Oyvind Fahlstrom

I don't ordinarily like the politics behind Jed Perl's writing but there was one observation of his that had some general application, "young artists don't have influences as much as sources." This doesn't meant that young artists aren't inventive, it is just that I have many friends who are teachers that have said that when their students reinvent the wheel andthey as teachers point them towards older artists there is a new phenomenon of being shrugged off. This is not terrible - Marinetti and others wanted to burn the ground behind them - it may be though that there is not as much fervor for making it up on one's own as much as a simultaneously busy kaleidoscopic imagery yet lazy mindedness for students to confront head on later in life - right after school perhaps.

This is by no means limited to the visual arts - writers I have known are bewildered to find students writing something like Wallace Stevens for example never having heard of him much less read him, and so many other examples, the refrain is how does this happen? The teaching and scholarship of previous epochs made one incapable of being unaware of the existence of predecessors much less absolutely required to go into them and through them. My roommate came back from Yaddo years ago with a wellknown writer giving his novel to an an agent who found a publisher - I was living with him through every step of this exciting process -and then finally an editor who said "this book has so much of two of my favorite novels, Mrs. Bridge and Geek Love." Wesley had never read either, but I read his novel and recognized the vignette style of moving through a chronological time in truly compact and well written prose paragraphs isolated from each other in the page space from both Mrs. Bridge and the follow up Mr. Bridge quite well; we had all been so enthusiastic about these two novels by Evan S. Connell (and all the handsome paperbacks from the belated North Point Press also). That is a mystery how these things are in the air.
One time in Bruce Pearson's studio I was showing him my drawings and he looked at one and said it looked like his work, and I said they were redrawings of Arp forms with the aboriginal radiating lines surrounding, and added, alot of times when we think we are pulling things from thin air we find the air is very thick.

It is an interesting time when the young no longer feel that they have to eat the father, as they are quite content absentmindedly snacking on him.

I had read somewhere that Robert Storr had said now would be a good time for students to reconsider working with politics. The main thing about refamiliarizing myself with Oyvind Fahlstrom on the website of his foundation (a trip to the Strand yesterday to buy the large monograph that I had been meaning to before starting the whole Cabinet of Cabarets endeavor was gone) is how much his early fifties working a codex book form is this very sweeping cinematic doodling and abstraction from page to page, so familiar to so much going on with younger artists now; and then his incredible range of activities, listed in the bio below. I didn't know he had written so much poetry and that he wrote an influential essay about concrete poetry - the article on his poetics on the website begins with a quote from Charles Bernstein (who is a compelling performer in the Futurist MoMA event from February 9th further down on this blog); I do intend to have a lot more on poetry eventually and have to study this aspect of Fahlstrom further. There is also the film work, the early days as a political commentator and journalist, and the plays...but the main thing is the political depth and breadth of research behind his work and how plain exciting, formalistically far ranging, pop and yet elegant his work always is - and there are many times he goes more in the direction of being more abstract and formally inventive as well.

For now I find some of his work so familiar to some of what younger artists are doing, but they are doing it without the political knowledge, or desire to weave it in as content. There could be no better artist to look into at the moment for lessons in form and content and attention to global events I can imagine. He certainly was an influence on a good friend of mine Lisa Austin who went to Yale to get her MFA in 1982, (she is still making work but never moved to New York as someone who got a job teaching art far from the center) and much under discussion at the time with so many of the sculpture students I knew in the late seventies and early eighties. It really is a loss that Oyvind Fahlstrom died so young - there was a roadmap for a continued life's work here in every direction while staying absolutely necessary to an understanding of US and European hegemony and its complicated interplay. In his maps, monopoly boards, and vast information filled puzzles, it would seem that many artists I do admire who work(ed) well with political events or economic diagrams or so on have only picked up on one or a few parts of the puzzle of his vast tracking and vision. Many of these artists are (were) late bloomers or had a long time underknown or underground and so are my age or older on top of that. When the backlash hit Identity Politics and other politics in the midnineties, it hit very hard right at a time where students couldn't really afford to think about their awful tuition and debt burdens not paying off with galleries and collectors or grants and commissions one day. We paid twelve to eighteen dollars a credit hour when we went to school in my day, only the unbelievably rich kids had credit cards and cars while we had bounced checks and bicycles - but we were free, in ways no student after the college loan and credit card epoch could possibly imagine. I never got a credit card and came back from France, which was a nation of national health care and savings accounts (met people with the new debit cards but never credit cards outside of a certain demographic. The Europeans had never believed the stock market anything for anyone outside of the casino class. It is too bad they didn't know what their banking and financial class had been up to. Paper money only is one thing in the end - it is promissory notes from banks backed up by a nation state's federal reserves and taxpayer monies. This is not socialism versus global capitalism, it is the difference between fictional money and something that could be proven to be a nonfiction!

We are now printing new money and bailing out trillions that should have been revealed as fiction in the first place on some impossibly brighter future, - this is the first generation actually to increasingly eat their young with each passing decade even while throwing way too much at them from the time they are born giving them no training in temperance or saving or tools for survival - in a complete reversal of Freud's little fable used for an art world parable above. I had seen the US as increasingly financially delusional with every passing year back from Europe, and that was not subject to left or right politics because absolutely no one was tracking deregulation or economics with any common sense whatsoever - there was always such a host of issues that could be endlessly discussed and argued about that seemed more important at the time.

