Jean-Michel Basquiat, At 59

Written & Photographed by Kenn Sava (except *)

Part 3 of a series…

In January, 1983, Henry Geldzahler asked Jean-Michel Basquiat- “Is there anger in your work now?
He replied, “It’s about 80% anger1.”

Jean-Michel Basquiat, at about age 20, walks with his clarinet at the intersection of East 88th Street and 5th Avenue across from the Guggenheim Museum, circa 1980-81 in a screenshot from the movie, Downtown ’81, directed by Edo Bertoglio and written by Glenn O’Brien. 39 years later the Guggenheim has mounted a show of work the Artist would create over the next few years. *

The Brant Foundation’s Jean-Michel Basquiat was the largest show of the five going on in NYC this year featuring the work of Jean-Michel Basquiat (J-MB, henceforth), or about him. Though it provided a rare opportunity to see a broad range of his Paintings through most of his career, there was no context to the show, beyond it being an exceptional, diverse, collection of his Paintings. My impression was the attention paid to presenting groups of work by theme consisted of a group of portraits in the rear gallery on the 4th floor, a room half full of Paintings of Boxers and a wall of Paintings with unusual stretchers, both on the second floor. The lack of a theme or themes is mitigated by the fact that in many of his works there are multiple themes present allowing viewers to piece together their own narratives in, and between, pieces. Yet, as time goes on, and the focus of J-MB studies turns away from the well-worn biography and more and more to the “less discovered land,” i.e. his work, some of the themes lying just beneath the surface are starting to finally get the attention they deserve.

In that same interview with Henry Geldzahler, J-MB said that “royalty, heroism and the streets” were his favorite subjects. Over on the sixth floor of the Guggenheim Museum, in Basquiat’s Defacement: The Untold Story, the only museum show of the five J-MB and J-MB related shows going on in NYC this year, all three of those themes were featured, with “the streets” perhaps most front and center. The show’s overriding focus was the death of Michael Stewart, a 26 year old Artist who died of injuries he received “on the streets,” after being arrested by the Port Authority Police on September 25th, 1983, for allegedly drawing or writing in the 14th Street L subway station two weeks earlier on September 15th.

The scene of a crime. The 1st Avenue Brooklyn bound L Subway Station, currently under construction. It’s a narrow platform as subway platforms go with nothing obstructing the view from one end to the other. The only entrance/exit, the one Michael Stewart must have entered and been removed through, is just to my right rear. Seen in October, 2019.

A public outcry and numerous protests ensued. The effect was immediate, deep and lasting, as the show reminds us, bringing us right back to the moment. The downtown community of Artists that Michael Stewart, J-MB, Keith Haring, and many others, were a part of, also responded with their creativity. In his “Chronology” in the Whitney Retrospective catalog, Franklin Sirmans writes, “Basquiat always conscious of racial realities is deeply effected by the death of Michael Stewart on September 15th…Basquiat, perhaps in fear, practices a form of denial. He consciously distances himself from the situation. No matter what his art world status might have been, incidents such as this were a constant part of his life2.” He continues, quoting Keith Haring, “One thing that affected Jean-Michel greatly was the Michael Stewart story…He was completely freaked out. It was like it could have been him. It showed him how vulnerable he was.” He then quotes J-MB as saying, “It could have been me. It could have been me3.” Michael Stewart died 8 months or so after J-MB said his work is “about 80% anger.”

Keith Haring’s Cable Building studio after Defacement was cut from the wall to the right of center, where he created it, 1985. *Keith Haring Foundation Photograph.

The show’s centerpiece is a work that has come to be called Defacement (The Death of Michael Stewart), 1983, that J-MB created on a wall of Keith Haring’s Cable Building studio at some point between September 29th and October 5th, 19834.

Keith Haring’s Bedroom, Greenwich Village, 1989. *Photograph by Nancy Elizabeth Hill, Keith Haring Foundation.

When he moved out of the Cable Building, Mr. Haring had it cut out of the wall and framed. In an indication of how he felt about the work, it hung over his bed, where it remained, apparently, until he died, in February, 1990, almost exactly a year and a half after J-MB.

Along with it, in the first gallery were 6 other Paintings and two limited edition prints by J-MB. In the second gallery, the rest of the show recounts the tragic story highlighted by vintage posters announcing protests, newspaper articles and ephemera, accompanied by Art by Keith Haring, David Hammons, George Condo, Lyle Ashton Harris and Andy Warhol. A moving highlight of the show is the inclusion of very rare examples of Michael Stewart’s work, which I have never seen before, from his family’s collection. At the time of his death, Mr. Stewart was planning his first show. Seeing these works now, the sense of lost possibilities remains undimmed 36 years later. Of him, Fred Brathwaite (aka Fab5Freddy) says- “Michael Stewart was a new artist making moves on the scene and one of the few people of color in the mix downtown at that time. He came from an intellectual educated family and wanted to find a place where he could express himself in a cool way around like-minded people….When he was killed and the police claimed he was writing his name on the wall in the subway-which was surprising and seemed unlikely to us- the media jumped all over the idea that he was a graffiti artist. …It was like a chill going through you, realizing that it could be me- it could be any of a number of people I knew. Even though we all knew that Michael Stewart was not the graffiti artist they were portraying him to be, it could clearly have been any person of color, particularly myself and the numerous others I knew who were making art and would occasionally tag a wall, or had that background. That was frightening5.”

Andy Warhol, Daily News (Gimbels Anniversary Sale), ca. 1983, Synthetic polymer paint on canvas, 24 x 16 inches.

Mr. Brathwaite’s testimonial is excerpted from an interview he gave for the show’s exceptional catalog, which deserves special mention. Informative new essays by curators are followed by almost 60 pages of recollections by Artists, journalists, and other figures were were part of this period in NYC history, each based on new interviews conducted by curator Chaédria LaBouvier in 2018 and 2019 that were edited into concise statements for this publication- an amazing list that includes Mr. Brathwaite (Fab5Freddy), Dianne Brill, Michelle Shocked, Kenny Scharf, Eric Drooker, Lyle Ashton Harris, Jeffrey Deitch, Annina Nosei, George Condo, Tony Shafrazi, ABC-TV reporter Lou Young (who did over 60 pieces on the Michael Stewart story), Ronald Fields (a member of the first grand jury in 1983) and Carrie Stewart, mother of Michael Stewart. Their contributions bring the reader, as the show does, right back to the place and time in the kind of detailed recollections only those who lived it on the front lines could relate. When I’ve spoken in Parts 1 & 2 about the need for those who knew the Artist to step up and speak, this is a shining example of what those with first hand knowledge to bring to the table. Anyone interested in Jean-Michel Basquiat, Michael Stewart and/or his tragic end should find their way to the catalog before it goes out of print. Many exhibition catalogs have a notoriously short shelf life after shows end.

Defacement (The Death of Michael Stewart), 1983, Acrylic and marker on plasterboard, 25 x 30 1/2 inches.

In the first gallery, a long, rectangular space leading to Defacement (The Death of Michael Stewart), 1983, as the work is now known, due to the fact the Artist has written “¿Defacement©? ” in the upper center, are other works by J-MB that revolve around the themes of the police, royalty and the death of kings. Defacement feels like a dream, or nightmare, due to the presence of “clouds” of blue, pinkish and black paint. Painted on a white background, the blue figures, with pink/red skin, of the police frame and tower over the central black figure, apparently seen from the back. There are parts of what appears to be two circles in black around the head of the center figure, who’s hands and feet are not visible. Apparently, some of the marks on the work may have been added by others, like the letters on the right side that appear to be (“ZERLOL”), but it appears these circles are under the blue paint and so may have been done by J-MB. One of the policemen appear to be looking out at the viewer.

Francisco Goya, The Third of May, 1808, Oil on canvas, *Prado Museum.

One thing that stands out to me is the composition in context of Art History, particularly, in works of Goya and Picasso. In Goya’s legendary The Third of May, 1808, the soldiers stand decidedly to the right- the same side as the viewer.

Picasso, Massacre in Korea, 1951, Oil on canvas, *Picasso Museum, Paris.

In Picasso’s Massacre in Korea, 1951, the viewer is placed right in the center, with the soldiers on the right, and the victims on the left, one or two of who look out at the viewer. In Defacement, J-MB has also placed the viewer in the center, between the policemen, and directly behind the black figure/Michael Stewart, who appears without hands or feet. The effect made me feel like being in line to run the gauntlet- like you’re next in line, in line with his reported feeling “It could have been me. It could have been me.” It’s hard not to take the Painted “¿Defacement©?” as a double entendre. Did Michael Stewart really deface the subway station? And, why are the police “defacing” him, removing his face from the world?

La Hara, 1981, Irony of a Negro Policeman, 1981, both Acrylic and oilstick on wood panel, both 72 x 48 inches, Untitled (Sheriff), 1981, Acrylic and oilstick on canvas, 51 1/2 x 74 inches, from left to right.

On the right hand wall are three Paintings featuring policemen. All three are different. One has a white officer, one a black officer, one a grey officer (the two in Defacement appear to be pink-ish red). Two have white backgrounds, one red. All three are extremely nebulous (at least to me), even in the nebulous work of J-MB. All three are terrifying, and so perfectly set the stage for, and compliment Defacement.

The prints Back of the Neck, 1983, 50 1/4 x 102 inches, which I saw 14 years ago at the Brooklyn Museum (See Part 1Part 1), who is is on loan from, and Tuxedo (1982-3), 102 1/4 x 60 inches, both prints are editions of 10.

On a wall facing it are the limited edition print, Back of the Neck, also from 1983, my old friend from the 2005 Brooklyn Museum Retrospective on loan from the museum, and another print, Tuxedo, 1982-3, a work that references kings. As others have pointed out, Back of the Neck could be a reference to the injuries sustained by Mr. Stewart.

CPRKR, 1982, Acrylic, oil stick, and paper collage on canvas, mounted on tied-wood support, 60 x 40 inches, Self-Portrait, 1983, Oil, acrylic and oil stick on two wood doors and wood panel, with graphite and ink on paper, 96 3/4 x 63 3/4 inches, and Charles the First, 1982, Acrylic and oil stick on canvas, three panels, 78 x 65 inches, left to right.

On the 4th wall are a stunning trio centered around the Self-Portrait, 1983, and two works that pay homage to another of J-MB’s “Kings,” Charlie Parker. Both of those relate to (his) death, and the death of kings. To the left is, perhaps, the most poignant work the Artist did referencing Bird, CPRKR. In it, he memorializes his death, listing the place and date, under a crown, with the moniker, “Charles The First” written below. And so, it fits with Defacement. Right next to it is the Self-Portrait, 1983, which in this show is impossible to think about without considering the year it was Painted, particularly since on its right-hand panel, the words “To Repel Ghosts” are Painted. To the right of these is Charles the First, 1982, with it’s equally haunting words “Most Young Kings Get Their Heads Cut Off” written along the bottom. Of the “young kings” referenced in this room, Michael Stewart died at 26, J-MB at 27 and Bird at 34. Charlie Parker turns 100 on August 29, 2020. Michael Stewart would be 61 today. As I pointed out in Part 2, J-MB should be 59 years old RIGHT NOW, in mid-career as the museums call it. Both should be living, vibrant, forces. Not ghosts.

Jean-Michel Basquiat, Untitled, 1987, Andy Warhol, Daly News (Gimbels Anniversary Sale), 1983, Keith Haring, Michael Stewart- USA for Africa, 1985, left to right.

Not mentioned anywhere that I’ve seen, this is the only time Jean-Michel Basquiat, Andy Warhol and Keith Haring, the three figureheads of the Art of their time in NYC ever addressed the same event, (as far as I know). I’m not saying Untitled, 1987, shown in the group above, seen in the second gallery, is a reference to Michael Stewart- I don’t know, but Defacement is. Describing the amazing Keith Haring work, the defunct website basquiatdefacement.com said, “It depicts a black man being strangled while handcuffed to a skeleton holding a key. People from all nations drown in a river of blood below, while others shield their eyes from the scene, and the green hand of big money oversees the scene6.”

Michael Stewart poses for Dianne Brill Menswear, 1983, from the show’s catalog. “Michael was buried in a suit I designed,” Dianne Brill writes in her piece in the catalog (P.107).*

Basquiat’s Defacement: The Untold Story is one of the most powerful, smaller shows I’ve seen in years. Though it depicts events that took place 36 years ago, its relevance was, I’m sure, not lost on a good number of its viewers.

Alexis Adler, Jean-Michel Basquiat (the exact title is unknown to me).

Two other shows, the last two I saw in the group of five7, document little seen sides of J-MB. In The 12th Street Experiment: Photographs of Jean-Michel Basquiat, the Photographs in question are by embryologist and former J-MB girlfriend and roommate, Alexis Adler, who lived with the Artist from 1979-80.

Alexis Adler speaks about Jean-Michel Basquiat and her Photographs of the Artist at The Bishop on Bedford Gallery, Brooklyn, May 18, 2019.

A veritable Portrait of the Artist as a Young Man, this was a show that, along with the items in Ms. Adler’s archive J-MB left behind in, and on, her apartment (on tour in museums shows elsewhere at the time, most recently at the Cranbrook Museum, The Museum of Contemporary Art, Denver and in Europe), form an important and unique collection. In my research, I’ve come to see that J-MB’s formative period after he left home for good has gone largely overlooked and understudied. Alexis Adler has stepped forward, sharing her experiences and her knowledge, in books, essays and traveling around the world speaking about her time with Jean-Michel Basquiat from 1979-80 and his Art, in addition to sharing her collection in the shows I mentioned. As she walked me through the show of her Photographs at The Bishop Gallery on Bedford, Brooklyn, I was amazed at both the J-MB work that Alexis has documented in Photographs and the range of experimentation the young Artist was undertaking- extending down to his continually evolving hairstyles! Lacking funds, he worked with whatever he found, whatever was at hand- including the doors, walls, and floor of the apartment, and whatever he found on the street, making him part of the line that includes Duchamp, Rauschenberg and Jasper Johns, among others.

A Performance piece that involved installing a television set in a refrigerator. J-MB wears one of his hand Painted helmets here in one of a series of Photographs documenting the performance.

There is an element of performance in a number of these Photographs and in the work, which took place at the time he was performing with his band, Grey (and he is seen practicing his clarinet). Personally, I find this work fascinating and remarkable- on its own and for what it anticipates. A good deal of it might surprise many only familiar with his Paintings and Drawings.  This period seems to me to be more than only “early experimentation,” as it contains the roots and beginnings of much that came after, including his Painting. That he was Painting on everything he could find (out of a lack of funds for traditional Art materials, no doubt), presages his later Paintings executed on doors, like Self-Portrait, 1983 in the Guggenheim show, to fence slats, like Gold Griot, seen at The Brant in Part 2, among others.

Alexis Adler, Basquiat in the apartment, 1981. Note the work by Bacon right behind his head. In another of Alexis Adler’s Photos, Burroughs’ Naked Lunch is seen attached to the wall. More evidence of J-MB’s Beat connection I mentioned in Part 1.

In addition, Ms. Adler said that J-MB studied her Art textbooks from the classes she was taking at the time. I found fascinating evidence of this in this Photo of hers, where a work by Francis Bacon is mounted on the wall. I wondered in Part 2 what Francis Bacon would think of J-MB’s Untitled, 1981. Here is the proof that J-MB knew of Francis Bacon’s work that very year.

Alexis Adler, Painted television in the apartment, c.-1979–1980. It’s amazing this Photo of the work exists, but I would love to see it in color because there’s nothing else like this in his subsequent Paintings!

Ms. Adler, who spoke about having her ear to the ground and priding herself on being aware of what was coming next, said she “knew” J-MB was an important Artist almost immediately. “He said he would. I was definitely the first one to believe him. Everyone else was like, ‘Sure Jean.’ He was brilliant. I could tell. His spirit — everything about him. He was an amazing person, a very deep-thinking individual.” It’s only because she acted on that feeling and bought a camera that we have a record of these works which would otherwise be lost to history.

Alexis Adler, Refrigerator in the apartment, ca. 1979-80, Untitled (Famous Negro Athletes), 1980-81, left to right.

