Art

Es Devlin Rides the Wild Horses

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

Show Seen: An Atlas of Es Devlin @ the Cooper Hewitt, Smithsonian Museum of Design

The one and only Es Devlin in the one and only time she appears in her show, in her piece Memory Place. (her hands appear a few times elsewhere). Displayed in the show’s entrance lobby where visitors wait for the next showing of her 4-minute intro video which takes place in a fascinating recreation of her studio. The pictures in this piece are thumbnails. Click any for full size.

Having first experienced Es Devlin’s brilliance in 2010, the release of her debut Art , An Atlas of Es Devlin, the NighthawkNYC.com NoteWorthy Art Book of the Year for 2024, fired my curiosity as to what the show of the same name would be like. How would Es Devlin and the curators at the Cooper Hewitt distill the innumerable projects Ms. Devlin has been involved in these past 29 years already, and the book’s 900 pages, into a comprehensive and concise show, a “mid-career” retrospective, no less?

The show is so innovative, the attention to detail so exceptional, that even the shipping crates that transported the Art have their place in it! One of many things in An Atlas I’ve never seen before. I explain further on. Seen here are the labels on a crate that contained 2 models.

Opening in November, 2023, I pondered this all through 2024 as various ailments kept me from getting to 2 East 91st Street, and finding out. Stage Design is one of the most ephemeral Art forms there is. The book is divided between Sketches and notes, followed by a large section of color Photos of the performances. Building my expectations around that, finally getting to see the show twice during it’s final week, I got the unexpected: a show that largely consisted of beautiful scale Models of the stage sets, most created for exhibition! (Two were contained in the shipping crate shown here.) Well, if anything has proven to be the trademark of Es Devlin’s work, it’s the unexpected, which continues to remind me of Robert Rauschenberg.

Hang on to your hats! Installation view of the introductory gallery in the recreation of her studio before the Film begins. I rushed in to get this shot before it was filled up by those in line behind me. Beware, those seemingly innocent items on the table are not what they seem. Neither is that back wall.

Filling  the entirety of the 3rd floor, arriving visitors are asked to wait for the next showing of a 4-minute Introductory Film, which takes place in a gallery designed as a recreation of her studio, with a large work table in the middle, filled with the tools of her craft.

As the Artist speaks and Draws in the Video projected on the rear wall, the objects on the table undergo all sorts of permutations.

As visitors surround it and begin to take it all in, the Film begins. Compellingly narrated by the Artist in powerfully evocative words in Ms. Devlin’s hypnotic voice, accompanied by stunning visuals that somehow bring items lying on the table to life, the Artist takes us on a tour of her ideas and her work.

One section of the recreation of Es Devlin’s studio with the lights low during the Introductory Film. Full of ideas, some realized, some partially realized, some not realized yet, I imagined this room to be something akin to walking around in her brain.

On three of the walls surrounding the table were a cornucopia of fascinating objects I could have spent a few hours studying on their own. A bit like Sarah Sze’s incredibly involved installations, a lot of work went into their installation.

The Film ends with a bang.

At the culmination of the presentation, the Artist’s hands split the screen in half, opening the back wall, revealing her piece, Iris, beckoning visitors to enter the beginning of the main body of the show. Talk about a dramatic opening. Stage craft meets Art show in a way I can’t say I’ve experienced before. But, I bet I will again. I have no doubt An Atlas was must-see viewing for innumerable curators and gallerists.

The second “introductory gallery” features Es’s Iris.

Working with “names’ virtually her entire career, the first stop is her Iris with a voice over of Es reciting the names of her collaborators. A nice “Thank You” for the opportunities and sharing the credit for the results of this most collaborative of mediums. Iris, with multiple aperture blades, contains the names of the Artist collaborators on the outer blades, and all those involved with creating and mounting her projects fill the inner blades, a list that fills the first 9 pages in her book! It introduces what is a running theme in the show: collaboration, as you might expect for an Artist whose craft is Stage Design, like a bass player, something that doesn’t exist on its own (unless you’re a genius, like my late acquaintance, Jaco Pastorius). Still, it’s definitely her show. Her voice and vision runs through each and every work. Still, as any creative person who’s been hired by someone knows, working with someone else “who has a say” is often extremely challenging; perhaps the hardest part of the job. More than likely the Artist got the job for being who he or she is. For someone else to come in and suddenly want to change/modify that vision can be both counterproductive and counterintuitive. Not every Artist can do it.  The “dynamics” of creative collaboration is why most bands have the shelf life of milk. Yet, though it must have been there, in An Atlas there is no sign of creative struggle or difficulty. Making this all the more impressive, the list of her projects takes 4 pages in the book (as I showed here)! Either her brilliance is just a matter of fact for all her bosses, or she has an extremely winning way, as belied by her hypnotic voice. My money’s on both.

Installation view of the first gallery of work, with the earliest pieces at the far end. If you look closely you’ll notice mirrors at each end of the wall. In what might have been an effort to make the show feel larger, all the galleries had wall-sized mirrors on each end.

After leaving Iris, next up is the gallery of her fascinating early works, largely Drawings and Mixed Media works on paper, i.e. pen, markers, paint on paper Portrait and figure studies, like countless other Art students. I had to look closer to find the roots of her Stage Design work. In between the large studies, I saw sketchbooks, notebooks and loose sheets that contained outlines and ideas for stage productions, none of which are listed in her book.

On the very bottom of the far end of the wall, just above the power outlets, and so difficult to see, I spotted these notebook pages, the one at the lower right reads “Madam Butterfly,” perhaps one of the earliest Stage Designs in the show (the book in the upper left is dated October, 1994). Note that Es has Drawn the entire thing, boldly and confidently, in ink with no white-out or corrections. That speaks to the clarity of her vision, even early on. Immediately above it is a costume design. Note the inclusion of the pencil. I just love that her work was so centered on Drawing and hand-written notes, and continues to be. I don’t see Madam Butterfly listed in her book.

From this gallery, what are we to make of her beginnings? Where did all of what has followed come from? Between visits, I researched her background. Her CV on esdevlin.com, lists her Education, chronologically, as-

-Cranbrook School, 1984-1989 (a “co-ed grammar school1)
-BA Hans English Literature 2.1, Bristol University, 1990-1993
-Fine Art Foundation, Central Saint Martins, UAL, 1994-1995
-Motley Stage Design Course, 1995-1996

That’s it! After taking Art-centric courses for scarcely two years, then she just takes off. In only the second gallery of work, at the beginning of her professional career, the ideas are fresh, innovative & previously unseen- qualities that characterize her work to this day. Still in school(!), she’s already on her way. In the first vitrine, I was struck by her work with Wire, a 4-piece rock band, in 2003. Zillions of 4-piece bands, including a few with yours truly involved, have appeared on stage since The Beatles set a standard for what such a lineup “should” look like. “I didn’t know much, but I was bored of seeing the typical silhouette of a band,” she said on the wall card (where all Es Devlin quotes herein derive).

And so, Wire appeared like this-

Studies: Flag: Burning, for the band Wire’s Farewell Performance, 2003, Barbican Hall, London. Es Devlin’s first stage design for a concert. She made “illustrated cue sheets from which they ran the lights and the videos.” She spoke about not having enough money to afford velcro to enclose the band, so she had to use staples.

11 years later, another 4-piece band looked like this-

No staples here! U2, “Innocence & Experience” World Tour, 2014. *= Photo from esdevlin.com.

Wire would lead to such extraordinarily innovative shows as “Innocence & Experience,” 2014, and the subsequent “Experience & Innocence,” 2018, both by U2, who also includes 4 members. I believe this performance of “Who’s Gonna Ride Your Wild Horses” is from the “Experience & Innocence” tour. I saw U2 on what I believe was their first U.S. tour at the Ritz in 1980. Bono still sounds as strong as ever. To my mind, Wire, 2003, to U2 a decade later provides a classic case study in Es Devlin’s evolution.

Model, Bangerz, 3-D printed resin, recreated for exhibition. Staged, 2014, Miley Cyrus’s Bangerz World Arena Tour. Models of Ms. Devlin’s designs were the highlight of the show for me. Here, her face is a video projection from above that continually changed. To the side, a huge model of her beloved dog was also on stage. “We decided the Miley Cyrus should perform the entire show on her tongue. The first iteration was impractical, so we reduced the length of the tongue to a slide, down which Miley made her entrance- a sculptural portrait of a young woman rewriting her own script.”

Moving through the show, it became apparent to me that though elements recur, as. you see, Es Devlin has no one “style.” Since her words appear on virtually every wall card. Who else to speak better about her work? I’ll largely let her take it from here.

Model, The Lehman Trilogy, Painted MDF, acrylic, yardstick, 3-D printed resin, brass, and LED, recreated for exhibition, Staged in 2018 at the Royal National Theater, London, and the Park Avenue Armory, NYC. Es Devlin’s Tony Award-winning, rotating, design for Stefano Massini’s play The Lehman Trilogy, based on the family of businessmen. All the Models shown here with a center pole rotated. “A revolving glass box propels the action of The Lehman Trilogy, a parable that follows three generations of the Lehman family to chart the rise and periodic crashes of capitalism. Cardboard bankers boxes formed the foundations of the visual vocabulary. The more we invested the boxes with meaning, the more poignant the revelation became that those containers of cotton and coffee would become containers of financial records and numbers, ultimately revealing themselves to contain nothing at all.”

Model, Parsifal, Laser-cut form, resin and paint, recreated for exhibition. Staged in 2012 at the Royal Danish Opera, Copenhagen. “Richard Wagner conceived his final work as a ritual mass for the consecration of a stage. Over four hours of largely static drama, the audience transcends time and space through a rite of compassion. The director Keith Warner and I conceived an enormous revolving rook chess piece whose conical interior formed a new theater within Copenhagen’s opera house. We presented Parsifal’s odyssey from naivety to wisdom as a resistance to the rules of an antiquated game.”

As her career has progressed, a good number of her works have an “otherworldly” feel to them. Figures are frequently enclosed, in a maze, or presented in surroundings that are hard to fathom, often with no apparent way out.

Model, Howie The Rookie, Graphite and paint on laser-cut MDF and LED, recreated for exhibition, Staged 1999, Bush Theater, London, UK. “My first stab designs were experiments in framing light. The Bush Theatre was a room above a West London pub with an audience of 75 people. Mark O’Rowe’s play Howie the Rookie is a pair of potent, visceral monologues set in the housing estates of Tallaght on the outskirts of Dublin, Ireland. I perforated a concrete plane with a line of light. This line conveyed both a burning horizon and a road making on a highway.”

Model, Macbeth, Graphite and paint on laser-cut MDF, acrylic mirror and LED, recreated for exhibition, Staged 2003, Theater an her Wien, Vienna. “The design for Ernest Block’s opera of Shakespeare’s play Macbeth was based on a revolving mirrored illusion box. It’s rotations evoked Macbeth’s churning conscience. We conjured scenes through smoke and mirrors. A half-bed wedged against a mirror appeared as a single whole, while Macbeth and his wife were duplicated. The illusion of a whole banquet full of guests overlaid their machinations as the box turned.”

Installation view of one of the corridors. It’s not as long as it looks. Note the overhead video projectors.

Model, Atlas, 3D-printed resin and LED, recreated for exhibition. Staged 2019, Los Angeles Philharmonic, Walt Disney Concert Hall, Los Angeles, CA. Meredith Monk’s transcendent wordless opera, Atlas, charts the spiritual growth of the 19th-century explorer Alexandra David-Néel. The young girl encounters travel companions and spirit guides within a 12-meter-diameter sphere, scored with webs of international trade and travel routes. The form encompasses Monk’s radiant vision of a possible alternative to the current world order.”

Model, La Caja Mágica/The Seed, Graphite and paint on laser-cut MDF, nd LED, recreated for exhibition. Staged 2010 MTV Europe Music Awards, La Caja Mágica Arena, Madrid, and 2020, Jubail Mangrove Park, Abu Dhabi. “For the MTV Europe Music Awards, I imagined a 10-meter high revolving box that could reveal a shapeshifting series of performances. (Among others) Rhianna sang within a sea of red carnations pouring out of an iris (see next pic).”

Model, Fundamental, MDF, acrylic, acetate, and LED, recreated for exhibition. Staged for the Pet Sop Boys World Tour, 2006-7. Es says, “Neil Tennant and Chris Lowe’s album Fundamental critiqued Tony Blair, George W. Bush, the Iraq War, and immigration policy. For the tour, an X-ray image of a divided brain expressed the cognitive dissonance we felt as our country remained entangled in a ware we didn’t want. The show was performed outside the Tower of London, complete with projected pink tanks for the anti-war extravaganza ‘The Sodom and Gomorrah Show’ and giant sequined cowboy hats for the Bush/Blair pantomime “I’m with Stupid.” 

Model, Your Voices, Acrylic, filament, nylon thread, and LED, recreated for exhibition. Installed in the fountain at Lincoln Center, NYC, in 2022, Es says of it, “New York is the most linguistically diverse city on the planet, with 637 languages spoken by its inhabitants. Your Voices celebrated this diversity. Like a giant harp, the sculpture’s glowing arcs enveloped visitors and local choirs with an illuminated web. The piece rotated through a soundscape of languages from all over the city: from Arabic to Ashanti to Zapotec and Zulu. The strands spliced and framed the viewer’s perspectives, just as our perspectives are shifted when we learn to speak through the voices of others.”

Installation view.

Model, Compton Super Bowl, Laser-cut MDF, acrylic, 3D-printed resin, and LED, recreated for exhibition. Staged for the 2022 NFL Super Bowl Halftime Show featuring Dr. Dre, Kenrick Lamar, Eminem, Mary J. Blige, Snoop Dogg, and 50 Cent, Los Angeles, CA. “Dr. Dre and I proposed etching a map of the city of Compton onto the global Super Bowl stage. We case the buildings as charcters that led from Snoop Dogg’s house to 50 Cent in the club to Eminem breaking out of jail.”

Model: Come Home Again, 2022, Acrylic and printed resin. “For Come Home Again, I constructed a one-third-scale replica of the dome of London’s St. Paul’s Cathedral on the lawn outside Tate Modern, facing the cathedral across the river. I filled dome with observational drawings of 243 of the 15,000 non-human species that call London home; the Londoners most at risk of extinction. ”All of the 243 animals depicted were based on Es Devlin Drawings.

Es Devlin in front of  the real Come Home Again, Tate Modern, London, 2022 *- Photo by Matt Alexander

The shipping crates for the Art, teased earlier, filled a gallery where a video screen was mounted in a stage set, providing seats for the visitors, with more all around me as I took this, and, cutting down on the need for space to store them! Something I’ve never seen before, it’s a  touch that shows the depth of the imagination and attention to detail that went into An Atlas at the Cooper Hewitt.

As if all the thought, planning and work that went into mounting An Atlas wasn’t enough, there is the incredibly innovative 900-page(!) book that accompanies it! So far, it’s the only Art book I’ve named a NoteWorthy Art Book for 2024, and that was before I saw the show. Here, in the show’s final gallery, another recreation of her studio, visitors get a look at the making of it, including the original book dummy (off-camera, in a vitrine to my left). This time, visitors were free to handle the items on the table, which were reproductions of the original work materials…right?

