Written & Photographed by Kenn Sava
I’ll always miss my late friend Tim Rollins who left us at just 62 years of age in January of last year1, but I can’t imagine how his “Kids” feel.
Tim Rollins & K.O.S.: A History. Published in 2009 to accompany the traveling retrospective of 25 years of their work. I’ll never forget seeing Tim with the phone book sized “draft” of this book in 2009, which he let me thumb through, in awe, while it was in preparation.
His Kids, better known as “Kids of Survival,” or K.O.S., a group of at-risk public school students, some barely in their teens, (as you can see in the Photo taken of them, above, by Lisa Kahane in the 1980s that appears on the cover of the retrospective on them), that Tim taught Art to that became the group “Kids of Survival” in 1984. When they began, he told them, “Today, we’re going to make art. We’re also going to make history.” With work in over 87 museums and public institutions (and counting)2, they’ve succeeded on both counts. In 2010, a terrific documentary film on Tim and K.O.S. was released entitled Kids of Survival: The Art and Life of Tim Rollins and K.O.S., which details the unprecedented journey both Tim and the members of K.O.S. took as they forged their own way into Art history. “History” is a word that keeps coming up in discussing Tim and K.O.S. in 2019, which is fitting because this year marks the 35th Anniversary of the founding of K.O.S..
Boys to men. Together, they made history. Tim Rollins & K.O.S. in 2016. Steven Vega, Ricardo Savinon, Robert Branch, Tim Rollins, and brothers Angel & Jorge Abreu, left to right, at Lehmann Maupin Gallery, West 22nd Street. Lehmann Maupin Photo
“To dare to make history when you are young, when you are a minority, when you are working, or nonworking class, when you are voiceless in society, takes courage. Where we came from, just surviving is ‘making history.’
So many others, in the same situations, have not survived, physically, psychologically, spiritually, or socially. We were making our own history. We weren’t going to accept history as something given to us.” Tim Rollins.
Tim even added “and K.O.S.” to his signature. Angel Abreu signed under it. From my collection.
While he taught them Art in school, with the goal of having them get into college, he also began naming everything he and the they created as being by “Tim Rollins & K.O.S.” Giving the students/apprentices equal status with the Artist as collaborators was unprecedented in the history of visual Art, as far as I know, as so much of what he did was unprecedented in Art education. Now, a year after Tim’s passing, K.O.S. have announced that they are going to continue as Studio K.O.S.. “History” becomes “living history.”
Curator Ian Berry, “Thinking about the increasingly important role of what Tim and K.O.S. did together over 30 plus years is so important for us to see now.” Installation view of Tim Rollins and K.O.S.: Workshop at Lehmann Maupin in May.
The past, the present and the future were the subjects of the show Tim Rollins and K.O.S.: Workshop at Lehmann Maupin in May and June, the first by Studio K.O.S. It included a “mini-retrospective” of their work curated by Ian Berry, who said of his selection, “The show’s called Workshop. I was thinking of works that really exemplified the idea of a group of artists sitting together around a table making work together. Sharing ideas. Thinking, reading, talking, seeing together. So each of the works is a very overt example of their hands and the imagery of the individual members on each of the works.”
Amerika (For Karl), 1989, Watercolor on paper mounted on canvas, 97 x 132 inches
He continued, “And then, I’m thinking about the guys being in Studio K.O.S. without Tim, and I’m thinking about the crazy politics that we’re living in, and thinking about the increasingly important role of what Tim and K.O.S. did together over 30 plus years is so important for us to see now. I really value the idea of this show now. It’s so important to see education leading to justice. It’s so important seeing different versions of identity and self-empowerment and speech, that is so needed now. It’s great seeing these images of Pinocchio logs potentially waiting for birth. It’s great to see this really intense room of all black works, which I hope moves you to be engaged, and be active in thinking about what’s going on around you. It’s a history, but it’s also a workshop that we’re all hopefully invited to join in.”
“It’s great to see this really intense room of all black works…” Two works from I see the promised land (after the Rev. Dr. Martin Luther King, Jr.), both 2008, Matte acrylic and book pages on canvas, 108 x 72 inches each.
