Trust, which his sons are involved in, seems to have it’s own ideas about the future of his work, it seems assured that his work is going to be seen far and wide for a very long time. With that 1.5 million photos he guesstimated are in his archives, he must have taken some in NYC, as he memorably did of Paris, right? Maybe those will be in a future show called “The Democratic City.”

Francis Picabia @ MoMA- (Note- March 3, 2017. I went back to see this show, again, before it ends March 19, and so I update my Post on it, in hopes of doing it more justice.) Picabia first got me into Abstract Art as a teenager with this work-

Let’s Get Lost. Picabia’s masterpiece I See Again in Memory My Dear Udnie, 1914. Worth the price of admission by itself.

I bought the postcard of it, which I still have. It sucked me into it- almost literally, it’s grip on my mind, and my eyes, was so intense. It’s a work that looks like you could walk inside and climb around in and explore it’s unprecedented landscape. But, it was it’s title that hooked me…”I See Again in Memory My Dear Udnie.” When I finally climbed back out of it and got around to pondering the name of the work…Well? I’m still pondering it. Most of the other Abstractionists (Pollock, Rothko, Duchamp, even Kandinsky) didn’t usually title their works. This proved a vital “way in” for me. From this, and Picabia’s other works of this period, I discovered Pollock, Kandinsky, Miro, then the Surrealists, Dada, and the Abstract Expressionists. Seeing it, again, in this very well done retrospective brought all of that back to me. I was, initially, startled because I’d forgotten how large it is- over 8 feet high by 6 and a half feet wide. Talk about making a statement. It’s presence, and impact, is still every bit as strong. For me, at least, it’s a central work in his oeuvre. His early abstractions are, still, breathtaking, unique and just gorgeous.

Front row seat to genius. Ecclesiastic, left and Udnie, Young American Girl, both 1913, right. The now immortal Udnie was a dancer named Stacia Napierkowska, who’s on-ship performances Picabia was taken with on his voyage to NYC for the famous 1913 Armory show, a triumph for him. Meanwhile Stacia/Udnie was arrested by the NYPD for “indecent” performances. (Here in the NY Times.).

While Cubism was all the rage at the time (c.1914), I think it’s a shame that other Artists didn’t follow Picablia down this road. Then again? Where else was there left to take it? Perhaps this is why, Picabia, himself, turned his back on this style and adapted others. The man is one of the ultimate chameleons of his time.

It’s not “Cubism,” or “Futurism,” or “Geometric Abstraction.” So? What do you call The Spring, 1912? How about beautiful?

This is a long overdue show, and a big one. It surprised me with Picabia’s endless evolution throughout his career, much of which, post-1925 seems to be a bit in the shadows compared to his early, seemingly endless inventions.

Down in front. The Animal Trainer, 1923, (inscribed “1937”). Fear not- I’ve been assured by MoMA that no Owls were harmed in the making of this Retrospective. Actually? I’m not sure just who is being trained in this work.

It points out that there remains much to see and study in the long career of this defiantly original, prolific and continually surprising individualist. I found myself a bit lost by what came after 1925, but he called me back with his somewhat surprising evolutions during WW2.

Moving on. The Lovers (After The Rain), 1925. Picabia painted over an earlier, abstract work in creating this. I’d love to see an x-ray and see what he chose to paint over.

Good luck trying to stick Francis Picabia in a style hole. He didn’t stand still, as we see here in The Wandering Jew, interestingly, from 1941. A period that features quite a few nudes.

In the end, Picabia is, like I See Again in Memory… one of those Artists who’s work demands, and rewards, repeated viewing. His formidable technique, and endlessly creative & inventive mind gave us an Artist who wasn’t content to stay with one style for very long. When you have that kind of talent? Why would you want to? He was, as he famously said, “a monster.” A monster talent.

Portrait of the Artist, 1934, a collaboration with Bruno Eggert. A bit of Christian Schad, perhaps? Schad was 40 in 1934, though pretty obscure.