An Atlas, the show, reveals, that as her fame and notoriety grows,  so too are the opportunities for the Artist to step out and present her own work, without an overriding “boss,” as she has in major works like Come Home Again, and Your Voices, both 2022, and, of course, in An Atlas of Es Devlin, the book & show. Her own work shows the Artist bringing “big questions” to the forefront- including species near extinction (in Come Home Again, and in her piece Nevada Ark for U2’s The Sphere shows in 2023),

That Es Devlin’s work, and practice, is deeply rooted in traditional Art-making techniques, like Drawing and Sculpture, is a continual touchstone in both the show and the book. She uses them to produce work that lives on, and continually pushes, the cutting-edge of Stage Design and Production. I find this both fascinating and inspiring. On one hand, her example shows what is still possible by just putting pen or pencil to paper; that a master’s or doctorate degree are not prerequisites for achieving a very successful career, or greatness, in one’s chosen field in the Arts. On the other, it also reaffirms over and over again the power of one person’s creative vision. In her chosen field, her work strikes me as being downright unprecedented. In the larger world of Art, Es Devlin’s vision is at once as personal and as expansive as almost anyone else’s working today.

*- Soundtrack for this piece is “Who’s Gonna Ride Your Wild Horses,” by U2 from Achtung Baby, 1991.

My look at the 900-page An Atlas of Es Devlin, the NighthawkNYC.com NoteWorthy Art Book of 2024, published to accompany the show, is here. 

NighthawkNYC.com has been entirely self-funded & ad-free for 9 years, during which 330 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal below to allow me to continue. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

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

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Thank you, SV.

  1. Their site describes the school as “a co-educational grammar school in the heart of the glorious Wealden countryside.” ↩

So, You Want To Work At An Art Gallery…

This site is Free & Ad-Free! If you find this piece worthwhile, please donate via PayPal to support it & independent Art writing. You can also support it by buying Art & books! Details at the end. Thank you.

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

Summer in the City is a time for Fresh Air Kids, scrambling to stay cool, making sure to put on that sunscreen and water, water, water. 

Notice that none of those are particularly Art-related. 

That’s because most of the galleries are on short schedules, closed on Saturdays, or maybe the entire month of August, and the museums are gearing up for their new fall seasons. As a result, it was easy to miss a sleeper show up at David Zwirner’s 19th Street location- After Hours, mounted just east of the construction going on in their western gallery, which they apparently figured summer was a good time to get done. I’m glad I didn’t sleep on it. It’s a show of Art by the staff of David Zwirner’s galleries around the world. Very handsomely installed, it’s easy on the eyes and a number of pieces linger in the mind. “Easy” and “linger”…two words that go nicely with summer. 

T. Dylan Moore, Self-Portrait, 2024, Casein on paper. Jasper Johns, has used this seemingly difficult medium to work with medium extensively, making me sit up and take notice of its possibilities- as T. Dylan Moore’s Self-Portrait does here (shot at an angle to minimize glare). Seen in After Hours, July 17, 2024. Pictures in this piece are thumbnails. Click any for full size.

I can hear some readers saying, “Man, it must be slow in NYC if he’s writing about a show by gallery staff members.” In reply I would remind readers that I first met Caslon Bevington in 2017 while she was working at David Zwirner. I have subsequently written about two of her solo shows.

Chase Barnes, Stateless Revision 1, Machine Vision, 2023, Multi-channel video installation on dual NEC monitors. Seen in  After Hours, July 18, 2024.

The big takeaway from After Hours for me is that there are A LOT of talented folks working for David Zwirner. This is not the first rodeo for any number of them. Chase Barnes, for example, already has a PhotoBook published by Jason Koxvold’s renowned Gnomic Book. It shows me the track to working at a major gallery is F A S T. Being an Artist looks good on a resume for a gallery gig, and having shown or been published travels well by repute. It’s also got to be a real asset for said Art dealer to have such people on their staff in innumerable ways. 

Lauren Ferrara, Absence, 2020, Found wood, recycled fabric, recycled paper, and recycled plastic bags, seen at After Hours, July 17, 2024.

In my experience, most people don’t give a second thought to staff members they encounter at an Art gallery. To work in a New York Gallery is an achievement in itself. A lot of people are drawn by the beauty and glamour of working with Art & Artists. That means there’s a lot of competition for these jobs. It serves to reason that an Artist seeking such employment would have an edge all other things being equal. And maybe that’s why the quality in After Hours was so high.

I was impressed with After Hours to the point that I saw it 4 times.The last two visits were because of  Oji Haynes. 

Kris Graves, the mastermind behind LOST IV taking a group portrait of 7 of the 10 Artist/Authors included in the set. From left, Oji Haynes, Richard Renaldi, Melody Melamed, Peter Baker, Tracy Dong, Melissa Alcena and Yoav Horesh. Seen at the LOST IV Book Release, Printed Matter, July 11, 2024.

I met Mr. Haynes at the Kris Graves Project’s 10-volume  LOST IV book release at Printed Matter. So taken with his PhotoBook, Anthem, was I that I took the bold step (for me) of walking over and telling him. We proceeded to have a remarkable conversation during which we discovered a shared passion for Art book collecting, with any number of overlapping Artists, from Robert Rauschenberg to Gordon Parks and Jeff Wall. He also revealed it was his first PhotoBook, consisting of an overview of his Photography to date,  and he had been reluctant to do it. Luckily, Kris Graves managed to convince him that now was indeed the time and the results are one of the strongest books (in my view) in the set. No mean feat in fast company. 

A spread from Anthem. Mr. Haynes told me he had originally envisioned the right-hand Photo as the cover. *- Kris Graves Projects Photo.

Then, he told me he had moved on in his practice and was now creating Sculptural pieces, and one of them was included in After Hours! Ahhh…he, too, is a David Zwirner staffer. I went back to the show on a mission.

Oji Haynes, Scriptures, 2024, String lights, cement, inkjet photo, diamond dust, and mixed media on fabric couch. Seen in  After Hours, July 17, 2024.

Tucked nicely into a corner at the far end of a large gallery, his piece, Scriptures, 2024, couldn’t be more different, yet similar, to his Photography. His book consists of intimate moments, most, but not all, including people- singly, in paris or small groups. Scriptures is intimate, as well, in a different way. Though I continue to ponder it, I had a few initial reactions. 

Left side showing the text, “LISTEN TO WHAT”

Right side showing the text, “GOD HAS TO SAY.”

First, it struck me as a collection of things people might find buried if they took apart a couch they’d had for a long time. Things that might fall out if you lifted it up from one end. Second, it gave me a feeling somewhat reminiscent to looking at Kerry James Marshall’s Souvenir II, a work that memorializes memories.

Kerry James Marshall, Souvenir II, 1997, Acrylic, collage, and glitter on unstreteched canvas banner. *-Renaissance Society Photo.

Then, I thought I’d love to see it hung between Mr. Marshall’s piece and Robert Rauschenberg’s revolutionary Bed. Rauschenberg mounted a bed on a wall. Mr. Haynes has mounted a couch on the two walls of a corner.

Robert Rauschenberg, Bed, 1955, Oil and pencil on pillow, quilt, and sheet on wood supports. The first work to take a piece of everyday household furniture and reenvision it. Of this work, Sarah Sze said, “That kind of intimacy is very specific to Rauschenberg. A willingness to be tender, to be intimate, to share a kind of a very interior urgency. An urgency to share a kind of interior self publicly1.” Her words resonated with me while seeing Scriptures. Seen at MoMA during Robert Rauschenberg Among Friends, August 5, 2017.

Or, next to them in chronological sequence. While Mr. Marshall’s piece may be seen as primarily a memorial to MLK, JFK and RFK and slain Civil Rights workers, the intimacy is heightened by the fact that it, and Mr. Marshall’s similar Souvenirs Series, take place in living rooms, where (no doubt) carefully chosen items abound, including couches. It’s that feeling and those items I thought of when seeing Mr. Haynes’s Scriptures. All three works are filled with the touchstones of a life, or the lives of an immediate few. In Oji Haynes’s case, the “meaning” is up to the viewer. I see a number of dreams in a self-enclosed space, though your results may differ. 

Oji Haynes holding a copy of his first PhotoBook, Anthem, at the LOST IV Book Release, Printed Matter, July 11.2024.

The definitions of “scriptures’ in the American Heritage Dictionary are- “1. A sacred writing or book. 2- A passage from such a writing or book. 3- The writings collected as the Bible.” Taking those as a point of context, tilts things to the “sacred,” and what’s sacred for whosever items these are. In one sense, it’s a time capsule of hopes, dreams, achievements, memories, simultaneously revealing the passage of time. Auspicious, indeed. Mr. Haynes was not on hand when I went back to After Hours. He told me he had to go install work in a show in San Francisco.

With work like Scriptures hot on the heels of a just-released auspicious first PhotoBook Anthem, Oji Haynes has already reached another new plateau. I’ll be among those watching with interest where he, and his Art, goes next. 

So, Beware: That Art gallery staff member you see or speak to on your next visit may well be an Artist whose work you’ll be going to see one day soon. It’s happened to me. More than once.

*- Soundtrack for this piece is “Summer in the City” by John Sebastian and Lovin’ Spoonful from 1966. This vintage video could have been shot here this week-

NighthawkNYC.com has been entirely self-funded & ad-free for 9 years, during which 330 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal below to allow me to continue. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

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

For “short takes,” my ongoing “Visual Diary” series, and outtakes from my pieces, be sure to follow @nighthawk_nyc on Instagram!

Stepping Into “Edward Hopper’s Nighthawks”

This site is Free & Ad-Free! If you find this piece worthwhile, please donate via PayPal to support it & independent Art writing. You can also support it by buying Art & books! Details at the end. Thank you.

Written & Photographed by Kenn Sava.

The numeric convergence begins. August 28, 2013, eleven years ago next month- – The last time I stood in front of the real thing- Edward Hopper, Nighthawks, 1942, at Hopper Drawings at the old Whitney Museum. A moment later, a friend snapped a picture of me standing next to it. Would I ever get closer to it? Pictures in this piece are thumbnails. Click any for full size.

The Edward Hopper/NighthawkNYC Convergence, 1-

July 15, 2015, nine years ago this month, in my very first piece, “Welcome to the Night,” I mentioned I’ve always related to that figure sitting by himself with his back to the viewer in Edward Hopper’s Nighthawks, 1942. The one that no one ever talks about. Why is he even in the Painting?  Well, he’s really only half in it; his left side completely blends into the black background. So, what’s his deal? Did his date go bad? Is he worried about the recent outbreak of World War II? Is he waiting for the lady in red to lose her guy? (The couple are likely Edward & Jo Hopper stand-ins.1).  Well, he’s there and I’m glad he is. He’s also a witness to everything going on inside, close enough to the other subjects to hear their conversations. In Nighthawks, he has THE ideal seat to see and hear everything that’s really going on, that the rest of us can only imagine.

I’ve been that guy too many times to count, out on my own late at night in Hopper’s Greenwich Village neighborhood. I relate to that “witness” aspect of him, too. After all, isn’t that what I’m doing here; being a witness to the Art, Photography, Music  books I’ve experienced?. So, I named this site NighthawkNYC after him. Hopper’s Painting is titled “Nighthawks.”

But, what would it be like to be him?

Triple self-portrait, August 28, 2013. “That shape is my shade, there where I used to stand,” as I quoted Steely Dan’s “Deacon Blues” in my very first piece, “Welcome to the Night,” on July 15, 2015.

Convergence 2-

On July 29, 2019, five years ago this week, I published “My Search For Edward Hopper’s Nighthawks Diner,” chronicling my decades-long quest to find the iconic eatery/drinkery. It’s turned out to be my most popular piece thus far.

This past Sunday, July 21st, I finally found it!

It happened to be on a triangular corner- Check.
It happened to be in the West Village, not all that far from 3 Washington Square, where Edward & Jo Hopper lived for half a century- both key criteria the real deal has to fit- Check.
But, it was not where I’d looked for it as I wrote in the piece. It was out in the open! Without a roof!?

I let that slide. After all, in the Painting we really can’t see the ceiling, just the light coming down, and it’s a one-story building shown at night. Maybe there was no roof? Imagine that. “Maybe. Maybe not,” I hear you saying.

The famous “Only 5c Phillies America’s No. 1 Cigar” sign was up top- Check.
The outside was painted in that familiar green- Check.

Everything looked like it was supposed to. Am I dreaming? Then, a nice gent named Nilo beckoned me inside!

As I approached the counter, about to take “my”place- the only seat I was interested in taking,  all the details long engrained in my memory were right in front of me.

It was empty. Wow. Perfect! I could look around and drink it all in without feeling self-conscious. Wait!…AM I conscious? A coffee will wake me up. I’m in the right place.

Living a dream…Kenn Sava, left, Lucas, right. July 21, 2024, Meatpacking District, NYC. Photo by Nilo for NighthawkNYC.com.

I could take the seat of my alter ego in peace, without that pesky couple, she in the flame-red dress, with her male companion, who for the past 82 years have gotten all the attention, in the room. I was free to finally chat with the counterman. His name was Lucas and I told him how long I’ve been looking for the place- and even wrote about just that, the nice weather, what else was going on this weekend. You know, small talk; the kind of stuff strangers talk about when they’re suddenly thrust together. But, we weren’t total strangers in the classic sense. We both knew why we were here. As he went back and forth to his duties, I just kept looking around, drinking it all in. Wow. I’m sitting inside of Nighthawks!

There’s the famous two large coffee urns.
There’s the yellow wall with that mysterious door.
The bar was the familiar brown.
The classic white ceramic coffee cups, glass salt & peppers, and napkin dispensers were all around giving me a feeling of familiarity and “home.” I guess that’s what happens when you’ve been looking at them for so long in Painted form.

So real, you could reach out and touch them. Of course, I did…

And, I got to experience it from THE seat, to see what “he” saw and ponder him anew. Maybe “he” was me in a prior life. If so, how many people have gotten to relive a moment from a prior life?

This MUST be the place! FINALLY! I can’t wait to rush home and tell readers I found it! What a scoop!

A close call with a bike running a Walk sign on the walk home snapped me out of it and back to reality. As I reviewed my pictures to make sure my phone was OK, it turns out I had come upon something called “Step Into Hopper.” 

Convergence 3-

After nine years of “riffing” on Nighthawks in my Banner, it finally came to life! The Whitney Museum & the Meatpacking District got together to mount “Step Into Hopper,” along with fabrication by Theresa Rivera Design and an exceptional, welcoming, staff, to “recreate” Nighthawks, 1942, Early Sunday Morning, 1930, and his eternally mysterious Soir Bleu, 1914– within one mile or so of the original sites of two of them2.

“Early Sunday Morning,” a take-off on Hopper’s 1930 timeless masterpiece of a street in my neighborhood, a few blocks away, on Seventh Avenue between West 15th & 16th Streets. Notice the shadow from the barber pole goes the “wrong way,” as it does in the Painting. People who live there know the sun never shines in that direction on 7th & 15/16th!

Convergence 4-

It truly was a moment frozen in time. Something out of a dream… I ended “My Search For Edward Hopper’s Nighthawks Diner”  with a quote from the song I chose as the Soundtrack for the piece, “I Saw You In A Dream” by Japanese House….

“I saw you in a dream
You had stayed the same
You were beckoning me
Said that I had changed”

How prescient.

