Archive for the ‘Art – Artists’ Category
Who knew that Salvador Dali and Andy Warhol were art bros? When they met and hung out in the mid-60s and ’70s, Dali’s star was fading while Warhol’s was shooting up to the heavens. Yet, on reflection, their association makes perfect sense. Both were among the last century’s most famous art celebrities who drew public and media attention to themselves. Both men’s love of publicity is legendary. Warhol once said, “Publicity is like eating peanuts. Once you start you can’t stop.”
This book, by Berlin attorney and art enthusiast, Torsten Otte, reveals that Dali and Warhol had many encounters in New York and beyond. Their meetings were known only in a very small circle. He shows in this definitively-researched volume that each artist admired the other’s personality and practice. While Dali followed Warhol’s career with interest, he had a low opinion of pop art. Warhol held Dali in high esteem and once said, in his deadpan way, “Dali’s one of my favorite artists because he’s so big.”
Otte seems less the author of this hefty, 400-page book than its compiler. Every meeting and assertion about their respective entourages and art practices is annotated to the nth degree (each citation, rather than appearing in the back of the book, actually appears along the margin of each page).
Otte’s obsessive, almost eight-year, goal of bringing this little-known area of art history to light began with his phone interview with Isabelle Collin Dufresne (aka Ultra Violet) in August, 2008. He interviewed over 120 art figures who knew and worked with both men. He was supported in his efforts by the Centre for Dalinian Studies and the Andy Warhol Museum in Pittsburgh and the Warhol Film Project at the Whitney Museum of American Art.
Otte structures his study in six sections: Biographies, Personalities and Biographical Parallels, Entourage, Work, Encounters and Views of Each Other’s Work and Personality. Befitting the case with two such fascinating, often outrageous figures, there are many fascinating quotes and incidents noted throughout. Dip into almost any page and you’ll find some new tidbit, particularly the sections on Entourage, Work and Views of Each Other’s Work. It’s an experience like eating peanuts.
One sample revelation is their earliest meeting was in the mid-’50s at the St. Regis Hotel in New York, where Dali held court at teatime each afternoon. Warhol, at the time, was a window dresser at the fashionable 5th Avenue shop, Bonwit Teller. He brought some drawings he had made of shoes and Dali reported told him he had talent and should set his sights higher. Otte suggests that Dali may have been the spur to Warhol’s later career. Both men also made films and published newspapers to further their careers–Dali’s effort was the hilarious Dali News which informed Warhol’s decision to start Interview magazine.
Otte’s art pilgrimage is to be commended for his total commitment in unearthing this rich trove of material. It lends notable detail to the picture we and future generations will have of these two art personalities. Spanish artist Victor Mira once wrote that Warhol and Joseph Beuys were the two cleverest sons of Dali. Might it be said that Warhol and Dali’s cleverest son is Jeff Koons?
Salvador Dali Andy Warhol is distributed by University of Chicago Press.
Editor’s Note: The postings this week and next focus on two magnificent art exhibits currently up. One is 750 miles away at the Metropolitan Museum in New York while the other is only 90 miles from Chicago at the Milwaukee Art Museum. If hopping a plane is out of the question, I’d strongly recommend the journey north before the show closes on May 6th. I’m sure you will be moved by the arresting and highly-accomplished works.
At the moment, while the Art Institute treads water, preparing for its upcoming Roy Lichtenstein show, genuine art excitement can be found just up the road at the Milwaukee Art Museum where a stunning collection of 200 paintings, sculpture and objects, part of the Anthony Petullo Collection, is on view. Mere words alone cannot do justice to the show’s visceral power. I only know that, soon after entering the exhibit, I was in the grip of the virtuosity on display in a way I seldom experience at an exhibition, where keeping a critical distance is the norm.
At the entry to the “Accidental Genius” exhibition is artist David Lloyd’s wall-size, blown-up portrait of English actress, Susanna York. Her gaze is captivating but one senses something askew about the likeness. That “off” quality serves as a metaphor for this bold assortment of works and styles by “self-taught” and “outsider” artists, no-name figures lacking academic training or existing outside mainstream culture due to psychological illness or some developmental disability.