Please look into Fahlstrom's monopoly game boards on his website - he would have certainly been of utmost help at this time and perhaps there is an artist out there who can pick up the baton. Mark Lombardi certainly was tracking money changing hands but not perhaps aware of this overall attempt at a New World Order that was no order at all, there is no pattern and order in a global capitalism become a giant casino that was not even entertaining but purely predatory and vicious. In an article on Gagosian Peter Scheljdahl describes this infamous dealer as both a genius and a shark. Really - the shark is the lowest form of prehistoric intelligence and so maladaptive that if it stops swimming forward it dies. So many American people, museums, universities, institutions think that if they stop expanding, making ever more money, getting ever more publicity, they will die. It is time to let them shrink back into something more rational, to the size they were before they had CEOS and presidents perched like ticks feeding off the entire enterpise, and before they were grown like the little sponge toys that start out tiny and become dinosaurs by being flooded with magic grow water in the form of fictional liquidity. And there have to be more real deaths allowed as a lesson - perhaps Parsons School of Art should just melt down altogether, for just one Art World metaphor.

If there often is one marker artist for a time we are in, Oyvind Fahlstrom is the one for the times we are in now. But then he always was in his own time.


1928
Öyvind Axel Christian Fahlström was born Brazilian on the 28th of December in Sáo Paulo, the only child of Frithjof Fahlström, born in Trondheim, Norway, in 1886, and Karin Fahlström, nèe Kronvall, born in Stockholm in 1900. He spends his childhood in Sáo Paulo, Niteroi and Rio de Janeiro and is educated in Portugese and English at Escola Britannica de Sáo Paulo.

1939
In July, at the age of ten-and-a-half, he is sent to Sweden to spend the summer with his maternal grandfather and aunt. A month after his arrival in Stockholm, Germany invaded Poland. Now stranded by the outbreak of World War II, he is enrolled mid-September in Whitlockska Samskolan, a private school for foreign students in Stockholm.

1948
His parents return to Stockholm, by which time he is an adult. After graduating at the top of his class in June, he is forced to choose between Brazilian and Swedish compulsory military service. He elects to become a Swedish citizen and relinquishes his Brazilian passport.

1949-52
Classical studies and art history at the University of Stockholm. Travels to Paris and Italy meeting other poets and painters.

1950-61
Theatre and poetry, journalism, criticism, translations. Contributes regularly to the Swedish press on cultural topics, both local and foreign, a role he will perform the rest of his life. Divides his time between Stockholm, Paris, and Rome.

1952
Produces Opera, a room-sized drawing using felt-pen.
Marries Birgitta Tamm.

1953
Solo exhibition at Galleria Numero, Florence (shows Opera). Writes Hätila ragulpr på fåtskliaben: manifest för konkret poesi (Hipy Papy Bthuthdth Thuthda Bthuthdy: Manifesto for Concrete Poetry), which is published in 1954.

1955-57
Produces Ade-Ledic-Nander I and II, which are part of a planned series of "character-form" paintings. Writes twenty-seven page scenario for the second painting.
Separates from Birgitta Tamm.

1955
Joins the Phases movement. Opera shown at Galerie Creuze, Paris. Solo exhibition at Galerie Aesthetica, Stockholm.

1956
Every second Saturday hosts an open studio.

1958
Contract with Galerie Daniel Cordier, Paris. Participates in the Pittsburgh International Exhibition of Contemporary Painting and Sculpture at the Carnegie Institute of Art. Scholarship for study in Italy.
Divorces Birgitta Tamm.

1959
Solo exhibition at Galerie Daniel Cordier and at Galerie Blanche, Stockholm. Honorable mention for Ade-Ledic-Nander II at the 5th Bienal de Sáo Paulo.

1960
Scholarship for study in France.
Marries Barbro Östlihn.

1961
Grant from the Swedish-American Foundation to live in New York. Moves into the 128 Front Street studio formerly occupied by Robert Rauschenberg. Jasper Johns lives in the same building. Henceforth he lives and works in New York, spending summers in Sweden, France and Italy. Begins the Sitting… series.

1962
First variable painting, Sitting… Six months later. Solo exhibition at Galerie Daniel Cordier. Participates in New Realists exhibition at Sidney Janis Gallery, New York.

1962-64
Happenings at Moderna Museet, Stockholm and on Swedish television. Publishes the word-game Minneslista för Dr. Schweitzer's sista uppdrag [Checklist for Dr. Schweitzer's Last Mission]. Fåglar i Sverige [Birds in Sweden], a "tape-event", is broadcast by Swedish radio.

1965
Writes the plays Hammarskjöld om Gud [Hammarskjold on God], which is staged at Pistolteatern, Stockholm in 1966, directed by Sören Brunes, and Bröderna Strindberg [The Strindberg Brothers]. Represented by Sidney Janis Gallery, New York.

1966
Den helige Torsten Nilsson [Holy Torsten Nilsson], a five-hour audiphonic novel, is broadcast by Swedish radio. First variable multiples, Eddie (Sylvie's Brother) in the Desert and a banner, Send Me Back to Congo. Represents Sweden at the XXXIII Venice Biennale (the most important work is Dr. Schweitzer's Last Mission, 1964-1966). Performance of Kisses Sweeter Than Wine for 9 Evenings: Theatre and Engineering organized by Experiments in Art and Technology at the 26th Street Armory, New York. Roulette, his first painting in oil on photo paper is shown in Erotic Art at Sidney Janis Gallery. Bord (poems 1952-55) published by Bonniers, Stockholm. The Strindberg Brothers is translated to French.
Mao-Bob Hope-March (black and white, 16 mm) using material from Kisses Sweeter Than Wine.