Paths To The Absolute: Kandinsky, Malevich, Mondrian, Newman, Pollock, Rothko and Still @ Di Donna Galleries- A small wonder. All of those big names in one gallery show. Beautifully hung, in fascinating combinations that created wonderful inner dialogues, and one that offered a nice different perspective on Rothko from that going on in the “big” show, concurrently, at Pace, Chelsea. A show I almost missed and long will be grateful I did not.

Pollock and Malevich. I don’t believe I’ve ever see them together! Why not?

Franz Kline, Malevich, Barnett Newman and Mondrian. And, that bench!

As good as that show was, one Artist was not included…

Richard Pousette-Dart: The Centennial @Pace Gallery, East 57th Street, and Altered States: The Etchings of Richard Pousette-Dart @Del Deo & Barzune. This past June 8th would have been the 100th Birthday of Richard Pousette-Dart (RP-D for short), who died in 1992 at 76. An Artist who, I feel, has not yet been fully appreciated. June 8, 2016 would slip quietly by, but it turned out his 100th had not been forgotten. Pace Gallery 57th Street, opened a Centennial Show on September 6, (with RP-D’s wife and well known son, the musician, Jon Pousette-Dart in attendance). A symposium was held at the Whitney a few weeks later, a restored public work was unveiled downtown, and a revelatory show of his etchings at Del Deo & Barzune in the Flatiron District opened on October 6.

RP-D: The Centennial @ Pace, Uptown

Phew…My fears he’d be forgotten were assuaged. RP-D has become something of a “cause” for me. The more I see of his work, the more I’m baffled that he’s not (often) spoken of with his long time compatriots Jackson Pollock, Mark Rothko, Willem de Kooning, et al. I just don’t get it. For my money (and I have none personally invested), he’s every bit as good, and important, as any of them.

Altered States: The Etchings of RP-D @ Del Deo & Barzune

The show at Pace Uptown was nicely concise, giving a taste of the range of his stylistic development, which, for me, were a feast for the eyes. There is something wonderful about his work that allows it to work just as well in a small space (as the etchings prove), or in a large gallery at The Met’s newly rehung M&C Galleries. It’s so easy to get endlessly lost in either close study of his work, or at a distance. His compositions are among the most complex of the AbEx Artists, and his attention to detail borders on the staggering. You wonder how he ever finished one work, let alone as many as he did.

White Silence, 1974, 14 feet long, above. Hurry up and grab a seat before I sit there until they close.

Detail. “…it’s full of stars.”

Astoundingly, RP-D was, also, one of Ai Weiwei’s teachers at The Art Student’s League (on West 57th Street, down the street from where Pace is now) from 1983-86. I have yet to hear, or read, him (AWW) speak about the experience.

Installation view- Pace Gallery

Visiting the wonderful satellite show, with the prefect name, Altered States: The Etchings of Richard Pousette-Dart at Del De & Barzune in the Flatiron, the impression (sorry) is amended (as it always seems to be when one sees a work by RP-D he previously hadn’t seen), enhanced and refined. Here, his attention to detail is in just as full effect, and the results are even more (and even more sadly) unknown. The work on view is uniformly marvelous. They give the same effect as his larger painted masterpieces- ponder them from afar, or get lost in them up close. These are works you will look at for an entire lifetime and still see something new in them.  Long live Richard Pousette-Dart.

Just in time for RP-D, 100- Symphony No. 1, The Transcendental, 1942-42, now on view in the newly rehung Modern Galleries at The Met, 5th Avenue.

And, finally…a show I planned to write more about but haven’t, and just can’t let get away- Rembrandt’s First Masterpiece @ The Morgan Library. Worth the price of admission to see the figure of Judas in the 1629 painting, Judas Returning the Thirty Pieces of Silver, The Master did at age 23(!), the work that sealed his status as a “Master,” and which I haven’t as yet found an antecedent for in the prior history of Painting3

While you were waiting for a slight opening in the throng surrounding it, you were blessed with the rest of this one, large, room being chocked full of some of the greatest impressions of Rembrandt’s prints to be seen in this hemisphere.!

One half of the show.