The show highlights the artists’ mesmerizing talents as well as Petullo’s loving obsession for these works. Such previously-maligned and marginalized creations are now avidly pursued by collectors and museums. Go and treat yourself to a visual feast. After viewing the artists’ intuitive handling of color, composition, draftsmanship and detail, you may agree with me in finding current art babble surrounding these works too parochial. The current art canon should embrace such creations and label them Art–plain and simple, free of limiting modifiers. After all, many of the artists we now revere, names such as Cezanne, Rousseau, Van Gogh and Gauguin, didn’t go to art school either.
I found myself particularly transfixed by the work of Eddie Arning, David Lloyd, Henry Darger, James Dixon, Madge Gill, Carlo Zinelli along with the artists of Art Haus, a mental health facility outside Vienna. The six named artists have wildly contrasting styles that paid no mind to the art world, yet produced creations of stunning originality. When I passed a good number of the works, I instinctively moved within inches of the paper or canvas, drawn by the force of their images, color, hyper-precise line drawing or written text. Margaret Andera, the curator of “Accidental Genius”, deserves praise for her long-standing commitment to the collection that informs her intelligent selection and organization of the exhibition.
Every great collection reflects the eye and personality of its collector. While Petullo assembled his collection over three decades, he noted, in a telephone conversation, that half of the 320 donated works were acquired during an intense three year period, from 1990-93. While the collection contains work by several American masters like Darger and Bill Traylor, its strength lies in the quality and range of European self-taught artists represented, many of whom Petullo collected in depth. His donation to the Milwaukee Art Museum, according to director, Dan Keegan, “is the most extensive grouping of its kind in any American museum or in private hands.”
Petullo’s first collecting foray came in 1974 when he bought a work that caught his eye at the city’s Lakefront Festival of Arts. Over the next decade, he collected what he liked with no plan. He dubs those first purchases “early Dad art”. They now reside with his children and grandchildren. Gradually, this local businessman moved away from folk/naive art and gravitated toward self-taught and outsider art.
Petullo doesn’t like the artificial distinctions placed on this work. What attracts him so much to these artists? “They share an independent spirit, unrestrained by the rules of art training. Also they are inventive, having a free flow of creativity. Essentially, they create for their own enjoyment and fulfillment, with little or no regard for the rest of the art world.”
As Petullo’s eye developed and grew more discriminating, he concentrated on figurative, colorful, uplifting and optimistic work. Abstract or highly polished art didn’t move him. “I’m an imagist,”, he says. The art of Edward Hopper, Egon Schiele, The School of The Eight, and artists of the Fauve movement holds special appeal.
“I never bought art as an investment”, Petullo told me, advice he gives to every aspiring collector. “You have to realize that 98% of art never appreciates. And, as soon as the work leaves the dealer’s shop, it’s immediately worth 50% less than what you paid for it.” I asked if he had gotten some bargains when he began collecting outsider art in the early 1980s. “Well, maybe if you consider $20,000 or 30,000 a low price.”
Though he initially relied on one or two dealers to steer him toward outstanding work, Petullo soon developed firm confidence in his own taste. “You have to believe in yourself to build a great collection. You have to say “No” to them (dealers) if it’s not for you.” He laughingly recalled that Russell Bowman, a former director of the museum (now an art dealer in Chicago) once brought him a list of suggested artists to add to the collection. Petullo says he crossed off all but one or two names. He’d do it his way, thank you.
He made it clear years ago that his museum-quality collection was destined for Milwaukee. What criteria, I asked, did he use in deciding where it should go and had he considered a New York museum or The Art Institute (Petullo was born and grew up in Chicago and graduated from the University of Illinois, where he has endowed two named professorships). He named four factors that governed the winning choice: “They needed to have strong interest in the collection, top curatorial talent, enough wall space and, very important, enough storage space.” He didn’t want the art to languish in an off-site warehouse.
New York’s Museum of American Folk Art didn’t have enough wall space and recently shuttered its doors. And the Art Institute was “too damn big”. The collection would be lost there and he thought the museum “not ready”, possibly meaning such art was deemed not yet worthy of admission. At Milwaukee, the Petullo Collection will join the Richard and Erna Flagg Collection of Haitian Art and the Michael and Julie Hall Collection of American Folk Art. Those three collections, notes gallerist Jane Kallir in the lavish “Accidental Genius” catalog, “make Milwaukee one of America’s preeminent centers for the study of work by untrained creators.”