Seeing the show, I came to feel that this early period of J-MB should be appreciated as a “period” of his work every bit as much as his later work has been broken down into periods. It stands apart. While it’s formative and precocious and different from what he’s “famous” for, it’s a part of the whole. It has the same spirit of freedom, of experimentation, the unexpected, of seeing new possibilities that characterize all his work.

Lee Jaffe was a Musician at the time who had just recorded and performed with Bob Marley when he met J-MB. The two struck up a friendship and traveled extensively together. In the fifth and last show I saw, Lee Jaffe’s Photographs of J-MB at Eva Presenhuber Gallery, show him in relaxed settings, where the Artist is just being himself. He’s seen as just another tourist, mugging with other tourists, and looking extremely at ease.

Lee Jaffe, Jean-Michel Painting in St. Moritz, 1983-2019, Dye sublimation on aluminum, 60 x 209 inches.

The highlight of Mr. Jaffe’s show for me was this fascinating montage showing J-MB creating a work in St. Moritz, virtually from start to finish, something I don’t recall seeing anywhere else.

Four Untitled works, 1985, far left, with three black & white works from 1984-2019. J-MB, as a real person. About two hundred feet behind that wall on the right, Jean-Michel Basquiat lived from 1983, until he died, on August 12th, 1988.

Somehow, these images felt jarring to me after reading so much drama-soaked biography and anecdote. Compounding this “reality,” ironically, the show was installed at 39 Great Jones Street, just a few doors west of 57 Great Jones Street, where J-MB lived, and died, which I showed at the very beginning of Part 1 of this series, bringing this five-month journey full circle.

Coincidentally, right around the corner from The Brant, on B and East 10th Street, is Charlie Parker Place, where Bird lived from 1950 to 1954, in the building to the right with the woman in white on the stairs. May, 2019.

A few weeks after seeing The Brant show, I took a trip to “Charlie Parker Place,” on Avenue B where Bird lived from 1950 to 1954. Taking stock of everything I’d seen, I sat across the street in Tompkins Square Park and listened to Bird, trying to hear him through J-MB’s ears. The soaring, unexpected majesty, the spontaneous “flights” of imagination, the beauty (much of it created in the sordid world of 1940s nightclubs, rife with drugs, crime and of course alcohol), the daring, the guts to be different, to be yourself…to be free, inside yourself, and then outside. I was sitting a mere 4 blocks from The Brant Foundation, and around the corner from where J-MB lived with Alexis Adler. As such, ironically, I was at a sort of center of this whole journey I’d been on, right across the street from Bird’s former residence, a man who’s been a part of my evolution, too.

I kept thinking back to the fact that J-MB lost his spleen, his (blood) filter, when he was hit by a car at age 6. That’s what his work looks like. It includes everything, everything around him, at the time, or in his experience. So much is going on in modern life, how else can you really depict it? The only “filter” in the work of Jean-Michel Basquiat is that of his unique eye and sensibility.

The Artist @OR1EL poses with his work which includes what appears to be a Portrait of Jean-Michel Basquiat next to his left knee. I note a J-MB Crown on his left shoe. Seen at the 8th Avenue L Station- 4 stations west of the L station Michael Stewart was arrested in, May 28, 2019.

Alas, Jean-Michel Basquiat isn’t 59 right now. He’s a ghost, a spirit. His Art is only 31 to 40 years old. It remains very much alive- speaking to, and moving, an extraordinary number of people. In the 31 years since his own tragic end his influence seems to still be increasing.

Charlie Parker Place, June 7, 2019.

As I left Charlie Parker Place that June day, I was startled to see what someone had written on a newspaper box right on the corner. Downtown 81 is the film that J-MB starred in made in 1980-81, a still from which I showed at the beginning of this piece. In the same style as the Film’s logo, someone had appended “DOWNTOWN 18.” Jean-Michel Basquiat learned from those who came before him, and today others are learning from him.

Portraits of Jean-Michel Basquiat and his associates Keith Haring and Andy Warhol flank Frida Kahlo at 22nd Street & 10th Avenue in Chelsea, looming over the Chelsea Art galleries behind me.

Art history is a continuum. Pass it on.

To answer that question I asked in Part 1– Over these past five months, five shows, all the books, and now three long pieces on his Art, I have come to side with the believers. I’ve come to believe that Jean-Michel Basquiat was, perhaps, the most important Painter known to me to emerge in the 1980s. His work is here to stay.

Postscript-
It turns out I’m not the only one who’s come around to the Art of Jean-Michel Basquiat. Tonight, I went the Preview for the “New MoMA.” And, lo and behold in one of the very first galleries on the 2nd floor, I saw this-

Well? They borrowed it from a “Private Collection.” But, that it’s here is a big statement, and possibly a reversal of their assessment I wrote about way back in Part 1. Now? It appears they feel it’s not only “worth the storage space,” his work is worth giving pride of place to, too. By the way? It’s clear that MoMA’s researchers need to take heed from J-MB’s own words that he was “not a graffiti artist,” which I quoted in Part 1. They also left out that Glenn O’Brien wrote the screenplay for Downtown ’81, which I showed a still from up top. He cast him in the Film after featuring J-MB regularly on his cable access show…which brings this piece full circle, too.

– Soundtrack for this Post is “Donna Lee’ by Charlie Parker as performed by the Charlie Parker All Stars featuring the legendary Bud Powell on piano and that other immortal of Music, Miles Davis, on trumpet. Miles was 21(!) when this recording was made, live, on August 5, 1947. In 1976, when I was coming up as a bassist, another genius, Jaco Pastorius, (to my mind, the “Jimi Hendrix of the bass), blew everyone’s minds by beginning his debut solo album with a performance of “Donna Lee” on his bass. Jaco, who I met and spoke with over the years, was tragically killed in September, 1987 at at 35, less than a year before J-MB’s death. Both performances are pillars of the Art of Music. Here’s Bird & Miles-

*My thanks to to Alexis Adler, May Yeung of the Guggenheim Museum, and to Lisa for pulling my coat to Alexis Adler’s talk.

This is Part 3 of my series on the five Jean-Michel Basquiat and related shows going on in NYC this year. Parts 1 & 2 are under this one, or here and here. 

NighthawkNYC.com has been entirely self-funded and ad-free for over 6 years, during which over 250 full length pieces have been published. If you’ve found it worthwhile, you can donate to keep it going & ad-free below. Thank you!

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.
For “short takes” and additional pictures, follow @nighthawk_nyc on Instagram.

Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

 

  1. Henry Geldzahler was the former Curator for American Art at The Met, later Commissioner of Cultural Affairs for NYC. He interviewed J-MB in January 1983, for Andy Warhol’s Interview Magazine, as reprinted in Jean-Michel Basquiat, published by Charta, 1999, P.LIX, ↩
  2. Whitney Retrospective Catalog, P.243 ↩
  3. from an interview with Suzanne Mallouk. ↩
  4. Defacement Exhibition catalog, P.19 ↩
  5. Defacement Exhibition catalog, P.104 ↩
  6. Here, footnote 22. ↩
  7. I wasn’t able to get to the sixth show, Basquiat x Warhol, which was 3 hours outside of NYC. ↩

Jean-Michel Basquiat At The Brant Foundation

Written & Photographed by Kenn Sava

This is Part 2 of my series on the five Jean-Michel Basquiat related shows going on in NYC in 2019. Part 1 is below, or here.

Outside looking in. The most important show in NYC known to me thus far this year was a show I would be extremely fortunate to see.

Jean-Michel Basquiat, the first exhibition at The Brant Foundation’s new East Village location is a NoteWorthy show because it is a major, museum-quality show mounted at a private institution of the work of a single major Artist with more Paintings on view than all the major NYC institutions, combined, could mount- multiplied twelve-fold. This led me to wonder- What other major Artist-Contemporary, Modern, or Old Master- has so much of their work, and so many of their major pieces in private hands?

The East Village, NYC, May 13, 2019. Looking towards the Empire State Building (rear, left of center). Bad weather, no ticket for the show, no sleep, no umbrella. It was going to take more than that to keep me from seeing this show, AND something close to a miracle to allow me to do so.

It’s easy to have mixed feelings about this. I’ve read some complain that it’s another case of the 1% at its worst; that this show is a case of the very rich showing off. On the other hand, it seems to me that there is a stronger case to be made admiring the vision, and the guts, of the collectors who stepped up and bought much of the work of Jean-Michel Basquiat (J-MB henceforth) when he needed it most, not to mention go through the trouble of sharing it with the public, who, in the case of Jean-Michel Basquiat’s Art, are largely dependent on them doing so to be able to see it. Showing off? Yeah. I guess.

Almost every Artist in the early stages of their career needs the support of buyers and collectors to survive and to continue to create. Yet, it’s also easy to forget that most of these  collectors possibly also bought Art by Artists that have long since been forgotten, (which is one reason I strongly believe in only buying Art you love– if it becomes worth less- even substantially less- than you paid for it? You can always display it and enjoy it.) And? As I wrote in part 1 of this series, the NYC museums, except the Whitney, collectively passed on his work at the time- and continue to do so. The only way they’re likely to fix that now is by gift or donation. The affordability train has long ago left the station for anyone else besides that 1%. The Big 41 had their chance. In the case of some institutions- chanceS, as I outlined.

Unnamed on the exterior, in classic East Village cool, The Brant Foundation, 421 East 6th Street, 10am, Monday, May 13, 2019. If I’m up at 10am, and not STILL up, you know there’s a special reason why. That cab exiting stage right is leaving with my umbrella. See ya.

At The Brant Foundation, a show of 70 Paintings and 1 Sculpture was on view, making it the largest show of Basquiat’s Paintings in NYC since the Brooklyn Museum’s Basquiat Retrospective in 2005, which I saw. Combined with the Basquiat work in the other five 2019 shows, the total approximately equals how many were shown in Brooklyn in 2005. The Brant show largely includes work in the collections of Stephanie and Peter Brant, alongside pieces on loan from the Broad Museum, (a private museum of the collection of another early collector, Eli Broad, who own at least of 13 of J-MB’s Paintings), among other significant loans. Since so much of his work is in private hands who knows how long it will be before we see a bigger or similar number of J-MB’s work here again. So, the six Jean-Michel Basquiat related shows in NYC and vicinity this year (counting the Warhol x Basquiat show going on in Kinderhook, NY, which proved too far for me to get to) might be the best chance I’m going to get to reassess and reconsider his work that it’s barely been 40 years since he began creating it.

The first order of business was getting in to The Brant show and actually seeing it. After all my efforts to get a ticket failed, I resorted to drastic measures. I took the unprecedented step of getting up with 3 hours sleep at 9am and going down to The Brant on May 13th, the last day the show was open, or the day before it closed- I’m still not sure. As I got there at 10am, right as it opened and visitors for the the first timed slots were arriving, I quickly realized this was going to take an act of fate. Compounding things, it was raining and I’d left my umbrella in the cab. I decided to take a Zen approach and stand off to the side, where that tree is to the left, above, and see what happened.

About 30 minutes later, Jessie, the on-top of everything Brant staff person manning the entrance, who knew I was casting my lot to fate, called me over from the door. A lady had arrived and told him she had an extra ticket. Really? A real-life Angel of Providence had appeared when I SERIOUSLY needed one. I walked over and met Lisa, and yes, she had an extra ticket that she was willing to let me use. Miracles really do happen. The fact this piece exists is solely due to her generosity. Seeing it over the 3 and a half hours I spent in it allowed me to flesh out the portrait of Jean-Michel Basquiat’s accomplishment that began for me at Xerox, adding the best look at his most important work I’m likely to get. Any assessment of J-MB’s work and achievement begins with his Paintings. I’d seen 100 works in 2005 at the Brooklyn Retrospective, but I hadn’t prepared to see them. Now IS the time. Lisa’s generosity not only enabled me to create this piece, it also permits me to create the multi-part series on 5 of the 6 Basquiat-related shows I wanted to do, now that she made it possible for me to see the “centerpiece” show of the group. I’m also grateful to Jessie for thinking of me. Due to both of their kindness and consideration, I am thrilled to be able to share what I saw with you.

For a while, it looked like I wasn’t going to get to see this. Standing at the entrance to the show- the lobby of the 4th floor, just after exiting the elevator 90 degrees to the right.  You can see the variance in the lighting in the main gallery from here. Outside, to the right of center is Untitled (Self-Portrait), 1982.

The elevator took us to the 4th floor, where everyone starts and then walks down to the floors below, the show being installed on all 4 floors. It should be said that the group of new visitors getting off the elevator each time on 4 was surprisingly small. The galleries were pretty sparsely filled- incredibly so for a major show on either it’s last day or next to last day. Well, there was well over 1 billion dollars of Art on display, so they opted to keep the crowd manageable.

Untitled (Self-Portrait), 1982, Oilstick and ink on paper, 30 x 22 inches. The first work in the show.

Though the urge might have been to hurry into the large, main gallery shown above, I was stopped in my tracks by the work hanging to the right just outside. There was Untitled (Self-Portrait), 1982, one of the most unique Self Portraits I’ve ever seen. I wondered what Picasso would have thought of it. The colors, and then particularly the black background fascinates me as I ponder at what stage J-MB added it. And then I wondered what Clyfford Still would think of it. Like a number of J-MB’s “heads” from 1981-2, he flattens everything to the picture plane, something not seen all that often in Art. 4 floors of J-MB still to go. What an auspicious start!

A real-life Angel of Providence. Lisa studying Self-Portrait with Suzanne, 1982, in the main gallery on 4.

It turns out that Lisa is a school teacher and an Art lover with superb, wide-ranging, taste that runs from Brancusi through Morton Feldman as I found out as we chatted while going in.

Self-Portrait with Suzanne, 1982. The compelling work Lisa studies above shows the artist with Suzanne Mallouk, the subject of Widow Basquiat, in 2010. It’s the only work known to me created by J-MB showing the Artist with one of his lovers. Beyond this, it’s fascinating to study the way he’s rendered himself here compared with the other “heads” and Self-Portraits from 1981-2.

Before I get too far into the show, I’ll say the building looked brand new, the restoration of the former Con Ed Substation being first class from top to bottom. I have mixed feeling about it’s suitability for the display of Art, but honestly, I get some of those feelings almost everywhere I see Art. In my experience, the #1 problem in seeing art is lighting, combined with the scarcity of truly non-glare glass or acrylic. As my friend, Corinne, co-owner of NYC’s legendary City Frame, tells me- currently, it’s expensive. Then again, not all Painting is glazed. Increasingly, Artists, including Raymond Pettibon and Kara Walker, and Photographers, including Gregory Halpern, have shown their work without frames, often just tacking it to the walls at the corners. Still, glazed or not, lighting- artificial or natural, is a problem that rears its head in almost every show I see. The same was the case at The Brant.

I don’t care how rich I was, I don’t think I’d install a pool over irreplaceable Art.

The fourth floor is the top floor and features a skylight, apparently, filled with water- unless this had collected from the rain? I don’t know. They must either have Lloyd’s of London insurance, 8 million tons of confidence in whoever installed it, or both, to hang a few hundred million dollars worth of one of a kind Art underneath it, including more than one of J-MB’s greatest works, in my opinion. But, beyond this, being a cloudy, rainy, day, the large skylight wasn’t letting in as much light as it might have at other times.

Hanging a few feet from the skylight/pool (as you can see in the installation view earlier) is Untitled, 1981, acrylic and oil stick on canvas, 81 x 69 1/4 inches, from The Broad, L.A., the upper half of which was in a shadow during my visit.

Typical of all the works on view in this room, the upper half of Untitled, 1981, on loan from The Broad in LA was in a shadow. Still, the power of seeing this work in person was staggering. I took all of it in from a distance when I first saw it, then walked over to see the other works in the room. Finally, I walked back over to look closely at it at length.

Detail of Untitled, 1981.