I could think of worse ways of spending my time “waiting.” Like doing anything else, short of making love. So overwhelming were they that you were 3/4 of the way home before you realized you saw “only” one painting.

Murderer’s Row. If I could only have one work of Art for the rest of time? I’d take a Rembrandt painted Self-Portrait. So, I was floored to walk into this show and see no less than FIVE Rembrandt Self-Portrait etchings.

And then? The seas parted and lo and behold? THERE IS WAS! QUICK! SHOOT!!!

Judas Returning The 30 Pieces of Silver, 1629. Private collection. (i.e. Someone has this hanging on their wall. I felt a twinge typing that.)

Where was I? Oh yeah…”only” one painting here…That was immediately followed by the realization that with Rembrandt? The medium is not the message- The message is the message. it matters not which medium he chooses to work in. He created timeless Art in many mediums, Painting, drawing and prints, here. From what is called his “First Masterpiece,” (I didn’t say that)4, he lets it be known that he is someone that is, and will be, unprecedented in Art History, and earned the admiration of the diplomat, poet and great Art connoisseur Constantijn Huygens, who’s original diary, containing Huygens’ now immortal words about Rembrandt and “Judas,” which put the young Artist on the map, is here as well. Remarkable! Of “Judas,” Huygens writes in THIS very book(!)-

The Legend of Rembrandt begins here.

his Autobiography, written between 1629-31-

“Compare this with all Italy, indeed, with everything beautiful and admirable that has been preserved from the earliest antiquity. The singular gesture of the despairing Judas-leaving aside the many fascinating figures in this one painting-that one furious Judas, howling, praying for mercy, but devoid of hope, all traces of hope erased from his countenance, his appearance frightening, his hair torn, his garment rent, his limbs twisted, his hands clenched bloodlessly tight, fallen prostrate on his knees on a blind impulse, his whole body contorted in wretched hideousness. Such I place against all the elegance that has been produced throughout the ages.”

One of the most auspicious, calling cards in Art History…even 388 years later.

This “such” retains every bit of it’s power to awe onlookers nearly 400 years later as it did Mr. Huygens shortly after he created it, to the extent that it’s possible to see so much of what’s come after in this one figure, right up to Lucian Freud and Francis Bacon.

I give this show my award for the exhibition that went the furthest beyond above and beyond delivering on the advertised expectations. Any show that elicits an “Oh My God,” from it’s doorway as I first entered and it dawned on me what awaited and how undersold this show was has to be, at least, NoteWorthy, and at most, unforgettable.

As the new year begins? To any show with designs on winning that award this year, I say  “Bring It On!”

*- Soundtrack for this Post is “Puzzling Evidence” by David Byrne and recorded by Talking Heads on True Stories, which was accompanied by a movie and a book of the same name. The book contained photographs by William Eggleston, among others.

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  1. Continuing the continuum. Eggleston learned from Cartier-Bresson and Robert Frank, among others. ↩
  2. holders of all of his copyrights ↩
  3. “Agony” seems to be something avoided in Painting. To this time, Christ on the Cross was depicted “transcending” the physical agony, and Paintings of the so-called “Agony In The Garden,” invariably show Christ lost in meditation, prayer and deep, though possibly, pained, thought. If you know of an ancestor or influencer, please let me know. ↩
  4. His early work is pretty darn stellar in my book. I’ve long had a love of this one in Boston, from 1628, one year before “Judas”, that is only 9 inches by 12 inches. Don’t be fooled by it’s apparently “simplicity.” Much is going on. ↩

Unfinished. Auspicious.