Before I “changed.” Take away the side addition, and the former Rivera Cafe on 7th Avenue was my “Oh my gosh!” moment, as I wrote in “My Search…” Seen on July 23, 2018- convegently, six years ago this week.

In reading the mail that continues to come in on the piece, it seems that many people share my dream of unexpectedly coming across the Nighthawks Diner and having an “Oh my gosh!” moment of discovery.

Kenn Sava “inside” “Soir Bleu” (the Painting seen on the sandwich sign above) with the wonderful Tillie the Clown proving every bit as mysterious and stunning as the figure in the 1914 Painting done in Paris. Photo by Gregory for NighthawkNYC.com

A lot of folks seem to want to step inside, sit down at the counter for a bit, and just live in the Painting; experience it from the inside  even for a few moments. As if that might help solve its mystery…On Sunday, I came as close as I’m likely going to to having my “Nighthawks” moment.

A few moments after the Photo of me and Lucas inside “Nighthawks” was taken, I looked around for him and couldn’t find him. Lucas disappeared.

Of course he did.

Convergence 142-

Today, as I write this on July 22nd is Edward Hopper’s 142nd Birthday. Happy Birthday, big guy (Hopper was 6’5″). Thanks for saving me a seat in Art heaven. A short visit is probably the best I can hope for.

*- As it was for “Welcome to the Night” 9 years ago, the Soundtrack for this piece is  “Deacon Blues,” by Steely Dan (my “Forgotten Songs I Will Love Forever #2″, which remains the Anthem of NighthawkNYC.com, from their immortal album Aja, 1977. (I have no idea why the guy who made tihis video shows their album Gaucho. Ignore that- it’s Track 3 on Aja.)

“Sharing the things we know and love
With those of my kind
Libations, sensations
That stagger the mind.”

If the Nighthawks Diner had a jukebox, I like to think “Deacon Blues” would be on it.

Undying thanks to Kevin Callahan for the tip, the iconic Lucas for the coffee & the convo, Tillie the Clown for the Tillie Experience, Milo, Wendy, Alisa and Gregory for the Photos, their consideration and kindness in creating an experience I’ll never forget. A tip of the Fedora to the Meatpacking District, the Whitney Museum & Theresa Rivera Design for mounting Step Into Hopper. Push by Lana Hattan (9 years of NighthawkNYC.com– it’s ALL her fault!)

Be sure to see my 3-part series on the 2022-23 blockbuster Edward Hopper’s New York which begins here.

NighthawkNYC.com has been entirely self-funded & ad-free for 9 years, during which 330 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal below to allow me to continue. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

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

For “short takes,” my ongoing “Visual Diary” series, and outtakes from my pieces, be sure to follow @nighthawk_nyc on Instagram!

  1. Cone to think of it, why are both guys wearing their Fedoras inside? Preparing for quick exits? ↩
  2. The original site of Nighthawks remains up for discussion, as I wrote about, but most likely was inspired by locations in the nearby West Village. ↩

Ed Ruscha & The Two-Sided Coin of Influence

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

This is the third and final part of my look at Ed Ruscha/Now Then. Part 1  is here. Part 2 is here.

1- Heads

One door closed, another opened. Los Angeles County Museum on Fire, 1965-8, Oil on canvas, seen at MoMA. Ed Ruscha/Now Then is now open there. Pictures in this piece are thumbnails. Click any for full size.

Ed Ruscha/Now Then is a memory for those of us who saw it at MoMA from September 10, 2023 to January 15th of this year. It’s a memory in the making for those who are seeing it now at LACMA, seen above in Ed Ruscha’s 1965-8 nebulous “portrait” of it (which I discussed in Part 1), or will be seeing it until it closes there on October 6th. They’ll be pleased to know it’s a show with staying power, a show I continue to relive and think about on a daily basis, six months after it closed here. After following the trail of his devlopment in Part 1, “Ed Ruscha’s Head Scratchers,” seeing some echoes of the work of Artists past, I began to wonder… Every Artist I’ve come across has had influences. Who influenced Ed Ruscha? As the show was up, and now after it ended here, that question lingered.

Marcel Duchamp, L.H.O.O.Q., 1919, or later. One Artist Ed Ruscha has repeatedly expressed his admiration for is Duchamp, who he met in the early 1960s. There are numerous version of L.H.O.O.Q. since the 1919 original. I chose this one because t contains all the elements of the original, which I cannot find (if you have  let me know)- the mustache, the goatee, and the famous letters all of which Duchamp added to a Mona Lisa postcard. Duchamp once said that L.H.O.O.Q. means “there is fire down below,” though I’ve seen other definitions.  *- Photographer unknown.

“Duchamp had quite a sizable influence on me from a pictorial standpoint and from an emotional standpoint,” Ed Ruscha (Ed Ruscha, Leave Any Information After the Signal, P.324).

Ed Ruscha has not written an autobiography, so his book, Leave Any Information After the Signal, a collection of “Writings, Interviews, Bits, Pages” from 1960 to 2000 is the closest thing we have to a primary written source. In addition to just looking, I turned to it, along with the numerous other interviews he’s given over his six-decade plus career, for insights.

As seen in Part 1– Encountering Johns’s  Target with Four Faces in a black & white reproduction in a 1957 magazine was, he said, an ‘atomic bomb’ in his training, ‘a stranger fruit’ that he ‘saw as something that didn’t seem to follow the history of art. My teachers said it was not art. ‘I didn’t need to see the colors or the size…’ ‘I was especially taken with the fact that it was symmetrical, which was just absolutely taboo in art school- you didn’t make anything symmetrical…Art school was modernism, it was asymmetry, it was giant brush strokes…it was all these other things that were gestural rather than cerebral. So I began moving to things that had more of a premeditation1.’” Jasper Johns, Target with Four Faces, 1955, Encaustic on newspaper and cloth over canvas surrounded by four tinted-plaster faces in wood box with hinged front. Seen in Jasper Johns: Mind/Mirror at the Whitney in 2021.

Besides naming Duchamp, Jasper Johns and his counterpart Robert Rauschenberg, Ed Ruscha hasn’t addressed the subject of influences all that often.

René Magritte, The Treachery of Images (This is Not a Pipe), 1929, Oil on canvas. (Not in the show.) *-LACMA Photo

Pondering the visual evidence, the first name that came to mind was Rene Magritte, 1898-1967, a well-known Belgian Artist who also had a long career and touched on a number of subjects Ed Ruscha has, while sharing his fondness for taking the familiar out of context (which Mr. Ruscha does with words, objects and places). He also incorporated words. Though often labelled a “Surrealist,” his work touches on any number of other realms and styles of Painting, which made him ahead of his time. As a result, his influence is extraordinary and ongoing. Time and again, I’d look at an Ed Ruscha, or a section of one, and think “Magritte,” beginning with Actual Size, 1962, which I showed in Part 1, which echoes Magritte’s The Treachery of Images, 1929 better known by the famous words it includes, “This is Not a Pipe2.” The Magritte seems to echo his contemporary, Duchamp’s L.H.O.O.Q., from 1919.

Salvador Dalí, Open Field with Ball in Centre and Mountains in  Rear, Study for the Walt Disney film Destino, 1948, Oil on masonite, left. Ed Ruscha, Painkillers, Tranquilizers, Olive, 1969, right. (*- Dali from the Dalí & Film MoMA catalog. Ed Ruscha as I saw it in the show.)3.

Of him, Mr. Ruscha said, “Yes, Magritte did influence me, but it came the other way around—what I call 360-degree influence. That’s influence from a person’s thoughts and force and not from his pictures, which the person being influenced has not seen, until later on. The same with Dalí. I’ve been influenced by Dalí, but it’s been through other sources. Because I’ll go back, and I’ll be working on something and I’ll see a picture of Dalí’s I’ve never seen before, and there is my work. (P.56).” I wrote about seeing Dalí in Rauscha in Part 1– before I found that quote.

Surrealism Soaped and Scrubbed, Ed Ruscha’s cover design for Artforum 5, No. 1, Special Issue: Surrealism, September, 1966. 

What about “Surrealism’s” influence, that of the group of European Artists so labelled?

Ed Ruscha was Art Director for Artforum Magazine from 1966-19724. His cover for the September, 1966 “Surrealism” Special Edition I find fascinating, particularly in regards to Ed Ruscha’s Art, overall. While this image has almost nothing to do with “historical Surrealism,” I find it ripe with the “kind” of surrealism (small “s,” which he also uses here) I see in Ed Ruscha’s work, while also being another of his trademarked play on words. There is nothing in “historical Surrealism” that influenced this (as far as I know), and so it’s another work that makes me wonder what, if anything, inspired it. On page 349 of Leave Any Information After the Signal, Mr. Ruscha denies the influence of the Surrealists handling of light on his work. That’s all he has to say about it.

The Back of Hollywood, 1977, Oil on canvas. Was Ed Ruscha the first to Paint words backwards? Probably not.

What about influences on his Word Painting? In After the Signal, he said,  “Well, there’ve been so many artists who have used words throughout the centuries really, but the ones I enjoy are mostly from the twentieth century. Say, Kurt Schwitters. [. . .] 5” On page 115, Paul Karlstrom directly asks Mr. Ruscha,  “Who were your heroes then, your role models?” He replied, “Well, I guess de Kooning was, and Franz Kline. Franz Kline had a lot to say at that particular time, and so they were more or less the passwords. You just emulated them, almost automatically. Then if you couldn’t emulate them you weren’t really on the right track. I still think that. But the work of Johns and Rauschenberg marked a departure in the sense that their work was premeditated.” It sounds like he was referring to his early days as a student under the Abstract Expressionist influenced Chouinard faculty in the late 1950s, as once again, it’s hard for me to see the influence of de Kooning or Kline in Ed Ruscha’s work.

Joan Miró, Photo: This is the Color of My Dreams 1925, Oil on canvas. *- Met Museum Photo

The Surrealists began as a literary “movement,” that experimented with “automatic writing.” Later, their influence spread to Painting. In Miró’s Photo: This is the Color of My Dreams, it comes full circle. Part of the Artist’s “peinture-poésie” (painting-poetry) series, this strikes me as a forerunner or precursor to the Word Paintings of Ed Ruscha. Yet, I have no idea if he saw it, or other works in Mirós series,  or when.

America’s Future, 1977, Oil on canvas. The title is shown in the next picture.

The feeling I’m left with is that these Artists “effected” him in ways outside of a direct visual influence. They are, what I call, “echoes.” What Ed Ruscha called “360 degree” influences. As for the stated influences, in Part 2, I mentioned that Thomas Cole was the influence on Mr. Ruscha’s Course of Empire series, from who he borrowed the name of the series. It seems to me the rest of his influences, if any, remain up for conjecture. Still, taking him at his work on possible influences would leave Ed Ruscha remarkably original.

Detail. Though Painted 18 years before he began his Course of Empire series I showed in Part 2, seeing this made me wonder if this work should be appended to the end of the series, i.e. the final outcome of it.

2- Tails

Turning the influence coin over, however, 67 years, and counting, into one of the most remarkable careers in American Art history, at this moment in time it’s hard to think of another Modern & Contemporary Artist, let alone an American Artist, who is more influential than Ed Ruscha is. In fact, it’s impossible for me to list here all the realms in which his influence can be seen. Those that come to mind the quickest include-

-His role in furthering the breaking of the strangle hold of Abstract Expressionism in Painting in the early 1960s.

-His unique way of incorporating words and typography into his Art.

-His Paintings of L.A. and the American West6.

No place on the planet has more Artist’s books than NYC’s Printed Matter, home of 15 ,000 books they’ve created. How many are/were inspired in part or wholly by Ed Ruscha? I don’t know the total but I keep finding more every time I go in. May 6, 2024.

-His ground-breaking Artist’s books/PhotoBooks. (Is it a stretch to say he’s played a defining role in the Contemporary Artist’s Book & PhotoBook phenomenon? I don’t think so.)

-His style of nonjudgmental roadside and aerial Photography.

-Entire genres of Painting, Photography and books have sprung up around his work.

Jeff Brouws, Various Small Books Referencing Various Small Books by Ed Ruscha, 2013. 288 pages of books, and just books, by other Artists influenced by Ed Ruscha, and it’s now 11 years old!

To this point, at least two substantial books, including the book above, have been published focused solely on his influence! All of this is even more impressive (or mind-boggling) when you consider Ed Ruscha is still with us and going strong at 86. Usually, the influence of Artists is something referred to in the past tense.

-His unique way of incorporating words and typography into his Art.

Ed Ruscha’s presence is so pronounced at Printed Matter, they even have a well-worn box just for books he’s influenced. ‘Nuff said. No, that’s not a copy of Mr. Ruscha’s very rare Twentysix Gasoline Stations. It’s Michalis Pincher’s 2009 homage to it, which “borrows” Ruscha’s cover verbatim.

All of this, also, makes it harder to fathom that Ed Ruscha/Now Then was the first large Ed Ruscha show here in 41 years7, and his first show at MoMA! That makes the extent of his influence that much more impressive. Suffice it to say it’s a lot easier to see Ed Ruscha’s influence than it might be to see the influence of others on his work.is so pronounced.

The saddest moment of the entire 4 month run of Ed Ruscha/ Now Then: the show’s entrance, moments after it closed for the last time on January 15, 2024. I saw it on its first preview day, and I was there when it closed for good. Shows are fugacious events. The ending of a great show is always sad; like saying “goodbye” to a friend. One you’ll never see again.

-Takeaways

In addition to providing an opportunity to ponder the scope of his influence, Now Then provides the chance to assess his achievement and his place among the important Artists of both the 20th and 21st centuries. Ed Ruscha strikes me as an Artist who is continually moving forward to the point that he is a seemingly endless innovator. Ed Ruscha/Now Then provided a rare chance to see the craft behind the mystery his work evokes; to watch the Artist move on an almost step-by-step basis from his beginnings though each of his phases, with a focus on his recurring themes and his innovations.

Yet, he’s also an Artist who’s extremely aware of his, and our, pasts, and his Art stays in touch with it often in surprising ways. Ed Ruscha has never stood still long enough to have any box his work gets put in fit for very long. The Ed Ruscha box is the only one that fits an Artist as extraordinarily diverse as Mr. Ruscha has been and continues to be. Ed Ruscha/Now Then is a show that will live long in memory, and no doubt, influence.

Part 1 of my look at Ed Ruscha/Now Then is here. Part 2 is here.

*- Soundtrack for this piece is  “Goodnight My Love,” as performed by Paul Anna. In 2017, MOCA commissioned a short documentary on two themes in Ed Ruscha’s work (the text of which is here). In the resulting piece, Ed Ruscha says, “I’m gonna play this tune called ‘Goodnight My Love’ and this represents everrything I felt about California when I first came out here…” Because he doesn’t specify which recording he’s going to play, I chose the Paul Anka version from 1969.

NighthawkNYC.com has been entirely self-funded & ad-free for 9 years, during which 330 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal below to allow me to continue. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

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

For “short takes,” my ongoing “Visual Diary” series, and outtakes from my pieces, be sure to follow @nighthawk_nyc on Instagram!