1967
Writes the play Oswald kommer tillbaka [Oswald Comes Back]. Solo exhibition at Sidney Janis Gallery, New York. Produces his first work in which the oil on photo paper on vinyl elements float on water (Parkland Memorial). Version of Kisses Sweeter Than Wine broadcast on Swedish radio. Monograph published by Bonniers, Stockholm. Participates in towards a cold poetic image, Galleria Schwarz, Milan; Pictures to be Read/Poetry to be Seen, the inaugural exhibition of the Museum of Contemporary Art, Chicago.

1968
Makes two documentaries in New York for Swedish television about the anti-war movement amongst other things (black and white, 16 mm).The Strindberg Brothers is staged in New York during the summer at the Gotham Art Theatre by Michael Abrams. Finishes the play Förlåt Hitler [Forgive Hitler]. Bonniers publishes Den helige Torsten Nilsson in book form. Eddie (Sylvie's Brother) in the Desert... Collage is donated to The Museum of Modern Art, New York in the Sidney and Harriet Janis Collection. Takes part in IV Documenta Kassel. Makes a thirty minute film, U-Barn (black and white and color, 35 mm). Retrospective exhibition in Pentacle, Musèe des Arts Dècoratifs, Paris, includes The Little General (Pinball Machine).

1969
Solo exhibitions at Sidney Janis Gallery, New York and Galerie Rudolf Zwirner, Cologne. Travelling retrospective organized by The Museum of Modern Art, New York. Writes the screenplay for a feature film (old-age love story and revolt in a psychiatric hospital). Makes Meatball Curtain (for R. Crumb) for Art and Technology at the Los Angeles County Museum of Art. Begins filming Du Gamla Du Fria (100 minutes, color, 35 mm).

1971
Solo exhibition at Sidney Janis Gallery, New York.

1972
Cellen [The Cell], a radio theatre collage for Swedish radio based on interviews with cancer patients. Du Gamla Du Fria [Provocation] is shown at the Venice Film Festival. Self-publishes Sketch for World Map Part I (Americas, Pacific) which is distributed in the May issue of the New Left journal, Liberated Guardian, in an edition of 7000 copies. World Bank is selected for the New York Collection for Stockholm, an American gift to Moderna Museet. $108 Bill is published by E.A.T. in two editions: as a silkscreen print and as a lithograph.
Writes the play Dromdjuret [The Dream Animal].

1973
Solo exhibition at Sidney Janis Gallery, New York. Writes the play The Black Room, based on the Watergate scandal. Retrospective at Moore College of Art Gallery, Philadelphia. Sketch for "World Map", is published as a silkscreen print by Avery, Kenner and Weiner, Inc. to benefit the Youth International Party.

1974
Retrospective at the University of Wisconsin, Foster Gallery, Eau Claire. Solo exhibitions at Galerie Buchholz, Munich, and Galleria Multhipla, Milan. Die Zeit publishes an article and a silkscreen print, Column No. 4 (IB Affair). Retrospective portfolio of ten silkscreen prints published by Edizioni Multhipla, Milan. Prize for the silkscreen print, Seven S.O.M.B.A. Elements, at The 9th International Biennial Exhibition of Prints in Tokyo.

1975
Solo exhibition at Galerie Alexandre Iolas, Paris. The exhibition Let's Mix All Feelings Together - Baruchello, Erró, Fahlström, Liebig is shown in museums in Munich, Frankfurt, Leverkusen, Paris, Rennes, Humlebaek, etc. A Proposito del Mulino Stucky for the Venice Biennale. Filming of documentary on Fahlström begins (Jan Sundström, director). Begins writing play interlocking events from the life of Wilhelm Reich with scenes from the television serial, Blondie.
Separates from Barbro Östlihn, to live with Sharon Avery.

1976
Prepares to live and work in Paris for a year. Participates in Drawing Now, The Museum of Modern Art, New York, which travels internationally. Solo exhibitions at Sidney Janis Gallery, New York and Galerie Ahlner, Stockholm. Catalogue raisonnè on his prints and multiples is completed by Sharon Avery. Éditions Maeght publishes Nights, Winters,Years (Words by Justin Hayward) in the series, Affiches (an artist-writer collaboration). Monograph published by Edizioni Multhipla, Milan (essays by Achille Bonito Oliva, Laszlo Glozer, Olle Granath, Öyvind Fahlström). Completes plans for Three Nightmares, a pool installation commissioned by Renault, Paris. Documentary on Fahlström aired on Swedish television. Elements from "Masses" and Sixteen Elements for "Chile I" prepared for publication by Gino Di Maggio and Sharon Avery. Reworks Night Music 4: Protein Race Scenario into eleven panels.
Divorces Barbro Östlihn.
An exploratory operation in mid-September reveals colon cancer metastacized to the liver which is untreatable.
Marries Sharon Avery.
Dies on the 9th of November in Stockholm.

Hairy Who, Oyvind Fahlstrom and Installation

There is an essay to be written about installation I would like to do starting with the Salon des Incoherentes in 1870s Paris, but I am not inclined to do it now, just that here are two important installations by the Hairy Who from the late sixties and one by Oyvind Fahlstrom from 1964: certainly these two would be part of my timeline of installation ideas for exhibitions in an essay I do hope one day to tackle. (Different from installation art, which has become a genre). I am someone who loves to research things - the amount of reading I have done and things I have discovered for posting has been rewarding in ways I couldn't have imagined even as someone who has done this in a less focussed way all of my life.