The difference in the experiences is remarkable, as you can see. But, no matter how closely I looked, minding the security rope you can see at the very bottom of the picture above, it was still drawing me closer. Like a Rembrandt, or Van Gogh, where I’d like to study each brushstroke for it’s content, here I was being drawn in to look at each detail. The feeling I got was that each small part of it was a world unto itself, yet irrevocably part of the whole. What, exactly, are we seeing? It’s not a skull because there are eyes and there is hair, at least part of a beard, and some teeth, though others are missing. And there are what appear to be stitches and possibly some letters over all of it- a cryptic message, like the figure, in a language no one had ever seen before. (Compare this to the work on view in Xerox that I looked at in the first Part! There, the details were, largely, words.) This is 1981- a year after the first show the work of J-MB appeared in. It’s a work from near the beginning of his post-SAMO© career as an Artist. And, it’s one of the most remarkable shots across the bow in Art history, possibly since Picasso’s Les Damoiselles or Duchamp’s Bride Stripped Bare. When I’ve seen it in books, I haven’t been able to stop looking at it. Seeing it in person it felt like I’d never really seen it. But, even saying that? There’s literally nothing like this in Western Art history to 1981. In his book, The Art of J-MB, Fred Hoffman makes a case for this being among J-MB’s “key” works. I don’t have a list, but I won’t argue with that. I just keep wondering if Francis Bacon, who outlived J-MB, passing away in 1992, saw it and what he thought, or would think, of it.

Per Capita, 1981

Across from Untitled was the incredible Per Capita, also from 1981, with it’s central figure in Everlast boxing trunks, a halo over his head and his outstretched left arm holding a torch that sure looks to me like that of the Statue of Liberty. Over the halo are the words, “E PLURIBUS…,” or, “out of many,” leaving out the equally famous, “UNUM,” or “one.” The title (which may or may not be the Artist’s title- I simply don’t know), “Per Capita,” means, “per unit of population; per person,” in one definition, per American Heritage Dictionary, and “equally to each individual,” in another. Along the left side appears to be the beginning of an alphabetical list of states with the per capita income of its citizen next to them. Even on a partial list, that manages to include states in 3 of the 4 corners of the country, the variance is striking. Fred Hoffman wrote at length about this piece in his essay in the catalog for the 2005 Brooklyn Museum Retrospective, where he also listed it among J-MB’s key works, where he says the central figure is Cassius Clay, as Muhammad Ali was known when he won the gold medal at the 1960 Olympics (The Art of J-MB, P.129.), which could also make that an Olympic torch.

As I looked at this fascinating work, I couldn’t help wonder if the “UNUM,” or “one” E PLURIBUS was seeking with its … was the solitary figure, as in “Out of many, THIS one.” J-MB’s love of boxers is well known and was to be seen in most of an entire gallery on the 2nd floor, as well as in his portrait (in which he wears Everlast boxing trunks) in the famous Warhol*Basquiat poster for their joint show a few years later in 1985 at Tony Shafrazi Gallery, which could also make this a Self-Portrait.

It’s hard to write about this show and not include every work in it- many are major, many others important for any one of a number of reasons, and they all deserve mention.

Untitled (Car Crash), 1980, Acrylic and lipstick on canvas with exposed wood supports. So much of J-MB’s story and his Painting begins in this work where he recreates the accident where he was hit by a car at age 6 that hospitalized him for a month and caused the loss of his spleen. Seen in the small rear gallery on 4.

On 4, there was also a small rear gallery along the rear of the building. Here, too, lighting was a question. The far wall was lined with a floor to ceiling window, which, you guessed it, let in a lot of light- even on this dreary day. I have no idea if they cover it/partially cover it in full sun.

Untitled, 1981, Oilstick on paper. Seen in the small, gallery in the back of the 4th floor. There’s so much that’s revolutionary in this extraordinary work, and at the same time it gives us another take on the two Untitled (Head) Paintings in the show, this time the “head” is seen from the front and not from an angle and has been flattened, like the picture plane. The right side is almost Cubist.

Down on 3, the lighting was better.

3rd floor. Installation view.

The main source of natural light being another picture window, but this time it was at the end of a large rectangular space and didn’t interfere with the most of the large works on view, including this one-

Untitled, 1982, now in the collection of Yusaku Maezawa, while on loan to the Jean-Michel Basquiat exhibition at The Brant Foundation, May 13, 2019.

In May, 2017, this Painting, Untitled, 1982, by Jean-Michel Basquiat sold at Sotheby’s for 110.5 million dollars. As someone who prefers to consider Art for what it is without the shadow of dollars, as much as possible, this fact gives even me pause for thought. Here it was, on a corner wall of the third floor, appearing as another work in the show as opposed to something “special.” I applaud this decision.

Do I think it’s “worth” 110.5 million dollars? Anything is worth only what someone is willing to pay for it (And, there were multiple bidders for it). Given that the question of whether something is, or isn’t “Art” won’t be settled during any of our lifetimes, only hundreds of years hence if the work continues to speak to people, the question of commerce- supply and demand, is what is rearing its head in Contemporary Art auctions, in my view. Jean-Michel Basquiat’s public career as an Artist only lasted a few months over 8 years, from June, 1980 to his death on August 12, 1988. Though he was extraordinarily prolific during that time, creating 1,000 Paintings and 2,000 Drawings2, included in it are only so many major works (a number that I personally feel is larger than some others seem to think), and Untitled, 1982, happens to be one, in my view. Looking at the lists of the highest prices paid at auction for Art reveals that many, if not most, of them are the best works available as most of the major work by established Artists of, say, Picasso’s time or earlier (considering he passed away in 1973), are in museums which are not likely to part with them. The works auctioned are certainly not the most important works by any of the Artists on the list, as I’m sure most would agree (perhaps not the purchasers), though it’s subjective. The $110.5 million for Basquiat’s Untitled, 1982, is for a major Basquiat, in my opinion.

But, the more astonishing thing for me to realize (Hey? It’s not my money) is that at the time of the auction, in May, 2017, Jean-Michel Basquiat would have been 56 years old! Untitled, 1982, is a work he Painted when he was 21 or 22 years old. People talk about this sale marking the highest price ever paid for a work by an African-American Artist. Others mention the highest price ever paid for a work by any American Artist.

They never mention that this sale makes Jean-Michel Basquiat the YOUNGEST Artist in HISTORY to have a work sell for over 100 million dollars- either by age at the time of the sale (56), or age when he created the work(21-22)!

At 56 in 2017, he would be considered to be in “mid-career” as the museums call it. At 58, right now(!), he should still be every bit the vibrant, revolutionary force in Art he was for the 8 short years of his career. That he already feels like such a part of history is indicative of it being already thirty-one years, this August 12th, since his passing.

Museum Security (Broadway Meltdown), 1983, left, Big Shoes, 1983, Hollywood Africans, 1983, right, a work on loan from the Whitney Museum. The two to the left are in private collections. In 1983, after they were created, these three works hung on the same wall (with other works) at Larry Gagosian Gallery, LA, as is shown in the Whitney Retrospective catalog, P.251

Also on 3 was this striking group of three works, each from 1982, which included a work from an NYC museum!- Hollywood Africans, from the Whitney. These were fascinating contrasts to the collaged work on view at Xerox, Museum Security and Hollywood Africans both featuring words more than image, but were done exclusively in paint, as far as I could tell.

Gold Griot, 1984, Acrylic and oilstick on wood, 117 x 73 inches. You can get a sense of how big it is in the installation view, above.

The somewhat monumental Gold Griot is a very well known work and is memorably recalled in Fred Hoffman’s The Art of J-MB (P.63) as having originated from slat fencing (possibly that referred to in Phoebe Hoban’s book, P.140, that his assistant Matt Dike had acquired from a fence behind Larry Gagosian’s LA house). Mr. Hoffman’s book includes a picture of J-MB creating the work where we see the Painted head looks to be about 8 times larger than his own. Mr. Hoffman references Andy Warhol’s Gold Marilyn, 1962, in speaking of the work’s “pop” influence, with the figure isolated from the gold background, before saying, “The figure is as much a divine apparition as a living human being. With its ethereal gold background surface, the figure of Gold Griot pays homage to sculptural representations of the divine in various sub-Saharan African cultures.3.”

Detail of Gold Griot, 1984.

Looking closer, it’s fascinating to see how J-MB’s depiction of the head has evolved in 2 or 3 years. Gold Griot reminds me of the innovations of Robert Rauschenberg and Jasper Johns, when it comes to Painting surfaces, though it’s resolutely its own work.

2nd floor. Installation view. The work on the immediate left is See Plate 3, 1982, Sculpture in two parts, Acrylic and oilstick on wood, canvas, mounted on wood, the only Sculpture displayed in the show.

The second floor is a bit of a strange space for displaying Paintings. A very tall space, which at first it seems more conducive to the work of monumental Sculptures, like Richard Serra’s, and lined with brick walls. The curators made it work, choosing to install the Paintings in a single row on the two side walls, then salon style on the third wall. While this made seeing the works in the top two rows challenging, it did allow for the maximum number of Paintings to be shown. As a result, I learned to live with it. In hindsight, I’d say they made the best use of the available space throughout the building, though I feel the building was less than ideal for this show because of the uneven lighting and the very high walls on the 2nd floor.

Untitled (Yellow Tar & Feathers), 1982, Pork, 1981, Discography II, 1983, left to right.

Along the sides, important works like Untitled (Yellow Tar & Feathers), 1982, were joined by others not as well known. Discography II contains a list of the details of a Miles Davis Allstars recording session which is historically noteworthy because Charlie Parker performed as a sideman for Miles for one of the only times in his career. To that point, Miles was exclusively a sideman for Bird.

Now’s The Time, 1985, Oilstick and acrylic on plywood, 92 1/2 inches in diameter.

While on the opposite wall, the work referencing Jazz continued with the very cool Now’s The Time, 1985, an homage to the 1945 Charlie Parker record hangs. It also compliments the work on the large wall hung salon style, being they all have unique, experimental stretchers holding their canvases.

On the salon style wall, one thing each of its 16 works share are the unusual stretchers. One thing about J-MB’s Paintings that you don’t hear much about today are his unusual mounts. Constructed for J-MB by his assistants, including Stephen Torton and Matt Dike, there were other examples on the upper floors, and they are another thing that makes his work unique.

Jean-Michel Basquiat, Dos Cabezas, 1982, a portrait of Andy Warhol and a Self-Portrait that presaged the Warhol- Basquiat collaborations in 1985.

The 2nd floor also included a rear gallery, which featured 4 portraits of boxers and 3 other very power portraits.

Rear gallery on the 2nd floor installation view.

J-MB had a deep fascination with boxers, and they appear both as Self-Portraits and as homages. Sometimes both. Sometimes it’s hard to tell which.

“St. Joe Louis Surrounded by Snakes showed the boxer, one of Basquiat’s heroes, encircled by sharkish white managers. ‘That was Jean-Michel,’ said Suzanne Mallouk.” Phoebe Hoban. Basquiat, P.113. Early on, Paul Simon attempted to buy it for $8,000., but was thwarted by Rene Ricard. According to the iPad next to it, seen in the installation view, which served in lieu of wall cards, it now belongs to the Brants. (ibid, P.114).

Muhammad Ali changed his name from Cassius Clay in 1964. As Cassius Clay, he won the gold medal at the 1960 Olympics, becoming a hero to many, including J-MB, who references it, here, by using his name at the time, in this work from 1982.

Untitled (Boxer), 1982, Acrylic and oilstick on canvas, 76 x 94 inches. Fred Hoffman calls this immensely powerful work, “… the expression of the black man’s physical and spiritual attributes.” (The Art of J-MB, P.133)

I almost missed the works installed on the first floor. Luckily, I spotted the small sign pointing to them right as I was beginning to look for the exit. Thank goodness I didn’t as it included some of his largest and at least one of his most important works.

Unbreakable, 1987, Acrylic on canvas, 98 x 111 3/4 inches.

I’d never seen a J-MB work like Unbreakable prior to seeing it. Given it’s dated 1987, perhaps this is a glimpse into where his work was heading. In it, he synthesizes everything he’s been using- images, words, and color.

Grillo, 1984, Acrylic, oil, paper collage, oilstick and nails on wood, 96 x 211 1/2 inches- close to 20 feet by 8 feet!

What a powerful, stunning, incredible work Grillo is! It’s taken Robert Rauschenberg’s Combine Paintings in an entirely new direction. I love the juxtaposition of the two panels with figures (one left, one right of center) with the panels immediately to each of their right. I do wonder if this piece was meant to sit on the floor or be raised a foot as it is here.

Detail of the right of center panel.

As I looked closer at Grillo, I noticed a good many color Xeroxes collaged on. Yet, the two figures hold the key to it, I think. On the left is a figure holding a torch. Over his head there’s a pice of wood with nails sticking out of it. That sure could be interpreted as a “crown of thorns.” Around him are various repeated words, including- “Soap,” “Oil,””Butter,” Carbon,” and “Stretch,” along with at least two Bebop song titles- “Well You Needn’t,” by Thelonious Monk and “Half-Nelson,” recorded by Bird. What this figure represents I don’t know, but there are elements of the martyr and the heroic included. The other figure, apparently a king, wears a large crown, accompanied by small attendants to its right, and has his hands raised, like the boxers seen upstairs. He appears to be looking towards the left side figure, and both figures have their internal organs shown, perhaps yet another reference to Gray’s Anatomy.

And, there’s this- The left hand figure, how has a board with nails over his/her head, possibly a crown of thorns?, holds a torch…

The work speaks volumes about how J-MB’s Art has evolved in 7 short years, and the unlimited potential the future held for it, and for him.

…which reminds me of the one seen 3 floors up in Per Capita, 1981.

A few days later, Lisa shared her thoughts on the show. “I thought the Basquiat show was quite spectacular. There were so many works that I had never seen before. In particular, I was struck by the great thick black oil slicks. There is something about this sheen, like shoe polish, that you can’t truly appreciate unless you see the paintings in person. They give the works a lot of dimension and texture. They also remind me of Franz Kline – totally dynamic and emotive in gesture. The oil slicks are bold and grimy, like New York. His compositions tend to mimic graffiti on the street – throw ups, wheatpaste posters, and tags on a wall/single canvas.”

There was a bit of the feel that the show was something of an afterthought to the just completed Louis Vuitton show. A “Hey, we’ve got all this work assembled, why don’t we just put it up in NYC?,” kind of thing. I quickly moved past it, the lighting and other questions with the space I’ve mentioned. Nothing dulled the effect of seeing so much work that STILL looks fresh, vital, and contemporary, in spite of countless imitators, commercial “appropriations” of his symbols and the passage of over 30 years since he left. What I saw at The Brant was the work that has defined the legacy of J-MB- in quite a few of his more well known Paintings, works characterized by his characters, in which his words take much more of a back seat than they did over at Xerox. Thinking about J-MB at The Brant four months later, the show has become more monumental in my eyes.

While Peter Brant may represent what many call “the 1%,” so does Jean-Michel Basquiat. For me, J-MB represents that extraordinary, and extraordinarily rare, group of people who are able to overcome unfathomable difficulties- racially, socially, financially, educationally and, apparently, familial, and some difficulties that appear on the outside to have been self-inflicted (though quite possibly resulting from the others- I’m not a doctor or a therapist), then somehow surmount ALL of that and go on to rewrite Art history in about a decade. How many people can this be said of?

How ever many you choose to include? I’m not sure it would even equal 1%.

This Post is dedicated to Lisa, with my undying thanks. My gratitude is due to Jessie for his consideration. Anyone reading this owes them their thanks as well.

*- Soundtrack for this Post is “Bold As Love,” by another brilliant Artist who died at just 27, Jimi Hendrix, which concludes the timeless Axis: Bold As Love.

“Anger he smiles towering in shiny metallic purple armor…
My red is so confident that he flashes
Trophies of war and ribbons of euphoria
Orange is young, full of daring
But very unsteady for the first go around
My yellow in this case is not so mellow
In fact I’m trying to say it’s frightened like me
And all these emotions of mine keep holding me from
Giving my life to a rainbow like you
[Chorus]
But they’re all bold as love
Yeah, they’re all bold as love”

In lieu of the immortal Hendrix original recording here’s a cover to inspire you to seek out the original-

This is Part 2 of my series on the five Jean-Michel Basquiat related shows going on in NYC in 2019. Part 1 is below, or here.
My prior pieces on Painting are here. 