  1. Alexandra Schwartz, Ed Ruscha’s Los Angeles, P.15 ↩
  2. I cannot think of Rene Magritte without thinking of the singular Photographer, Duane Michals. When I met him, I quickly shifted the chat from Photography to Painting. He rightly gloated over the fact that he had met and Photographed his three favorite Painters- Balthus, Giorgio de Chirico, and Rene Magritte, with who he did a terrific PhotoBook, that he graciously signed for me. All three are under-appreciated in my book, and remain among my favorites, too. ↩
  3. In spite of being among the best known, in my view, Dalí may be the most under-appreciated Artist of the 20th century, as anyone who saw the incredible Salvador Dalí Centennial Exhibition at the Philadelphia Museum in 2005 knows. It’s partially his own fault, as the endless fantastic stunts he put on overshadows the appreciation of his Art in my opinion. History will eventually fix that, I believe. ↩
  4. Alexandra Schwartz, P.35 ↩
  5. Ed Ruscha, Leave Any Information After the Signal, P. 324 ↩
  6. Along with those of, and quite different from,Georgia O’Keeffe. ↩
  7. As I mentioned in Part 1, the last big Ed Ruscha show here was the traveling retrospective, The Works of Ed Ruscha, which came to the Whitney Museum in 1982! ↩

Ed Ruscha’s Wall Rockets

This site is Free & Ad-Free! If you find this piece worthwhile, please donate via PayPal to support it & independent Art writing. You can also support it by buying Art & books! Details at the end. Thank you.

Written & Photographed by Kenn Sava.

This is Part 2 of my look at Ed Ruscha/Now Then at MoMA. Part 1 is here, Part 3 is here.

From the late 1950s, through the early 1960s Ed Ruscha made regular trips back and forth between Oklahoma City, where he grew up, and L.A., his adopted home since the late 1950s. In 19621, he Photographed the gas stations that caught his eye on these journeys with his trusty Yashika Twin-reflex camera, taking 60 or 70 Photographs2. In an interview in 1973 he said, “What used to belong to the Navaho and Apache Indians now belongs to the white man and he’s got gas stations out there. So, I started seeing it as cultural curiosities.”

“I’d always wanted to make a book of some kind.”

He continues. “When I was in Oklahoma I got a brainstorm in the middle of the night to do this little book called Twentysix Gasoline Stations. I knew the title. I knew it would be photographs of twenty-six gasoline stations3.” “The first book came out of a play with words. The title came before I even thought about the pictures. I like the word ‘gasoline’ and I like the specific quality of ‘twenty-six4.'”  “Months went into the planning of that. I could have saved myself a lot of trouble by loosening up. You know, not gotten so concerned with how I wanted the thing to look. I changed the form about fifty times at the printer’s5.” He self-published Twentysix Gasoline Stations in 1963 (although the title page states 1962).

You’re looking at a revolution. Twentysix Gasoline Stations, 1963, revolutionized the Artist book, the PhotoBook, and street-side Phtography, with unique design, turning gas station Photography into a genre in the process. This copy was hanging for visitors to peruse, which was somewhat surprising as it’s now a rare book- even this second edition copy is worth hundreds of dollars. Knowing all of it from reproductions, this was the first time I was able to page through an actual copy of it. Pictures in this piece are thumbnails. Click on any for full size.

It’s an Artist’s book/PhotoBook whose influence is now incalculable.

Published in an edition of 400 copies, a case can be made that it ‘s the most influential PhotoBook of the contemporary period after Robert Frank’s The Americans (which the Artist acknowledges as an influence). Twentysix Gasoline Stations, with its “industrial” look and feel stood at odds with the frequently hand-made Artist’s book norm to the time. Virtually every aspect of the Artist’s book was reimagined, from the typography and text layout on the cover to the sparseness of the interior contents, with a lack of text save for image titles.

Believe it or not, this is one of the most influential Photographs in Modern & Contemporary Photography. STANDARD, ARMADILLO, TX, perhaps the key image in Twentysix Gasoline Stations, went on to have multiple lives of its own, inspiring numerous Ed Ruscha Paintings, Drawings & Prints, as well as the work of other Artists.

Speaking of the end result, he said-

“I realized that for the first time this book had an inexplicable thing I was looking for, and that was a kind of a “Huh?” That‘s what I’ve always worked around. All it is is a device to disarm somebody with my particular message5.”

Having immersed myself in PhotoBooks for the past 7 years, and Art books most of my life, it’s impossible for me to overstate the influence Twentysix Gasoline Stations has had, and continues to have, on the Art world. It turned Art & PhotoBook creation and publishing on its head, rewriting what a book could be and who could make one. He’s said he meant the pictures to be “like a collection of readymades7,” a term and genre Marcel Duchamp put on the Art map. Still, it received a mixed reaction when it was released, including famously being rejected by the Library of Congress.

Standard Station, Amarillo, TX, 1963, Oil on canvas, 64 15/16 x 121 13/16 inches. The “locomotive” compositional device, seen in Large Trademark with Eight Spotlights, 1962, in Part 1, returns, splitting the composition in two, just the beginning of what’s fascinating about this.

“I would say I came to painting through photography,” Ed Ruscha8

The STANDARD, ARMADILLO, TX, Photograph begat the Standard Station, Amarillo, TX Painting in 1963. Obviously, the Photo just shown has been reworked, reimagined, or he based this on another Photo. Whatever the case may be, the resulting composition seen here would subsequently take many forms and become iconic. Standard Station, Ten Cent Western Being Torn in Half, below, followed a year later.The Paintings begat Standard Station, Amarillo, TX Prints, with Standard Station, Amarillo, TX Drawings being created along the way. So ubiquitous did they become that gas station Paintings and gas station Photography are now, basically, his genres. Sooner or later, everyone who shoots or Paints a gas station is going to be compared to Ed Ruscha. Many, like Vik Muniz, openly acknowledge the influence.

What strikes me are the abstract elements, like the selective detailing- you can read the prices on the gas pumps, but detail disappears on everything behind them, creating a surreal experience (the “realistic” gas pumps offset against the featureless building behind them), under that big red sign whose white lettering, offset against the engulfing darkness, feels bold.

Standard Station, Ten Cent Western Being Torn in Half, 1964, Oil on canvas, 65 x 121 1/2 inches. Mr. Ruscha has likened  the comic flying off the canvas to the upper right to a “coda” in Music. For me, it looks like debris, garbage, pollution. In this piece, the featureless building has light and shadows added to it. Once again, the numbers and text on the gas pumps are very legible.

At the time, Ed Ruscha shot them, gas stations were bastions of the new found freedom of the open road and the catalyst of the massive post-war westward exodus that the Artist, himself, became a part of. Over time, gas stations would be seen differently as the toll of pollution and environmental decay mounted.

Ed Ruscha’s second most famous Artist book/PhotoBook. A copy of the legendary Every Building on the Sunset Strip, 1966, published in one long accordion fold. Ed Ruscha put a tripod on the back of a truck and went up and down Sunset Strip taking one Photo after another until he had shot every building on both sides of the street. Here, we get one direction on the top of the page, with what’s across the street synchronized and mirrored along the bottom.

Further books followed- 14 more to 1972, the most famous of which is Every Building on the Sunset Strip, 1966, another ground-breaking work. Ed Ruscha has stated that part of the reason he went west after high school, instead of east, was because of the glamour of L.A. Here, he shows the “glamour” of the famous Sunset Strip in all its “glory.” Then, in 1973, he shot all 12 miles of Hollywood Blvd. In 2004, he reshot Hollywood Blvd in color, and paired with the 1972 images, they became the book THEN & NOW in 2005. It’s one example of Ed Ruscha combining his love of the effects of time with revisiting his past subjects.

In all the acclaim he receives I almost never hear credit given the Artist for his exceptional Painting technique- the equal of anyone else’s of his time. Right from the start, Painting after Painting reveals sublime subtlety and under-appreciated skill.  Then Now provided a glorious chance to study his, often large, Paintings up close and marvel at his skill and taste. It also provides the extremely rare chance to see works of the same subject side by side, particularly two of his famous Standard Gasoline Station Paintings.

Shows present once-in-a-lifetime opportunities to see great works united from distant parts of the globe for a brief time. That’s why I waited over an hour for the crowds to part to get this shot. More than likely, I’ll never see these two great Standard Stations together again. Both of these also feature the “speeding locomotive” compositional device seen in the Large Trademark Painting, which adds to the somewhat surreal overall effect, wonder and mystery.

Further to the Large Trademark Painting, Ed Ruscha also began Painting the sights of L.A., which again seems to be his domain to the point that I can’t think of anyone who Painted the city before he did. (I’m sure there were. Right?)

“Being in Los Angeles has had little or no effect on my work. I could have done it anywhere.” Ed Ruscha, Leave Any Information at the Signal, Statement in “West Coast Style”

Los Angeles County Museum on Fire, 1965-8, 53 1/2 x 133. 1/2 inches. Fun fact- Guess where Ed Ruscha/Now Then reopened on April 7, 2024 after closing at MoMA? You’re looking at it.

Los Angeles County Museum on Fire, 1965-8, like most of Ed Ruscha’s work, has been the subject of endless conjecture. Over the years, the Artist has made a few statements about it, including this one, “… There’s no great message here. It’s just a picture to look at9.” That might be hard to believe. After graduating college, he took that trip to Europe I mentioned in Part 1, and came away disappointed at the lack of Contemporary Art on view in the museums. Back home, things weren’t much better. Contemporary Art was slow to gain admission to the hallowed halls of institutions here. Is it a stretch to think this was somewhere on his mind when he Painted this? I tend to think it was in there somewhere. The Watts riots had recently taken place. The Now Then Catalogue has this to say about it-

“Ruscha’s characteristic denial of content ignores the fact that not far from his studio in mid-August 1965, just a few months after the inauguration of the Los Angeles County Museum of Art, the city of Los Angeles was burning10.”

Ed Ruscha said, “The plain truth behind the Watts riots is that the riots themselves were good and beneficial and healthy regardless of loss of life. The Watts riots nationalized sympathy for a gigantic racial injustice11.”

He soon set a number of other sites on fire in his Paintings, including the an Amarillo Standard Station (which wasn’t in the show), and Norm’s, which was.

Norm’s, La Cienega, on Fire, 1964, Oil and pencil on canvas. The work features a complete lack of detail, save for the letters “ORMS” on the sign.  It’s interesting how the flames follow the “locomotive” line. Without those letters (which themselves are meaningless without the title), this Painting would be a completely abstract composition of shapes and lines.

For someone who’s so closely associated with L.A., and has been for over 60 years, it’s strange that some of his most well-known work shows L.A. landmarks being destroyed or in ruins. For example, he has continued to “destroy” the Hollywood sign, in different ways, over and over again throughout his career. Still, his fame continued to rise as did his association with the city. In spite of all this (and possibly because of it), in 1978, a six-story(!) tall mural (also referred to as the “Ed Ruscha Monument”) of the Artist was created by the Artist Kent Twitchell, for who Ed Ruscha was “the unorthodox hero of the art world.” Would anyone else be able to “destroy” a city’s landmarks and then become seen as the figurehead of that city’s Art community with a monument created for them? It didn’t happen for Nero. Unlike the emperor, Ed Ruscha didn’t actually destroy anything, except maybe in his mind and on some large canvases.

Rancho, 1968, Oil on canvas, which looks like it was made with a liquid, surrounded by Fire, Sin, Rustic Pines, each 1967, Gunpowder on paper, from left to right.

This calls to mind another thing Ed Ruscha doesn’t get enough credit for: innovation. In the 3rd, 4th and 5th galleries we see pieces made out of strange and unprecedented materials. Unhappy with the possibilities of paint or pencil, the Artist began exploring the possibilities of Drawing with gunpowder! The results, as seen above, are incredible. He found he had more control with it. In 1969, the Artist began going further, using unconventional materials in his Stains Portfolio of seventy-five substances ranging from L.A. tap water to egg yolk.

Installation view of Chocolate Room, 1971/2023, Chocolate on paper sheets.

His Chocolate Room for the United States Pavilion at the 1970 Venice Biennale, and recreated in a room of its own in Now Then, followed. After that, he began using a number of these “other” materials in his Word and Phrase Paintings.

Cotton Puffs, 1974. Egg yolk on moiré fabric, 36 × 40″

Along with this constant experimentation came the inevitable failure, like the egg yokes in Cotton Puffs, 1974, fading quickly. Ed has been remarkably cool with these. Accepting them for what they are12. (And probably learning in the process.) Each has its place in his oeuvre, with all the examples on view seeming to hold up remarkably well over the years given they are experiments. By the mid-70s, he had gone back to pastel on paper13. Though the materials experiments were short-lived, it led me to peruse the 7 volumes of the Ed Ruscha: Catalogue Raisonne of the Paintings, published by Steidl (which is a bit ironic- or fitting- because Steidl has published the work of any number of Photographers who include gas stations in their work, including the entirety of the 3-volume set, Gas Stop, by David Freund), which revealed that this insatiable exploration of materials was only the tip of his creativity iceberg. Paging through it (which only goes up to 2011 at this point), I was amazed to discover that though he has created a number of works with ostensibly the same subject, no two are identical. The differences are obvious or subtle. Still, this speaks to Ed Ruscha’s seemingly endless powers of invention and refusal to repeat himself verbatim. I was stunned when I discovered this, which was completely unexpected (though I should have been tipped off by what his STANDARD STATION, ALBUQUERQUE Photograph became). Seeing this range and variety gave me a glimpse of insight into just what may be keeping him going and creating since the late 1950s.

Wall Rockets, 2000, Acrylic on canvas

Perhaps THE highlight of Ed Ruscha/Now Then at MoMA for me was the chance to see 6 of the 10 Paintings from the Artist’s Course of Empire series. As I’ve looked at his work over the past 24 years of this century, these have fascinated me as much as any other work by Mr. Ruscha. Created for, and then debuted, at the 2005 Venice Biennalle, they subsequently travelled to NYC where they were on display at the Whitney in a show of the same name, the last important (though small) Ed Ruscha show in NYC until Now Then. Somehow, I missed them there, so seeing 6 might be as close as I get to seeing them all.

3 works from Ed Ruscha’s Blue Collar series, 1993, on the 3 facing walls.

Occupying the large, penultimate gallery of the show, the Course of Empire Paintings strike me as serving as a touchstone for a number of Ed Ruscha themes. They also eerily presage what has been going on in much of NYC (and perhaps elsewhere) this decade, with a number of stores and businesses closing due to Covid, then more closing due to the realities of our post-Covid (if we are post-Covid) economy, many have changed hands in a short time. Others remain for rent. The shape, perspectives and lack of detailing on the one-story  buildings I find reminiscent of Standard Station, Ten Cent Western Being Torn in Half, seen earlier. In each, our point of view is the same, and the same as in that Standard Station Painting- they are seen from below.

At the opposite end of the gallery, the same scenes reappear in his Course of Empire series, 2005, now in color, though right and left are flipped. (The scene on the right wall is that depicted on the left wall in Blue Collar Photo, above this one. The scene on the left wall is the scene shown on the right wall of the Blue Collar series above this one.)

The series evolved over a period of 13 years, with Ed Ruscha Painting the 5 black & white pieces, titled Blue Collar, in 1992-

Blue Collar Trade School, 1992, Acrylic on canvas. The only multi-story structure in the series.

Returning to the subject and the same sites  in 2005, this time in color and showing the effects of time passing.

The Old Trade School Building, 2005, Acrylic on canvas

Perhaps, his most subtly powerful series, their under-stated compositions lead to open-ended interpretations.