I am going to use this opportunity to quote from Dan Nadel's interviews mentioned before in The Ganzfeld, where he asks certain members if they were influenced by H. C. Westermann, but more interestingly, Oyvind Fahlstrom and Peter Saul. The reflections on Saul I am going to record along with some postings on his work quite presently, having seen the small retrospective in Philadelphia (perhaps awaiting the big one) and his two shows in Chelsea at George Adams and Nolan last week - however, with Oyvind Fahlstrom it has been a shock continually to me how underknown he continues to be in the last few decades, even given his early death in 1975. I had too many artists I knew so thrilled with Inka Essenhigh's early work, and so unwilling to listen to my version of it - which I pointed out as bits of bodies and figuration straight out of early days of Metal Hurlant magazine (first imported to the US in the seventies under the name Heavy Metal). These are artists I could name if someone handed me the issues from my trace memories of looking at it myself. Her later work in fact has never gotten past this rendering style based on at most two maybe three of these French comics artists, and in fact only developed into some large scale tableaux images with all the implied motion frozen in the center, still sticking with the basic thematics of comic book genre, while her color sensibility is just monochrome grisaille composition with various colors replacing the grey. The first work of Essenhigh's had body parts and figurative elements strewn on a nearly John McCracken finished rectangle making me imagine them on a car hood. So I would try to tell everyone she should look at Oyvind Fahlstrom after this initial description and no one knew who he was.

Finally, working at Hacker Art Books about six years ago I was talking to my friend and coworker Hector Romero about what Inka Essenhigh's work could be like if she looked at Oyvind Fahlstrom and we pulled out a monograph and found we had both been fascinated with Fahlstrom's work from some complimentary directions, especially the political. Hector is the same age as the others I had been talking to, that is roughly ten years younger or a little more than me - I am fifty this year so this was when I was forty and they were thirty about ten years ago. Hector was different - working full time at Hacker's Art Books and now the Strand in the art department is a continuing education unlike any other - he helped me find the Assemblage book I needed for this forum when working on the Ad Hoc Shop. Hector Romero has a website and I recommend his drawings having seen them in his studio and now on this site, and any questions about Art Books he is a very good source in the Strand Art Department.

It is such a pleasure to segue in music fashion from the Hairy Who into Oyvind Fahlstrom as a next posting tomorrow through the graces of Dan Nadel's interview; here are their views on Fahlstrom and what he meant to them at the time:

Jim Nutt: "I don't know when I became aware of Fahlstrom, but it was from reproductions, since none of it showed up in Chicago until 1967 at the opening show at the Museum of Contemporary Art. I remember liking what I saw right away. At some point he visited the Art Institute of Chicago and he asked to see the Hairy Who show up at the time (maybe the '68 show).
For the life of me, I can't remember why I didn't go hear his lecture (I was out of school at the time), unless I have misremembered and he came after we were on the west coast (...) In any case, Whitney [Halstead] reported that he looked very carefully at the show, liked what he saw but never cracked a smile. (Perhaps he was very polite and thought it bad form to say anything negative under the circumstances.) He was apparently a very serious person."

Gladys Nilsson: "I always liked the idea of the Fahlstrom magnetic stuff: game boards thst the viewer (owner) could fool around and play with. What fun, and fun is good. Comedy is good."


These are badly scanned images of several installations the Hairy Who did including a show at the Corcoran at top left of the second image, and a photograph of Karl Wirsum playing with Claude Nutt next to Gladys Nilsson and Jim Nutt.
The installation by Fahlstrom from 1964 is still so elegant and radical it floors me. I can't get over looking at these three images and apologies for the scanning quality. Absolutely anyone interested in the Hairy Who should buy this issue of the Ganzfeld right away. Gabriel, the owner of Desert Island Books (who pointed this issue out to me) and I were wondering why there has not been a book yet, perhaps Dan Nadel will do one.

Gladys Nilsson

From one of Gladys Nilsson's latest press releases for an exhibition in Chicago just two years ago:

"Whimsical" is the term probably most often used to describe Nilsson's watercolor paintings and the artist enjoys a good pun, visual or verbal. Her figures have gangly, limp-noodle-like arms and legs. They are gawky yet graceful. And Nilsson's subjects are ordinary but at the same time serve to effectively represent basic human feelings and interactions. Her compositions always involve humor or irony, and the artist frequently makes fun of herself. As put by the Tory Folliard Gallery about Nilsson, "each work of art celebrates the artist's unending curiosity for human behavior: rituals of courtship, gastronomic delights, and narcissistic passions."

In the 1960s Nilsson was a founding member of the "Hairy Who," a group of artists who also came to be known as the Chicago Imagists and the Monster Roster. Although acknowledging the significance of being identified as a member of the Chicago Imagists, Nilsson has said that she prefers to think of herself as an individual, not as part of a group or movement. Since the '60s Nilsson has gone on to exhibit in over 200 solo exhibitions and 400 group shows, including at the Smithsonian Institution (Washington D.C.), Whitney Museum of American Art (New York City), Los Angeles County Museum, The Museum of Contemporary Art (Chicago), Institute of Contemporary Arts Center (New Orleans), James Mayor Gallery (London, England), and San Francisco Museum of Art.

For younger audiences Nilsson might better be known as the artist who did the drawing found on the inside of the CD cover for Wilco's release "A Ghost Is Born" and for her interview which is included in The Wilco Book.



I have added a CD cover by my friend Michael Hurley, who had been drawing comics with his older sister who taught him to draw and then kept it up for life, and who is a cult figure amongst the current revival of "freak folk" musicians, because his drawings and paintings remind me in source and in spirit of one of the ways Gladys Nilsson has painted and rendered - she has several, and has kept them all going, since the beginning. An unrecognized prolific and reverie inducing, yet thoroughly idiosyncratic painter. I have had so many discussions lately about how little artists are really allowed to be idiosyncratic, in the deepest sense of the word, in the new pluralistic yet thoroughly taxonomic art world we are in. As if idiosyncratic making - and the being and existence it springs from - have nothing to do with originality. Which was the original Modernist project, after all.