Written & photographed by Kenn Sava

“Well, let me tell you ’bout the way she looked
The way she acts and the color of her hair
Her voice was soft and cool, her eyes were clear and bright
But, she’s not there.”*

"Portrait of Mariana de Silva y Sarmiento," 1794, by Mengs

“Portrait of Mariana de Silva y Sarmiento,” 1794, by Mengs

Leonardo da Vinci, Michelangelo, Titian, Van Eyck, Durer, Rembrandt, Velazquez, Manet, Monet, Degas, Van Gogh, Cezanne, Picasso, Pollock, Warhol, Mondrian, Basquiat, Whistler, Alice Neel, Lucian Freud, Klimt, Munch, Whistler, Robert Smithson, Cy Twombly, Gerhard Richter, and on and on. “Unfinished” is a mimi-Museum unto itself that probably rivals quite a few entire Museums. “Unfinished,” along with the “Nasreen Mohamedi” Retrospective, were the inaugural exhibitions at The Met Breuer (TMB), the first shows of two new eras- The Met’s new 8 year Breuer Building Lease (at a reported $17 million a year 1), and Sheena Wagstaff’s tenure as Chairwoman of The Met’s Modern & Contemporary (M&C) Department. No pressure there. It’s a show that leaves you wondering “Why didn’t anyone think of this before,” before you’ve even gotten to it’s second floor.

Opening Day of The Met Breuer. Member's Preview, March 8, 2016

Welcome to the future! Opening Day of The Met Breuer. Member’s Preview, March 8, 2016

Well, for one thing, though many of the works here come from other sources, not a lot of places have the resources The Met has, so yes, a part of this is “showing off.” They’ve chosen to install this in a brand new branch that previously held the entirety of one of the other “Big Three” Manhattan Museums, before the Guggenheim made it the “Big Four.”

If that’s not showing off? I don’t know what is.

The rest is the pure joy of discovery, of seeing a curtain lifted and getting an all too rare chance to see some of what goes into making a masterpiece, a work of Art. And? The hits just keep on coming. The big names, that is, if not the most well-known work by any of those names. 197 works in all filling the 3rd & 4th Floors. While nothing here is “famous,” even in their, supposedly, incomplete state (either left unfinished on purpose, or not, in the case of Lucian Freud’s “Portrait of the Hound,” which was left as we see it on his easel when he died), these works hold up just as they are, making this a show jam packed with excellent, even important pieces. Yes, curating a show of “unfinished” work THIS well is also showing off The Met’s superb staff. Along with the pleasure of looking, they also provide fascinating, voyeuristic, even unique, insights into the Artist’s process- both working and thought. Some, as in Alice Neel’s “James Hunter Black Draftee’, 1965, are, perhaps, more evocative than it might have been had it been “finished.” Mr. Hunter never returned for additional sittings. We are left to wonder why not.

"James Hunter Black Draftee," 1965, by Alice Neel

“James Hunter Black Draftee,” 1965, by Alice Neel

The whole question of “When is a work of Art, finished?” comes front and center here as well, and no less than Rembrandt chimes in on it.

dsc_7639pnh

Highlights? I’ll list those that come to mind quickly because there are so many. For me, Jan Van Eyck was the very first Artist who truly captivated me as a kid. Shortly after getting my driver’s license, I drove the almost 6 hours each way just to see his “Annunciation” in Washington’s National Gallery, then drove right back. Seeing his underdrawing for his unfinished St. Barbara was just breathtaking. It’s truly unbelievable to think that something like this lies underneath his finished masterpieces, like The Ghent Altarpiece! While he is legendary for the extraordinary and exquisite detail of his painting, which has held me in disbelief for all these decades, apparently, he could also draw every bit as well2

Small wonder. "Saint Barbara," 1437, Jan Van Eyck. Barely 12 inches tall.

Small wonder. “Saint Barbara,” 1437, Jan Van Eyck. Barely 12 inches tall.

Just astounding. Oh, and sitting a few feet away was a da Vinci portrait profile that was positively otherworldly. When the show opened (along with the Met Breuer) in March, it was flanked by Leonardo’s “Sketches for the Virgin Adoring the Christ Child” and Michelangelo’s “Study for the Libyan Sibyl.” Since “Unfinished” was up for a very generous four and a half months, the later two were replaced after a while, no doubt due to their fragility. It seemed to me they may have been there in honor of TMB’s opening. Both works are in TM’s permanent collection. More showing off? (Slight smile)

Blink, and you missed it. Briefly on view, Leonardo, center and left, Michelangelo, right.