NighthawkNYC.com has been entirely self-funded and ad-free for over 6 years, during which over 250 full length pieces have been published. If you’ve found it worthwhile, you can donate to keep it going & ad-free below. Thank you!

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.
For “short takes” and additional pictures, follow @nighthawk_nyc on Instagram.

Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

 

  1. I’m speaking of Manhattan’s museums, only, here and leaving off The New Museum who have no permanent collection. ↩
  2. according to the Brant Foundation. ↩
  3. ibid P.65 ↩

Jean-Michel Basquiat: Now’s The Time

Written & Photographed by Kenn Sava (except *)

Part 1 of a series.

It’s hard to believe that not even 40 years have passed since Jean-Michel Basquiat burst upon the Art scene, (after his career as part of the legendary graffiti duo SAMO©), when the month long The Times Square Show opened 39 years ago on June 1, 1980 at 201 West 41st Street. Just eight years, one month and eleven days later, on August 12, 1988, he would be found dead from a heroin overdose at the infamous age of 27 at his home and studio at 57 Great Jones Street.

What appears to be an anonymously applied silhouette of the late Artist looms large here at the one time stable at 57 Great Jones Street, NYC, seen in May, 2019. Back in the day, it was owned by Andy Warhol who rented it to Jean-Michel Basquiat, who lived here from 1983 until he died here on August 12, 1988. His studio was on the ground floor, his living quarters upstairs. By the way? In an interview with Becky Johnston and Tamra Davis, Jean-Michel Basquiat said, “I don’t really consider myself to be a graffiti artist, you know?1” That might surprise those attempting to cover every square inch of the building now.

He didn’t live to see the Art market crash (unrelatedly) the following year, from which it has since recovered and grown many, many fold larger than it was during the bubble of his day, nor did he live to see the end of the controversy around him and his Art. It’s never subsided-

He Was Crazy, 1979, Mixed media on canvas, all of 5 x 3 inches, the earliest and smallest work on view at Jean-Michel Basquiat / Xerox.

-Robert Hughes titled his obituary “Requiem for a Featherweight.”

-“He was essentially a talentless hustler…,” according to Hilton Kramer in a piece titled,  “He had everything but talent” in 1997.

-“Come on…Basquiat? Really? Sort of an art hoax. Just the incoherent rantings of a tortured soul obsessed with drugs and a deluded quest for acknowledgment, which he did achieve. Doesn’t make it good.” A direct quote from the comments more recently here.

Yes, there are still plenty of haters hating on the work on Jean-Michel Basquiat.

The now infamous cover of The New York Times Magazine from February 10, 1985 by Lizzie Himmel shows the Artist in his studio. The article, by Cathleen McGuigan, included a look at the Artist that seems surprisingly balanced today given all the controversy surrounding him at the time.”The extent of Basquiat’s success would no doubt be impossible for an artist of lesser gifts,” she wrote.

On the other hand, there are the countless other members of the Art viewing public for who Jean-Michel Basquiat’s work has continued to speak since he started making it, and Painting that speaks to people over time is what comes to be accepted as “Art” a few centuries on it seems to me. Yet, the Art viewing public is not the only group divided on the work of Mr. Basquiat. On page 44 of the book, The Art of Jean-Michel Basquiat. Fred Hoffman, one of the curators of the 2005 Brooklyn Museum Basquiat Retrospective and a man who produced prints with Jean-Michel Basquiat (J-MB henceforth) for 2 years, writes, “Herbert and Leonore Schorr offered the Museum of Modern Art the opportunity to choose a painting from their collection as a gift. The museum replied that having a painting by Jean-Michel Basquiat was not even worth the cost of the storage.” On May 26, 2017, this quote appears in the New York Times, “‘It’s an artist who we missed,’ said Ann Temkin, the chief curator of paintings and sculpture at the Museum of Modern Art, which does not own a single Basquiat work2. ‘We didn’t bring his paintings into the collection during his life or thereafter3.’”

6 year old Jean-Michel Basquiat’s membership card to the Brooklyn Museum. It’s not well known that J-MB was an avid museum goer, attending the Brooklyn Museum and later, frequenting The Met with his friend Fab5Freddy. Credit 2015 The Estate of Jean-Michel Basquiat/ADAGP, Paris, via ARS, New York; Hiroko Masuike, via The New York Times.

In fact, as I write this? Of NYC’s “Big five” museums, only the Whitney owns a Basquiat Painting- they own 3, according to their online collection catalogue (none are currently on view as of my last visit, this past month. Also, I should note that among the 5 Manhattan museums The New Museum has no permanent collection. By the way, The Brooklyn Museum owns one print, seen below, and a Drawing.)

None of those feelings were mine though I wasn’t a “fan” of the work of Jean-Michel Basquiat. Then, as now, I was focused on Artists I felt were overlooked. My feeling in the 1980s was that too much money was being spent on, and too much attention given to, Contemporary Artists with no track record. Artists whose work hadn’t stood the test of time, hadn’t stood up to critical, and historical, assessment, whose work wasn’t in major museums, and on and on. By default, though not in particular, that included the work of J-MB. Still, I’ve always kept an open mind. There are very very few Artists or Musicians who’s work I will never, ever love- no matter what. But, there are some. Hitler was a painter- lowercase “p” for once- remember?

May 12, 2005. The only picture I was able to get (quickly) just outside the Basquiat Retrospective at the Brooklyn Museum, since pictures were not permitted inside. Back of the Neck, 1983, Screenprint, right, seen in the lobby and the show’s poster to the left. Glare was a problem in 2005, too. You can see the show in official shots, here.

So, on May 12, 2005, I went to that Brooklyn Museum Basquiat Retrospective that Mr. Hoffman was a curator of. When I got home, I wrote, “His work still doesn’t speak to me, beyond the fact that I so admire his freedom. The show was very well done.” I also came away struck by his love of Jazz. Anyone who loves classic Jazz is OK with me. I also remember being surprised at how prolific he was in such a short time, which reminded me of Van Gogh, who’s Painting career lasted only about a year or so longer. Looking back on it now? My head was elsewhere. I was drawing on a daily basis in a representational style, and so I was lost studying Ingres, Hopper, Richard Estes and Rembrandt, who I had recently gone to Chicago to see a show of. But? Having bought one at the show, I began wearing T-shirts with Jean-Michel Basquiat’s Art on them. His work just fits walking around NYC.

Untitled, 1980, the white on yellow original of which is in the Whitney Museum’s collection, is a work that was shown at New York/New Wave in 1981 at MoMA PS1, now appears on a Uniqlo SPRZ NY Women’s T, seen in June, 2019.

Slight digression- I’m not for giving a free ad here, but I must give props to Uniqlo for putting the Art and cover Art of so many great Artists and Musicians4 on their SPRZ NY line of T shirts. Some of the Art line is co-sponsored by MoMA. In turn, Uniqlo pays for the free Friday nights at the MoMA, which countless thousands attend each week. Uniqlo has continually featured J-MB’s work on their clothes, in spite of the problematic history of Basquiat and MoMA. Fred Hoffman in The Art of J-MB (P.175, footnote 2) relates this story about Untitled, 1983, a limited edition print of 10 copies he did with J-MB- “Untitled was given to the Museum of Modern Art in 1984. After it was in the catalogue for the MoMA 1984 exhibition An International Survey of Painting and Sculpture, the work was completely overlooked by the museum, and excluded when the museum first put its collection online. It was not exhibited in the galleries until 2015. Only with the collaboration between MoMA and Uniqlo beginning in 2014, when a cropped image of Untitled was used as the signature image for the marketing of the ‘SPRZ’ collection of iconic artist images applied to clothes, did the museum finally recognize the work as part of its collection.” 2015! To this day? I still wear Uniqlo J-MB T’s, even though I wasn’t a “fan.” End digression.

Jean-Michel Basquiat appears to be admiring  Nick’s Basquiat tattoo in one of Alexis Adler’s Photos of him at Bishop Gallery. Nick is an Art Teacher.

Ok. So, who’s “right?” The haters, the non-believers, and the NYC museums, who, unanimously, minus one, passed on acquiring his Paintings? Or, the incalculable number of members of the Art loving public to who the Art of J-MB speaks, perhaps, like that of few other Artists today, judging by how often I see others wearing his Art and icons, along with the innumerable Artists who’ve been influenced by his work, and those few collectors who bought up the bulk of his best work shortly after he created it?

All I can show you- pictures were not allowed in the show.

Fast forward. On May 7th, 2019, I went to see Picasso’s Women at Gagosian on Madison. It’s one of those shows that, though small, reminds you, as if you need to be, why Picasso was one of the towering creative geniuses of 20th Century Art, in my view. Each and every work is in a different style, and most were masterpieces. Yet, it’s a show that will only live on in the memory of those who saw it as no photos were permitted. I walked out through the building’s lobby, my head spinning. Just before I exited, next to the front door, I spotted this-

Minutes after I saw this poster my mind began to change.

Jean-Michel Basquiat / Xerox. I asked the guard where it was. “On 3,” he replied. Still recovering from Picasso, I pondered if I could clear my head enough for about 5 seconds, then I went back in and went up to Nahmad Contemporary on 3.

3 hours later, I left, realizing I’d never really seen the work of Jean-Michel Basquiat before. I had missed it. In Xerox, the term “Painter,” all of a sudden feels too small, even for an Artist notorious for getting paint everywhere- including on his multi-thousand dollar Armani suits, as can be seen in the infamous cover of The New York Times Magazine shown earlier.

But, this is a show that features his under-known multimedia works that include photocopies- color Xeroxes being one of his favorite tools, one he loved so much, he bought his own color Xerox machine. (I’m sure there are many others, but right now? I can’t think of many Artists who made color Xeroxes as big a part of their work- particularly Painters.) As a result, here images recur- his own images, exclusively, which is down right refreshing in this age of copious “reappropriation.” Drawings or Paintings that the Artist has Xeroxed and pasted onto canvas which he then proceeded to add to and modify in any number of ways, including Paint on.

Installation view. I was completely unprepared for the depth and endless detail in this body of work I had previously not known.

As a result, in Jean-Michel Basquiat / Xerox, we see J-MB the collagist as much as we do the writer, or the Painter. Suddenly, his work looks different. The figures recede, words come to the fore. Many, many words.

Odours of Punt, 1983, Acrylic, oilstick and Xerox collage on canvas, 40 x 83 inches

Odours of Punt, 1983, was one of the first works in Xerox and it was one of the first works to get to me. A “non-fan” up to that moment, something clicked in me when I saw this. In it, J-MB borrows Painting techniques from all over Art History on his way to making something…else. The history of Painting from 1947, on, was staring me in the face, to the left, while something entirely new and different was vying for my attention on the right. On the left, I felt Clyfford Still being channeled underneath Cy Twombly and Jean Dubuffet yet what he created is something distinctly his own- a remarkable thing in itself. And extremely abstract, at least to my eyes. While its right side felt like it was coming from another world, made up of fragmentary images. Neither side would seem to “go” with the other at first glance, yet, somehow, as my eye and brain moved between the two “worlds” of the work, they manage to hold together almost miraculously well. This is something I’ve felt in the presence of the greatest works of Abstraction, including those by, say, Kandinsky, Jackson Pollock from 1947 to 52, Mark Rothko, Jack Whitten, and Mark Bradford today. It’s incredibly hard to do, which is evidenced by the fact that almost none of them (who’s careers have completed), except for Kandinsky, (who was 77 when he passed away, and Painting abstractly for about 35 years), were seemingly able to do it indefinitely. Jackson Pollock seemed “to lose his fastball” in his last few years and his style began to change, and Mark Rothko lost…his life (I’m not saying that’s related to his Art). Perhaps these are only coincidences. J-MB didn’t make it to 30 years of age.

Detail of the upper center.

On the right, equally abstract to me was what seemed to be a new creative language. “BIRD OF GOD,” “VENUS VII,” “COSTOXIPHOID,””BLUE RIBBON,” and on and on, accompanied by innumerable drawings and diagrams. Man, there’s A LOT to see in this! Even now, almost 4 months later? I feel like I’ve only begun to look at it. For only one example- Costoxiphoid is a ligament that connects the ribs. At age 6, J-MB was injured in a car accident. While he was hospitalized (his spleen, i.e. his “filter,” was removed), his mother brought him a copy of Gray’s Anatomy. It would be a sourcebook for his Art for the rest of his life, and possibly here for “1. Cranial Cavity, 2. Facial,…” to the left of center. The title (assuming this is the Artist’s title- many of his works were “named” by others) is also an enigma. “Odours” referring to “any property detected by the olfactory system,” per Merriam-Webster, and “punt” have multiple meanings, including “an open flat bottom boat with squared ends.”

Untitled, left, and Peter and the Wolf, both Acrylic, lipstick and Xerox collage on canvas, both 1985, both 110 x 114 inches, seen from about 15 feet away, the figures in these pieces are almost entirely swallowed up by everything else.

Walking through Xerox, it was impossible not to begin to understand that J-MB‘s work is deep. Deeper than just about anyone has even written about so far. These works contain a staggering, almost obsessive, amount of detail, and details that swallow up the figures, one of the things the Artist is most famous for. Figuring out what’s going on in all of this detail is going to take 2 things- #1, an expert, most likely one who knew the Artist, or #2- A long time.

Not having known Jean-Michel Basquiat, I, like those born after August 12, 1988, can only look at his work and see what it says to me. In a short time, my looking thus far has given rise to some threads that I am going to continue to study.

First among them is Jazz. Being a former Musician, who produced Jazz records and wrote for a national Jazz magazine for 4 years, perhaps I am pre-disposed to spotting them. Fair enough. While many people talk about J-MB and Hip-hop, looking at the work in this show, I failed to see even one reference to it. This struck me, particularly because one thing that stood out to me at Xerox to the point that I couldn’t overlook it was the CONTINUAL, and extraordinary number of, references to Jazz- be it Jazz Musicians, records or song titles. In fact, they were so prevailing, you’d have to look hard to find even one work here without a Jazz reference somewhere in it (which I may, or may not, have).

Untitled, 1985, Xerox collage mounted on panels, 48 x 85 inches.

In Untitled, 1985, a collection of color Xeroxes mounted on panels, the Jazz references are almost overflowing.

Almost right in the middle of Untitled is this portrait of Miles Davis, playing, or holding, his horn.

Fittingly, smack dab in the middle of it is this portrait of trumpeter and bandleader Miles Davis. Which reminds me of this still from a Miles Davis video from the late 1950s-

Miles Davis performing “So What” in a 1958 film called The Sound of Miles Davis in a group that also included the great John Coltrane.

And then there’s the work shown in the Xerox poster, King of the Zulus, 1984-5. “King of the Zulus” is, also, the name of a Louis Armstrong and his Hot Five record from 1926.

The work from the poster seen in the flesh. King of the Zulus, 1984-5, Acrylic, oilstick and xerox collage on paper mounted on canvas, 86 x 68 inches.

Detail of the lower left corner of King of the Zulus. This gives a little idea of the depth of what’s going on in this work.

The lower left corner of King of the Zulus includes a drawing of another Louis Armstrong record, “Potato Head Blues,” which some feel is at the top of the list of his finest recordings (those are some mighty brave folks. Miles Davis once said that Louis played everything you can possibly play on the trumpet. He would know. I’d never dare a guess at “greatest.” It doesn’t exist.). In his 1979 movie Manhattan, Woody Allen (who is also a Jazz Musician) has his character say that “Potato Head Blues” is “one of the reasons that life is worth living.”

Red Joy, 1984, Oilstick and Xerox collage on canvas, 86 x 68 inches.

Later, I came across the transcription of an interview with J-MB by Becky Johnston and Tamra Davis in which Becky Johnston asks him-

“BJ: What music do you like?

J-MB: Bebop’s I guess my favourite music. But I don’t listen to it all the time; I listen to everything. But I have to say bebop’s my favourite.”

Detail of the lower right corner of Red Joy. That’s a portrait of the great saxophonist and composer Charlie “Bird” Parker, with a musical quote from his composition “Red Cross” on the top.