Suellen Rocca

The current issue of the Ganzfeld has a long reportage article mainly consisting of interviews with Jim Nutt, Gladys Nilsson, Art Green, Suellen Rocca and Karl Wirsum, titled the Hairy Who's History of the Hairy Who, by Don Nadel. There are for the first time in print photographs of their famous installation in 1968 exhibition at the Hyde Park Art Center, where my friends and I had famously communicated by word of mouth things read about the kitschy wallpaper backdrop to the paintings, the comic books, the pricing, and all kinds of subversions to the art world exhibition and marketing and High and Fine art as usual. So amazing after all these years to see the actual photographs of something we were so much fans of in Richmond, Virginia in the late seventies and early eighties. We were enrolled in various art departments at Virginia Commonwealth University, and inspired by the Chicago artists' exhibitions in the late sixties that we tried so hard to envision.

The interviews clear up some disinformation that I remember hearing right at the time - especially the legend that they named themselves like a rock band. However, that was a legend we could use at the time; having thrown ourselves at some point in the late seventies into all things new wave and punk, and John Waters films and Bruce Conners' film for Devo's Satisfaction. In the graphic design courses I was taking we went from teachers imposing Helvetica and Swiss International Design as they had for several decades against all rock poster and pop influences from any direction whatsoever, to April Greiman, Wet Magazine (the Magazine of Gourmet Bathing) and all things in the New Wave design, in just one year - 1977 was the first and 1978 was the second. It blew both the faculty and students wide open forever, to all the neo-constructivism or historical influences from the past, and all innovative new trends for the future. This made it all exciting in a way that only precomputer design trained graphic designers could possibly understand; but it was something happening also in all the arts and in music and culturally all over - the opening back up of the past as an incredible stomping ground for re -envisioning and reinterpretation against an outmoded ever "progressive" future, simultaneous with a future made more exciting and freestyle by throwing off entrenched and petrified ideas of this progressive future dating to the forties, fifties and sixties by this time.

All of the East Village nascent scene, and its sources in the Secret History of Pop painters Peter Saul & Oyvind Fahlstrom, Bad Painting, what came to be called New Image Painting, Funk Art, Mail Art, and Chicago Imagism burst into the VCU Painting Department at this time which had been dominated by two more conceptually bent Photorealists and four Triumph of American Painting text and role model driven abstract painters. The students organized a show with the excellent title The Good, The Bad and The Ugly and in this well hung and packed (in all three senses of the word) exhibition, these rebellious undercurrents were in full force.

I had just joined the college newspaper and reviewed every band in Richmond I had seen and had enough musicians I had hung around with to know quite a lot about the talk style of bands. The story of how they ended up with the name of the exhibition in the interviews in the Ganzfeld does clear up how they named the exhibition itself and ended up sticking with the moniker and it was not like a rock band in conception, but the conversational style they described amongst each other and the "aha" moment with Karl Wirsum and the others is similar to how bands spend so much time hanging and talking and develop an enormous amount of inside humor, and even how they grope for a good name and have a narrative of how they finally found it. So our original inspiration of a group of artists that band together in a way musicians have for so very long had a kind of verity of its own, this still remains a singular instance of visual artists bonding and presumably with this issue of the Ganzfeld and their continued base in Chicago and contac with each other, for life.

As we were all listening to and dancing to and going to see local and touring versions of this new music we loved the idea of a group of artists hanging out together like a band and working with a shared sensibility but mastering their own instruments and voice, as a great metaphor for drawing and painting - and friendship. The art director of the college newspaper was a painter but two of us were from the CA & D department - Dale and Ronnie were actually roommates and we did all the grafix and comix mainly with just a few others let in. ronnie was black and this makes me laugh as a kind of grafix takeover of the newspaper version of the Mod Squad. Ronnie and I were in CA we had friends studying animation and the comic art fervor was actually in courses like a History of Animated film Shorts class I took, and Dale was doing paintings that were rather like Peter Saul's palette reinterpreting Picabia, but that was the core of the three of us as Hairy Who fan club central in Richmond, and for me the fact that Suellen Rocca and Gladys Nilsson were integral members from the start was the really amazing and inspiring thing.

Suellen Rocca is the only one to start off her interview saying the single most important influence on her was Ray Yoshida. (Please scroll down and see the postings on Ray Yoshida, Joseph Yoakum and Hawaii for an important footnote to this, in my life as an artist, but for anyone with in depth curiosity and interest about Chicago Art, starting with the Monster Roster and ongoing.) After telling Mr. Nadel that her parents were both jewellers, she said she was really interested in the catalogues and the illustrations and pictures of jewelry, and catalogues from Sears of bras and girdles, and then Kindergarten readers, so she would have all these sources of fascination with childhood looking and reverie on her studio walls.

The first two images are from her work that I remember, as are the reproductions in the Ganzfeld; the last one is her newest work which has something that reminds me of Rosenquist as in the first block of Art Green's below, but has still a lot of her image repertoire - it is hard with both Art Green and Suellen Rocca to see their work without removing the lens of attachment and nostalgia to the old work. This is always a process with nearly everyone as it is hard to be flooded with enthusiasm the way one was in youth, but as an artist there are imperatives involved when work changes this much and the time between has been so long.