For a New York Minute, the two greatest figures in Western Art were on view together. Leonardo, center and right. Michelangelo, left. Has so much hunan genius ever been side by side than when work of these two are shown together? March 8, 2016.

Oh, all of this is in the 2nd room. In the first room, upon getting off the elevator on the 3rd Floor, at the show’s beginning, you’re immediately faced with 2 large, powerful Titians that are guaranteed to stop you for a good long while, and a Jacopo Bassano.

This view once the elevator doors opened on 3 is one I'll long remember.

The opening salvo. This is the first thing many visitors to TMB saw after the elevator deposited them on 3. Bassano, left, with 2 Titians.

Rembrandt’s St. Bartholomew, a whole room of Turners, a beautifully selected print gallery, a very “different” Degas of a horse race, a Van Gogh who’s color filled the entire room, a stunning Munch self portrait…all on the 3rd floor, wowed me.

"Street in Auvers-sur-Oise," 1890. In the year he died, no dark clouds in this sky.

Life affirming. “Street in Auvers-sur-Oise,” 1890. The year he died, no dark clouds in this sky. I am among those who believe Van Gogh did not commit suicide.

Finished, or Un? "Lucretia," 1642, by Guido Reni. Magnificent.

Finished, or Un? “Lucretia,” 1642, by Guido Reni. Magnificent.

On the 4th Floor, getting off the elevator was no less dramatic. No less than 4 amazing Picassos greet you, one of which is “the Charnel House,” the work which bookends (with “Guernica”) his WW2 years. While “Guernica,” rightfully, is seen as one of the landmarks of 20th Century Art (and one I’m eternally thankful I got to see in person at Moma’s Picasso Retrospective in 1980 before it was moved to Spain as Picasso’s will required), here is a work that I think deserves more attention. It’s surrounded by 3 other pieces, in 3 other styles (in addition to 2 others in the next gallery, and a few more on the 3rd floor), that show Picasso in the process of thinking through the problems inherent in each work- each one in a different style. After the 1921 “Portrait of Olga,” right, below, he was inventing each of these styles. It’s akin to inventing a new language. There was no one else to help him or guide him. Some artists, like Jackson Pollock, have done this once. Picasso? There’s three in this one gallery, and it doesn’t even include Cubism.

Pick a style-any style. 4th Floor Lobby/Galley 1. Picasso 1921, '29, '31, '45.

Pick a style-any style. 4th Floor Lobby/Galley 1. Picasso 1921, ’29, ’31, ’45.

There was quite a bit of fanfare paid to The Met’s announcement of The Met Breuer as a “Contemporary Outpost,” especially during the years when the 5th Avenue Modern & Contemporary Galleries were to be undergoing the reconstruction they had also announced. Yet, in this co-inaugural show, we get quite a bit of what The Met is famous for, along with about two thirds of the 4th floor of more recent works. The size of many of these newer works seems to cut down on the number of pieces, however, making the show feel skewed towards older Artists. Of the 197 works in the show, I counted 74 works by Artists born after 1900, 12 by Artists born after 1950. (The youngest Artist represented is Urs Fischer, who was born in 1973, and who’s mysterious cast bronze “2,” from 2014 is also the newest work here by my reckoning.)

The day after at the NighhawkNYC offices? No. "2," 2014, by Urs Fischer.

The day after at the NighthawkNYC offices? I’ll never tell. Actually, this is “2,” 2014, by Urs Fischer.

“But it’s too late to say you’re sorry
How would I know, why should I care?
Please don’t bother trying to find her
She’s not there”*

Yet, even among the M&C pieces here on the 4th floor, there are memorable pieces. In additon to Urs Fischer’s “2”, the unfinished Mondrian struck me as a revelation. Yayoi Kusama’s genre defying paintings of consecutive numbers gave pause for thought, as did Sol LeWitt’s amazing tour de force  “Incomplete Open Cubes” nearby  and, Kerry James Marshal’s “Untitled,” 2009, was a nice appetizer for his much anticipated “Mastry” show opening at TMB October 25. The show concludes with a wonderful selection of sculpture, including haunting works by Louise Bourgeois, “Untitled (No.2), 1996, and Alina Szapocznikow’s work about her own battle with breast cancer, “Turmors Personified,” 1971, in dialogue alongside 3 Rodins. The final gallery consisted of only one work- a series of 6 pieces by Cy Twombly, entitled “Untitled I-VI (Green Paintings), 1986, which provided a meditative, cleansing experience I found especially memorable.