Walking through the show with as unbiased eyes as I could possibly muster, given my personal connection, I found myself in complete agreement with Mr. Berry when he spoke of “the increasingly important role of what Tim and K.O.S. did together over 30 plus years.” When I’ve seen their work over the years, it’s generally been a piece here or there, as in MoMA’s 2007 show What is Painting: Contemporary Art from the Collection, where the group’s Amerika VIII, 1986-7, was on view.
Installation view of MoMA’s 2007 show, What is Painting: Contemporary Art from the Collection, with Amerika VIII, 1985-6, left. MoMA Photo.
I remember standing in front of it and feeling overcome with joy- the joy of a beautiful work and my sense of all that had gone into, and all that had been overcome, achieving it- let alone having it wind up in the Permanent Collection of the Museum of Modern Art (An aside- To this day, MoMA owns NO Paintings by Jean-Michel Basquiat. That’s another story). Then, I walked over to the label you can barely see to the right of the work in the Photo. My jaw hit the floor. Here’s exactly what it said-
If you know of another Artist in Art history who included the names of his students or apprentices on his work, let me know. MoMA Photo.
I remembered standing there thinking- “Can you imagine being them, having overcome all they did, then seeing not just your work, but YOUR NAME on the wall at the Museum of Modern Art?” Angel Abreu was about 12 years old(!), Ricardo Savinon was about 15(!) when this was made.
Seeing a wonderfully chosen selection of their work today, it looks remarkably prescient. Beyond it being a landmark collaboration that marks fresh paths for Art education, their work doesn’t feel one bit dated, and, even more? I think it’s going to hold up; it’s going to continue to speak indefinitely to viewers, regardless of age. My recommendation is that the other museums & institutions not included in the current list of 87 above step up and acquire a work while they can.
The “Kids” are adults now who have forged their own successful careers in Art, and Tim lived to see it happen, something I’m sure gave him as much joy as anything else he experienced in his life. You can see just that on his face in the Photo of he and K.O.S. from 2016 I showed earlier. While each now has a successful career of their own, the legacy they embody and share is still every bit a vital part of their lives, and it sounds like it will continue to be going forward. There remains much to be done.
The legacy continues. Ricardo Savinon, Robert Branch, Jorge and Angel Abreu, members of Studio K.O.S., joined by curator Ian Berry, from left to right. Lehmann-Maupin Gallery, West 22nd Street, May 3, 2019.
During the run of the show, a panel discussion was held on May 3rd in which Ian Berry was joined by four long standing members of K.O.S.- Ricardo Savinon, Robert Branch, and brothers Angel & Jorge Abreu, men that were very young men when they first met Tim and became members of K.O.S.. Surrounded by Art they created with Tim, each proceeded to tell his story- how he came to be part of the group and the journey they’ve taken over the years, that I’m sure felt like they passed way too quickly. Over the course of 90 minutes, the stories were powerful and joyful, each one a remarkable tale of perseverance and single-minded dedication on the part of students and teacher. Nary a tear was shed, instead laughter was free flowing throughout.
Ricardo Savinon is someone I’ve known for well over a decade. During that time, he was the person I saw most often with Tim. They struck me as having a closeness that truly was on that fine line between family members and close friends along with a very strong level of mutual respect. Rick, as he’s known, was extremely ill, hospitalized, and was reportedly near death himself, when Tim passed away. Thankfully, he recovered, but when I last saw Rick, at Tim’s Public Memorial Service last April, he looked very thin and gaunt. So, I was extremely relieved to see him now back to his usual full of life self, with his ever present sharp wit and even sharper mind in full effect. Rick joined K.O.S. in 1985 at about 14. He went on to study at the School of Visual Arts before becoming the interior designer, Art installer and curator he is today. Angel Abreu, who is about 3 years younger than Rick, met Tim and joined K.O.S. in 1986. He has worked on every major K.O.S. project and exhibition since he joined. Today, he’s a Painter and is on the faculty of the School of Visual Arts, where Tim, himself, studied between 1975 and 1977 and more recently was an SVA faculty member when he passed. His brother, Jorge, joined K.O.S. at age 12 about 1991, as he related in an unforgettable story I relay below. Today, he’s working on a poetry collection around growing up in the golden age of hip-hop. Robert Branch joined Tim and K.O.S. at 16, circa 1993. Today, he holds a BFA from Cooper Union and a masters from Teacher’s College, Columbia University. I had met both Angel and Robert in passing with Tim over the years.
