Written & Photographed by Kenn Sava (*unless otherwise credited)
Dead Reckoning I, 1980, Acrylic on canvas, 73 x 73 inches. Click any Photo for full size.
When Jack Whitten left us, far too soon, this past January 20th, his hard earned, long-time-coming place among the most important and innovative Painters of his time was assured. This was most recently brought home for me in Spring, 2017 with the excellent Jack Whitten at Hauser & Wirth, where I was completely enthralled by the selection of 19 Paintings, all from 2016, save one each from 2015 and 2017.
Quantum Wall (A Gift for Prince), 2016, Acrylic on canvas with tivar. 190 x 84 inches(!), seen at Jack Whitten, at Hauser & Wirth, February 7, 2017.
Jack Whitten often said his Paintings were “made,” not “Painted.” In creating these Paintings, he worked with what he called “tesserae,” a chunk of acrylic that had been cut from a large slab of acrylic poured into a mould that were then applied to the canvas like mosaics. Walking through Jack Whitten last year, each Painting was so meticulously “made,” I couldn’t believe he could make so many of them in one year, in his late 70s.
Installation view of the first gallery of Jack Whitten at Hauser & Wirth, February 7, 2017. Quantum Wall (A Gift for Prince), seen above is on the back wall.
Standing front and center in the main gallery, the Paintings were accompanied by something I never saw before- a Jack Whitten Sculpture(!)- Quantum Man (The Sixth Portal), 2016. I wasn’t sure what to make of it. Surrounded by the Paintings, I came away struck by how different it seemed from them. During the run of the show, the Art documentarians, Art21, created this short piece on Jack Whitten. It serves as a wonderful introduction-
Earlier this year, the collected journals, essays and public talks of the Artist were published in the massive 500+ page book, Jack Whitten: Notes from the Woodshed (see BookMarks at the end). But, there was more…MUCH more hidden in that woodshed. It turned out the Artist had been creating a body of Sculpture going back to 1963 that he kept to himself, only having shown them twice in Crete, where he had a home and where he created many of his Sculptures. Except for that one work included in his last Hauser & Wirth show in 2017, he had never shown his Sculpture in this country (as far as I know).
Until now.
I’ve never seen the likes of this before. Lichnos, 2008, named after a somewhat dangerous Greek fish, at the entrance at The Met Breuer, November 23, 2018.
A few years ago he finally decided to show them. Unfortunately, he didn’t live to see the resulting show, Odyssey: Jack Whitten Sculpture 1963-2017 (henceforth, Odyssey), when it opened at the Baltimore Museum of Art on April 22nd, before moving to The Met Breuer on September 6th.
To say it’s a revelation is a huge understatement. Odyssey isn’t “A” revelation- It’s a revelation in so many ways, I can’t count them.
The meaning of my life- in one Photo. Installation view of the first gallery shows Jack Whitten’s earlier Sculpture surrounded by five of his Paintings. I was filled with wonder each and every time I entered this space.
When I entered the 3rd Floor at The Met Breuer to see it for the first time on October 5th, I had walked no more than 100 feet into the first gallery, when I realized, “THIS is why I go to Art shows.” Meaning, I live for the chance to discover something new and great. Standing in a spot where I could take in the whole room, I felt like I was, truly, in a different world- a world that, somehow, had managed to synthesize the past and the present in a completely unique and fresh way that pointed straight ahead. That visit, I never made it out of the first room shown above. So transfixed was I by every work it contained, it took me 3 subsequent visits to see all of the show. Each of my eventual eight visits left me filled with wonder at this wider view of the sheer scope and range of Jack Whitten’s creativity and talent. I felt that I was standing in a space that was somehow sacred. Each work reverberated with a deeper essence greater than the sum of its parts or its stunning design. Each has a spirit of its own.
As I moved through the show, at the pace of a frozen glacier (remember them?), I was struck by the feeling that it’s so sad that having overcome so much in his life Jack Whitten didn’t live to see this utter triumph- a show mounted by two of this country’s great Museums that once and for all establishes him as a Master Artist of our time.