“Bebop” was a revolutionary, new, style of Jazz that Bird, Dizzy Gillespie, Thelonious Monk and Charlie Christian developed in the late 1930s and early 1940s. Louis Armstrong predated and outlived Bebop (which peaked in the 1940s), so it’s obvious that J-MB listened to Jazz from other periods as well as Bebop. Regarding the work that might omit a Jazz reference? Interestingly, look as I might, I didn’t find any Jazz references in Odours of Punt, seen earlier, rare among the works in Xerox. Unless the repeated “BIRD OF GOD,” near the upper left is a reference to Charlie “Bird” Parker. What else could it mean? My guess is that it is- until an expert comes forward. When he died, it’s reported in Pheobe Hoban’s biography that crates of Jazz records belonging to the Artist were thrown out, along with a carton of copies of Ross Russell’s 1973 Parker bio, Bird Lives!5.

Jean-Michel Basquiat holding a copy of The Subterraneans by Jack Kerouac. He was reported seen carrying one around in Pheobe Hoban’s biography of the Artist. *Photographer unknown.

As for the second thread, the proliferation of words in the works included in Jean-Michel Basquiat / Xerox got me to look closer than I ever did before. Then, in my research, I discovered something interesting. Jean-Michel Basquiat had a love of the Beats. At various points he is reported to be continually reading William Burroughs Naked Lunch (a picture of him with a copy of it was taken by Alexis Adler was shown earlier- the picture with Nick’s tattoo, in which Naked Lunch is shown mounted on the wall behind J-MB) and Junky, as is reported in Pheobe Hoban’s Basquiat: A Quick Killing In Art, (eBook P.75). Later on, he is reported to be carrying around Jack Kerouac’s The Subterraneans, as is seen above. These struck me. Then, I discovered something more. J-MB knew both William Burroughs and Allen Ginsberg, and can be seen with both here! He was also Photographed by Allen Ginsberg, a terrific and still somewhat overlooked Photographer in his own right. While others make cases for J-MB being a member of this or that “group,” how crazy is it to make a case for J-MB as a descendant of the Beats? There’s more direct evidence for it than there is for some of the claims I’ve seen. Some have made the case for J-MB the Poet. From his SAMO© days to what we see in his Notebooks, he does have one of the most unique ways with the English language of any writer known to me.

Detail of the lower left section of Untitled, 1987, Acrylic, oil stick, and Xerox collage on canvas, 100 x 114 inches, reveals lists of song titles, under two semi-circular Drawings of record labels.

It’s become apparent to me that the cult of personality surrounding the Artist, and his fame (which, he longed for while he was homeless early on, and chased later, which makes him, at least partially responsible for) has, also, served to delay the serious critical assessment of his work. I’m not saying there isn’t any. There is. There are some very fine essays in the catalogues for the shows done so far, beginning with Richard Marshall’s excellent piece, “Repelling Ghosts,” in the catalogue for the very first J-MB Retrospective, at the Whitney Museum in 1992, and, as I said, Fred Hoffman has done a yeoman’s job of pointing the way to where Basquiat scholarship may be finally going, but the need for this is most urgent in my opinion, before the work is left to those who did not personally know the Artist. From what I’ve read thus far, Jean-Michel Basquiat’s Art was best “understood” by those who knew him. Some of them have already passed away, taking with them whatever they didn’t write down or share in interviews about the Artist and his work. Since the real critical assessment of his work has taken so long to get underway, there is, it seems to me, a real danger that if this continues to happen, J-MB‘s Art will remain an eternal mystery, like say, Vermeer’s, is to us today. Part of this is due to the fact that museums have been slow accepting J-MB‘s work, or even borrowing it to mount shows of it. Museum shows generally result in new scholarship published in the accompanying catalogs. The pace of museum shows has picked up over the past decade, both in the US and in Europe, but, in my opinion, when it comes to actually studying the work, the scholarship has been spotty so far. So? Anyone delving into the work of J-MB for the first time, as I am, is left with a lot of biography and a little Art criticism to fall back on- no matter how many books you see. As a result? I was largely left to make of it what I can- like viewers who weren’t alive in J-MB‘s time are.

Untitled, 1985-6, in front of Embittered, 1986, Graphite, paint and Xerox collage on wood.

Also apparent from some of the pieces written thus far that people fall all over themselves trying to “claim” J-MB for this school or that, from so-called “primitivism” to so-called “expressionism” to so-called “neo-expressionism,” to (more recently) so-called “conceptualism”- none of which J-MB, himself, used for his work, which is the only thing that matters, in my opinion, to hip-hop.

Jay Z, who did not know him, said this in his autobiography, Decoded, published in 2010, on page 95-“…People always wanted to stick B in some camp or another, to past on some label that would be stable and make it easy to treat him like a commodity. But he was elusive. His eye was always on a bigger picture, not on whatever corner people tried to frame him in. But mostly his was probably on himself, on using his art to get what he wanted, to say what he wanted, to communicate his truth. B shook any easy definition. He wasn’t afraid of wanting to succeed to get right, to be famous…”

The visual evidence in the work itself shows me, at least, something different from all the claims I mentioned before Jay Z. Jean-Michel Basquiat belongs in one “box,” and one “box” only- the “Jean-Michel Basquiat box.” Though he definitely belongs to the continuum of Art History, as Richard Marshall lays out in detail in his excellent essay in the Whitney Retrospective Catalogue, which probably surprises many, Jean-Michel Basquiat is unique unto himself. Period.

Kokosolo, 1983, Acrylic, oilstick, and Xerox on canvas, 43.3 x 82.6 inches.

Meanwhile, back at Xerox, I love the use of paint here. Jean-Michel Basquiat’s work is about layers and here it’s hard to know what’s on top and what’s on the bottom layer. J-MB spoke many times about his use of crowding out words and letters and said one of the reasons he did it was to make the viewer look closer. I can’t help wonder if he’s doing the same with the yellow here- making us look closer at what’s under the yellow. 

Galileo Galilei, 1983, Acrylic, oilstick, and Xerox on canvas, 78.75 x 51 inches.

In Galileo Galilei, 1983, I was struck by a number of things, first, from a distance, the circles, ostensibly the outline of the moon. But the circle is quartered, which is not like the moon. It’s something done in graphs and in Drawing. That reminded me- Drawing a circle is something that has a long and legendary history in Art. The great ancient Greek Painter, Apelles, and later the Renaissance master, Giotto, both used their ability to draw perfect circles freehand as calling cards.

Rembrandt, Self Portrait with Two Circles, c.1665, *Kenwood House, London.

I am one of those who believes Rembrandt followed suit, leaving his own “calling card” as their heir in his Self-Portrait with Two Circles.

Detail, or rather, Details. Note the multiple lines that make up the circles and the repeated list. I recognize these part words as being a list of songs from Charlie Parker’s Savoy recordings because I have these records. “Koko Take 1,” and so on. As for everything else going on in this work? I’m hoping someone who knew J-MB will come forward and discuss it.

Here, we happen to have two, or parts of three, drawn circles. Was J-MB aware of the Apelles/Rembrandt circles? 

This body of work is an example of one of the last vestiges of reproduction in Art before the digital age took hold. Seeing this now does really make it feel like more than 35 years have passed, yet, they don’t look dated. Nor do the beginnings of this work, the “(Anti) Product Postcards” he created, many with Jennifer Stein, who speaks about them here.

Early on, J-MB created Postcards, including these, many hand labelled “(Anti) Product” on the verso, which he sold for $1 each. Andy Warhol bought one when J-MB first met him while he was eating at a restaurant with Henry Geldzahler. They are among the earliest examples I’ve seen of J-MB’s collage. Some of these were collaborations with Jennifer Stein.

I returned to see Jean-Michel Basquiat / Xerox twice more since it proved to be a “personal rosetta stone” into the Art of J-MB. It was an extraordinary gallery show in many ways. The 33 works on view that ranged from He Was Crazy from 1979, shown earlier, through 1987, covering all but the final year of his Painting career and his life. Alas, even in three visits, I can only hope to scratch the surface layer of all that lies in these work by Jean-Michel Basquiat. But, there was something else. Alone with the security guard in the show for most of the 7 or 8 hours I spent there over 3 visits, I was struck by something else.

Silence.

A silence that was singing in a way that would bring a smile to John Cage’s face. If there’s been too much of any one thing around the work of Jean-Michel Basquiat to this point, it’s noise. A byproduct of his tragic death far too young is there are no more “Page 6” scandals, no more gossip, no more rumors. Only the work remains, hanging silently in these rooms. That silence said it’s time to let that Art speak for itself. And it’s time that those who knew and/or worked with the Artist to share what they know, and provide whatever insights they have before those, too, are lost forever.

Current and older books on Jean-Michel Basquiat and his work. Of these, the catalogs for the J-MB Retrospectives at the Brooklyn Museum (first, upper left) and the Whitney Museum, 2nd from left, front, were the two I referred to most often. The Unseen Notebooks (4th from the right, top) is also excellent. Fred Hoffman’s books are available for download from his website and are recommended. While it contains images of the most works available in print, I found the new Taschen XL, far right, problematic. A catalog for Alexis Adler’s traveling show, seen bottom left, of her collection is a revelation.

After I left Xerox for the last time, I, too felt the clock ticking. I immediately launched a deep dive into Basquiat monographs, in and out of print, and read everything I could get my hands on. As my research began, I quickly came upon a startling fact- Jean-Michel Basquiat: Xerox (which ran from March 12 through June 1st) is one of no less than SIX shows of Jean-Michel Basquiat’s work, or pertaining to the Artist, going on in the NYC vicinity in 2019!

The other five are-
Jean-Michel Basquiat at The Brant Foundation, March 6 – May 14th
The 12th Street Experiment: Photography of Jean-Michel Basquiat By Alexis Adler at Bishop on Bedford, Brooklyn, May 3 – June 13th
Lee Jaffe: Jean-Michel Basquiat at Eva Presenhuber, June 28th – July 28th
Basquiat x Warhol at The School/Jack Shainman Gallery, Kinderhook, NY, June 1 – September 7th
Basquiat’s Defacement: The Untold Story at the Guggenheim Museum, June 21st – November 6th
and…two Paintings from the collaboration of Jean-Michel Basquiat and Andy Warhol, along with ephemera from their collaboration, were on view in Andy Warhol at the Whitney Museum earlier this year, which I wrote about, here.

First? I wondered- Why six shows now?

Jean-Michel Basquiat was born on December 22, 1960 and died 31 years ago on August 12, 1988. 2020 will be a double anniversary for J-MB- 60 years since he was born, 40 years since The Times Square Show launched his career. 2019? No special significance, as far as I know, four months into my research. The Brant show shares the same curator (and many of the 120 works) with the Jean-Michel Basquiat show at the Foundation Louis Vuitton, Paris, which ended on January 14, 2019. The Brant’s opened on March 6th. So, beyond commemorating a “Basquiat anniversary,” the timing of that show may just have been fortuitous and practical, as in “we’ve got all these works together, why don’t we also show them in the new space in NYC?” As for the timing of the others? I have no idea.

Nola Darling lying on Jean-Michel Basquiat’s grave in She’s Gotta Have It.*

Between these six shows, the total number of works by Basquiat (counting those in collaboration with Andy Warhol) should total slightly more than the 120 shown in that Foundation Louis Vuitton, Paris, show, in addition to Photographs of J-MB by early roommate, Alexis Adler, and Musician and friend, Lee Jaffe. As such, these shows present the opportunity to see the most works by the Artist since the 160 pages from his Notebooks along with other works and some Paintings were shown in the Jean-Michel Basquiat: Unknown Notebooks show at the Brooklyn Museum in 2015, and the most Paintings by the Artist in NYC since that 2005 Basquiat Brooklyn Museum Retrospective. Unlike the “Summer of Rauschenberg,” which I covered extensively in 2017, where the satellite shows “revolved” around MoMA’s Robert Rauschenberg: Among Friends Retrospective, this time, the only museum show in the bunch, Basquiat’s Defacement at the Guggenheim, is a satellite show to the blockbuster Brant Foundation’s (a private organization) first public exhibition- Jean-Michel Basquiat, which included a whopping 70 Paintings and 1 Sculpture, the main act. Given that the vast majority of J-MB‘s best work resides in private collections, this brings home the fact that going forward, unlike with most Artists, the public is going to depend on the generosity of collectors displaying their work to see them, and researchers are going to depend on them to study it.

As a result, I quickly realized after that it might be now or never if I wanted to see a large body of Basquiat’s work and reassess it, and see WHO is “right”- the haters or the believers. With 39 years elapsing since J-MB‘s debut at the Times Square Show, enough time has elapsed to get a bit of perspective. So?

Detail of Now’s The Time, a Painting that looks like the classic 1945 Charlie Parker record of the same name, with “PRKR,” J-MB’s “shorthand” for Bird’s last name.

Now…is INDEED the time. It’s the time for the real assessment of Jean-Michel Basquiat’s Art to take over from the sensational biography. For me? Who knows when I’ll have the opportunity to see this much of his work in NYC again. It might be now, or never. NOW is my time, too.

My thoughts immediately turned to the Brant Foundation’s inaugural show in their new East Village location, Jean-Michel Basquiat, which was up and running and the clock was ticking on its run. NHNYC researcher Kitty, a Basquiat fan since she saw him in person back in the day at the Mudd Clubb, had seen it and gave a glowing report. I began scrambling to get a ticket. No luck online. The show had been completely sold out (though tickets were free) since it opened. Hmmm…HOW to see the most publicized and talked about show in NYC in early 2019? Or, would my glimpse at Xerox of what I had missed remain a lingering tease?

To be continued…

This piece is dedicated to my former friend, grae, who knew J-MB, and to Kitty, who was in the same room with him in the clubs back in the day, and who has patiently accepted his work not speaking to me all these years. My thanks to Nick. 

This is Part 1 of my series on the five Jean-Michel Basquiat shows going on in NYC this year. Part 2 may be found under this one, or here. Part 3 is here. 

*-Soundtrack for this Post is what else? “Xerox” by Julian Casablancas + The Voidz. If  you’re a Strokes fan, check this out, if you haven’t. Also, it doesn’t sound all that distant from J-MB‘s own band, Grey. Maybe they were an influence.?

NighthawkNYC.com has been entirely self-funded and ad-free for over 6 years, during which over 250 full length pieces have been published. If you’ve found it worthwhile, you can donate to keep it going & ad-free below. Thank you!

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.
For “short takes” and additional pictures, follow @nighthawk_nyc on Instagram.

Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

 

  1. Here. He repeated this elsewhere as well. ↩
  2. By “work,” I believe they mean a Painting. According to its site, MoMA owns 12 prints and Drawings by Jean-Michel Basquiat. No Paintings. ↩
  3. //www.nytimes.com/1985/02/10/magazine/new-art-new-money.html?searchResultPosition=1 ↩
  4. They were the only company in the world to acknowledge the 100th Anniversary of the 1st Jazz record in 2017, though the record in question is not what I call “Jazz,” and featured an astounding array of classic under-known Blue Note Record covers on T shirts. ↩
  5. Both, Pheobe Hoban’s Basquiat: A Quick Killing In Art, eBook P.19 ↩

On Painting & Photography

Written & Photographed by Kenn Sava (except *)

Note- Robert Frank has been mentioned in many of my pieces over the past 3 years of my “deep-dive” into Modern & Contemporary Photography, a realm that he had a seminal role in creating with the publication of  The Americans. When the sad news came that he had passed away at 94 on September 9th, I was finishing yet another piece that he is a part of- one that summarizes some of my thoughts on Painting & Photography these past three years, and also marks the 60th anniversary of the American publication of The Americans. Too far along to change, I’ve left it as it was, and added this as my “R.I.P.”  That Robert Frank was, and remains, one of the most influential figures in Art of our time was already testified to within.

Subtitle- “On Rembrandt’s 350th, and Robert Frank’s 60th”

Rembrandt, Self-Portrait, 1660. The Artist is seen here in the last decade of his life. Seen on March 26, 2015 in The Met’s former European Paintings galleries.