By entering the actual paintings with longer looking and a willed opening up I do feel I can pay the respect due and understand them better from inside the work. Still, it is hard to listen to later music by bands one was once passionate about, see later films by filmmakers one once was breathless (reference intended) to see the next appearance of in a film series or cinematheque, and if one is a painter, well...I will say I am so pleased to post this painter as one of my first women role models in painting along with Gladys Nillson. They were the two, they as a dynamic duo gave me a way of entering the whole endeavor of painting with oil on support from having majored in the CA department. Nearly all my friends were in this department and we were intensely engaged in photography, design 2D and 3D, media, animation, film, illustration, comics and all kinds of other technically and conceptually difficult projects, sometimes all simultaneously and with insane deadlines all coming around every week we were there, with the free for all enrollment of those days, and the seventies major recession pressure to get out in four years and find a job immediately breathing down our necks - we all knew quite well that one floor above us - the legends in their own minds in the Painting Department - called us the "Sign Painters." Thank you Suellen and Gladys, for looking at primitive art, self taught art, comics art, but especially, especially all that illustration and design for popular, commercial art culture and for what almost all of us young women who entered the CA & D imagined trying to do for a living - illustrate and even write children's books, by way of illustrating children's schoolbooks for a living first.

Art Green at Cue

Art Green was the least known to me of the Hairy Who and all the Chicago Imagists. (A taxonomically imposed name like so many others writers come up with after the fact.) When first starting this blog I had read Ray Yoshida's obituary and posted at length on Yoshida, Joseph Yoakum and Hawaii.

My earliest attempt to paint to put together some of the comics I was doing with several friends from the painting department who were at my college newspaper, dancing couple panels, and some figurative mutations like the now underknown woman comic artist M. K. Brown from National Lampoon and Jim Nutt, with a palette completely swiped from one of his ultra violet black light suffused paintings I had been mesmerised by in a group exhibition at VCU's Anderson Gallery.

I had discovered a Comix and Grafix Bookstore in my neighborhood on Metropolitan in my neighborhood of Williamsburg not far from the famous Crest Hardware store called Desert Island. I can't recommend this store enough - I have Spoonbill & Sugartown on Bedford practically memorized and sift through the used books as they come in there, so I am happy to walk into a store as packed as this one with new things to discover. Two weeks ago I stopped in to inquire after comics having metacommentary on the art world and the owner Gabriel had recommended a book with an entire segment on a critique at Chicago Art Institute which I will spring on everyone in the Comic Relief section planned just after this group of postings - the intertwining of Chicago artists and pop culture and comics is a perfect segue into a respite filled with recession funnies.

It turns out Gabriel had also gone to the Chicago Art Institute and showed me a copy of the Ganzfeld with the installation shots from the original exhibitions and a series of interviews with several of the group of friends clearing up some of the usual disinformation. The next paragraphs are from Jim Nutt's writing as curator of Art Green at Cue, since I had posted Victor Kord at June Kelly and a meditation on Matisse (and much else) on either side of Marina Adam's show at Cue - an interesting twist on the alternative space.




Curator's Statement

by Jim Nutt

I was struggling in a first year painting class, desperate to do anything that looked better than half baked, when I became aware of some movement behind me at the back of the room. Though the interlopers were unknown to me, I slowly became fascinated with the distraction. They were silently removing a painting from the storage rack, giving it close scrutiny, and with the aid of animated gestures, argued in hushed tones the vices and virtues of every square inch of the painting at hand. And there was some giggling. I had never seen such a lengthy and animated examination of a painting. Needless to say I was impressed and hoped to make their acquaintance at some point. Fortunately I did, eventually discovering they were fellow first year students Cynthia Carlson and Art Green.

As I came to know Art, I realized how common this sort of behavior was for him. When he became interested in something, say an image or idea or their relationship, he would follow the interest wherever it went. Invariably, his progress would begin to double back on itself, and he would then find himself proceeding in the opposite direction. Then on to a variant, and then another and so on. It wasn’t exactly willy-nilly, though at times it appeared so. Open ended investigation of this sort quite often leads to a state of confusion in most of us, but for Art it leads to possibilities, often to multiple paintings, each nailing one or another destination. It is not surprising he would become fascinated with the potential of the oscillating illusion of necker cubes or find time to ponder if it is better or worse that a rolling stone gathers no moss.

Curiously his paintings are simultaneously both easy and difficult to look at. At first glance, there is a firmness of purpose and legibility of means that suggests casual grasp is possible. They seem to be and then are easy to read, encouraging a closer look. But this leads to my realization that something’s not quite right, but then it is. I have left easy-read and am now in the painting.

I experience this every morning when, half awake as I meander down the stairs, I find myself slipping into a new part of his painting which hangs on the wall at the foot of the stairs. I may experience the painting whole for a moment, but before I can help it, I‘m in, traveling yet another previously unnoticed path. What a treat!

Painters, Painting and the Idea of Home

Matisse's studio was a world within the world: a place of equilibrium that, for sixty continuous years, produced images of comfort, refuge, and balanced satisfaction. Nowhere in Matisse's work does one feel a trace of the alienation and conflict which modernism, the mirror of our century, has so often reflected. His paintings are the equivalent to that ideal place, scaled away from the assaults and erosions of history, that Baudelaire imagined in his poem L'Invitation au Voyage:

"Furniture gleaming with the sheen of years would grace our bedroom; the rarest flowers, mingling their odours with vague whiffs of amber, the painted ceilings, the fathomless mirrors, the splendour of the East ... all of that would speak, in secret, to our souls, in its gentle language. There, everything is order and beauty, luxury, calm and pleasure."

Within Modernism, there has been a counterstrain to avant-gardism; I used to sit in a course for graduate students titled "Tactics" where famous New York artists would come down and speak and so many graduate and undergraduate students would try to get something from them in the way of attention - and strategy, and connections - and when first hearing the name of this course I remembered Baudelaire said he was against the term avant-garde and any military terms for art.