Angel Abreu speaking about participating in a show at Saatchi Gallery in London at age 13, rubbing elbows with Ashley Bickerton and Jeff Koons.
Angel Abreu- “What I’d like to say before we get into this, is that if you can imagine, at 12, 13, 14, or 15 years old, we really didn’t know what was going on. But what we did know, at least I can speak for myself, is that I could not stay away. This was before cellphones, right. And there were many moments when we had, and again, Tim would tell us, ‘There’s no greater motivator than a deadline.’ We are so thankful that we had so many amazing deadlines.”
By any means necessary (Trapped/Caught), 1985-7, Black gesso on book pages mounted on canvas, 21 x 28 inches. From The Autobiography of Malcolm X.
“But we had no idea. It wasn’t really until later until I think we got into high school and into college where we realized how extraordinary this was that we were doing. But, really it was the day to day we’d go into the studio. And he’d say, ‘Ok, by the way, we just got included in the next Whitney Biennial.’ Alright, that’s cool, Tim. I have no idea what that is. Yeah, that’s good.”
Ricardo Savinon, “Tim was Professor X…”
Rick Savinon- “Also, I want to chime in. How impactful that us being part of the group and realizing that we were kind of outsiders with our families joining an outsider group. So, it was almost like the X Men where Tim was Professor X and he got together this group of mutants who didn’t know how to hone in their skills.”
X-Men/Malcolm X (after Marvel Comics and Malcolm X), 1997, Comic book covers on rag board. 1 of 12 parts.
“But in the studio he taught us how. But, in doing so, we impacted so many people, Our peers, our families, our friends. I mean I remember probably after 15 years of being in the group, I have a friend of mine who was walking down the street and said, ‘I was taking Art History class and I saw a picture of you. What the hell’s going on? What are you up to?’ I just said well very calmly, ‘I’m glad that you’re pursuing art. I’m part of this art group for the past 20 years, and this is what we’ve been doing. And he was so proud because we managed to come from a situation where there’s a lot of poverty, violence and we together, we decided to do what was necessary for ourselves. And a lot of others, our peers, our friends that are still friends of mine. I’m very modest. ‘What are you doing right now?’ I’ll say ‘Well, I’m an artist.’ ‘Well, what kind of art, maybe graffiti?’ ‘No, no…’ And so, they’ve always been proud, my family’s been proud. That’s part of the reason my niece is studying engineering at this point because I’ve influenced her. In some subtle way, in the things that I’ve done. Not sitting her down and lecturing her. But just because she’s acknowledging what I’ve been doing. I’m sure that Angel and Jorge and Robert their family does the same…their kids.”
Jorge Abreu, “So, this was a tragedy for my family…”
Jorge Abreu- “Alright, so I’ve got a story to tell. So, just imagine seeing your older brother he’s going off to London (at age 12) and doing all these great things, and you’re home playing Nintendo 64, except it wasn’t Nintendo 64. No. We still had the Commodore. So, obviously this was ground breaking. The way I sort of came into the group was sort of an S.O.S. kind of thing. We had a summer vacation with my dad down to the D.R. We had a terrible car accident, the day before we were supposed to fly back to New York. I was unconscious for 2 weeks. Woke up. Before then I was a kind of straight A student. But, I woke up. Lost my memory. Didn’t recognize who my family was. Ended up staying in the Dominican Republic for a couple months after that rehabbing and recuperating.”
“So, this was a tragedy for my family. We lost my dad at that point, through the accident. Finally get back to New York. I couldn’t walk. One day I woke up. Had to do a whole lot of rehab. My memory was shot. So I went back to school. I believe it was the sixth grade. Really lost. Really intimidated. Really insecure. My mom had some concerns. But, I’d always been a writer as a younger child. I don’t know what happened, sort of a transformation. Now, I wanted to draw. I started drawing and doodling. Obviously my mom was a little concerned for me, so she sort of approached Tim. ‘He’s starting to draw. try to get him involved in the group.'”
Amerika, The Hotel Occidental, 2006, Acrylic and graphite on book pages on canvas, 72 x 59 inches.