When I look at Art, sooner or later, my thoughts involve Rembrandt for any one of a myriad of reasons. I do my best, however, to keep my thoughts about his death to a minimum, so this is going to be purposely short. Rembrandt was pretty poor the last decade of his life. His prior fame had deserted him as if he were a fad, or a “mania,” like tulips were in 1637 when he was 30, and combined with an extravagant lifestyle1 that he could no longer maintain, he lived in housing for the poor at the end2. When he died, at just 63, he was buried in an unmarked pauper’s grave. 20 years later, his bones were destroyed, as was the custom with the remains of such unfortunates. The church, where his unmarked grave was, finally got around to erecting a plaque, inside, in 1909. It redeemed itself some 30 years later when a young Jewish girl who was in hiding nearby from the Nazis took solace in the sound of the church’s bells. Today, there’s a statue of Anne Frank outside the church. His Art largely fell into eclipse, except for a few artists he influenced, for about 100 years, as hard as that is for us to imagine today. October 4, 2019, happens to be the 350th anniversary of his death.

Seen in situ. One of the glories of New York. Five of The Met’s Rembrandts seen in the European Paintings Galleries on June 10, 2017, before the current skylight renovations caused their relocation to the Robert Lehman Collection galleries. When I think of “home,” this gallery comes to mind.

I’ve remained passionate about the work of Rembrandt van Rijn since I was in my early teens and he is one of very very few Artists I can say that about. Almost no where else have I found the humanity, and the depth and range of humanity, I find in Rembrandt. Because of this, I find his Self-Portraits particularly fascinating. In the end, they show me that the Artist, himself, was every bit as human as anyone he ever depicted.

Rembrandt after Leonardo da Vinci, The Last Supper, ca.1634-5, Red chalk, 14 x 18 inches, From The Met’s Lehman Collection. Seen in 2016.

Few other Artists I’ve seen have the power to say as much with just a few strokes as can be seen time and time again in his Drawings- like this one, in which Rembrandt manages to capture the entirety of Leonardo’s masterpiece (and add some additional elements that may have come from a print of the Painting he saw- Rembrandt never left Holland) in so few strokes, you can almost count them.

Self-Portrait in a Soft Hat, 1631, Etching completed with black chalk. The Artist was about 25 at this point at the beginning of his career. Seen at the Morgan Library in September, 2016.

Today, he’s honored as Holland’s favorite son. Public places have been renamed in his honor. (“Rembrandt Square,” etc., etc.). In 2015, the country paid a record price for 2 portraits by the Master, 180 million dollars, splitting the cost with France (for the Louvre and the Rijksmuseum), partially (largely?) because of their value to tourism, (i.e. so they can continue to cash in on him). Pretty ironic given how he was treated near and at the end of his life.

The most Rembrandt Self-Portraits in one place I’ve yet been in were these five etchings seen at Rembrandt’s First Masterpiece at the Morgan Library in September, 2016. I was shocked to see them when I walked in. I had no idea they were included.

So, to me, his end is one of the most unfortunate, and saddest, chapters in Art history. I’m not so sure it’s a cause for all that much celebrating. The world of Art seems to agree. There’s only one museum (as far as I know) anywhere in the world mounting a show of Rembrandt’s work that might be construed as honoring/memorializing it anytime close to that date, with that one actually opening on October 4th3.

Nonetheless, the chance to put a big round number on the front of a marketing campaign seems to be all that’s required for Taschen to leap into the breach with three new volumes in their XL (aka “HUGE!”) series of books. Well? In 87 years, for the 400th anniversary of his birth in 2106, actual physical paper books may be a thing of the past4 Whether they arrive as physical books, ebooks, or whatever form books will take in 87 years, I won’t be here to see them. As I write this, the first of Taschen’s “trilogy,” Rembrandt: The Self-Portraits (R:TSPs, henceforth) is out and in wide distribution. It’s a handsome volume, with a nifty cover image that displays one of 6 different Rembrandt Self-Portraits depending on the angle you look at it. I picked it up in a store and passed, even though nothing Rembrandt did has held me more spellbound for so long as his Self-Portraits have. So, why did I pass on this complete collection of them?  I was extremely disappointed that the great Rembrandt scholar Gary Schwartz wasn’t involved in it, and from what I understand isn’t involved in the other two volumes either. That statement will serve as my protest since I subsequently bought R:TSPs. With all due respect to the scholars chosen, no one will replace Gary Schwartz for me when it comes to Rembrandt- or any other Artist he turns his unique skillset to (Dear Mr. Schwartz, If you happen to see this? Jan van Eyck, Please?). Suffice it to say that the renowned Professor, Simon Schama, host of the PBS series, The Power of Art, dedicated his own Rembrandt biography, Rembrandt’s eyes, to Gary Schwartz.

“I regard Rembrandt’s self-portraits less as assertions of a strong personal identity than as a means to help the artist, like Saint Paul, become more like other people. Behind them lies a man who depended on his art to offset imbalances in his life and his relations with others.” Gary Schwartz.

Focusing on what we do get, the book itself is large, oversized as they say in the trade, a full 10 x 13.5 inches and weighs about 4 1/2 pounds, very light for a true Taschen XL which generally weigh in around 20 pounds. Its 176 pages contain a succinct essay and the rest of the book is Rembrandt, in my view, at his best. The reproductions are very good5, with many being reproduced in actual size.

A publicity shot by Taschen. Rest assured the copies sold in the USA are in English.*

Rembrandt was the first Artist to create a body of Self-Portraits. Yes, the cheap headline is “Rembrandt Invented The Selfie,” which, without looking, I’m sure has already been used to death. That’s not true. He was not the first to do a Self-Portrait, just to create a body of them among Artists known to us today. And what a body of work they are! We don’t have his diary, but, though it’s dangerous to read too much into the SPs (unless you want to), they are not really “pure” autobiography beyond the fact that yes, they do indeed depict the Artist, and we get to see his famous visage evolve as the years and decades go by. Exactly what is going on in each of them has been the subject of much conjecture, and I suspect will continue to be for as long as people look at them. He created them in oil, in ink, and with an etching needle (in Paintings, Drawings and Etchings). Though I love everything the man did, for me, they have been THE supreme body of Art since I saw my first one, shown up top, at The Met way back when. If I had to live the rest of my days only being allowed to look at one work of Art (oh jeez), it would be a Rembrandt Self-Portrait. But, please don’t ask me which one. Right now, I would select his Self-Portrait with Two Circles in England, but that choice is often a factor of which one I’ve looked at last. I’d take any of them- Painted, Drawn or Etched. And in R:TSPs, we get to see every one of them (they say).

Two pre-release copies of Rembrandt: The Complete Paintings, left, flank a copy of Rembrandt: The Complete Drawings & Etching, which complete Taschen’s “trilogy.” As close as I’ve gotten- so far.

While I am very much looking forward to seeing Rembrandt: The Complete Paintings (TCP, henceforth), it should be mentioned that though The Rembrandt Research Project issued its latest volume of what it calls the “Corpus” of the Master’s Paintings in 2016, the controversy around what that body “should” consist of shows no signs of ending, and so? Buyer beware! What’s agreed upon as his complete Paintings will, very possibly, change in the near future. So, even 350 years after his sad demise, this will most likely not be the “final word” on the subject.

Still, there’s so much of what RvR has accomplished in his other work that can be seen in his Self-Portraits. You can trace a good deal of his development as an Artist in this work. And then? There is the incredible Painting! No matter how much Painting I’ve seen in the 40 year (next year6 I’ve been going to shows, my mind always comes back, for a variety of reasons, to “how Rembrandt Painted it.”

Ok. So, you’re wondering- What does all of this have to do with Robert Frank?

Robert Frank: The Americans, my copy of Steidl’s 50th Anniversary edition, 2008.

Questionable timing aside, for me, the real value of RvR:TSPs coming out now has been the bath of the icy cold water of “reality” it’s thrown on my deep dive into Modern & Contemporary Photography, by which I mean post-Robert Frank’s The Americans, the most seminal PhotoBook of our time. 2019 marks the 60th Anniversary of American publication of The Americans (and there’s been almost no fanfare about that- as far as I’ve seen thus far)7. This fall/winter marks 3 years of my “deep dive” into this realm of M&C Photography that I consider The Americans the first bookmark in, a beginning of, in a sense. I started from the place of believing that Photography had not, as yet, earned its place with Painting, Drawing and Sculpture. Looking at R:TSPs? I realized that after everything I’ve seen, I can’t say my mind has been changed all that much. For one thing, though, it’s still a very young medium- particularly when compared to thousands of years of Painting. After all, they’re marketing the 350th anniversary of Rembrandt’s passing, and he’s thousands of years after Artists started Painting. Jan van Eyck was one of the first to use oil paint in the early 1400’s. Photography (with chemicals) has been around since Sir John F.W. Herschel coined the word in his paper “On the Art of Photography; or the Application of the Chemical Rays of Light to the Purpose of Pictorial Presentation,” on March 14, 18398– 180 years. But, the more I look at both, there’s one thing that strikes me as a major difference between Painting and Photographs-

Time.

It takes time to create a Painting. Even if the Artist does one quickly. In most Paintings, it takes longer to apply one brushstroke than it does to create most Photographs.

I think I can see that. And, I think it’s telling.

I’m not the only one.

David Hockney, Don & Christopher, Los Angeles, 1982, Polaroid collage “Joiner.” Seen at David Hockney, The Met, January, 2018.

Earlier this year, while I was formulating my thoughts on this subject, before I saw R:TSPs, I came across 2 books by David Hockney, Cameraworks, 1984, and Hockney on ‘Art,’ conversations with Paul Joyce, published in 1999. In both of them, Mr. Hockney 9, a man who has created both Paintings and Photographs (since 196710), and innovated in both realms, put into words much of what I was thinking- uncannily. “During the last several months I’ve come to realize that it has something to do with the amount of time that’s been put into the image. I mean, Rembrandt spent days, weeks, painting a portrait. You can go to a museum and look at a Rembrandt for hours and you’re not going to spend as much time looking as he spent panitng- observing, layering his observations, layering the time.” “My main argument was that a photograph could not be looked at for a long time. Have you noticed that?,” David Hockney, Cameraworks, P.9. There. He just said it for me.

Recently, in these very pages, without any question from me or the knowledge that I was working on this piece, the Photographer Fred Cray said– “One of the concerns I’ve always had with photography is the way it holds up on the wall with paintings and other media. Photography often seems thin and quick compared to painting.”

Anytime I see a Photographic portrait, my mind (at times, unconsciously) always turns to Rembrandt’s Self-Portraits (though, much of what I’m saying here could also be said for almost all of his portraits, as Mr. Hockney inferred). Not as a way of qualitatively comparing them. As a means of gauging the impact. They are the benchmark for me. Most of the time, the impact of the Photography in question isn’t the same. I wondered why for most of the first two years of this dive. Early in 2019, it hit me. Time. Time is a key element in Painting. In so many ways. From the time each stroke takes to apply, to how long it takes to complete the work to the rendering of time, itself, in the work. These are not questions most Photographers have to face. They deal with questions of light and setting before the fact, then they’re finished- unless they modify it later in printing, or digitally.

Unknown Artist seen Painting on 7th Avenue, NYC, September, 2019. Yes, he got a parking ticket. Many Street Photographers would have been done long before this gentleman got set up.

Of course, Painters have ways of dealing with this question to ensure whatever level of consistency in the lighting they want. They can work in their studio, or they can work from a live subject, a still life, a Photograph, a Drawing, or what have you. Even au plain air, as the Artist above, is doing. Time is effecting the result in other ways. My feeling is it’s this passing of time, in this multiplicity of ways, that it takes the Artist to create the work that is manifesting itself in the work in subtle ways, maybe some of them are so subtle as to be subconscious, but that are nonetheless part of what the viewer experiences. With each brush stroke, time is passing, and in a real way, time is being layered on to the canvas. Time is absolute in a Photograph- it’s the same time at the top as it is at the bottom, unless you’re shooting with a time lapse, like Stephen Wilkes.

All of this also serves to remind me, again, of possibly why great Contemporary Painters, like Richard Estes, John Salt, Rod Penner, and David Hockney as well, among many others, use their own Photographs as part of their working process, but the reason they are Painters and not Photographers is because of what they find lacking in Photography- what it can’t present of their vision that Painting can. They’re not alone. The list of great Painters who also took Photographs at some point is long- ranging from Thomas Eakins, Edgar Degas and Edvard Munch, through Ralston Crawford and Robert Rauschenberg, and even Picasso. I find it telling that not a single one of them identified himself as a “Photographer.” Only Charles Sheeler was dually identified and that might be because his Photography earned him money to support his Painting.

Then, in the midst of all of these thoughts, a terrific new book was released by Steidl, Dave Heath: Dialogues With Solitude, the catalog for a show at LE BAL, Paris in 2018. It gave me pause for thought.

My copy of Dave Heath: Dialogues With Solitude, Steidl, 2019.

WHO is Dave Heath?

From Dave Heath: Dialogues With Solitude, Steidl, 2019. *Photo courtesy of Steidl.

It turns out that Mr. Heath was, not is, unfortunately, but his work struck me every bit as hard as any I’ve seen in this 3 year deep dive. Particularly, his portraits, and specifically his portraits of one subject not looking at the camera.

Dave Heath’s earliest body of work are Photographs he took while serving in Korea in 1953-4, including this one. From Dave Heath: Dialogues With Solitude, Steidl, 2019. *Photo courtesy of Steidl.

It turns out that he was not only a master with a camera- a master of the Portrait, he was, also, a master printer. To the point that no less than the aforementioned, esteemed, Robert Frank paid Mr. Heath to print his work for what I believe was his first solo show at no less than the Art Institute of Chicago in April, 1961, a byproduct of The Americans’ release here two years earlier. That says it all.

My copy of Dave Heath’s A Dialogue With Solitude in the 2000 Lumiere Press edition. The books is on the right. The print is in the sleeve to the left.

Captivated by what I’d seen in the Steidl book, which is very well printed, in my opinion, though, unfortunately, Mr. Heath, who passed away in June, 2016, was not involved in it, I learned that Dave Heath’s “masterpiece” is the PhotoBook, A Dialogue With Solitude, 1965, a subject I am quite familiar with. I hunted down a “reasonably” priced copy of the 2000 Lumiere Press limited edition reprint with a signed & numbered print. The reprinted edition includes a letter from Robert Frank. The print in my set is “Washington Square, New York City, 1958.”

Washington Square, New York City, 1958. A Photograph that leaves me speechless, and turns my thoughts to Rembrandt.

It’s one of the very greatest accomplishments in PhotoBooks I’ve yet seen. Given what I said about his printing, the inclusion of a signed & numbered print in the Lumiere Press edition is a key. When I saw it for the first time I had a feeling that was closest of any Photograph I can think of to that I get while looking at a Rembrandt Portrait. Of course, as always, your results may differ.

For some reason that I can’t fathom, the word is that “Mr. Heath’s work went out of style.” Well? Rembrandt, too, “went out of style,” for well over a century, as hard as that might seem to believe to us now. Now, with Steidl’s Dave Heath: Dialogues With Solitude, it seems to me that a show or a book that returns a great, overlooked or forgotten Artist to the world has done that world a great cultural service. I can’t think of a higher purpose for either.

David Hockney, Perspective Is Tunnel Vision, Outside It Opens Up, 2017, Acrylic on two canvases. David Hockney shows how the camera sees in “tunnel vision,” single point perspective,” versus how humans see with what he calls “reverse perspective,” with infinite vanishing points, born of driving through a 10 mile long tunnel in Europe then suddenly coming into the great outdoors in 198511.

Reading David Hockney further, which I highly recommend to anyone interested in Photography, he speaks time and again that cameras, while being great at reproducing two dimensional objects12, do not see the way humans do. He has devoted much of his subsequent Painting career (as seen in his fascinating recent shows) to challenging traditional perspective and exploring the innovations of both Renaissance masters and the masters of Cubism.

David Hockney, Grand Canyon I, 2017, Acrylic on canvas, 48 x 96″ hexagonal, seen in April, 2018. Outside, it, indeeds, “opens up.” The Artist has also begun cutting the corners off his canvases to reinforce his ideas.