At a time when auction houses and one’s checkbook rule as the new arbiters of artistic value and social celebrity, it is heartening to see an older model of a generous collector motivated purely by his passion for art and his community. For more information on the artists and exhibition visit the Milwaukee Art Museum.
It has been 10 years since The New Art Examiner published its final issue. The monthly magazine, which called itself “Chicago’s Independent Voice of the Visual Arts,” enjoyed a rough but highly-respected run from 1973 to 2002. It was born in controversy by founding editors, Jane Addams Allen and Derek Guthrie. Besides coverage of local and regional exhibits, the publication adopted a reportorial, contrarian stance toward the value systems and practices of the art world that raised a lot of critical dust.
Under the helm of successive editors, it gained a large following among artists, a national readership and critical influence beyond the Midwest. It was disheartening to hear at a panel discussion last November that the history and contribution of Chicago’s only successful art magazine was virtually unknown among younger critics and art students.
Authors Terri Griffith, Kathryn Born and Janet Koplos have now stepped into the breach and assembled an enlightening anthology of articles in “The Essential New Art Examiner,” newly-published by Northern Illinois University Press. In so doing, they have resurrected this ever-lively publication and shown what was lost with its passing.
Griffith, at an all-day symposium (“Re-Examining the New Art Examiner”) last Saturday at Northern Illinois’ campus, called the Examiner “a newspaper for artists” to which each editor, over its 30-year run, brought their own views and interests. These new voices, who shared the founding editors’ commitment to an independent local outlet, not only kept the Examiner alive once Allen and Guthrie relocated to Washington, D. C. but also helped establish Chicago’s growing national recognition as a true art center.
The New Art Examiner published my first forays in art reportage. A cover story on an infamous trial of the 1980s involving the George F. Harding Museum earned me my first Examiner byline. Following that scandal, I next investigated the nationwide lack of defined ethical guidelines at major art museums.
While most institutions now have written guidelines governing staff, trustee and curatorial conduct, ethical issues around collection management still arouse controversy 30 years later.
While I hung around the Examiner’s office mainly from 1980-82, Guthrie’s introduction to the book, along with his and Jane Allen’s opening essay and Frank Pannier passionate rant opened my eyes to Chicago’s art world circa 1973.
Besides giving young art writers their first exposure in print, the book contains many thoughtful essays that still resonate by prominent critics and curators: Peter Schjeldahl (now at The New Yorker), Hilton Kramer (The New Criterion), Janet Koplos (Art in America), Alice Thorsen (now at Kansas City Star), Lynne Warren (MCA) and Hamza Walker (Renaissance Society). Schjeldahl’s 1985 “Chicagoization” article is a classic. The historical recaps by five former editors are a nice personal touch. Only a handful of the 27 selections were duds.
While the book does not pretend to be a complete history, which remains to be written, it is an essential primer to a colorful and contentious period in Chicago art lost to generations who came after. (NIU art historian, Barbara Jaffee, has written a highly perceptive analysis of the Examiner’s origins and history. For a copy of her catalog essay that accompanied NIU Museum’s exhibition on the New Art Examiner, write email@example.com.)
Unfortunately, the New Art Examiner was never supported with advertising by most dealers or, especially, the city’s two major museums. Book artist, Buzz Spector, called the New Art Examiner “the chronic outsider of the art world.” An early director at the Museum of Contemporary Art banned the magazine from the museum’s gift shop.
Guthrie writes that he and Jane Allen “learned by bitter experience that there is no freedom for criticism or criticality.” Dealers at the time failed to see any reason to support a publication with an independent voice that could not be controlled.
Former NY Times reporter, Judith Dobrzynski, in her recent blog on ArtsJournal confirms that Guthrie’s complaint lives on today. She asked, “Does the visual arts world need sharper criticism? Yes….When was the last time you read a learned, thoughtful, well-argued critique of a museum or gallery exhibition that was negative?”
One would like to think that Chicago’s frosty reception toward the Examiner is a thing of the past. However, the more recent demise of Chicago Artist News in 2010 is a fresh reminder bespeaking a pattern of poor institutional support.