Installation view of the complete Course of Empire, by Thomas Cole, 1834-36, as seen at The Met’s Thomas Cole’s Journey in 2018. The rise and fall of civilization as seen from the same place, with the same distinctive mountain peak appearing in each Painting.

Based on, and in homage to, Thomas Cole’s legendary Course of Empire series, 1834-6, (which I wrote about here), they are another instance of Ruscha revisiting earlier work, his Blue Collar series from 1992. These also highlight that alongside the humor in any number of his pieces, running parallel, is a real depth of concern. Concern for the country, the world, the environment.

Psycho Spaghetti Western #7, 2010-11, Acrylic on canvas

“It’s all just rape of the land for profit these days. It’s fairly sick. Southern California is all just one big city now. But what do you say about progress? … So something’s got to give, and the landscape’s the first thing that gives….There is a certain flavor of decadence that inspires me. And when I drive into some sort of industrial wasteland in America, with the themeparks and warehouses, there’s something saying something to me. It’s a mixture of those things that gives me some sense of reality and moves me along as an artist,” Ed Ruscha 14.

Taking full advantage of having such a long career, the Artist has revisited past themes, and places, fairly often to the point that it’s a running theme in his work. Change over time…for the better, or worse, is left to the viewer to decide. Ostensibly set in L.A., the structures in Blue Collar/Course of Empire could be literally anywhere. As such they have a universality to them (as do a number of other 21st century Ruscha’s) that sets them apart from his purely L.A. work, like his Hollywood sign pieces.

Our Flag, 2017, Acrylic on canvas. The last work in the show.

Thomas Cole influencing Ed Ruscha’s Blue Collar & Course of Empire series started me thinking about other possible influences on his work. I touched on some in Part 1. In Part 3, I’ll take a closer look at them, and then flip that coin over.

Part 3 is here. 

*- Soundtrack for this piece is “L.A. Woman” by The Doors, one of the ultimate L.A. bands, from the 1971 album of the same name. (Narrowly beating out “California Girls” by the Beach Boys from Summer Days (And Summer Nights), 1965.) Ed Ruscha was into “car culture” before moving to L.A., and after, among other things he has in common with the #1 L.A. band of its time. Notice the gas station Jim Morrison, “another lost angel,” to quote his lyric, stops in to about half way through-

NighthawkNYC.com has been entirely self-funded & ad-free for over 8 3/4  years, during which 320 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal below to allow me to continue. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

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

  1. Ed Ruscha: Catalogue Raisonne of the Paintings, Vol 7, P.476 ↩
  2. E.R., Tate, P.30 ↩
  3. Willoughby Sharp, ‘“… a kind of a Huh?”, An Interview with Edward Ruscha’, Avalanche, no.7, Winter/ Spring 1973, p.30. ↩
  4. ER, Tate, P. 31 ↩
  5. https://www.tate.org.uk/art/artists/edward-ruscha-1882/ed-ruscha-and-art-everyday ↩
  6. https://www.tate.org.uk/art/artists/edward-ruscha-1882/ed-ruscha-and-art-everyday ↩
  7. Reading Ed Ruscha, P.50 ↩
  8. Ed Ruscha, Photographer, P.7 ↩
  9. Ed Ruscha quoted in Ed Ruscha/Now Then Exhibition Catalog, P.21 ↩
  10. Ed Ruscha/Now Then Exhibition Catalog, P.21 ↩
  11. Ed Ruscha, Leave Any Information at the Signal, P.5 ↩
  12. E.R., Tate, P.65 ↩
  13. Ed Ruscha/Now Then, P.170 ↩
  14. Leave Any Information at the Signal, P.18 ↩

A Writing Lesson With Paul Auster

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Written & Photographed by Kenn Sava.

December 3rd, 2018. The evening brought, perhaps, the worst rain storm I’ve seen since Hurricane Sandy. Yet, I decided to go out. On tap was something very special. Something I am now so glad I didn’t pass up. It seemed the gods were in my favor, as when I got outside into the full force of the gale, though instantly soaked, something miraculous happened. Something every New Yorker knows is impossible.

I got a cab in the rain!

I guess conditions were so bad that no one was out. I don’t know. I wasn’t about to look a gift cab in the mouth.

I climbed into the back seat and we headed south, I couldn’t see a thing out any of the windows- including the front windshield. Somehow, the driver found his way to Broadway & East 12th Street, and pulled up in front of The Strand Bookstore. The occasion: Paul Auster was releasing his New York Trilogy Manuscript, a fittingly oversized, slipcased limited edition, and speaking about it. I was interested because I thought it might provide insights into how he worked, and how such a distinctive set came to be. 

I got out and dashed from the cab to the door, then started the long process of drying off and out as I made my way to the 3rd floor and the Rare Book Room. I stood in the back as the proceedings got underway with writer Luc Sante handling the interviewer’s role. 

Paul Auster takes questions from the audience, with Luc Sante, left, at The Strand Bookstore, December 3, 2018.

I was transfixed as Mr. Auster spoke in a very low key manner with seemingly total recall taking my mind off my soaked pants. His road to the creation of the Trilogy was fascinating for any creative person to listen to, a real lesson in believing in your Art and perseverance. I related to his story about being told to “change the end.” When I was shopping a Jazz album I produced featuring the late, great Thomas Chapin, one label head offered me a very sizable sum if I agreed to let him change the drummer. It was a record recorded live in the studio. The drums bled into every mic in the room! You can’t change the drummer after the fact, I recalled feeling Mr. Auster’s pain. He turned down that ending change request (as I walked away from big money refusing to make the drummer change), and the book remained unpublished for so long that he began to feel that he would remain an unpublished author…

As it turns out, luckily, what transpired that evening was recorded! You can see it here-

Reliving it this evening, 2 days after Mr. Auster’s passing on April 30th, hearing him say “…part of me feels that I’m already dead…” about the book’s release, was chilling. It was just a year ago, in March, 2023, Siri Hustvedt, Mr. Auster’s wife, announced he had been diagnosed with lung cancer.  

After the talk, questions from the audience and the video ends, there was a signing. Both signed a paperback copy of the then current, umpteenth printing of Mr. Auster’s New York Trilogy paperback for me, with a cover by the great Art Spiegleman, and I sprung for the $200.00 Manuscript, which he also signed for me. In the intervening years, his 4 3 2 1, in 2017, and his final book, Baumgartner, released late last year, also impressed me with their singularity. Paul Auster’s ability to create such unimaginable scenarios with each book, while retaining familiar themes thrilled me, as Sir Salman Rushdie’s books do. I come away feeling that though Paul Auster is respected and lauded around the world, he is still underrated. 

Paul Auster, just to the right of center, after the event. December 3, 2018. My last look before I headed back out into the storm. It would be my last look at him, too. .

Whether he is, or not, is now up to the future to decide. Luckily, his books are here and all in print for us to explore, enjoy and be inspired by right now. For my part, hearing him speak so insightfully about his work, and briefly meeting him are indelible. 

The signature page of a signed copy of his last book, Baumgartner, released in November, 2023.

Book signings are special events. They present the chance to bring you closer to the author and his or her work in more ways than one. Like this one, a number of them have lived long in my memory. Don’t pass one up the next time an author you’re interested in is having one. 

*- Soundtrack for this piece is “Watching the Detectives” by Elvis Costello from his classic debut, My Aim Is True-

NighthawkNYC.com has been entirely self-funded & ad-free for over 8 1/2 years, during which 320 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal to allow me to continue below. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

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

Kris Graves Receives the NighthawkNYC NoteWorthy PhotoBook of the Year Award

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Written & Photographed by Kenn Sava.

Over its 8 3/4 years of existence, the name Kris Graves has appeared in the pages of NighthawkNYC.com as much, and probably more often, than any other Photographer. Why? No one else is doing what he is doing.

On the one hand, he co-founded and runs one of the foremost Artist-owned publishing companies there is: Kris Graves Projects. Since its founding, KGP has given a voice to a remarkable list of Artists, releasing first-class publications at affordable prices, which lead to their books routinely selling out. More recently, he founded the Monolith imprint, “dedicated to showcasing work from artists of color across mediums that address issues of race, identity, equity, gender, sexuality, and class.” Exceedingly open to new talent, many of the Artists he’s published received their first opportunity to have a PhotoBook of their work published. Some are “names” now; a testament to his taste.

As if this isn’t enough, Kris Graves, himself, has created an important body of Photography that looks at our time, and the past, with a unique vision, one that foregrounds what it is to be Black in America today, while living with the past. The culmination of his work to this point is his 2023 book, Privileged Mediocrity (published by Monolith with Hatje Cantz), one of my two NoteWorthy PhotoBooks of 2023. He published the other, Jon Henry’s Stranger Fruit.

Since I don’t believe “best” exists in the Arts, I started publishing annual Noteworthy PhotoBook lists (and NoteWorthy Art Book lists) of the books I most highly recommend in 2018. Since that time, one of Kris Graves’s self-authored books, or one of the books he’s published has been one of my NoteWorthy PhotoBooks of the Year in 2018, 2019, 2020, 2021 and 2023! (I didn’t do a list in 2022.)

Verso.

Let’s break it down…

In 2018, Kris Graves Project’s 10-volume set, LOST, was one of my NoteWorthy PhotoBooks of 2018. The set includes Mr. Graves’s book Long Island City.

In 1019, KGP’s TWENTY-volume LOST II was one of my NoteWorthy PhotoBooks of 2019.  I wrote about the making of the set, which I called “monumental” at the time, here. It remains my personal favorite of the 4 LOST sets. LOST II includes The Bronx by Kris Graves.

In 2020,  Kris Graves Projects was my NoteWorthy PhotoBook Publisher of the Year for somehow managing to publish EIGHTEEN books during the height of the pandemic when working with ANYone else was extremely challenging to say the least. In addition, Mr. Graves took extensive trips documenting the Black Lives Matter Protests throughout the South, creating a body of work that would become the classic Privileged Mediocrity in 2023, at considerable personal risk. 2020 also saw him introduce the Monolith imprint.

2021 saw Electronic Landscape by Isaac Diggs & Edward Hillel, published by KGP, make the list under the “Excellent & Under the Radar” category. The book has since gone on to achieve legendary status.

After not doing a list in 2022 for personal reasons, Mr. Graves returned as the author/Photographer of one of the only two NoteWorthy PhotoBooks, 2023, and the publisher of the other, as I’ve said.

That’s pretty remarkable. And especially Worthy of Note, no?

And the winner is…Kris Graves at his KGP booth at AIPAD: The Photography Show, April 26, 2024.

Informing him that the only two books on my 2023 list were his, I told him I should just give him the trophy, he’s been on my list so many times. “If there is one, I want it,” he replied. So, I decided to make him a NighthawkNYC.com PhotoBook of the Year Trophy, shown in the first picture, which I have nicknamed “The Golden Oof,” in honor of my avatar, Oof the Owl (What’s the deal with me and Owls? “Sava” means Owl). 

Kris Graves with team member & book designer, Caleb Cain Marcus.

On April 26th, I presented it to him at his booth at AIPAD: The Photography Show. Also present was his team member, the wonderfully talented book designer Caleb Cain Marcus, who designed both books on my 2023 list. In addition to being an Artist, himself, Mr. Marcus has designed a number of Kris Graves Projects recent books, including their newest release, the 10-volume LOST IV, among books for any number of others. 

Holding down the fort at AIPAD: The Photography Show, 2024, with both of the 2023 NoteWorthy PhotoBooks. What other PhotoBook Award gives an actual trophy?

In a world of many fine Art & PhotoBook publishers, Kris Graves’s work consistently stands out. He has something of John Hammond’s gift for finding new talent and often pairs them with more established Artists in his LOST series to democratic effect that lets their work speak for itself in beautiful and affordable books- even in the face of raging inflation. While his books regularly sell out, a sure sign of public acceptance, I’ve been surprised his work and accomplishments haven’t been more widely recognized. Privileged Mediocrity and Jon Henry’s Stranger Fruit are classic cases in point. Look through a copy of either and you’ll see what I mean.

“Propose a toast
Let’s hear it for the spirits and the ghosts
Rejoices for the voices in my gut and in my dome
Are why I never drink alone
I think that’s noteworthy”*

*-Soundtrack for this piece is “Noteworthy” by Queens own Homeboy Sandman from Dusty. KGP is based in Long Island City, Queens.

NighthawkNYC.com has been entirely self-funded & ad-free for over 8 3/4 years, during which 320 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal to allow me to continue below. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

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

Ed Ruscha’s Head Scratchers

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

Show seen: Ed Ruscha/Now Then @MoMA

Who doesn’t like the Art of Ed Ruscha?

Installation view of the entrance, September 14, 2023. Images in this piece are thumbnails. Click any picture for full size.

Walking through the crowds at MoMA’s winter blockbuster, Ed Ruscha/Now Then over my six long visits bookending a terrible, six-week illness, I saw smiles as visitors moved from piece to piece, yet I couldn’t help but wonder how many of them felt they “understood” his Art. While humor undoubtedly plays a part in the craft of an Artist who knows you catch more flies with honey than vinegar, however they appear at first glance, his work usually leaves me scratching my head.

Returning to look at it again and again, that his work says something different to me every time I look at it has kept Ed Ruscha among my favorite Contemporary Artists. Judging from the turnout at MoMA, I’m far from alone in that. Having the chance to explore, and be mystified by, 200 pieces of his Art in Now Then from the, approximately, SIXTY-SEVEN YEARS(!) he’s been making it proved an all-too-rare chance to take a good hard look and try to get to the bottom of the mystery.

I Don’t Want No Retro Spective, 1979, Pastel on paper. The catalog for the last Ed Rusha retrospective in 1982(!) is also known by the Ruscha on the cover of its catalog, I Don’t Want No Retro Spective, though the show’s title was THE WORKS OF ED RUSCHA. 

“All too rare,” as in Now Then is the first Ed Ruscha retrospective here since 1982, (and so mine, too): over FORTY YEARS ago!1 The gap between them is another head scratcher given how popular Ed Ruscha’s Art is. The title Ed Ruscha/Now Then can be taken as a reference to the Artist’s penchant for revisiting his subjects over time, as well as the fact the show includes old and recent work, or a chance to see his older work now. It’s also a rare retrospective of a West Coast Artist who came to prominence in the 1960s mounted on the East Coast. Bruce Conner didn’t live to see his at MoMA like Ed Ruscha has. Ed Kienholz, and Mr. Conner’s friend, Jay DeFeo, among others, are still waiting for their East Coast retrospective.

Installation view from just inside the entrance of the first gallery looking into the second. Boss, 1961, the famous Large Trademark with Eight Spotlights, 1962, and the infamous OOF, 1962-3, left to right, all Oil on canvas.

Walking through it, I became particularly fascinated by how his style(s) developed, and how Edward Joseph Ruscha IV became Ed Ruscha, one of the most influential Artists in the world among Modern & Contemporary Artists, if not THE most influential, at this point in time.