“I remember the first day. I had known of Tim. When I went into the studio, I had my portfolio. Alright. And this portfolio consisted of many MLB team logos. Right? So, top notch stuff. So, Tim sort of laughed it off but he gave me a shot. I’m a true believer that this you can take from one of Tim’s great quotes from Amerika when Karl joined the utopian group that took him in right before he was going to leave America. That everyone is an artist. This skill can be developed. If you stick with it. It’s all about just doing it. So, I’m pretty sure Tim was kinda like, ‘This kid’s alright, but he’s not the best.’ But, I continued to come and kept coming and kept coming. I earned my spot. I’m definitely thankful for that. I didn’t know what I was joining. But hey, if it took this guy to London (indicating Angel), I want to be part of it. Next time I want to go, too. “
Robert Branch, “This was my one opportunity and I wasn’t going to let it go.”
Robert Branch- “So, I joined the group later on, I was 16 years old, I was at a High School in the Bronx. JFK. That doesn’t stand for ‘jail for kids.’ The only reason I was going to school was that I had these Dominican working parents. Listen, you either go to school or you get a job or dad’s going to kick your ass. My dad’s bigger than me, so…I was real lucky in that there was a dean who was real tough and he wouldn’t let me skip class. I really wanted to be a comic book artist. Waiting to be the right age where I could bring my portfolio down to Stan Lee. Luckily, the Art teacher would make sure I attended school, he would call my dad. So, I had this kinda thing where they were really on me and they didn’t want me to fail.”
A Midsummer Night’s Dream (After Shakespeare and Mendelssohn), 2014
“I was really fortunate that the Art teacher brought me to the studio on a trip, walked past the Pinocchio on a freezing cold day, I come all the way down there to the Bronx and I’m like, ‘This is it.’ I’m coming to study here. I’m going to ask as many questions as I can. This is my one shot to figure out what it’s like to be an artist. Because, up to that point, I had not been able to take an art class until my junior year in high school. Think about that. New York City, one of the wealthiest cities in the world, and it had no opportunities to take art classes, and I was in a high school that had some resources, so you know I made the most of it. I was in the studio and I was like ‘What’s this? What do you do with this?’ I asked at least a dozen questions and Tim said, ‘Oh my god, he’s either really into art, or he’s going to come back and rob me.'”
In each work a seed is included- somewhere. In, this detail of A Midsummer Night’s Dream (After Shakespeare and Mendelssohn), as seen above, it’s a a mustard seed visible right in the center of this picture. A beautiful and fitting metaphor.
“So, it was just a wonderful experience because this was my one opportunity and I wasn’t going to let it go. Tim was deeply intuitive and he knew that I had this interest in making art. And that was the beginning of a journey that took me from…my dad…I ended up going to college and I would never have crossed that threshold if it weren’t for the support and mentorship that Tim gave me. And you know what a college experience can mean to a person’s life. I wouldn’t have gone down that path.”
“Tim wasn’t just my friend, my first white friend, he was an authority figure. I remember dropping something off at his apartment. I had my nephew in the back. My dad drove us. I’m a real city kid- I don’t drive. So, my nephew asks, ‘Who’s that guy?’ My dad said, ‘Well, next to me, that’s the most important man in Robert’s life.’ And that’s the gift that Tim gave me with his friendship and consummate mentorship.”
Believe it or not, out of everything Tim & K.O.S. created thus far, this work, what appears to be simple logs laying on a gallery floor, speaks to me, personally, as much as anything they’ve created.
“Recognize the creative glimmer in others,” Tim said.
When you look closer…Detail of Pinocchio (after Carlo Collodi), as seen above, 1991, Wood, plastic, wax, tung oil, 43 x 6 x 6 inches.
As their work, Pinocchio shows, brilliantly in my opinion, locked inside each of us are whole untapped worlds of possibilities. Tim Rollins even saw mine.
*My thanks to Rick Savinon, Studio K.O.S., and Twice Sold Tales, Seattle, WA.
BookMarks-
Tim Rollins and K.O.S.: A History
Kids of Survival: The Art and Life of Tim Rollins + K.O.S.
*- Soundtrack for this Post is the X-Men Theme from the 1996 Television show.
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Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited.
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