The Cy Twombly Gallery closes the show seen in panorama.

Water works? It’s hard not to feel a sense of water in movement in this gallery of 6 Cy Twomblys, which closes the show, seen in panorama.

Overall, what I took from this show as a whole was a possible template for what The Met plans to do going forward, the kinds of Artists they may include in their “new initiative.” It’s something I plan to watch closely as it unfurls. I should say that I have been in the minority regarding The Met and M&C Art. I liked that they were taking their time and allowing time to give some perspective on Contemporary Art before jumping in. It’s always been an honor to be in The Met- they have the best of the the best across all cultures and all times. Yet, given the unprecedented popularity of M&C Art today, they have opted to move more fully into it. Ms. Wagstaff, who I met in June, seems to have a great sense for all of this, and if anything, “Unfinished,” is a show that consists of work across at least a few Met Departments. Being able to work, apparently, so well with the other Met Departments augers well for the future. After all, The Met has 2,000,000 items in it’s collection. Showing M&C Art along side of selected objects in their collection is something I am all for.

Floor beach. As close as I got to a real beach this summer.

Floor beach. “Mirrors and Shelly Sand,” 1970, by Robert Smithson. As close as I got to a real beach this summer. I shot this wearing shades.

For me? That’s what this show says- Here are (unfinished) works by many of the greats. This is where we are starting from. Let’s see how other work that may, or may not, have been influenced by them, looks alongside these. The show may be seen as a number of conversations between Artists they are displayed alongside- Leonardo with Michelangelo. Van Eyck and Durer, Rembrandt with Velazquez(!). Degas and Manet. Van Gogh and Whistler(!). Picasso and Cezanne. Pollock and Kusama. Smithson and Fischer. Marshall and Warhol. Szapocznikow and Rodin. Rauschenberg and Mondrian. And, Picasso, also…with himself, among them. I say bring it on!

Still, there’s no denying that The Met Breuer is a HUGE gamble. Who knows how long Contemporary Art will stay as “hot” as it is? For that matter, who knows how much longer record number of viewers will go to see Art, as they have these past few years? The Met is locked into this for 8 years, and they have already announced a budget deficit that caused them to put off the previously announced reconstruction of the Modern & Contemporary Galleries, and, more sadly, even forced an unknown number of lay offs.

When they return to better times, IF they decide to move forward with those reconstruction plans, they will, most likely, need additional space for the temporary display of their Modern & Contemporary holdings, and Special Exhibitions. What will they do? Extending the lease on the Breuer will be VERY expensive. So far? I have yet to see it’s galleries very crowded. The “Diane Arbus; In The Beginning” Show, which recently opened on the 2nd floor, seems to be drawing pretty well, and “Unfinished” was fairly crowded during it’s last weeks. Yet? They’ve already closed the 5th Floor Cafe & Bookstore and remodeled it as additional Gallery space, which indicates that they want to have more going on there for visitors to see, and their basement restaurant is scheduled to open in about a month, which will be open during some hours The Museum is not. Obviously, this is all new, and still in flux. The Met seems to be reacting fairly quickly, which is a good sign. They did away with late Thursday nights, which I seemed to be among the very few that went to, and changed to late Friday & Saturday nights, like TM, 5th Avenue.

"Tumors Personified," 1971, by ALina Szapocznikow.

Survivor. “Tumors Personified,” 1971, by Alina Szapocznikow.