In 1999, Mr. Hockney asked, “How many truly memorable pictures are there? Considering the millions of photographs taken, there are few memorable images in this medium, which should tell us something. There have been far more images made this way than the sum of all previous images put together.” (Paul Joyce, Hockney on ‘Art’, P.43.) One thing that’s changed since Mr. Hockney said those words is that there are now more cameras in the world then there are people. It seems to me that that’s going to be a factor in this. The sheer number of Photographers versus Painters is, and is likely to remain indefinitely, skewed incredibly. Incalculably. It makes the odds of a “great” Photograph out of the billions being taken incrementally greater. “Quality only comes with quantity,” legendary Photographer Daido Moriyama said explaining why he takes so many Photos, in How I Take Photographs, page 7313.

I’ve noticed that the rise of Photography has coincided with a relatively ”quiet period” in Painting, in some ways. While this has lasted a few decades, more recently, I don’t have to look any further than my own 200+ piece Archive. I’ve said a number of times that one of the reasons I decided to focus on Photography the past three years was the lack of Painting shows that spoke to me sufficiently to undertake the work these pieces require. I wonder how much longer this will last- Is this an anomaly, or is this the beginning of the way things are going to be? Will we see the number of painters going forward that we’ve seen for the past 500 years? Of course, sheer numbers, or the lack of them, don’t guarantee masterpieces or geniuses. Greater numbers only serve to increase the odds.

At the three year mark, I’m still not convinced that Photography will come to be seen as Art in hundreds of years when that question is decided, IF anyone still cares about Art then. But? If they do, my bets are that Rembrandt’s will still be among the work most highly appreciated.

A work like Dave Heath’s Washington Square, New York City, 1958, gives me hope that Photography may still get there. Is it, as Mr. Hockney said, an image in a billion? Or is it an indication of what might be possible in the medium? I will continue to look…

Meanwhile, on October 4th? I’ll just light a candle. To go with the one in memory of Robert Frank. While I continue my dialogue with Davids Hockney and Heath…

*-Soundtrack for this Post is “Grace,” written by Jeff Buckley and Gary Lucas from Jeff’s immortal album, Grace. I worked with Mr. Lucas, and I booked Music into the now legendary NYC Music Club/Cafe, Sin-E in 1993, shortly after Jeff had played and recorded there. And then? He was suddenly…gone. I never met him or heard him perform in person. One of the great regrets of my life.

BookMarks–

My copy of The Rembrandt Book, (THE Rembrandt Book, or TRB, as I call it), by Gary Schwartz. In my opinion, it’s a model of everything a truly great Art monograph should be.

In addition to the books I referred to above, if someone were to ask me to pick one book on Rembrandt? I would choose The Rembrandt Book, by the aforementioned Gary Schwartz. It’s a book designed for readers both new to Rembrandt or expert on the Dutch Master, and so, it’s a book for a lifetime of enjoyment and research. Published in 2006 by Harry N. Abrams, it’s the SECOND full length monograph on Rembrandt by Gary Schwartz, and they couldn’t be more different (In a world where ANYone else would be thrilled to write one magnificent book on Rembrandt? HOW incredible is that?) or compliment each other better. TRB is oversized at 10 x 13 and weighs 6 pounds, but it is my bible on Rembrandt, and if I can’t find what I’m looking for there? I go to his prior monograph, the equally highly regarded, Rembrandt: His Life, His Paintings, 380 pages and 3.6 pounds, published by Viking in 1985 (and I believe this book has been reissued at least once). Both books can be found very reasonably (for less than they were originally published for) in very good condition. Along with my Sister Wendy books, they are the foundations of my Art library.

Another book that’s very relevant to this discussion, and has been essential for me- one I don’t see recommended nearly often enough, is Believing Is Seeing (Observations on the Mysteries of Photography) by the renowned Errol Morris. 

My prior pieces on PhotoBooks are here. 

NighthawkNYC.com has been entirely self-funded and ad-free for over 6 years, during which over 250 full length pieces have been published. If you’ve found it worthwhile, you can donate to keep it going & ad-free below. Thank you!

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.
For “short takes” and additional pictures, follow @nighthawk_nyc on Instagram.

Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

 

  1. You can still visit the beautiful, large, expensive house he bought at Jodenbreestraat 4, in Amsterdam. ↩
  2. Excuse me for seeing a lesson for today’s Art world in this, but I do. If this could happen to one of the greatest Artists who ever lived? It can happen to anyone. ↩
  3. The Wallfar-Richartz-Museum, Cologne, Germany is having a show of Rembrandt’s Graphic Work that opens on, yes, October 4, 2019. The Rijksmuseum, Amsterdam, is hosting a Rembrandt-Velazquez show that opens a week later. ↩
  4. Gary Schwartz says there are some documents that raise the possibility that Rembrandt may have actually been born in 1605 or 1607  (Gary Schwartz, The Rembrandt Book, P.15). I don’t think a year on either side of 2106 is going to make a difference regarding my being around to see it. ↩
  5. My one caveat being that they chose to reproduce only the detail of the early works in which RvR Painted himself as an onlooker in a crowd, denying the viewer the full context and setting. ↩
  6. I consider the incomparable 1980 Picasso Retrospective at MoMA the real beginning of my “looking career” at shows. Looking at Art books predates that by about a decade. ↩
  7. The Americans was first published in 1958 in France by Robert Delpire, and in 1959 by Grove Press in the USA. ↩
  8. //iphf.org/inductees/sir-john-frederick-william-herschel/ ↩
  9. Who, in addition to being a world-famous Painter, has also authored two important books on Art & Art History- Secret Knowledge and A History of Pictures ↩
  10. David Hockney, Something New Exhibition Catalog, 2018, P.6 ↩
  11. David Hockney, Something New Exhibition Catalog, 2018, P.5 ↩
  12. Afterall, what we have in Rembrandt: The Self-Portraits, and every other mass produced book of Paintings, are Photographs of Paintings. ↩
  13. For much more on how Daido Moriyama feels about whether Photography is Art, see P.205-6 in the chapter titled “The Real Daido Moriyama,” in this same book, How I Take Photographs. ↩

The Unique Fred Cray

Written & Photographed by Kenn Sava.
Works by Fred Cray Photographed by Fred Cray.

Maybe this has happened to you?

There you are, minding your own business, possibly looking through a book in a bookstore.

Like John Divola’s Vandalism, to the right on that middle shelf, for example.

And all of a sudden, you see this-

“What’s this Photo doing in here? Is this part of the book? Did someone vandalize John Divola’s “Vandalism?,” I wondered aloud? No answer.

Close up of the inserted 4 x 6 inch Photo.

Turning it over, I see this on the back-

Is this a “Unique Photo” of someone named Fred Cray?

Then, some months later, it happened to me again. I was looking through another PhotoBook, this one by Doug & Mike Starns, and whamo…

A dialogue? A commentary? A random act of kindness?

Seeing the name “Fred Cray” printed on the back both times it dawned on me that- no, it’s not part of the book. Fred Cray isn’t the author of either book I was perusing, the Artist either was about, and this time it’s not a portrait. The Photo must have come from elsewhere. Fred Cray is ANOTHER Artist- the Artist creating these “Unique Photos.” Maybe this Fred Cray, himself, put it in here? And, there’s more. Both times, the particular image being placed in this spot in the book spoke to me. I wound up purchasing both books because I wanted to keep that serendipitous synchronicity intact. I got it! He’s an Artist working with a publisher to help them sell books! Naw…

A Unique Photo included with a copy of Fred Cray’s An Incomplete Journey.

Having this happen to me a few times, the name Fred Cray was now somewhat known to me, though the man and his work remained an utter mystery. At first, like most others who accidentally come across his work, I didn’t know what to make of it. An isolated image here and there? It’s impossible to get a sense of anyone’s work, as you see. Then, by chance, I happened to spot “Fred Cray” on the list of my readers, so I chanced writing to him to ask if he was “THE Fred Cray?” He replied that indeed he was. Shortly after, I discovered that he self-publishes PhotoBooks of his work. Once I began to see his PhotoBooks, I got a sense of his work, and I got interested.

An unusual Unique Photograph by Fred Cray included in his book Conversations. Unusual because it’s a larger 6 x 9 size (4 x 6 being his “standard” size) and because it’s signed on the verso.

I met him in person a few months later at a book signing for another Photographer we’re both interested in, and as we spoke, I realized that he and I had probably been in the same gallery, museum or book store, countless times before. He’s as obsessed by Art & PhotoBooks as I am, and his taste is, unsurprisingly, from looking at his work, wide ranging. I find all of this interesting and a bit unusual. Many Artists, Photographers & Musicians I know don’t want to know what others are doing. They either don’t want to be influenced or are too focused on what they themselves are doing. Not Fred. Every time I have the pleasure of speaking with him or conversing with him by email, he’s up on whatever is going on at that moment. This show or that? The odds are he’s seen it, including a good many out of town, which I don’t get to. Chaos at the Whitney Biennial? He had just been there to see Nicole Eisenman’s work since it might have been leaving, though the announcement it might had only come a day or so before1 And, he just got back from over a month in Spain, where he “vandalized” (soft smile) both parks and the Prado Museum, blanketing the town with Unique Photographs, including some he hung in trees, he told me, with an impish grin. I would have loved to see a “candid camera” catching the reactions of those who discovered them. Taking stock of all of this, I wondered-

WHO gives away one of a kind works of Art?

A haunting Unique Photograph included with a copy of his book titled #. Being unique, need I say the Unique Photos included vary from copy to copy of his books?

As I began to get a sense of what he was doing, I mentioned to Fred that I had decided to write about him and his work. His first, and only, request was that I didn’t ask to follow him around as he distributes his Unique Photographs. The The New York Times had already done that. I can understand that, and I apologize, to him for leading with the Unique Photographs here at all. The Times reported that Fred had left some 30,000 Unique Photographs everywhere he’s been since about 2008. Has anyone in Art ever given away 30,000 unique works of Art? That means A LOT of people, like myself, who had never heard of him are discovering him and his work the same way I did- through finding those works by chance.

The earliest work I saw during my visit to Fred Cray’s studio- this Travel Diary, from the 1990s, above, when he was shooting film and black & white at that.Shortly after he returned from Spain for his annual out of the country summer trip, he invited me out to visit his studio in Brooklyn. Over the 4 hours we spent together, he told me that he has now distributed over 43,300 Unique Photos2! That, by itself, makes Fred Cray something of an NYC Urban Legend, but, as I found out, it’s really only the beginning of the story. Even after returning that night from seeing box after box of gorgeous full size (often very large), original works, the vast majority of them created in an edition of 1, i.e. unique, I realized that though we went through six or seven of the large boxes he had in his studio, he only showed me work dating back to 2017. Fred has been creating work since 1990!

Self-Portrait, 1994 *Fred Cray Photo

Frankly, I was shocked to see that everything he showed me was very good work, and much of it terrific in my opinion, all of it characterized by an exceptionally high consistency. Not only is Fred Cray one of the most interesting Artists using Photography working today, he’s, also, a very good editor. As we spoke, I discovered that anything that didn’t make his grade wasn’t saved. You see this very tight editing in his PhotoBooks, but when you’re looking through recent work in an artist’s studio, I generally expect to see some “work prints,” “pieces in progress,” or abandoned ideas. Not one.

Fred Cray showing me his work from 2017-9 in his studio, July 2019.

Yet? There’s more. As I got lost looking at work after work being passed in front of me for a few moments each, during these few hours, Fred was talking non-stop about the processes (plural) he used on these prints. At first I was stopped by terms like “Reprinted,” “Dissolve,” “Fragments,” and others, and when I backtracked and said, “What?,” I discovered he invented, and named, each process to realize his vision and create the numerous series his work is often grouped in to this point, as well as the multiple projects he’s currently working on. I counted at least 4 of these in various stages of completion. To go along with this, everywhere around the fastidiously neat and carefully organized studio are stack after stack of 4 x 6 inch Photographs- the size of the Unique Photos he distributes. Each pile was 5 to 6 inches tall. So? You tell me- how many photos would be in a 6 inch stack? Multiply that by at least 10 stacks. That’s about how many Unique Photographs Fred Cray had in his working piles. Maybe 5,000? Remember- each one is a one of a kind work of Art. That means it only exists that way on that print. Once he moves on and the files have been removed from his computer, he can’t duplicate it.

A Unique Photograph included with one copy of #. This one has hand punched small holes on it.

In 2019, many Photographers rely on their computers as the focus (sorry) of their workflow, their process, and indeed their work. Though Fred has couple of computers in his studio, I have no idea if they were even on. He never once went to one. He works off what he prints. Like everything else the man does- in his own way.

He’ll make these prints, then spread them out on his work table to study and assess them. From there, he’ll decide what the next step is. Does the print in question get modified? If so, how? Though he attended Painting classes at Yale, a survey of the techniques Fred uses to modify a print would be a study in an of itself, if not a book. Does he put it back in the printer(! Decidedly NOT recommended by most printer manufacturers I know of) and “reprint” it with another image or partial image over it?! Or, maybe he’ll modify it using the spectacular, and spectacularly fragile “dissolve” process he invented that he used to create the works in his 2017 show of the same name at Brooklyn’s renowned Janet Borden Gallery, his dealer since 1998. Some of this series may be seen in his book of the same name (the first 40 copies of which comes with an actual unique print from the Dissolve series).

I’ve never seen a Photograph that comes with its own warning label before. The glassine envelope the Unique Dissolve Photograph included with this copy of the book Dissolve.

To make these works, as I understand it, Fred prints the images on a surface that repels ink! After he does, the image, such as it is, or was, “dissolves” in front of his eyes, morphing into something else, possibly something useless, in moments. The Artist halts the process at the moment that speaks to him, freezing the image in the delicate and fragile state it every bit appears to be in from just looking at it.

The one of a kind Dissolve work inside.

By now, a pattern was emerging here.

Perhaps you, too, see a strong Buddhist influence is all of this (even before that last picture)- The giving away of one of a kind Art works reminds me of the Sand Mandalas created by Tibetan Monks over, in some cases, long days of arduous effort, only to then sweep them away after a ceremony. Impermanence is a core value in Fred Cray’s work- and it permeates his approach was from giving away original unique Art right down to the techniques he’s invented, like his “Dissolve” process, and his new, “Fragments” Series, he gave me a sneak peak at.

A haunting image of The Flatiron Building from the “Dissolve” series now appears in this work from Fred’s new “Fragments” series.

No need to get the science books out to understand this one. (Phew…My science book section totals zero. Unless David Hockney’s Secret Knowledge counts as science.) One day, Fred came home to discover his cats had decided to show him their “editing skills.” They had chewed up some of his work prints. Undaunted, and taking a philosophical approach, he decided to put them to work. He took the “scraps” they had left behind and mounted them on other images. Voila, “Fragments.” A large print of the Flatiron Building hung near his door and captivated me the moment I walked into his studio and saw it. Sure enough, a work from “Fragments.” Often, when he “reprints” a Photograph, or creates a work in his “Dissolve” series, he’s not sure, (exactly, or even at all) what he’ll get. In that regard, there’s a Zen element to his work as well.

And? To my shock (and the horror of the Art history lover in me), it turns out the impermanent nature of Fred’s work extends much further.

Monet in the 21st century? *A work from Fred’s “Dissolve” series.

Over the course of my 2 1/2 year “deep dive” into the world of Modern & Contemporary Photography (think post-Robert Frank’s The Americans), it’s become apparent to me that so-called Fine Art Photography is something of a wild west with no rules. Unlike Painting, a Photograph, in theory, can be reprinted ad-infinitum, indefinitely, for as long as the negative or the digital file exists. That some Photographers have taken to reissuing their work in second editions, something of a strict no-no to this point, and any number of estates have brought in others to print their Artist’s work (which, frankly, raises questions for me), says to me that it can be pretty scary to buy Photography for the big money being asked for it, and all Art, in these days at the top of an Art Market that hasn’t seen a price correction, or worse, in decades. Therefore, it seems to me that, as a by-product of his philosophical approach, Fred Cray is something of a “Photography collector’s dream.” Once Fred is finished working on a body of work, he removes it from his computer.

He keeps no archive!