The first image below is from the apartment my former husband and I found in Paris on rue de cherche-midi in the Sixth Arrondisement, not far from the Jardin de Luxembourg where I could go everyday and stroll, which is what the French do in their parks. The reproduction is not very clear but in this 17th or 18th C building we had a studio apartment with a small kitchen and bathroom attached to it, with plaster walls, thick wood beams, and this shelving niche in one corner, where I gave pride of place to Matisse's book Jazz that I bought in the first bookstore I worked for right after it came out in its early eighties new and technically state of the art reproduction.

That I had gotten reinterested in interiors through my husband from first meeting him as a boyfriend is absolutely true, as his mother had actually had her rented Edwardian house in Chillum, a medieval village in England, decorated so spectacularly in the traditional style that it was featured in the British House & Garden; and that his father (they had been divorced and started new families long ago) was a full steam ahead enthusiast for Memphis design and all Italian and other hip design of the time and put together a house that reflected that; this meant that wherever my husband and I lived it would be something we worked on together from alot of Mexican, some Japanese, some Indian , some modernism, and a considered bohemian thrift store mix. He was a painter with two parents practically obsessed with Interior Design, we were both painters that enjoyed this making and painting furniture and decorating our homes. There was a lot of DIY preparation even including scraping wallpaper and plastering and repainting and work house and sign painting that prepared me quite well for coming up here to the DIY loftspace I have been in now for over twelve years and its reconfigurations. painting projects, replastering and all manner of upkeep. (And a contract for housepainting I did by myself for Coco Fusco and some housepainting work with a loftmate who had her own business for awhile, in the early years.)

As a girl child it was suggested I study Interior Design, which was confused in some minds with Interior Decoration, but as a maker and builder of things including a girl's fort and puppet stages for puppets and furniture and props for backyard fairs I made from 3rd grade on I wasn't confused, just liked drawing and painting things so much more. However I was fascinated by my father's girlfriend's apartment in DC in 1968 or so with its Eero Saarinen tulip table and chairs on a black and white Op Art shag rug and the Op textiles on canvas stretchers around the place - I wanted my Dad to marry her so that we could have her cool stereo and record collection and furniture, and he did - it went well with, and enlivened all the Scan furniture and his minimalist acquisitions to fill the split level he acquired when getting custody of us.

The Baudelaire quote speaks to my earliest memories of a house and a home. When my parents remarried my mother had brought back Persian miniatures and Persian rugs and leather ottomans and all kinds of Middle Eastern things from having lived in Ankara in Turkey, and some Mediterranean objects from close to a year in Cannes in France, and they had gone all out to have a large house and prepare the way for my brother coming into the world. Then they divorced again and moved into a tiny apartment and a little townhouse - which in my mother's case had her garden statue of Aphrodite in all her over six feet of glory right in full view on first entering the little living room. My mother's house was always Baudelairean, and the kitchens Matissean, even in tiny apartment and townhouse complexes, and little rancher or bungalow suburban structures ever after.

The topic I wanted to discuss, with the image above. I was leafing through the January issue of Elle Decor at the newsstand when his painting popped out of the picture at me - right in the middle of a living room over the proverbial sofa.

A fellow graduate student at Tyler showed me a woman undergraduate's assemblage painting in the school catalogue, a monster of paint and tire halves and the largest artificial flowers saying admiringly "that could never go over anyone's sofa.' Given the above autobiography, it would be difficult to buy into this canard in the first place, but also I have a very real inability to hear received ideas as anything but such - any phrase I even hear twice may be suspect. As a dreamy but also very astute peruser of Mairie Claire Maison and World of Interiors and the much missed eighties and nineties House & Garden, I rolodexed up the feature on Dennis Hopper's Frank Gehry house and slotted that painting into an imitator's of that aesthetic's starter collection, right over the much less expensive version of the same couch. I was envisioning this just as Steve had instantly triggered this unconscious exercise by saying this, but said nothing. I don't like dampening other's enthusiasm with these thoughts, just store them away for the right moment to try and collect them into an essay on an idea, as in now.

The idea is painting's place in people's homes - as Matisse famously put it, he wanted to make paintings that would be like an armchair for a tired businessman. What a lovely way to think of someone who might potentially buy one of your paintings, might I add, the counterstrain in Modernism to wanting to shock the bourgeoisie. Matisse was stating his case fairly alone in these times of desired revolution and reform following in the spirit of the protoCommunist Saint Simon after the second half of the nineteenth century's incubation and infancy period of all these notions, introducing this essay above, when Saint Simon was already nearly ninety years ago at the cusp of High Modernism.

It actually is an imperative for discussion, at this time, and Dan Christensen the perfect symbol of this, as someone who was the earliest artist to suffer from something now called flipping in the auction houses and secondary markets but at the time it happened to Dan Christensen was an unconscious mechanism of the auction houses' very new rise in position in the contemporary markets forming in the sixties.

This is from page 18 of Anthony Haden-Guest's Book True Colors: The Real Life of the Art World, in the first chapter describing the first auction devoted to a contemporary collection of Art, the 1973 selection from the collection of Robert C. Scull at the newly acquired Parke-Bernet by Sotheby's:

"Another painter whose work did well from the sale was Dan Christensen, a leader of a movement called Lyrical Abstraction. They were seen as a third wave - after Abstract Expressionism and Color Field - and doughty competitors to the dour Minimalists. Christensen described the effects on his sale as 'catastrophic.' Collectors who had bought his pieces for a few hundred dollars quickly popped them into salesrooms, creating a glut. "The prices started dropping. I suddenly started having a very bad time," he says.