And then, another revelation hit me, in the form of a question- WHEN was the last time a great Artist who had worked his entire life creating a major body of work in one medium (in this case, Painting) passed away and then ANOTHER major body of his work, in a completely different medium (Sculpture) was discovered? If you can think of one, let me know.
While Jack Whitten’s Sculpture feature wood, that’s not all they consist of. His brilliance extended to his taste, evidenced in the materials he carefully selected for these works. A partial list includes lead, copper, a wide range of wood (see this list-), fishing line, various bones, and Gorilla Glue & saw dust are combined with any number of more common objects. Yes, those “blades” seen in the 3 striking works in the foreground are marble.
Moving through the show, it became apparent that the style of Jack Whitten’s Sculpture evolved every bit as much as his style of Painting did. New materials came into the mix, creating a vocabulary that extended dramatically beyond wood, but the essence of their spirit remained consistent.
The White House, September 22, 2016. *Photo by Cheriss May arts.gov
Jack Whitten was born (in 1939) and raised in Alabama before becoming discouraged by the racial turmoil he had encountered and seen first hand, particularly in the demonstrations he took part in. He moved to NYC in 1960 to study at Cooper Union. Here, he was able to learn from “both sides,” he put it, encountering some of the most well known white and black Artists of the time, including Mark Rothko, Willem de Kooning, Jacob Lawrence, Philip Guston, Romare Bearden, Franz Kline, Andy Warhol and many others. In fact, throughout his life, Jack Whitten met many of the great figures of his time, from Dr. Martin Luther King to John Coltrane to President Obama, seen above awarding him a National Medal of Arts for 2015. More importantly, he felt he learned from each one. He also saw some of the great cultural and societal events of our times- including Dr. King’s “I have a dream” speech, after having met him a few years earlier. Jack Whitten was, also, an eyewitness to the first plane flying into the World Trade Center on 9/11 from 14 blocks away! Incredibly, his voice is heard on the only video there is of that plane impacting the North Tower, by the Naudet brothers who were making a documentary on the New York Fire Department. Following them around, that morning they answered a call about a gas leak at the building Jack Whitten owned on Lispenard Street. The Naudets happened to be filming the firemen who were trying to find it when the plane flew right over their heads! Jack Whitten’s voice is the one heard making the expletive as it crashes into the North Tower. He subsequently made one of his most powerful and important Paintings, in my opinion, 9.11.01, in 2006.
9.11.01, Acrylic on canvas, 20 x 240 inches. Not included in Odyssey. Photo- Hauser & Wirth
I’m not the only one who thinks so. Earlier this year, the Baltimore Museum of Art, who had sold works by Andy Warhol and Franz Kline (both of whom Jack Whitten knew) to fund new acquisitions astutely used some of that money to buy 9.11.01. The Museum’s Director, Christopher Bedford called it, “the most significant acquisition I’ll ever make for a museum.” He went on to say that he feels that “in 100 years it will be regarded as highly as Matisse’s Blue Nude, 1907, currently considered the crown jewel of the Museum’s holding.”
All throughout his life, he followed his own path. Shortly after arriving in NYC, he visited the City’s Museums, where he saw the work of African Artists in The Met and the Brooklyn Museum that had the biggest and longest lasting influence on his Art, especially his Sculpture, which he began about 1963.
Power Figure: Male (Nkisi), 19th century, Angola or Democratic Republic of the Congo.
“All of this stuff was inspired by those figures. All of it. That’s the source,” Jack Whitten said of his Sculpture and these early African figures he saw in NYC museums (per the Audio Guide).
Homage to Malcolm, 1965, front, Homage to the Kri-Kri, 1985, left, the Painting, Black Monolith III For Barbara Jordan, 1998, rear center and Power Figure: Male (Nkisi) 19th century from Angola, via The Met’s permanent collection, right, one of the possible influences on Jack Whitten’s Sculpture, who visited The Met after moving to NYC in 1960, to study its collection of African Art.