Oklahoma-E, 1962, Pencil, colored pencil and charcoal on paper

Born in Omaha in 1937, his family moved to Oklahoma City when Ed was 5. Early on, he had a passion for comics and a love of typography, particularly as it appeared in commercial publications. All of these are combined in Oklahoma-E from 1962, a seminal year in his early career. His initial desire was to become a Commercial Artist, and it was towards that end that he left OKC after graduating high school to head to L.A. with a friend in a lowered 1950 Ford, to study it. He chose to go west rather than east because of its energy, glamour, and its “hot rods and custom cars2.” Unable to get into his chosen school, he was accepted at Chouinard Art Institute (later Cal Arts, where Henry Taylor would study in the 1990s). His teachers, disciples of Abstract Expressionism, “wanted to collapse the whole art process into one act3.’’ “It (Abstract Expressionism) was, in his opinion, ‘a solid way of thinking…If you think about the paintings that were done in the 1950s, I find them overwhelming, nothing but quality…It was a very powerful time in art.’ However, ‘…within AbEx there was no room for my ideas4.'” While this frustrated him, they did succeed in getting him to change his focus from Commercial Art to Fine Art, which we can all be grateful for. After Now Then, I wonder if they accomplished more.

While in school in 1957 he had an epiphany.

One of the most extraordinary works of the 1950s. Jasper Johns, Target with Four Faces, 1955, Encaustic on newspaper and cloth over canvas surrounded by four tinted-plaster faces in wood box with hinged front. Seen in Jasper Johns: Mind/Mirror at the Whitney in 2021.

“The breakthrough he sought came in 1957, when he spotted a small black-and-white repro of Jasper Johns’s 1955 Target with Four Faces in the Feb/Mar 1957 issue of Print Magazine. Encountering Johns’s painting was, he said, an ‘atomic bomb’ in his training, ‘a stranger fruit’ that he ‘saw as something that didn’t seem to follow the history of art. My teachers said it was not art. ‘I didn’t need to see the colors or the size…’ ‘I was especially taken with the fact that it was symmetrical, which was just absolutely taboo in art school- you didn’t make anything symmetrical…Art school was modernism, it was asymmetry, it was giant brush strokes…it was all these other things that were gestural rather than cerebral. So I began moving to things that had more of a premeditation5.’”

Dvision, 1962, Mimeograph on paper, One of five Prints by five Artists in the Portfolio issued in conjunction with the New Painting of Common Objects show.

That has continued to this day. Along the way, he and others (including Andy Warhol, Roy Lichtenstein and James Rosenquist), built on what Johns, Rauschenberg and Marcel Duchamp had started: the “next thing” after Abstract Expressionism, an Art based in the recognizable, the familiar, the every day. Some called it “pop.” Personally, I see nothing but danger in trying to box Ed Ruscha (who has consistently eschewed boxes).

In fact, one word comes to my mind over and over again as I look at his Art over time: abstract. If I were going to use two words to describe it they would be “premeditated abstraction.” Look at Division, above. It contains what would become Ed Ruscha trademarks- text, typography, and images, combined in a way that are next to impossible for most viewers to “read.” If that’s not “abstract?” What is? Maybe his teachers would be proud after all. It was only through delving into his history, I found that 3327 Division Street was the address of his first L.A. studio6. The car might have been his. Does that mean there’s more of a backstory to it? I haven’t found it. In the end, for me this says there may, or may not, be personal meaning to some/many/even all of his Art, but, 60+ years on, they haven’t come to light. So, with Division, as with all his Art, the viewer is left to make of them what they will.

The two earliest piece in the show, SU, 1958, Oil, ink and fabric on canvas, (sixty-six years old!), left, with Dublin,, 1960, Oil and ink on canvas, right. Yes, a comma is part of the title.

Before graduating, he took hitchhiking trips that he immortalized in some of the earliest works in the show. the mysterious SU, 1958, the earliest, strikes me as a forerunner of what would come later. Even in these early works, text and imagery appear, though separately, as different elements that seem to stand apart from each other until the viewer brings them together, or creates a narrative around them, in his or her mind. These elements have continued in his work to this day, though he would soon start layering them. SU is, also, one of the relatively few of his works that refers to an actual person, the title referring to Su Hall, his girlfriend at the time.

Actual Size, 1962, Oil on canvas, 67 1/16 x 72 1/16 inches. His breakthrough work when it was included in the landmark New Paintings of Common Objects show. A Painted, flaming, “actual size” can of Spam in its lower section is accompanied by some brush marks that might be associated with Abstract Expressionism. In fact, a number of his early pieces, like Three Standard Envelopes, 1960, also include them. Given his prodigious technique, on display in this, I don’t see how these marks can be considered accidental. Jennifer Quick7 surmises these connote AbEx’s commercialization. I see them as Ruscha making this technique his own, using it in a way none of the AbEx Artists did. I also see it as an early example of the many forms that abstraction would take in his work.

A number of his early works are quite edgy, daring and ripe with a surprisingly loose use of the brush. Were these done for class to please his teachers, or…? In fact, even some later pieces, like his Stains portfolio, contains marks that seem right out of AbEx. These stands at the other end of the technical spectrum for an Artist who possesses a superb Painting technique, something he doesn’t get nearly enough credit for in my view. They also make me wonder if his AbEx disciple teachers had a bigger effect on their student than it might seem.

The rest of the gallery includes highlights of his early 1960s Word Paintings. We watch as he continued to strip away excess and refine his concept. Eventually, single words appeared alone on solid backgrounds This is interesting because he has said of his recent phrase Paintings that the backgrounds are simply that. Early on, as in Actual Size, they appear to be more.

Vienna, Austria, 1961. This striking Photo was in a vitrine in the show, which prevented my getting a decent picture. This image of it comes from the book Ed Ruscha and Photography, P.48

After  he graduated college, Ed spent 10 months on an extensive tour of Europe. While he reports not being impressed with the museums (among other things, he was disappointed by the lack of Contemporary Art), he took note of quite a bit of what he saw while out and about, particularly the street signs, with their foreign words, different design & typographies. He Drew and Painted a number of these, but he also put the new Yashica twin-lens reflex camera he was required to get in one of his classes to good use, taking a number of interesting Photos, beginning a revolutionary career in the medium in the process. Back home in fall, 1961, he set to work. Less than a year later his work was included in the landmark show, New Paintings of Common Objects at the Pasadena Art Museum, along with that of Andy Warhol, Roy Lichtenstein, Wayne Thiebaud and others, and so-called “pop” Art was born. Ed Ruscha has consistently rejected being boxed, though he rode on the coattails of the “movement,” and the word is still used in describing his work, ignoring the visual evidence.

The first gallery concludes with an infamous work. Does this look familiar?

Ummm…It might not be what you might think it is. It’s a detail of the center of the target in Jasper Johns’s, Target with Four Faces, 1955, shown earlier. Now, look at this-

Yes! One of the two “Os” in Ed Ruscha’s OOF, 1962 (reworked 1963). Just five years after he saw Target with Four Faces, Ed Ruscha Painted the above. Coincidence? Homage? Fallout from that “atomic bomb going off in my training?” My feeling is the visual evidence is pretty strong for making a case for any or all three.

Hello! I’ve never appeared on NighthawkNYC over its 8 1/2 years, except in my self-portrait in the Banner (and a picture in my last piece, here, from the distant past). Until now. I’m introducing myself to NHNYC readers in front of a Painting I have a personal connection to: OOF, 1962-3, Oil on canvas, 71 1/2 x 67 inches on Ed Ruscha/Now Then’s final day, January 15, 2024. As for my “personal connection” to OOF? Very, very few know. My thanks to the lady who graciously agreed to take this.

Personally, it’s hard for me not to think there’s an influence; in the colors, the shape of the circle/”Os.” Even if it’s subconscious. Looking at both of these works now, they’re both revolutionary in their way. The Johns has been discussed at length over the past 60 years. Does anyone else think OOF is a revolutionary work, let alone a masterpiece? I believe it’s both. Revolutionary? It’s possibly the first time (as far as I know) that a Painting features a “word” that Merriam-Webster categorizes as an “interjection,” and not an actual “word” per se. I also believe it’s an “alt masterpiece.” Seriously. The composition, colors, font, placement of the text are all perfect, belying Ed Ruscha’s mastery of typography and graphic design, with the sublime taste that would be a hallmark of his work. OOF stands as the pinnacle of his early word Paintings in my view. Oof is a word, if it is one, that defies concrete understanding, making it a perfect (unofficial) conclusion of sorts to the series. Merriam-Webster says Oof is an interjection “used to express discomfort, surprise, or dismay8.” They point out “the first known use of the word was in 1777,” which I find hilarious. How do they know? Did they consult an Oofologist? They further define an interjection as “an ejaculatory utterance usually lacking grammatical connection9.”

Oof!

OOF everywhere around town. A first step to a better world! I yelled “OOF,” but he didn’t stop.

As such it seems to me that OOF stands as an outlier among the single words Ed Ruscha chose as the subjects of his early 1960s Word Paintings (BOSS, HONK, ACE, SMASH, FLASH and NOISE, shown below, et al) because it is quite abstract, and therefore, a jumping off point for what was to come. I wish I had asked viewers what the Painting said to them. Having owned it for 61 years, MoMA is well aware of its mysterious appeal. No doubt that is why the museum chose to emblazon OOF all around town as the focus of their show marketing.

Noise, Pencil, Broken Pencil, Cheap Western, 1963, Oil and wax on canvas, 71 1/4 x 67 inches. There are two Painted pencils in the piece, and lo and behold someone left another one on the floor, behind the left stanchion. I resisted the urge to move it for effect for this picture. Maybe, I should have…

Along with abstraction, it seems to me there are surreal elements in his work. Perhaps no single word Painting has these abstract/surreal qualities than Noise, Pencil, Broken Pencil, Cheap Western, 1963, which also represents an evolution. Ed Ruscha has long considered it one of his best Paintings[3, Per the wall card.]. In it, the mystery of the word is added to with three very realistic images, close to its own edge. Unusual for a Painting, or Art, it leaves the center, the focus of most Art, empty except for the background color. Most of the previous Word Paintings centered the featured word. As such, it’s both unique and a precursor of other works that combine words and images. It’s also both abstract, thought it depicts realistic objects, and surreal. If I read it from the left, the whole pencil lies quietly seemingly in mid-air. The word “NOISE,” another monosyllabic word, grows until it reaches the right side (again, like a speeding train) where it hovers above the broken pencil. The cheap western seems to be hovering in the air, too, like the left-hand pencil, where it wouldn’t make noise until it lands, which it might be close to doing. The Artist has created “action” from three still objects and a word.

In the catalog for that last major Ruscha retrospective there’s this-

“The broken pencil calls to mind the incident Ruscha has referred to a number of times in interviews when as a child in parochial school he was regularly rapped on the knuckles with a pencil by a nun who caught him misbehaving in class. Is the pencil, then, simultaneously a symbol of expression and repression10?”

If this is the case, though Mr. Ruscha has not said that this incident is what’s depicted here, my reading of it wonders if the “Cheap Western,” i.e. the comic book which appears to be reaching the bottom of the piece, was struck from his hand when he was caught reading it in class, being a big fan of comics at this age, the broken pencil having been cracked over his hand. It’s also, simultaneously, an abstract and a surreal composition. As many have pointed out, it also leaves the center bare. It carries forward his use of the single word, while also taking it on a new tangent.

Bouncing Marbles, Bouncing Apple, Bouncing Olive, 1969, (not in the show) has much in common with Noise, Pencil, Broken Pencil, Cheap Western from six years earlier. One of countless Ed Ruschas that feel surreal to me. Here, he “sugar coats” the surrealism by using harmless objects like marbles and an apple on a welcoming green background. Leaving the olive, the looming black, and the fact that the marbles & apple are bouncing to stir up our imaginations, making the work decidedly not a “still life.” *- Photographer unknown.

Noise, Pencil, Broken Pencil, Cheap Western is another one-Painting revolution, like OOF was. Though both were only followed-up indirectly, as in Bouncing Marbles, Bouncing Apple, Bouncing Olive, 1969. Now, look at this-

Salvador Dali, the legendary Surrealist, Open Field with Ball in Centre and Mountains in Rear, Study for the Disney film Destino, 1946, Oil on masonite. Influence? Seen in MoMA’s catalog for their show Dali & Film.

Works like Noise, Pencil, Broken Pencil, Cheap Western and Bouncing Marbles, Bouncing Apple, Bouncing Olive (and other works that include marbles and olives) are so different from anything that’s come before in his work. Yet, as time went on, they are joined by many works that while they depict recognizable objects are very abstract, even surreal, including his recent Tom Sawyer Paintings. Most of them have no words, and taken as a group they now form a sizable part of his oeuvre. For my part, I trace them all back to Noise, Pencil, Broken Pencil, Cheap Western from 1963.

Large Trademark with Eight Spotlights, 1962, Oil on canvas 66 9/10 x 133 1/10 inches. An early L.A.-inspired work, like most of Ed Ruscha’s work its “meaning” is nebulous. At the time he Painted this, the famous Film studio was in decline and going through layoffs. One reading might be a comment on fleeting fame about to fade out, or like his PhotoBook, Every Building on the Sunset Strip, 1966, possibly a hard realization for the Artist who relocated from Oklahoma City, that glamour is not all it appears to be from afar. It’s also a work that is reminiscent of a speeding, approaching train, a compositional device he would use again. Though it’s described as “Oil on canvas,” those are graphite lines leading to or from the vanishing point.

In 1962, L.A./Hollywood, its sites and culture began appearing in Ed Ruscha’s Art, as in Large Trademark with Eight Spotlights, which is also a precursor to his multi-word and phrase Paintings. Over the succeeding 60+ years, few if any, Artists would become more associated with Los Angeles than Ed Ruscha is and has been. From then to now, he would continue to Paint the city, and words and image would coexist in his Art, while single words largely became multiple words and, beginning in 1973, short phrases that he has continued to create to this day.

By the beginning of the second gallery of Now Then, some of the core themes of his work have been created and have already metamorphosized. This revealed the development of a working process based in an endlessly restless creative drive that would not let Ed Ruscha stay in one place for very long Artistically. What lay ahead over the next six plus decades(!) has been nothing if not the continually unexpected.

Part 2, “Ed Ruscha’s Wall Rockets,” is here. The concluding Part 3, “Ed Ruscha & The Two-Sided Coin of Influence,” is here. 

*-Soundtrack for this piece is “Down the Highway,” by a Musician who has been creating and performing for about as long as Ed Ruscha has: Bob Dylan, born May 24, 1941, 3 1/2 years after Ed Ruscha. Bob released “Down the Highway” the same year Mr. Ruscha created a number of the Paintings in this piece, on 1963’s The Freewheelin’ Bob Dylan.