While blogs proliferate online, none carry the critical authority and agenda-setting power of a print publication like ArtNews or Artforum. So long as Chicago’s art community fails to support its own artists with its own editorial outlet, New York will monopolize the national art dialogue. Chicago will continue to make do with periodic scraps and its art community will remain a provincial center.
The Essential New Art Examiner is now in bookstores or from the publisher at www.niupress.niu.edu
It’s been almost 50 years since I took an Art History 101 course at Fordham University. I didn’t know it at the time but that experience would shape my lifelong interest in Art ever since.
I still remember the charismatic teacher for that course, Sabine Gova, who would keep me enthralled for nearly 3 hours each Tuesday afternoon while she projected countless slides of art and architectural masterworks and brought them to life. In addition to her knowledge of the paintings and artists that she shared, she also imparted another gift. She taught me how to look.
Every week, with countless images, she would challenge us with a variety of questions: “What do you see?, What is happening in this scene?, “Are the figures properly proportioned?”, “What makes this work a masterpiece?”. Precisely the type of questions I ask myself when I tour museum exhibits today.
Madame Gova, who was French, exposed me to artists such as Giotto, Leonardo, Albert Durer, Van Gogh, Vermeer, Cezanne, Renoir, Picasso, Monet and Matisse to cite only ten who remain personal favorites.
I have traveled to museums at home and in Europe and admired the works of those ten and many more. However, this summer I am exploring the very region–Provence and the Cote d’Azur in southern France–where many late 19th and 20th Century artists lived and captured the special quality of light and landscape one finds there.
And many of the towns—Aix-en-Provence, Antibes, Biot, Cagnes-sur-Mer, Le Cannet, Nice, Vence–house museums dedicated solely to the work of the artist who lived and painted there. The museum in Aix features Cezanne’s studio, Antibes honors Picasso (who has museums in Villauris and Paris as well), Biot features Fernand Leger, Cagnes has the home where Renoir spent the final twelve years of his life, Le Cannet was home to Bonnard (an attractive museum housed in a former villa just opened in June), Nice has Matisse and Chagall museums.
It was a special treat to step into the very place—and the upstairs studio—that Renoir called home! Or to roam—and sometimes recognize—the same everyday places that Picasso, Miro, Matisse, Cezanne and Bonnard immortalized in paint. Compared to this living experience, a museum seems a much more sterile, impersonal storehouse.
Two artists—Matisse and Jean-Michel Folon—even created two great works of architecture. Each has designed beautiful chapels brightly illuminated by stain glass (Matisse) or glowing mosaic tiles (Folon). Matisse’s chapel is in Vence and was done to thank the order of nuns who cared for him during his last years. Folon, following Matisse’s example—designed La Chapelle des Penitents Blancs (White Penitent’s Chapel)—in St. Paul de Vence. He died in 2005 but his friends completed his vision. I had the pleasure of participating in Sunday Mass at the Matisse chapel and am told that Folon’s chapel is used for mass and marriage ceremonies.
Most of the museums are modest in scale except for the Leger and Matisse museums which are large structures. The museums’ holdings vary in quality. Each has around 50-100 works on display, ranging from paintings to drawings, photographs and archival material. However, nearly all the real treasures produced by these artists are now housed in American and European collections like MoMA, the Art Institute, and the Musee d’Orsay.
The inaugural exhibit at the new Bonnard Museum was drawn from international collections. The American collector who first collected Bonnard, an artist whose ranking has climbed steadily in the past 25 years, was Duncan Phillips (a gem of a house museum in Washington, D.C.). His acquisition is on display as is a beauty from New York’s Metropolitan Museum of Art which mounted a stunning Bonnard exhibition a few years ago.
An absolute must-see on a journey to this region is France’s only privately-run museum, the Fondation Maeght in St. Paul de Vence. It could qualify as an artist museum since its founder, Aime Maeght, was originally a lithographer in Cannes who befriended many of the artists in that region beginning in the 1940s. Maeght went on to become a highly successful art dealer and publisher of art books in Paris.