Finding inspiration, (Odyssey includes some of the African, early American and Mycenaean Art from The Met’s permanent collection that may have influenced him), he also honored the purpose of many of these older works. And so, we see works that are “Power Figures,” “Guardians” (including one for wife, his daughter as well as himself), “Totems,” or “Reliquaries,” while others reference animals, including Owls, Scorpions, Orfos, Lichnos and Sharks. Two reference contemporary figures (something his Paintings do more often)- the then recently deceased Malcolm X, created in 1965, above, and the fascinating John Lennon Altarpiece created in 1968 (seen further below). In discussing his Homage to Malcolm, I was struck by the Artist’s comment on the Audio Guide regarding the “rough to smooth” character of the work, explaining, “The man had many stages to his personality. It’s another example of white folks trying to squeeze black people into one dimensional people. But, we’re not that.”
The Afro-American Thunderbolt, 1983-84
It then became apparent that a number of other Sculptures in this show also move from “rough to smooth,” each with exquisite craftsmanship.
Detail.
One of the reasons I think Mr. Whitten may have kept his Sculpture to himself is that many of the works are personal. He created a series of Guardian figures for his family, and this one for himself. As he said on the Audio Guide, “Growing up in the South, we had no protectors, so I built that one for myself, and it has served me well.”
The Guardian III, For Jack, 1986. Notice the blue section underneath, made from coiled fishing line. These “hidden” colors appear in a number of his Sculptures, where they seem to glow from underneath.
With, apparently, only those closest to him knowing, Jack Whitten managed to rewrite Sculptural history for the 20th and 21st centuries, beginning by forging his own way with African Art that by-steps the influence of the European modernists and Cubism, (including no less than Picasso, who’s own monumental 2015 Sculpture show at MoMA I wrote about here) of the early 20th century.
Even though he studied at Cooper Union, looking at his career, it becomes obvious he learned every bit as much, if not more, from his conversations with other Artists, his observations and through discovering his own techniques- in both Sculpture and Painting.
Black Monolith II (For Ralph Ellison), 1994, Acrylic, molasses, copper, salt, coal, ash, chocolate, onion, herbs, rust, eggshell, razor blade on canvas, 58 x 52 inches.
Detail of the center of the “head.”
If Odyssey only consisted of Jack Whitten’s Sculpture, it would still be a major show. That it ALSO contains 16 major Paintings provides an unprecedented opportunity to see works from the same periods in different medium side by side. The whole is brilliantly installed, bringing different combinations of work into view at the same time as the visitor moves around. The sum of its parts takes Odyssey to an entirely different level into the realm of historic, in my opinion, where it now joins the list of truly great shows to have appeared at The Met Breuer. It’s becoming a formidable list, possibly unequalled in NYC since it opened on March 15, 2016. Imagine that.
Bush Woman, 1974-5, in front of Delta Group II, 1975, the only work by the Artist in The Met’s collection, as far as I know. The superb installation of Odyssey is apparent in the juxtaposition of these two works, where the similarities and the differences are apparent and striking. Given both, it’s endlessly fascinating to me that Jack Whitten finished these two pieces in the same year.
“My inspiration for painting comes from the wood. All of my ideas in painting come from the wood. My head is bursting!” he said, referring to his Sculpture.
John Lennon Altarpiece, 1968, seen in front of Black Monolith VIII (For Maya Angelou), 2015, 84 x 63 inches, left and The Guardian I, For Mary, 1983, right.
I bore those words in the front of my mind as I looked closer. During the last 3 of my 8 visits, I tried hard to see what he meant, and, truth be told, I am still trying to connect his Sculpture to his Painting. Then again, that’s the nature of the mystery of inspiration.
This is NOT by Gerhard Richter. Its Slberian Salt Grinder, 1974, Synthetic polymer paint on canvas, 72 x 50 inches, by Jack Whitten that predates the German Painter’s “Squeegee Paintings” by about 15 years! Displayed “In Memoriam – Jack Whitten” at MoMA, seen on October 26, 2018.
He’s said this connection begins with his Slab series of Paintings, like Slberian Salt Grinder (on view at MoMA at the moment, “In Memoriam – Jack Whitten,” and so not included in Odyssey), above. “Painters use paint. I am a painter. My years of carving wood have been the single most important influence on my painting. The Slab paintings from the 1970s are elementary form derived directly from my sculptures.” These works may have been a visual “response” to Jazz immortal John Coltrane’s famous “sheets of sound.” Jack Whitten created these “planes of light,” as he called them. Interestingly, Jack Whitten’s Slab works pre-date Gerhard Richter’s work in a not dissimilar style, done with a squeegee, by over a decade, something he has rarely been given credit for. Whitten created a 12 foot long tool he called the “developer,” that looked like a long wooden rake, to create the Paintings in this period, as he spoke about in the Art21 piece earlier.