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You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

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

  1. The traveling retrospective, THE WORKS OF ED RUSCHA, came to the Whitney Museum in 1982, one of five museum stops it made, when the Artist was about 45. ↩
  2. ER, Tate, P. 9 ↩
  3. Alexandra Schwartz, Ed Ruscha’s Los Angeles, P.17 ↩
  4. Alexandra Schwartz, Ed Ruscha’s Los Angeles, P.15 ↩
  5. Alexandra Schwartz, Ed Ruscha’s Los Angeles, P.15 ↩
  6. E.R. Tate, P.100 ↩
  7. in her book, Ed Ruscha: Art & Design in the 1960s ↩
  8. Here ↩
  9. Here ↩
  10. I Don’t Want No Retrospective- The Works of Ed Ruscha, P.15 ↩

NoteWorthy Art Book, 2024- Es Devlin…Lady Gaga, Kiss & Me

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

Though I just teased some big names, I begin with the least known. There I was, in year 2 of my 5 on the road with a band, refugees from the disco mania which was sweeping all live Music and Musicians aside, all the way down in the Cutler Ridge section of Miami, FL. We pulled into the parking lot outside of this good sized venue, the Esquire Club, went it, met Al the owner, and began bringing in our gear. As we set up for what would be an extended stay, the assistant club manager came up, saw our stage clothes and my platform boots (Handmade by Jumpin’ Jack Flash, NYC, who had made Kiss’s legendary boots. Mine were a half-size too small, leading to permanent foot damage, an ever-increasing problem. Another Rock n’ Roll suicide.). Realizing that we were something different from what they had been presenting, he chatted me up about our “stage show.” Then, he suggested we add “flash pots” to our presentation.

Flash pots? 

He went away and came back with 3 pieces of wood, each about a foot and a half long by about 3 inches wide and 2 inches deep, some electrical cord and a few plugs. First, a rectangular cup about 3 or 4 inches long by a little less than 2 inches wide was cut into the top center of the wood. Next, he attached the the wire so the stripped bare end was in the hole. Then, he had me cut one side of the wire and install an on/off switch. Electricity, with a bare wire on a dark stage? Hmmmm… Then he showed me a grey, cylindrical container. Gunpowder. 

Gulp.

He scooped some of it and put it in the cutout. Plug in the wire and when I flip the switch? WHAM. Flash pot! The band covered by a cloud of smoke, and hopefully, only smoke! Ooohs and aahhs all around.

“Messiah,” Live at the Esquire Club, Miami, 1977. Left to right, T. Lavitz, keyboards, who would go on to fame after he joined The Dixie Dregs (aka The Dregs) the year after this was taken, before launching a successful solo career, Steve Smith, guitar, Bob Donzella, sax & vocals, Mark Smith, drums & vocals, and yours truly, Kenn Sava, bass & vocals. It’s about at this moment that I’d be tripping the flash pots. Gee, I wonder if that carpeting was fireproof… *-Photographer unknown. The pictures in this piece are thumbnails. Click any for full size.

We made three of them, each laid 1/3 of the way across the stage, all under my control, to be tripped at particularly “dramatic” moments during our set. Needless to say, never having done anything like this, especially while playing, it was a bit unnerving. Luckily, I managed to set them off a few times, without disastrous result. Phew! After a week or so, the regulars had gotten to know us, and everybody relaxed, so we dispensed with the “special effects,” or, they ran out of gunpowder, I forget. (The Esquire Club was destroyed by Hurricane Andrew in August, 1992.)

Yours truly, Kenn Sava, lve at the Esquire Club, Miami, FL. This is the first time I, or a former I, have appeared in the pages of  NighthawkNYC.com in its 8 1/2 years! *-Photographer unknown- a friend of Mark’s. I’ve grown quite fond of this picture as it shows me about as happy as I’ve ever been in my life, in spite of all we were dealing with at the time, including the poverty typical of bands like ours.

Such was “stage craft” in prehistoric times. Fast forward to January 20th, 2010.  

The Big Time. Radio City Music Hall, NYC, January 20, 2010. The night of Lady Gaga’s homecoming; her first NYC concert. Prior to this, she’d performed in clubs & bars, like I did.

There I am in the balcony for the NYC concert debut of an up and coming Artist who’s new hit singles, “Just Dance” and “Poker Face,” were all the rage, and her album, The Fame, was screaming up the charts. Intrigued, I managed to get a ticket for Lady Gaga’s New York homecoming show of her Monster Ball Tour at Radio City Music Hall, January 20, 2010, her first concert in her hometown1.

Down in front! Seated as far away as I was wasn’t ideal for picture-taking. Before it started, I took this because I was fascinated by the stage. Looking around the standees, you’ll notice a box-like frame and there’s a screen in front of it. Both things I hadn’t seen to that point. Something told me at that moment that this was going to be “different.”

As far as I know there hasn’t been an officially released video of what was the Monster Ball Tour, 1.0 that this show was a part of. I can only find pictures and videos shot by my fellow concert-goers, like this one of the opening. Poor quality, but it gives you a sense of it. ( Someone has posted a complete video of another stop on the tour. Again, it’s a far from ideal audience recording, but until something better appears, it’s the only record I know of of the complete show.)

The show began with a matrix-like grid on that screen shown earlier with a filmed Lady Gaga (LG) projected on it revolving while warping time and space, apparently free of gravity, along with a 1 minute countdown clock to the show’s beginning. As it ticked down, the crowd amped up by the second. 00:00:00:00, and there she was behind the matrix screen, live, alone on the big stage in her hometown, wearing an outfit with lights on it and performing her classic, “Dance in the Dark.” Quite a moment. “Find your Kubrick,” indeed. Stefani Germanotta had escaped the clubs & bars and arrived in the big time, in full effect. 

“Just Dance.” LG performs with a Roland Shoulder Synth (I believe) on a riser extending to about 10 feet over the base of a rotating cube. The area around the black disc she’s standing on is open. Watch your step! Note the frame-like border.

“Dance in the Dark” segued into her mega-hit, “Just Dance,” without pause. The screens on the sides seen above covered the band, something I’d never seen before, leaving a large performing area. Looking back from 2024, it might be easy to look at this show and not see it as all that “revolutionary” given what’s come since. At the time, I’d seen nothing remotely like what I saw that night. It still remains a unique experience. Meanwhile, the irresistible “Just Dance” got the balcony moving up and down so wildly as hundreds of concert goers jumped in time that I was worried it might well come down! How do they test for that kind of stress? When the show ended without catastrophe, as I was walking to the subway to the sound of my fellow concert-goers bursting out in spontaneous chants of “Oh oh oh oh oh…Caught in a bad romance,” over and over and over from near and far…the one thought on my mind was “SOMEONE involved in staging that show has a DEEP knowledge of Art history!”

“Paparrazzi” with LG’s hair fastened to the overhead pole on both sides by rings while two dancers hold the ends of the pole.

Time and again, I felt the influence of numerous Artists and Paintings. First, and foremost, the great Joseph Cornell was channeled as the entire stage was framed creating a box-like setting for the performance, as I show in “Just Dance.” Mr. Cornell, a revolutionary in a number of Artforms, is, perhaps, best known for his “Boxes.” The Cornell references continued during “Paparazzi” where Gaga’s hair was fastened to a horizontal pole with rings(!) while the dancers holding the ends moved/danced in step with the slightly helpless LG as she sang, right out of numerous Cornells that include a horizontal pole with rings attached, like Lunar Level #1, and Sun Box, below, among others. Joseph Cornell at a Lady Gaga show? Dali, Giorgio de Chirico, Magritte and Leonardo da Vinci also came to mind as the show went on. Of course, being Lady Gaga’s show, first and foremost, the credit goes to her.

Sun Box, (1956) by the incomparable Joseph Cornell, 1903-1972. One of many Cornell Boxes that include a horizontal bar (or two) with rings attached. Lady Gaga’s entire show felt to me like it was taking place inside a box.

Then, I saw her,  again, in July, 2010, at her Monster Ball Tour 2.0 at Madison Square Garden (her first MSG show); another big deal. It was a completely different show! It was very nice, very effective, but minus all the Art references. I assume that having a stage in a huge indoor arena called for a completely different presentation. Still, I missed the show I saw at Radio City, and at that point it made me realize how special it was. I was determined to find out more about it.

“Eh, Eh (Nothing Else I Can Say),” at Radio City. LG in a quasi-“gyroscope.” All those bars were continually in motion around her. A bit like Leonardo’s Vitruvian Man?

I found out that Lady Gaga had worked on the Radio City show, and her Monster Ball 1.0 Tour it was a part of, with a stage designer named Es Devlin. 

Who?

It tuns out that Esmeralda (“Es”) Devlin, born in London in 1971, is nothing short of a polymath, who, apparently, never sleeps. While I had been sleeping on her, in the interim, her reputation grew, then exploded. Meanwhile, the press had upped the hype quotient to seemingly impossible levels-

“Modern Britain’s answer to Leonardo da Vinci,” The Sunday Times (of London).

Leonardo?? I can’t say that in all my years of looking at and studying Art and Art history I’ve ever heard that said of ANY Artist.

Perusing her website, I discovered the roster of world-famous Musicians, bands, opera companies, playwrights, and corporations who have entrusted her with their stages is about as “A List” as it gets, and extraordinarily long. Oh, and the Super Bowl Halftime and the Olympics are on it, too. As for those Artistic deep waters, she’s staged a number of Shakespeare’s plays, including Hamlet, and a few of Mozart’s operas, including Don Giovanni, perhaps his ultimate opera. Snippets of all of these and more can be seen on esdevlin.com. I also discovered that Ms. Devlin did not do the stage design for that 2010 Lady Gaga Monster Ball Tour 2.0 MSG show. Hmmm…

But, Leonardo? One of the supreme geniuses in Art and world history, and one of my personal “Ultimate Artists?”

Back into the fast forward machine to 2024, Es Devlin is now the subject of a mid-career Retrospective at NYC’s Cooper Hewitt, Smithsonian Museum of Design. To accompany it, she, Cooper Hewitt and Thames & Hudson have combined to use the show as an opportunity to publish her first book, An Atlas of Es Devlin. When I first spotted a copy on a shelf with only “ES DEVLIN” in silver on its 2 1/2 inch thick(!?) white spine, I felt a tingle of anticipation. Suffice it to say, given all I’ve seen- in person and via research, and the weight of that Leonardo reference, my expectations couldn’t have been higher.

What we have is, well… I’ll let the Thames & Hudson PR staff tell you-

“An Atlas of Es Devlin is a unique, sculptural volume of over 900 pages, including foldouts, cut-outs, and a range of paper types, mirror and translucencies, with over 700 color images documenting over 120 projects spanning over 30 years, and a 50,000 word text featuring the artist’s personal commentaries on each art work as well as interviews with her collaborators including Hans Ulrich Obrist, Bono, Benedict Cumberbatch, Pharrell Williams, Carlo Rovelli, Brian Eno, Sam Mendes, Alice Rawsthorn, and Abel “The Weeknd” Tesfaye. Each book is boxed and includes a die-cut print from an edition of 5,0002.”

PHEW!

HERE was the moment of truth. Will her body of work hold up to the close scrutiny such a comprehensive book provides?

“The instinct to fill a void with art is, to me, fundamental.” Es Devlin, hand-written reproduction inside the cover.

Ever see a resume like this? Inside the cover, the list of Musicians she’s worked with, left, and Playwrights & Librettists, right, surrounding Es in the middle after more pages of credits and thank yous.

Holding a copy in my hand, it was immediately obvious that the book is a duality. At once it feels crafted with care at every turn, mirroring the personal feel of a very limited edition, yet it’s a mass-produced object published by a big publishing company. The cover, shown earlier, and the first 8 pages are die-cut to look like we’re peering into a camera lens. On each of these the opening is surrounded by credits, and there are many of them. They lead to a picture in the center (the aperture) of the Artist, herself, on the 9th page, standing obliquely between a white cityscape and white clouds, dressed in red; the “focus” of her own show, for once!

The Table of Contents opens up to the 4 page list of projects arranged chronologically- 1995 at the top, 2023 on the bottom. Those in the center in black are included in the book. Others, to the left in grey, are omitted. It’s shocking how many projects are listed. It took two pictures to get them all in.

Then we get the title page, the table of contents, which opens to a double gatefold listing her projects from 1993-2023. (Has she really been creating for THIRTY YEARS already?) Moving forward into the book proper, I quickly realized that the design was, yes, unique, and yes, stellar. Impressive for a first book, but, I’m here for more.

Each project typically gets 2 full pages delineating its genesis, though many have inserts that range between 2 and 40 additional pages.

Her innumerable projects get small chapters of their own (small because there are A LOT of them), and many feature a variety of half pages, fold outs, inserted booklets, and what have you, making them different and fresh from each other. Then, there is a large section of color Photos of the actual performances, followed by the texts mentioned by Thames & Hudson earlier.

One of the world’s most remarkable Artists. What srtikes me about this Photo of Es Devlin in her studio is that she’s virtually surrounded by hand-written notes & Drawings. *-Photo by Tibby762

I was shocked to see that reproductions of countless Drawings on paper are included, which showed me that even Artists who’s work involves cutting-edge and innovative technologies continue to rely on Drawing on paper (something I have long considered to be an essential life-skill for everyone- whether it be on paper or digitally. I’m serious.) Then, another reveal- she relies on handwritten notes, which also fascinates me. When Sheena Wagstaff, the former Chair of Modern & Contemporary Art at The Met sat down next to me during a Nareen Mohammedi Symposium, I couldn’t help but notice that she, too, was taking notes by hand. Both commit their important notes and sketches to paper- not to a digital medium. (This is not mentioned as a criticism in any way of either highly esteemed lady.)

That’s not all. In addition to her devotion to Drawing, another pillar of her craft is reading. Page after page of An Atlas references something she read inspiring that project in some way. Reading this, I was struck with one overriding question-

“The woman is so incredibly prolific, creating project after seemingly impossible project steeped in infinitely complex details (in addition to having a family and a life): WHERE DOES SHE FIND THE TIME TO READ, and read so much?”

 

In the projects section inserts of all kinds are the norm, as in a hand-made book. The numbers “306 345 412 418-9” reference pages in the color Photos section where the realized project is pictured in its live performance.

Deep into the concept section, titled “A Selection of Works, 2012-2022,” as my mind is melting over as each project passes in the form of sketches, models or in-progress images as I page turn, I begin to wonder- “Did she really get this made? What did this look like for real?” After the concepts, the large section of color photos shows each project as it was realized. Historic proof each existed. Oh! And get this- MOST of the Photographs included in this NINE HUNDRED page magnum opus are by, you guessed it: Es Devlin, herself.

Taking it all in, the thing that strikes me is that stage design is fleeting. It takes an immense amount of work to conceive, design, and create, but once the performance is over, it’s gone, probably for good, living on in the memory of those, like me, who witnessed one of her productions. There aren’t even that many videos circulating of them! In creating An Atlas, Es Devlin has struck back against this impermanence with a lasting record of her process in creating these works and their singular results.

Taken as a whole, An Atlas of Es Devlin is a staggering achievement- like many of her productions are. Es Devlin has burst forth onto the Art Book world with a debut monograph that will be hard to top: on many levels. It’s destined to find itself on the reference book shelves of Artists, Playwrights, Authors, Opera Directors, Stage Designers, Graphic Designers, Book Designers, as well as Art historians and her fans, for years to come.

“A New Renaissance Woman.” Donatien Grau of the Louvre, no less, is on to something, I think.