When one of his sons, Bernard, died at an early age, a grieving Maeght was encouraged by George Braque to build a chapel in his honor on the St. Paul site and to share his personal collection as an artist foundation, an unknown concept in France at that time. Maeght hired noted Spanish architect, Jose-Luis Sert, to design the structure and many of his artist friends contributed works. The Fondation opened in 1964.
The Fondation’s collection consists of Aime and Marguerite original works, donations by their artist friends, many of whom are now internationally-known, ranks as the fifth-largest museum in France, though it receives no state funds and operates as a private foundation.
The building’s main exhibit hall is a knockout. It contains eight significant paintings and sculptures by a 20th Century artistic Who’s Who of Fernand Leger, Pierre Bonnard, Georges Braque, Sam Francis, Alberto Giacometti and Wassily Kandinsky.
Joan Miro’s mysterious, captivating giant sculptures and playful fountains in his Labyrinth Garden, combined with the lush outdoor setting, is a sight that will remain with me forever. Miro’s genius has never been better displayed.
Many vacationers visit the Cote d’Azur for its endless summer weather, to catch a glimpse of the celebrities and millionaires who live there or to gawk at the rich and famous’ conspicuous trinkets, such as Steven Spielberg’s giant yacht (available for rent at a mere $375,000 a week). For me, the richer payoff is basking in the everyday life of the artistic “backyard” that, a century later, still impacts our world’s cultural legacy.
Last week, I wrote in the Chicago Tribune, “Union League’s art collection turns 125,” about the important, but relatively little-known, collection of mostly American Art at Chicago’s Union League Club. The collection, which has nearly 800 works including a priceless Monet painting, was begun in 1886, making this year its 125th anniversary.
Due to a lack of space, I had to shoehorn the history of a relatively recent club honor into two short paragraphs. I’d like, in this post, to make amends and tell the story of the club’s Distinguished Artist Program, an initiative that honors esteemed, contemporary Chicago artists.
In 1992, Phil Wicklander was staying at the Lotos Club on a visit to New York. Wicklander, then a member of the Union League art committee and a collector himself, found a program in his room signed by many noted artists. Next morning, as he ate in the club’s dining room, he marveled at the display of artworks on the club walls by the artists on his room’s program.
He brought the idea back to Chicago, thinking such a program would benefit the club’s collection which was sorely lacking art by contemporary Chicago artists. He spent several years cajoling his more conservative art committee colleagues and, in 1997, the club adopted what has come to be known as the Distinguished Artist Program.
Wicklander assured the program’s success by choosing noted sculptor Richard Hunt and mixed-media artist, Ed Paschke as the first two artists selected in 1998. The artists receive a free club membership and, in return, each donates one of their works to the collection.
The next election (chosen by current artists plus members of the club’s art committee) named Don Baum, an artist/curator associated with Chicago’s “Hairy Who” movement of the 1960s and painter Vera Klement. Two new, equally acclaimed, artists are normally selected to join this special club biennially. Fourteen Chicago artists have been elected since its founding.
Their works are displayed throughout the clubhouse with a concentrated selection in the 5th Floor parlor. Several of the artists express strong satisfaction being part of an important collection in one of the city’s premier civic institutions.
John David Mooney thinks their inclusion in the club is in line with his own artistic goals. “My goal has been to take art where it’s appreciated—the public places—and not necessarily museums. Painter Vera Klement finds it refreshing to have her work in such a setting. “ What I like is that the members’ response is a direct, unfiltered response. I’ve had very good reactions based on people who are not art specialists who read Artforum or speak of what’s cutting edge.”
Painter William Conger sees having their work in the collection as “connecting the work of artists with the ambitious work ethic of the members in commercial and industrial enterprise. I admire that ‘let’s get it done’ Chicago attitude.”
Wicklander is proud of how his idea has worked out. What he finds especially gratifying is that, “the Art Institute and MCA may have their (Distinguished Artists) work but where is it but in the basement? The Union League now has more art by these distinguished Chicago artists than any place in the world.”
1998—Richard Hunt and Ed Paschke
2001—Don Baum and Vera Klement
2003—Ruth Duckworth and Kerry James Marshall
2004—Michiko Itatani and John David Mooney
2008—Robert Lostutter, Inigo Manglano-Ovalle and James Valerio
2010—Dawoud Bey and William Conger