The Saddle, 1977. A title with a few interpretations, including sexual.
Regardless how they directly influenced his Sculpture, as he didn’t in his Paintings, it quickly became obvious that Jack Whitten wasn’t going to stand still here, either. The sizes and shapes continued to be completely unpredictable and, taken as a whole, often without recognizable precedent. Still, the craftsmanship is always masterful, the combination of elements surprising and fresh, and the result unique. Added to all of this, over my visits, I found they don’t give up all their secrets quickly, or easily.
Detail revealing the tiny women’s portraits among the metal work, possibly referencing the sexual interpretation of the work’s title? As I took this Photo, a visitor next to me said, “The woodwork is beautiful…it’s insane.”
The visitor was right, of course. In fact, Jack Whitten earned his living for years using his masterful woodworking skills, until he was finally able to support himself through his Art. His feelings about his struggles and lack of greater acceptance and recognition are poignantly revealed in Notes From The Woodshed.
Anthorpos #1-3, 1972-4, three of the earlier Sculptures in Odyssey flanked by two of his Black Monolith Series of Paintings- VII Du Bois Legacy: For W.E. Burghardt, 2014, left, and VI Mask (Updated Version for Terry Adkins), 2014 right. (That’s a covered Breuer window in the back)
In August, 2017, the Artist said- “Wood is elemental matter; it is alive, organic and waiting for someone to release its spirit…that’s my job. When I find an interesting log, I study it and wait for the subject to reveal itself. I have logs that have been resting in my storage space for more than forty years. I do not impose the subject, it is within the log.”
Memory Container, 1972-3, left, with Black Monolith, V Full Circle: For LeRoi Jones A.K.A. Amiri Baraka, 2014, Acrylic on canvas, 84 x 63 inches. Jack Whitten and LeRoi Jones (at the time) used to go and hear Jazz together at The 5 Spot Cafe (which I wrote about recently). About him, Jack Whitten said, “He made this full circle in life. He had a strong center anchor. It was very important for me to meet a black person who could be that outspoken.” (Audio Guide)
Mr. Whitten may have been influenced by Ancient Art and African Art but he took his own approach to it- “Whitten’s private logbooks show him pointing to the need to relate to African objects without the interfering filter of earlier modernisms (“Picasso’s European interruptions,” he called them.”) He proceeded to do this in any number of ways, from creating his own forms, to adding a plethora of personal and found items to a number of these works, including Memory Container, 1972-3.
Detail of the right side of container of Memory Container as seen in the prior Photo.
All the while, he was Painting. “The point I want to make with painting is that abstraction, as we know it, can be directed towards the specifics of subject- a person, a thing, an experience. My goal is to use painting to build abstraction as symbol.” His Black Monolith series of Paintings, dating back to the 1980’s are stunning examples of what he was speaking about.
Black Monolith, IX (Open Circle For Ornette Coleman), 2015, Acrylic on canvas, 84×63 inches. Mr. Coleman, who Jack Whitten met at the 5 Spot Cafe decades earlier, is the only Artist Mr. Whitten memorialized who I met. He was extraordinarily nice and unforgettably generous to me.
As remarkable as seeing the previously unknown body of Sculpture is, perhaps equally remarkablly ALL 11 Black Monliths are included in Odyssey! In my view, they may be his supreme achievement in Painting.
Black Monolith IV For Jacob Lawrence, 2001, Acrylic on canvas, 96 x 96 inches.
Detail.
There are worlds in each work.
Gray Matter, 2010, stands in front of Atopolis: For Edouard Glissant, 2014, Acrylic on 8 canvas panels, 124 x 248 inches, on loan from MoMA.
Just when I was convinced of the abstract nature of Jack Whitten’s Sculpture, I happened on this Photo hanging on a wall in the Chelsea Restaurant, The Dish!