Of his almost innumerable areas of exploration and invention, stage design was not one of Leonardo’s skills (as far as I know. Far be it from me to put ANYthing past him!). So, I wonder what he would make of Ms. Devlin and the Sunday Times’s comparison. We’ll never know. But, I can make this comparison- Leonardo did leave us some of the most astounding books any human ever created: his Notebooks. Though unpublished in his time, and no doubt created for his own use, they have subsequently become eternally important, extraordinarily prophetic and endlessly influential. Es Devlin has now published her Atlas. While I would never compare Arists, or say one is “greater” than any one else (such comparisons are meaningless), it would be endlessly fascinating to have Leonardo’s Notebooks next to a copy of Es’s Atlas, so one could page through both. While you would certainly feel the passage of time going back and forth, I have a feeling that you might still find some commonalities between Leonardo’s “books” and Es’s book. Endless imagination, endless creativity, the fruits of handmade marks on paper, and endless beauty, to name four; each steeped in a study of the craft of Art making and an insatiable curiosity to know more, to explore what’s possible and to take that next step forward. For those reasons, instead of Leonardo, if I were to compare Es Devlin to any Artist, living or dead, it would be Robert Rauschenberg. Each of her creations is THAT unique, one work from the next (and from what anyone else has done), and also THAT endlessly creative and innovative.

So, how’s THAT for a first book?

Es Devlin in the midst of creating, left, and a sealed Die-cut Print seemingly based on it, or a similar work, included with the first edition, right.

And, oh? The Lady Gaga show I saw at Radio City 14 years ago that wowed me so barely gets 4 pages of coverage out of the 900 in the book. THAT’S how vast Es Devlin’s work and achievement is. And she’s only in her mid-career.

Watch out, Leo!

An Atlas of Es Devlin is a NighthawkNYC.com NoteWorthy Art Book of 2024.

NighthawkNYC.com has been entirely self-funded & ad-free for over 8 1/2 years, during which 320 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal to allow me to continue below. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

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

  1. Prior to this, her two 2009 shows at Terminal 5 were her largest NYC shows ↩
  2. Apparently, two printings of it have now sold out, so the total edition size remains unknown to me. It’s also to be re-released in the USA in May so put those edition size numbers down in pencil. ↩

Henry Taylor: The Art of Empathy

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Written & Photographed by Kenn Sava.

Show seen: Henry Taylor: B Side @ the Whitney Museum

See Alice Jump, 2021, Acrylic on canvas, as are all the Paintings in this piece, unless specified. From the wall card- “The track-and-field legend Alice Coachman, depicted here, set a record in the high jump at the 1948 London games, becoming the first Black woman to win an Olympic gold medal. By altering the photo and positioning Coachman as if she is jumping over houses in a neighborhood, Taylor metaphorically alludes to the social and economic barriers she overcame growing up in the segregated South.” The pictures in this piece are thumbnails. Click any picture for full size.

I’ve had my eye on Henry Taylor since I reported that he was “Having a New York Moment,” as I called it in 2017 when he received the High Line Mural Commission simultaneously with being one of the “stars” of the 2016 Whitney Biennial. Okay, both eyes. The Artist returned to NYC in 2019 for a solo show at Blum & Poe, at which I met him.

Henry Taylor modifying/ammending his wall-sized Mural with my Sharpie at Blum & Poe, September 24, 2019.

I lent him my Sharpie which he proceeded to use to modify the large Mural that was the centerpiece of his show as I watched with my mouth open. I then followed him to the terrace where he inscribed his outdoor installation with it. I’d never seen an Artist modify a work (or two) hanging in a show in my 40+ years of show-going before.

Needless to say meeting Mr. Taylor that night was an extraordinary experience made unforgettable by his being quite nice to me, and I don’t think it had to do with the pen. I came away feeling Henry Taylor is one very hard not-to-like man. I wondered if that might have been born in the fact that Henry Taylor is a “30-years in the making overnight sensation.” All this being said, everything I express about his Art here I felt before I met Mr. Taylor. Almost exactly four years to the day later, Mr. Taylor’s Art returned to NYC in Henry Taylor: B Side at the Whitney, his mid-career Retrospective, which only expanded my appreciation of the depth of his accomplishment and filled in the gaps.

Gettin it Done, 2016, at the show’s entrance.

B Side is the most powerful Painting show I’ve seen since Kerry James Marshall: Mastry at the lost and lamented Met Breuer in 2017.

Now, or never! 4:30pm, January 28, 2024. One and one-half hours before Henry Taylor: B Side closed for the last time. Installation view of one of the two, large parallel galleries I mention further below. The other is behind the wall to the left.

This is remarkable because Henry Taylor was so late in getting his Art career started.

Hammons meets a hyena on holiday, 2016. Henry Taylor is a student of Art history and an entire gallery was devoted to works inspired by the work of other Artists. Here, he riffs on Dawoud Bey’s famous Photo of David Hammons selling snow balls one winter day from 1983.

The first thing that might catch a viewer’s eye is his palette. On a number of occasions his colors caught my eye from hundreds of feet away across large rooms. For that reason alone, a full Retrospective of his work over 6 galleries of the Whitney Museum’s 5th floor this winter, was a thing of beauty.

Untitled, 2021, Acrylic on linen. In fitting with the show’s title, here the Artist “covers” a Painting he saw in London’s National Portrait Gallery of King Henry V. This could be a play on his nickname- “Henry the VIII,” being the youngest of 8.

But life is not full of blue skies, roses, or bowls of cherries, and neither is Henry Taylor’s Art. There’s much, much more to be seen in his work. As enchanting as his palette is, it’s the depth of his content and his unique way of presenting it that sets his Art apart.

Untitled, 2022. A Portrait of the Artist’s brother, Randy, a former Black Panther (with a large one looming behind him) and now a dog breeder in Texas, depicted looking like he’s about to give a speech as he did in those earlier days.

That content speaks to a very wide range of subjects. Perhaps, most well-known for his Portraits, which as Antwaun Sargent points out, differ from the work of Kerry James Marshall in his preference for “the outcast,” as he calls them1. This is fitting for a show titled B Side, which is a reference to the other side of a single 45rpm record. The B Side of a hit 45 was almost always something overlooked and rarely played, except by devoted fans. It can also be a collection of lesser known or cover songs (like the album B-Sides, by Oasis). Both seem to fit the show. Yet, along with outcasts, B Side contains numerous Portraits of icons- political, Musical, and athletic. Throughout, it seems to me Henry Taylor Paints his subjects from the inside, out. Something quite remarkable. My impression is that he does it through empathy; from connecting and relating to the person he’s depicting in some way- even if he’s never met them, as in the Portrait of Alice Coachman up top. As good as his Art is, in the end, empathy might be what separates Henry Taylor.

Too Sweet, 2016. This extraordinary Portrait is based on a Photo the Artist took from inside his car as this man approached seeking help from passing motorists. A whopping 132 x 72 inches, its monumentality is furthered by viewing the figure from below. It’s also an example of the Artist selectively blurring facial details, in this case his eyes, which occurs off and on in the show, and which I find endlessly fascinating. I wasn’t a bit surprised to find out that MoMA has acquired it.

B Side complements his Portraits with a wide range of scenes from everyday life, with the specter of racism, and its impact, hovering as the omnipresent horror it is and has been, never far away. Of course, Mr. Taylor is well-acquainted with the reality of racism. Some of his Paintings on the subject of his grandfather hint that his 1933 murder in East Texas may be a continuing influence, as could well be expected. In fact, this was the subject of the large Mural, Ancestors of Genghis Khan with Black Man on Horse, 2015-17, which graced one of the lobbies of the 2017 Whitney Biennial, as I showed here.

Resting, 2011, Acrylic and collage on canvas. Taylor depicts his niece and nephew sitting on a couch at home with a reclining figure behind them. Further back is a Corrections Corporation of America truck, a line of uniformed men, and a wall with “WARNING SHOTS NOT REQUIRED” stenciled on it. Before the couple are Canteen Correctional Services forms for family members to authorize items prisoners can purchase at the commissary.

Most often, but not entirely, his subjects are Black, and with the body of work he has created over the past 30 years, Mr. Taylor has emerged as “one of the most powerful and poignant observers on what it means to be Black in America working today1.”

Wegrett, 2006, Acrylic and cardboard collage on linen. One of the most unique Portraits of an Artist with his mother in Art. The collaged cardboard seems to read “WE REGRET.” The wall card says- “Here, the words may allude to the pain he feels about the hardships his mother faced in her life. As Taylor explained, ‘I painted a picture of myself on my knees in front of my mama, and I don’t know why I painted that, but I just did, and I know I cried on that.'”

To complement his range, the show has been arranged by theme. As a result, B Side is a bit like a story with chapters; beginning with family, moving to his early creative days, and then to the subjects that hold his attention as a mature Artist. His current level of success doesn’t seem to have changed him or his Art one iota. Everything he’s done has that feeling of having been cut from the same cloth.

Untitled, 2016–22. Dr. Martin Luther King plays football with some kids while 3 ominous figures watch from the rear.

The first two galleries are devoted to Portraits, with an emphasis on his immediate and extended family, and some Self-Portraits. It’s hard to think of another Artist who has Painted his extended family so often and so strikingly (as in Untitled, 2022, shown earlier, of his brother, Randy- one example). Throughout B Side, I was fascinated by the Artist’s choices in creating his Portraits. Specifically, his choices of when and which facial details to include (as in Untitled, 2016–22, above, and Too Sweet, 2016, earlier). Are these done to cause the viewer to look elsewhere besides the face, or to make them look closer? This is a bit reminiscent of what Edward Hopper did on occasion, as in his Room in New York, 1932, as I discussed here.

First work. A collection of Henry Taylor’s Portrait Drawings of patients he worked with at Camarillo State Hospital, 1985-95, Graphite on paper. One is Pastel, colored pencil and ink on paper. These date from during his time as a student at Oxnard Community College and then the California Institute of the Arts (aka CalArts).

The third gallery took the viewer back to Henry’s beginnings as an Artist. Born in 1958, he spent the decade from 1984 to 1994 working as a psychiatric technician at Camarillo State Mental Hospital, Camarillo, CA.3. During this time, he created his earliest known work, Drawing and Painting a number of the patients he worked with: adults living with developmental disabilities or mental illness as well as those seeking treatment for substance use disorders, developing close relationships. 

“I learned not to dismiss anybody,” he recalls. “It just made me a little more patient, a little more empathetic. It taught me to embrace a lot of things. A lot of people will avoid a person who doesn’t appear normal, but I’m not like that.” Henry Taylor, in a must-read 2016 interview, here.

Untitled 1992. One of the earliest Paintings in the show. When B Side opened in October, I was buried in my piece on Van Gogh’s Cypresses which I published in November. Cypresses mostly takes place when Vincent was a patient in an insane asylum. Therefore, it was impossible for me not to make a connection between Henry’s experiences and Vincent’s. When I first saw this Painting, I was immediately reminded of Photos of the bath tubs Vincent was assigned to for therapeutic treatment in the San Remy Asylum almost exactly a century earlier.

For the last half of that decade as a psych tech, he was also a student at CalArts where he was at least a decade older than his fellow students, graduating in 1995 (among numerous others, Ed Ruscha was a 1961 graduate). Henry began his Art career at 37. After struggling to find representation and recognition, the world has gradually caught up with him to the point that 30 years on, he’s now one of our more influential and respected Artists, with a blockbuster Retrospective that appeared at the Museum of Contemporary Art (MOCA), L.A. before moving to the Whitney.

Screaming Head, 1999, Oil on canvas. Just wow.

Working with his patients turned out to have a decisive impact that would continue in everything he’s done. Early on in his career after graduating, Paintings, like this one, continued to speak to his Camarillo experiences. 

From there the visitor emerged into two large parallel galleries that lie at the center and heart of the show largely focused on being Black in America. The first one ranges from a 4th of July cookout to incarceration to the show-stopping THE TIMES THAY AIN’T A CHANGING FAST ENOUGH, 2017, depicting the murder of Philandro Castile. On the other side of the wall, the other large gallery features Paintings related to the Black Panthers and a large installation recreating a Black Panther speech with appropriately attired mannequins.

THE TIMES THAY AIN’T A CHANGING FAST ENOUGH, 2017. Per the wall card- “Taylor has said that he was motivated to paint this scene immediately upon learning about it- ‘I don’t even think I thought about ever showing that one when I painted it; it was just something I had to get out of my head.'”

THE TIMES THAY AIN’T A CHANGING FAST ENOUGH is the most powerful Painting I’ve seen this century. It’s hard for me to think that history worn’t regard it as akin to a (Goya’s)  The Third of May 1808  of our time.

“Taylor’s paintings occupy a new and different space within Black radical aesthetics,” Charles Gaines, Artist4.

too much hate, in too many state, 2001. From the wall card: “This painting places the viewer in the vantage point of James Byrd Jr., a Black man who was abducted and murdered on June 7, 1998, in Jasper County, Texas, by three white supremacists who chained his ankles to the back of their pickup truck and dragged him to his death. The brutal murder led to a national outcry, prompting calls for stronger hate crime legislation.”

While it’s front and center in  THE TIMES THEY AIN’T A CHANGING FAST ENOUGH, and too much hate, in too many state, “social criticism” in Henry Taylor’s work is often equally subtle, but always sharply on point. On the other side of the wall was a large gallery centered around the Black Panthers, including this remarkable installation-

Untitled, 2022, Mannequins, leather jackets, and posters, including a Colin Kaepernick 49ers jersey.

The wall card informs us that Mr. Taylor created this installation to honor the Black Panthers and his brother, Randy, who was active in his local branch. Adjacent to it were Photographs of many of those recently killed by police, bringing past and present together. On the other two walls of the gallery were Paintings of former Panthers Huey Newton, and this remarkable rendering of Eldridge Cleaver, looking like you-know-who out of James Mc Neill Whistler.

Eldridge Cleaver, 2007.

Along with the outcast, B Side also showed figures who have gone on to attain and achieve: quite a few of them.

A counterpoint to his Portraits of the overlooked and outcast, was a room of Portraits of celebrities, that included Chuck Berry, Jay Z, and Haile Selassie, were this Portrait of Jackie Robinson, A Jack Move-Proved It, 2011, right, and Michelle & Barak Obama, Untitled, 2020, left, sporting a copy of the Henry Taylor Rizzoli monograph of their coffee table.

And then there was this remarkable pairing-

That Was Then, 2013, left, depicts an older Black man who has probably heard the racist slur surrounding him many times, and Watch Your Back, 2013,

Fresh, exciting, bold, beautiful, direct yet mysterious, subtle and powerful, the Art of Henry Taylor has something for everyone, and I suspect that people many years in the future will continue to find that in it. B Side was a show that honored “outcasts” and the inspiring achievements of icons side-by-side, while pulling no punches about the world both of them, and the rest of us, live in.

For all those reasons Henry Taylor: B Side was a landmark show. A near perfect mid-career Retrospective in my view.

Man, I’m so full of doubt, but I must Hustle Forward, as my daughter Jade would say, 2020. Ladies & gentlemen, the one and only Henry Taylor.

It seems to me that to be able to face ALL of this with dignity and empathy for others is a remarkable thing; something all-too-rare today. As great as Henry Taylor’s Art is, this says even more about Henry Taylor, the man.

*- Soundtrack for this piece is “Sign O’ the Times” by Prince, performed live here in 1987,  during Henry Taylor’s Camarillo days-

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  1. Antwaun Sargent on Artsy in 2018 ↩
  2. Antwaun Sargent on Artsy in 2018 ↩
  3. Where Charlie Parker was famously sent for six months in 1946, and supposedly immortalized it in “Relaxin’ at Camarillo,” though he hated that title his producer gave it. It’s also rumored to be euphemistically referred to as “Hotel California” in the Eagles song of the same name. ↩
  4. Henry Taylor: B Side Catalog, P.60 ↩