So far, on very little evidence, I like the direction TM is going at TMB, and with M&C Art. “Nasreen Mohamedi” was a revelation that struck me as the “perfect choice” to be the first M&C Show. “Unfinished” was an unexpected blockbuster the likes of which has never been seen before, which is somewhat startling given how long there have been painting shows. The Diane Arbus show is fascinating and features a ground breaking installation. Also, not to be lost is the reconfiguration of the M&C Galleries at TM on 5th Avenue- I love what they’ve done. The Art has been imaginatively rehung in fascinating new combinations, with some pieces given new prominence, like Edward Hopper’s majestic “The Lighthouse at Two Lights,”1929, and other pieces shown that have long been in storage. Along with this, Thomas Hart Benton’s “America Today” Mural appears to have now been permanently housed, at the center of supporting works and works that enter into interesting dialogue with it nearby. Other galleries are arranged by theme, instead of chronology.

So? There’s been a lot of action coming from new M&C Chairwoman Sheena Wagstaff and her Department. There’s a long way to go, but so far? It’s hard for me to give her less than an “A” for what she and they have accomplished.

Haunting, and then some.

Haunting, and then some. “The Return of Mary Queen of Scots to Edniburgh,” 1870, James Drummond.

Most of the Artists in “Unfinished” won’t get the chance to finish what they started. The Met will.

Stay tuned.

*-Soundtrack for this post is “She’s Not There,” by Rod Argent, recorded by The Zombies, and published by Marquis Songs, USA.

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  1. http://www.nytimes.com/2016/03/05/arts/design/breuer-building-expands-the-imagination-and-the-budget-of-the-met.html?_r=1 ↩
  2. Yes, I saw “A New Look at a Van Eyck Masterpiece” at TM proper, which featured a drawing of the Crucifixion from Rotterdam that may, or may not be, by Van Eyck. I came away VERY impressed by it to be sure, but remaining to be entirely convinced. ↩

Move Over Harry- Gary Schwartz Released A New Book!

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Written & Photographed by Kenn Sava

“Where your treasure is,
There will your heart be also.”*

As if I don’t have enough books, or enough books by Gary Schwartz (4, now 5), the release of his newest book is a cause for celebration around here. It’s as big a deal for me as the release of a new Harry Potter book is for the rest of the world. Mr. Schwartz’ new book is filled with more magic, sorcery, lost knowledge, and mystery than all the Potter books combined! Not to mention some of the greatest Art in the Western World.

The waiting line will be a lot shorter for this one.

It’s subject is no less than Jheronimus Bosch, the birth name of the Artist better known as Hieronymus Bosch, one of the most mystical, unique and elusive Artists in Western Art. If anyone can track him down, my money is on Gary Schwartz. Track him down he does, going into extraordinary detail on his life, works and times, discussing each and every work in his inimitable way that almost no other Art Historian has- he gives you the technical details along with the humanity like he’s talking to “regular people,” and not a doctoral class in Art History. I marvel at his ability to do so. THIS is how Art should be taught, explained and passed on, IMHO.

I’ll sum up this book in 3 words- “Bravo, and Hallejulah!” Bravo for (another) classic & essential Art monograph, and Hallejulah we got another one by Gary Schwartz!

Given that this past week (August 9) marked the 500th Anniversary of his death, it’s already been a big year for Bosch. A show that I’m sorry I missed commemorated the anniversary in his former home town, Hertogenbosch in The Netherlands, then there was the release of the Bosch Catalogue Raisonne (and related Technical Studies) by the Bosch Research & Conservation Project (BRCP), 5+ years in the making, geared to establishing once and for all, which works the Master actually did create, and which he didn’t. Given all this hoopla, the timing of Mr. Schwartz’ newest book, “Jheronimus Bosch: The Road to Heaven and Hell,” couldn’t be more auspicious. It’s release seemingly makes it go head to head with the BRCP’s 2 books.

But, showing the true colors of his collegial spirit, Mr. Schwartz wrote the very first review posted on Amazon of the Bosch Catalog Raisonne, giving it 5 stars, saying both BRCP books were “Raising the bar.” Check it out. It may be the best review I’ve ever read on Amazon.