Taken as a whole, Odyssey presents a body of work that is so wondrous, so singular, so strong, so endlessly creative that it continually astounds.
Technological Totem Pole, 2013. Jack Whitten refers to the marble base as “the charger,” and he spoke about seeing totems from Alaska and elsewhere at the Brooklyn Museum. “Later on I began to think of them as computer based. Information is stored in them, about the tribe, the history of the people…When I use modern technology, it’s a way of connecting the present to the past.” (Audio Guide). And yes…the clock is telling the correct time.
Take the final Sculpture in the show for example, Technological Totem Pole, 2013. In place of all the items Jack Whitten had included on his earlier work that may be seen as having been influenced by work from the past, here he adds artifacts of the current time to a pole in a work that can be seen as a “tribute” to our time, or maybe a statement about what we will leave behind- it’s up for each viewer to decide.
Detail.
For me, like every piece that proceeds it, it’s another example of Jack Whitten’s endlessly creative mind, as well as being a testament to how far his Sculpture came in 50 years.
On a personal level, Jack Whitten’s work moves me greatly. When I first realized it, I wasn’t quite sure why. Is it his story of staying true to his vision and constantly creating fresh, unique, and innovative work? That’s part of it, I’m sure. So is that he didn’t live to see the wide acclaim this Odyssey has received. The other part is that his Painting, and now his Sculpture, both comprise bodies of work that embody our time, I feel, witnessed in the range of people he tributed as much as by how. Even more than that, having never had the chance to meet Jack Whitten, when I listen to him speak and see him on video, I’m always taken by what a “regular guy” he was, yet he was someone who responded to many of the things that speak to me- from his taste in Jazz (including Thelonious Monk and John Coltrane- neither of who I got to see perform live as he did), to his feelings about life and the world around him. Then, there’s the other side of Jack Whitten- a mystical, spiritual side combined with a visionary. In that sense he reminds me of Jazz’ Sun Ra or Ornette Coleman- you’ve never heard anything like them before. At first listen you might think they’re nuts, but closer inspection reveals an extraordinary rigor to every single note the write or play. While countless Musicians pick up an instrument, very very few can play it like no one else can.
In an Art age dominated by “movements” from Abstract Expressionism to Pop to Minimalism and beyond, Jack Whitten’s Art looks like no one else’s. He is his own movement. An Artist who literally “made” his own way, and kept going, kept moving ahead, no matter what. Even through serious illness towards the end.
“That painting came out of a lot of pain,” Jack Whitten said in the Art21 piece earlier. Black Monolith XI (Six Kinky Strings: For Chuck Berry), 2017. Jack Whitten speaks about the “battle” he fought with illness to create this amazing work, one of his final pieces, in the Art21 video Posted earlier.
With Odyssey, we get to finally see one of the great “secrets” in Modern and Contemporary Art. It’s almost as if there is suddenly now a “second act” to Jack Whitten’s career- over 50 years in the making. But, being able to finally see his Sculpture in concert with his Painting, we also get a bit of a sense of his full accomplishment- for the first time. The result is it’s going to demand a complete rewriting of Mr. Whitten’s achievement and accomplishment in the Art history books. They will now begin with the words- “Jack Whitten was one of the most important Painters and Sculptors of his time.” EITHER one of those would be more than enough to make him a major figure in Art. Both? That brings to mind the names of Duchamp, Man Ray, Barnett Newman, Burgoyne Diller, Cy Twombly, Louise Bourgeois, Ellsworth Kelly, Eva Hesse, Sol LeWitt, Lee Bontecou, Jasper Johns, Robert Rauschenberg, Andy Warhol, fellow Alabamian Thornton Dial, and Picasso, among contemporaries. Rarified air.
In February, 2017 the Brooklyn Rail published an interview with Jack Whitten which ended with interviewer Jarrett Earnest asking him “What do you see as the role of art today?”
He replied- “I use the word antidote. There is so much shit going on in society that I don’t believe in—the only thing I believe in is art. I have nothing else. Art is the only thing I’ve got to go on, and I see it as being able to provide an antidote to all this evil shit that is going on. And it is evil—I cannot stress that enough. Obviously, it’s going to get much worse too. We haven’t seen nothing yet. All of us will be tested—that I can promise you.”