The first time in history is serious and the second time is farce, according to Marx - the first time is serious and returns with redoubled force, according to Hegel. The economic crisis to Marxians (who many think rhymes with Martians by now) may seem a necessary farce. I suppose I am part Marxian or Martian myself, as I have been following the economic trajectory of this country quite closely since moving back in 1991, especially reading a book on executive pay packages and golden parachutes by Graef Crystal in 1992 or so titled In Search of Excess, and reading the Times business pages first even before this recession started.

I would say for all the mature painters I know the recession is very very hard at the moment - we should all be so lucky to not be part of some big warehousing for possible future flipping that has now ground to another art market halt (the third, fourth and fifth return were not something newly historical 19th C. followers of Hegel were able to foresee enough to have any commentary on - in Hegel's world there was supposed to be some kind of progress through thesis, antithesis, and synthesis; in David Brooks frightening article in the Times Op Ed pages this country has been manic from near the beginnings and stay that way ad infinitum without worrying ever about temporary setbacks like recessions. He cites such a list of American entrepeneurs and Horatio Alger stories, and figures like Andrew Carnegie as fonts of wisdom supporting his thesis that everywhere the seeds of America's new enormous upswing are already sprouting, but as Crystal pointed out on the first pages of his book by way of introduction, Carnegie stated that the president of a company should never get more than 32 times the amount of the lowest paid employee. This was no legal idea for Carnegie, it was a solid fiscal ratio. (And he was called a Robber Baron?)

Some kind of collective national capitalist mania followed by financial recessions could synthesize into fiscal reflection, responsibility and maturity, if it were to take the steps towards recognizing this is not mental nor fiscal health with the diagnostic terms so clinical - for example, Mr. Brooks, if we put the capital and philanthropy back into capitalism? And most importantly disbelieve the notion that Wall Street wags this old dog of a US nation?

In the meantime, any of us who are in the homes of any solid, really hardworking, communally spirited, tired bourgeois types - the ones that are left - and in some pride of place on their walls, - and making them still believe in the world's strength, intelligence, and beauty, we should think of Matisse and his wise newly created adage at the absolute beginning days of High Modernism and consider ourselves lucky. No, let's change the terms completely - we all would be doing better if we considered ourselves fortunate rather than lucky.

Marina Adams, The Novel and The Erotic

The basic five longings listed in my essay on Katia Santibanez include the Erotic and the Novel, which would be Matisse's absolute domain - it taking a great deal of intellect to innovate and introduce something truly novel into the world. It also takes alot of study of all the forms the French call La Luxe, La Luxure and La Luxurie to have made what Matisse has made. These words are not very translateable but in English the Voluptuous and the Sumptuous and the most Erotic in its more specific sense come somewhat close. All of this is certainly found in Marina Adam's work.

I had said that a certain Modernism privileges novelty and ideas of order - that is the eye on authority that Matisse was not so fixated on, as someone who was not particularly interested in either reform or rebellion: he shows something very early on which I would call a certain kind of sturdy, peaceful, confident maturity, which doesn't imagine changing the world; just being one of the best painters ever within it. Marina Adams has certainly been paying attention to Matisse, through her own eroticism and innovation, and this is why I wanted to pair her with Victor Kord.

This posting is based on her show at Cue in late 2008, and we may as well also bring up The Song of Solomon as it is one of her titles. The Song of Solomon and its lyric is the only extended erotic passage in the Old Testament and just as surely probably based on words, song and musical accompaniment composed and sung by a woman.

Marina Adams had an Alma Thomas quote for her exhibition - the small catalogue is still available at Cue and it is still also on the website. This is interesting to me as Alma Thomas has sorted out to be my most important experience of a painter in my life to date as that is what my body and my skin have told me. Thomas' show at Rosenfeld is the first time and may be the only time I ever got gooseflesh from an exhibition of paintings. I used to be a music critic and gospel and classical were the only ones to cause gooseflesh consistently as genres with other moments (usually live) also stepping in, and I had not really thought of visual arts as something that would ever give me this kind of prickled awe. So: Marina Adams working through the lost music and song of Hebrew still coming through the imagery and beauty of the Song of Solomon and Alma Thomas' musical abstract joy and some of her knowledge of a vital spring palette (with a great deal of her own color sensibility evident), and Matisse's lines, abstract forms and figuration is not so surprising as a thread runs through it all, Eros and Joy.

Victor Kord also talks about jazz, which is tied to Matisse through his book Jazz.

With Marina's painting, who happens to have been born in October of the same year I was born, I think of Al Green. I once made a riddle asking what Al Green and Tantra had in common that had a short but definitive answer rendered obsolete by Chris Quirk's wife Amy Madden's immediate and definite response - "alot."

I had also paired Marina Adams with Victor Kord because she is married to Stan Whitney, who turned out to be one of the great teachers at Tyler for me, and doubtless many others, before retiring just a few years ago. (He was a student of Al Held's and his old school Tough Love teaching was Al's famous toughness and his more abstract but nonverbally present benevolence were well combined). I was explaining to Stan at Mira Schor's opening the Al Green metaphor in Marina's work after the more obvious discussion of Matisse, and he started to walk away as I was saying "It's a woman thing!" - he laughed, it was always a pretty hearty laugh and good to hear as a student at Tyler.

"It's a woman thing." It certainly is, Thomas' work is womanly, and also mature as I had said earlier about Matisse and so is Marina Adam's, in direction. I have been thinking for years about maturity in modernism - and postmodernism (even rarer). Victor Kord's and Marina Adams' work enfolds both modern and postmodern notions into a work that might have been starting out from the beginning with a focus on maturity - it certainly looks and feels that way.