Gary Schwartz is the same man who had the audacity to write a book called “The Rembrandt Book” in 2006. There are, possibly, as many books devoted to Rembrandt as any other Artist in history. Was he saying, “Forget all of them, this is THE Rembrandt Book?” I wondered. Now? If I had to choose one Rembrandt book to take with me? That would it. And, I now actually call it “THE Rembrandt Book,” even though it was no less than his second full length monograph on the Dutch Master, following “Rembrandt – His Life, His Paintings,” from 1985. When I first looked them over side by side, my jaw hit the floor of The Strand. What most amazed me is that they were written 20 years apart, and they are completely different! Whoa. How much does he know about Rembrandt? I consider them both essential for Rembrandt lovers.

Essential, and sadly out of print. The Strand is asking 95.00 for a copy like mine, above. If you look hard, you can find a decent one for 30. online.

Now? He’s done it again. 19 years after releasing a 92 page book, called “First Impressions: Hieronymus Bosch” (1997), which as it’s title hints, is a fine introduction to Bosch,

Released in 1997, now out of print. A great introduction to Bosch. I got mine for 9. at The Strand late last year.

“Jheronimus Bosch: The Road to Heaven and Helll” is a “The Rembrandt Book”-style monograph on Bosch. To my way of thinking it’s as close to “definitive” as we may be likely to see for some time, with all due respect to the BRCP’s Catalog Raisonne (which is for specialists, and while focused on the works in unprecedented depth using ground breaking techniques, doesn’t tie the work in with the biographical depth Mr. Schwartz does. Translation- I’m not a Bosch specialist.). Mr. Schwartz has an almost magical way of unearthing details about Artists that lived all these hundreds of years ago, and sifting through the existing documentation with knowing eyes that you just don’t get in other books. (He does include some of the BRCP’s findings, though it appears their work wasn’t completed while he was writing his.) Besides, there are so few works by Bosch, whoever’s word you take for it, that I know I’m not going to miss any either way.

I’ve come to trust Gary Schwartz when it comes to the “last word” on an artist. Mr. Schwartz has earned my trust, the hard way-with Rembrandt. But you don’t have to take my word for it- Simon Schama, of the superb Art Documentaries “Simon Schama’s Power of Art,” Art Historian & Professor of Art History at Columbia University, co-dedicated his excellent Rembrandt Biography, “Rembrandt’s Eyes,” to Gary Schwartz. After reading Mr. Schwartz’ Rembrandt books, which, coincidentally, came about during the work of another Research organization, the Rembrandt Research Project (RRP), who were also endeavoring to compile a verified canon of authentic works, and reading his assessment of their findings, I found myself in agreement with Mr. Schwartz on contested works like the Frick Collection’s “Polish Rider,” and others. I now trust his judgement about what’s what- no small thing when the world’s supreme experts are so vociferously at odds over things like what’s a real Bosch, or Rembrandt, and which isn’t. Hundreds of millions of dollars ride on the outcome of those arguments, not to mention the pride of the Museums home to these works. But? It’s not my money. (Phew.) I only care about learning about the Artist, trying to get a feel for his style and work and see if I can spot it in all these discussions, and how the work fits in with his life story. My guess is that Mr Schwartz appears to share similar motivations- he wants the truth. He’s not bashful about (respectfully) going against other experts if his research bears it out. He trusts himself- his own mind, and of course, a lifetime of research, experience and incomparable expertise.

Owls appear all over Bosch’s work, so how can I not love him? Here’s one of my faves. Note the eyes and ears. It strikes me as a statement about the world right now.

While  you can read more of his writing on his website, and it’s all fascinating, unique and worth every bit of your while, getting a book like this is a rare gift, one that must have taken him years of very hard work to put together.

“You’ll stay with me?
Until the very end,’ said James.”*

So, the next time you’re in your better brick & mortar Bookstore, see if they have “Jheronimus Bosch: The Road to Heaven and Hell” by Gary Schwartz and published by The Overlook Press. Pick it up and thumb through it. I guarantee it will cast a spell on you, too.

PS- I only hope his next book is on Jan (or Jan & Hubert) Van Eyck…

*- Quotations from “Harry Potter and the Deathly Hallows” by J.K. Rowling, published by Arthur A. Levine Books, 2009. The first quote also appears in Matthew 6:19-24.

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