Phoenix for the Youth of Greece, 1983
Detail. In the circular compartment, Jack Whitten placed an artificially aged handwritten note that reads- “Using the bones from the past, we can understand the present and foresee the future.”
It’s always sad for me when a truly great Art show ends. As Odyssey closed, I consoled myself by looking forward to the opening of another (as yet, unannounced) show- the long overdue, full scale, Jack Whitten Retrospective. Because, If Odyssey: Jack Whitten Sculpture 1963-2017 doesn’t make the case that NOW is finally the time for it? Nothing will.
BookMarks-
2 books. About as big a selection of Jack Whitten books as you are likely to find these days.
Jack Whitten: Odyssey: Sculpture 1963–2017
– With the closing of Odyssey, the real work of studying, appreciating and learning from this newly discovered body of work can begin. It’s gotten off to a great start with the exceptional catalog for the show. Given how few books are in print about Jack Whitten, it’s easily the best place to start exploring his Art and learning about him. I first saw it at the NYABF in September, before the show opened. I knew right then this would be a major, unforgettable show. Highly recommended.
As I mentioned earlier, Jack Whitten: Notes from the Woodshed
, released earlier this year, is over 500 pages of journals and other writings by the Artist that have an effect not unlike that of reading a diary. While it includes technical detail regarding his work in progress at whatever time, already completed, or to come, the Artist’s writings are also full of feelings, anecdotes, realizations and exhortations. As such, it’s a fascinating glimpse into both the Art world of his time and a record of his journey, and often, his struggle. Particularly recommended to Artists, it’s very readable for the general reader (it does not include any illustrations of his Art) and will serve as an invaluable reference book and exceedingly valuable historical document going forward.
If you can find it, Jack Whitten: Five Decades of Painting
, published in 2015 by the Museum of Contemporary Art, San Diego, is the catalog for the last, great Jack Whitten traveling museum show of the same name, the largest show of his Paintings to date. Now out of print and becoming harder to find, it’s very well done, with both valuable essays and a decade by decade selection of the Paintings, the only overview of his Paintings published to date.
It’s my hope that the study and appreciation of Jack Whitten’s work is only beginning, which should be the case for an Artist I feel will be one of the more influential figures in Painting & Sculpture going forward. There are, fortunately, some excellent video interviews with him currently up online. As good as the available books are, there’s nothing like hearing him speak.
My thanks to Leah Straub of the Museum of Contemporary Art, San Diego, for her assistance.
*-Soundtrack for this Post is Lonely Woman by Ornette Coleman, from the prophetically titled The Shape of Jazz to Come, recorded in 1959, around the time Jack Whitten met him at the 5 Spot Cafe, which I recently wrote about.
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Epic Abstraction, 2018- Date – A show that’s been up for quite a while and has evolved over its run. Still as compelling in 2022 as it was when it opened.
– With the closing of Odyssey, the real work of studying, appreciating and learning from this newly discovered body of work can begin. It’s gotten off to a great start with the exceptional catalog for the show. Given how few books are in print about Jack Whitten, it’s easily the best place to start exploring his Art and learning about him. I first saw it at the NYABF in September, before the show opened. I knew right then this would be a major, unforgettable show. Highly recommended.
, released earlier this year, is over 500 pages of journals and other writings by the Artist that have an effect not unlike that of reading a diary. While it includes technical detail regarding his work in progress at whatever time, already completed, or to come, the Artist’s writings are also full of feelings, anecdotes, realizations and exhortations. As such, it’s a fascinating glimpse into both the Art world of his time and a record of his journey, and often, his struggle. Particularly recommended to Artists, it’s very readable for the general reader (it does not include any illustrations of his Art) and will serve as an invaluable reference book and exceedingly valuable historical document going forward.
, published in 2015 by the Museum of Contemporary Art, San Diego, is the catalog for the last, great Jack Whitten traveling museum show of the same name, the largest show of his Paintings to date. Now out of print and becoming harder to find, it’s very well done, with both valuable essays and a decade by decade selection of the Paintings, the only overview of his Paintings published to date.