Like that Unique Photo you found? Keep it safe because it cannot be duplicated or replaced. In this sense, his work is like that of a Painter’s. “Unique” means unique. Fred does create some editions as well, and his PhotoBooks are published in small editions of between 5 and 200 copies each. So fascinated by the PhotoBooks Fred has created over the past decade, I am devoting an entire piece, a Part 2, to look at them.

I looked at you tonite and you weren’t even there. An deeply personal work using found words in a large, editioned size, seen on the wall of his studio.

When I queried him on all of this (I don’t think he noticed my mouth opened as I grocked his replies), I asked him about the 4 x 6 Unique Photos he hands out- “Don’t you have an archive of them? I’d love to be able to look through them and see them all.” He picked up a half sheet of torn paper next to his work table. On it were columns of numbers going down, all but the last of which had been crossed out.

That’s it.

The sheet simply records the last number he had handwritten on a print so he would know which number to start with next time. When he reaches “9999,” he starts again at “1.” I’ll wait until you get up off the floor.

The universe is random. These 3 Unique Photographs that came with a copy of Changing of the Guard have consecutive numbers, something I haven’t seen before.

That means there are now 5 with the number “1” on the back, etc., but no way of telling which one is the “REAL” “1,” and which is ten thousand and “1.” No record. No hermetically sealed vault of originals. Just what you hold in your hand. On the subject, he told me- “I keep lots of images I’ve taken (or found) over the years hoping that they’ll resonate in new ways  when I go back through them. But every time I go through old files I try to delete a bunch. If I can find a way to remake an image in a new way I have no problem doing that. I wouldn’t want to go back and make the print as it was perhaps made before. But you are correct in saying I don’t keep an archive of the Unique Photographs that have gone out.” That sound you’re hearing are the voices of all the future Art Historians who will be fascinated by Fred’s work saying “Goodbye” to their dreams of trying to compile a “catalogue raisonne” of his Unique Photographs.

Splendor Solis, 2019 (Seen in progress.)

On August 22nd, Fred told me he had just completed his latest PhotoBook, Splendor Solis. After working on a series on the Sun for years, taking Photos of it in various ways, he finally came across the right means of collecting and displaying them. One day on 14th Street, he discovered a book he felt was the perfect instrument. He proceeded to buy up 35 copies of it, which were stacked on the floor next to his work table when I visited him in July. On the table, I noticed an array of rubber stamps and some watercolors. He explained to me that he’s going through the books one copy at a time, adding about 15 Unique Photographs (yes, different in each copy of the book) to 3 recurring Photos. Then, he’s customizing pages with a variety of media- the aforementioned rubber stamps, watercolors, etc. The project is loosely based on alchemy. As I looked at what he was showing me, Bruce Conner came to mind, briefly. But, there really isn’t anyone else I can compare Fred to- not Cristina de Middel. Not Ray Johnson (who may be closest in some ways). Not Henry Darger. Not Jim Dine, Gilbert and George, or Vik Muniz. His work is, also, unlike Robert Rauschenberg’s, not an easy thing to do.

Impermanence incarnate. The complete edition of Splendor Solis. 31 copies, plus 5 Artist’s Proofs. Now that he’s finished them, there’s a very good chance they will never be seen together again.

Earlier, I mentioned the Whitney Biennial, in progress as I speak until late September. (My look at the 2017 Biennial is here.) Once again, it leaves me with mixed feelings. On the one hand, it’s so hard for an Artist in this country to receive any recognition for their work, it’s good such things exist. I’m not taking anything away from anyone included when I say that each time the list is announced, my thoughts turn to all the great Artists who get left out.

Like Fred Cray.

The Artist holds one of his Unique Photographs with a selection of his books in front of him during an Artists’s Talk at a 10 x 10 Books Salon, May 16, 2019.

I told him this, and his reply caught me off guard. “Wouldn’t it be great if they had included a great Artist, like David Hammons?”

Undaunted, I’ll up the ante. Having had the chance to look closely at his work, albeit only from the past 3 years, (Fred, a 2003 Guggenheim Fellow, has been creating for almost 30 years now), I believe his work is going to receive more and more attention in the future- and in the near future, from collectors, and particularly from museums & their curators.

Why do I feel this way? Because, along with being continually innovative, the bottom line for me is his work is that good. And? Among all the Artists & Photographers known to me, there’s no one like Fred Cray. He’s unique.

-Soundtrack for this Post is “Changes” by David Bowie from his classic 1971 album Hunky Dory–

“I watch the ripples change their size
But never leave the stream
Of warm impermanence and
So the days float through my eyes
But still the days seem the same”*

My thanks to Fred Cray. 

This is Part 1 of my 2 part look at the work of Fred Cray. Part 2 is a look at the PhotoBooks Fred has published over the past decade and may be seen immediately following below this, or here. 

NighthawkNYC.com has been entirely self-funded & ad-free for over 7 1/2 years, during which almost 300 full length pieces have been published! If you’ve found it worthwhile, PLEASE donate to allow me to continue below. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books from my collection! Art & Books may be found 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 situation seems to have been resolved in the following week, and the works will remain in the Whitney Biennial, as far as I know. ↩
  2. Fred added, “Early on I didn’t number the photographs, so there are probably an additional 1,500 un-numbered. I started numbering them to reiterate the unique aspect of the photographs.” ↩

The Complete PhotoBooks Of Fred Cray: 2009-2019

Written & Photographed by Kenn Sava & Fred Cray

This is Part 2 of my two part look at the work of Fred Cray. Part 1 may be seen above, or here. 

There’s been quite a bit of discussion about whether Photographs are best seen on the walls or in a book. The question goes much deeper, I think. For one thing, what kind of book are you talking about?

A Unique Photo by Fred Cray. Believe it or not, this was not taken in the NHNYC offices.

Photographs appear in, probably, well over half of all books published each year, I’d guess. Even in the world of Photography books, there are a number of different types of books published ranging from exhibition catalogs to retrospectives to monographs on a particular subject to biographies to how-to’s and on and on. And then there are what has come to be known as PhotoBooks. The PhotoBook is a book created by a Photographer in which they present one (as Paul Graham did in a volume of A Shimmer of Possibility) or more Photographs that are somehow related or connected in the mind and vision of the Artist, in an arrangement and design of the Artist, or under his or her direction. In a PhotoBook, unlike most other Photography books, every detail is part of the overall experience and effect. As a result, PhotoBooks are Artists’ Books and are often self-published due to their highly personal (i.e. limited market appeal) nature and often as close to hand-made feel as possible.

Self-Portrait from Self (2) by Fred Cray.

As I’ve explored the world of Modern & Contemporary Photography (post-Robert Frank’s The Americans, published in France in 1958, in the USA in 1959), I’ve discovered that PhotoBooks are something very much apart in the Art world and in the world of Art book publishing. They are an entirely different way of experiencing Photography besides seeing works on the walls in a show or in other types of Photography books.

Among the Photographers creating PhotoBooks today, Fred Cray’s books are one of the most continually creative bodies of work released in the past decade known to me. However, his first 10 books (his output up to 2013) were published in editions of just 5 copies each. Since then, his editions have totaled no more than 200 copies of a given title, and, to date none have been reprinted. As a result, only a small number of people have seen his books.

A selection of ten books by Fred Cray seen at a 10 x 10 Salon Fred spoke at in May, 2019. The two books in the lower left are display copies of titles that are now out of print.

As I wrote in Part 1 of this 2 part series on Fred Cray, after coming across a few of his Unique Photographs, I discovered Fred had been publishing his own PhotoBooks and began to see them. I found one here, one there, each one raising more questions and leaving me wanting to see more. As I began to look for them, I discovered that no one has as yet done an overview of them. I try and fill that gap here. As he hits the decade mark of self-publishing his own books in 2019, and as more and more people become interested in his work (which, as I said in Part 1, I expect will continue), I think it’s time for the first overview of this sui generis body of work. I am happy to say that I have had Fred’s help throughout, which I greatly appreciate. Still, responsibility for any errors or omissions lies with me, so if you have any corrections or additional information, please feel free to send it.

From Self, his first book, 2009.

Fred had been creating work for almost two decades when he decided to make his own book, as many Artists do who self-publish- as a way to see their work. The result was Self, a collection of black & white self portraits, five copies of which he published in 2009. On August 22nd, 2019, the Artist told me he had completed his latest and the most singular in a singular body of PhotoBooks, Splendor Solis, each of whose 35 total copies are hand modified on a page by page basis!

From Berlin.

Fred not only creates the work they include, he publishes the books, and then he gets out there and serves as his own distributor. Having been an independent Jazz record producer, I find it utterly remarkable that Fred, (as do innumerable other Artists, Photographers- like Kris Graves, who I’ve written about a few times, and Musicians, like Dave Fields), funds and produces each of these projects himself. Given the costs and the financial realities facing Artists in the big business world of books, I doubt his books are a money-maker for him. As with most Independent Publishers and Producers, they’re lucky if they break even so they can fund their next project.

Since he keeps no archive of his work, as I discussed in Part 1, his PhotoBooks are the only record of a good deal of his work, beyond what’s in the hands of collectors and museums (which currently includes The Museum of the City of New York, Middlebury College of Art, Smith College Museum of Art, and the Brooklyn Museum). Here, I’ll give a brief look at each book Fred has self-published to date. Many of the titles published from 2013 are still available, reasonably, at Printed Matter, Photo-eye, Amazon, AbeBooks or Dashwood. The books published from 2009-12, of which only 5 copies exist, begin at a thousand dollars per copy currently. Whether you find one of his Unique Photos out in the world, or buy one of his prints, Fred Cray’s PhotoBooks are portable works of Art in their own right. Over the past 10 years, they have become a very important part of Fred Cray’s Oeuvre. Here’s a look at each of them.

“No sleep til Brooklyn.” All of Fred Cray’s books to date have been created there. Here, a selection of Fred’s share a shelf with the Beastie Boys Book, the composers of that song, in February, 2018,

All books are listed chronologically from the earliest in the following format-
Year published- Title, Publisher (All titles are understood to be self-published. A few bear his “64” imprint1 so these have been noted), followed by the edition size. 
Next are pictures of the cover and sample contents, including Photos taken for this piece by Fred Cray as noted. These are followed by new comments from Fred and publisher’s statement at the time of the book’s release.

All of this is accompanied by my selections from “Song of Myself” by another Brooklyn Poet, Walt Whitman, from Leaves of Grass, as the Soundtrack for this Post.

The Complete PhotoBooks of Fred Cray: 2009-2019

2009, Self- (ISBN 97800984238729) Published in an edition of 5 hardcover copies.

Self. Fred Cray’s first book, copy #5 of 5 in existence is seen here. Photo by Fred Cray.

A collection of his early, black & white, Self-Portraits, a genre in which he has continued to this day, though in color. Fred told me this about Self in 2019- “The work in this book is black and white self-portrait images, usually large format, sometimes multiple exposure. I was transitioning back to photography being the primary or base medium I was working with. Painting, printmaking, iliterary influences and interests inform just about all my photographs from this point on. One main reason I was photographing myself was that I was working a lot of hours (70 plus per week) in the painting/construction trades. I’d get home late and it would often be easier to photograph myself than anything/anyone else. I’ve continued to photograph myself periodically with a primary intention of seeing how far I can transform the same figure, how far the boundaries can be pushed and still have it be the same self. The earlier self portraits followed a period where I had been making a few black paintings and wanted to make black photographs, so I painted the wall and myself black. These images stretched for a couple years into performative aspects (setting myself on fire, eating dirt – a Gabriel Marquez reference), buried, and tarred and feathers. I then moved into using silver body paint (white didn’t resonate for me).”

The first page of Self.

Fred never seems to spare himself in the pursuit of a good image- no matter what he has to endure to get it. From Self.

“I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.”*1

2009, Words- (ISBN 9780984238705) Published in an edition of 5 hardcover copies with Unique Photographs, letters, and other paraphernalia.

Words. Photo by Fred Cray.

Describing Words Fred Cray said in 2019, “A variety of images from different bodies of work that incorporated words. This includes Sequiturs, Travel Diaries, Unique Photographs, and some general street photography images. This book was intended mostly as a compilation of works with words to show the importance of words and thinking about art (with words vs. instinctual reaction which is a whole other thing). I’ve been observant of text since perhaps high school. The adding of text to a photograph was the first time I digitally altered photographs. To this day I still photograph random bits of text, particularly  when walking around. It’s interesting to me who text is intended for and when it involves people it was not intended for. A lot of what makes text interesting (for me) is context or out of place context. Once I went on vacation to Mexico without a photographic plan. As we walked on the ocean I thought of how waves could make new words. So I spent two or three days making hundreds of photographs where waves erase letters to make new words. For example by erasure tear can become tea. I only used a couple of those images in the book.”

From Words.

Publisher’s statement in 2009- “Book contains 56 images plus numerous original photographs. Also included in the book are signed letters from the artist. Several unscratched lotto tickets are included in the book, either directly visible or underneath original added in photographs. This book included images from several of the artist’s series including his Travel Diaries  and images with text added to create ambiguous meanings.”

2009, Uniforms- (ISBN 978098423871) Published in an edition of 5 hardcover copies.

Uniforms. Photo by Fred Cray.

Fred Cray in 2019- “This is a book with images begun shortly after 9/11 when people in uniforms became much more present in our lives. Police, military, and fire fighters were the primary focus. The uniform portraits initially began as both an inverted extension of my two minute self-portraits and as a slight form of aggression towards the police. The first portraits were hand held two minute photographs (quasi mug shots) of cops standing on duty. I’d never had a great love for cops so I started photographing them as angry cops. I expanded the series to include other military personnel but drew the line there. Over the course of the several years I was working on this project the portraits became much more sympathetic. I felt these people were just being used for agendas they might not like or understand. I believe this is reflected in the images themselves.”

From Uniforms.

Publisher’s statement in 2009- “This book contains 49 images taken over several years and shows the photographer’s changing attitude towards people in uniforms. Taken before and after 9/11 the photographs range from straight forward almost mugshot portraits to soft focus images, to computer altered portraits. Included in the book are several added in one of a kind photographs signed by the photographer.”

2010, Self (2)- (ISBN 97800984238729- It uses the same ISBN number as Self. Fred intended this to be a 2 volume set.) Published in an edition of 5 hardcover copies.

Self (2). Photo by Fred Cray.

Fred Cray in 2019-  “Self(2) contains later color self-portraits, starting with two minute self-portraits. Both (Self and Self((2)) had red cloth covers. The Self-Portraits are an ongoing series of work, and these two volumes were intended to compile a selection of the images to date. A fair number of new images with the self (in one form or another) have been made since then. I believe I started making color self-portraits around 1997. Most of the black and white self-portraits date from the late 1980s-1995. Early in the 90s I was working mostly on Travel Diary work (never did a book of those due to the dense nature of the work not reproducing well on a printed page). One of the concerns I’ve always had with photography is the way it holds up on the wall with paintings and other media. Photography often seems thin and quick compared to painting. The color self-portraits taken after 1997 were large format two minute exposures. I would paint the wall and then paint myself different colors. I could over the course of the two minutes draw or paint with myself. Other images in this book include a few singular Travel Diary  frames where I’ve included a self-portrait as one of the four layers in these multiple exposure works, collaged and rephotographed photographs, and other images that have led to recent work where I am physically breaking down photographs to make new photographs.”

From Self (2).

“Apart from the pulling and hauling stands what I am,
Stands amused, complacent, compassionating, idle, unitary,
Looks down, is erect, or bends an arm on an impalpable certain rest,
Looking with side-curved head curious what will come next”*4

2010, Red- (ISBN 9780984238736) Published in an edition of 5 hardcover copies.

Red. Photo by Fred Cray.

Fred Cray in 2019- “Photographs with red in them. Mostly, I was thinking about a different way of selecting/editing work, but was also aware that red played a role of potency in my images. Red is sort of a compilation project incorporating various series of works. It was more of an editing/concept book than something I went and made work for. Word, Porn, Self-Portraits, street photography all feature in it.”

“I used to lie on the floor. They used to kick me and say ‘the animal’s still alive.'” From Red.

Publisher’s statement in 2010- “Red contains 81 images plus several original unique added in photographs. In this book all the photographs contain some amount of red and cover the photographer’s wide range of work including street scenes, self-portraits, multiple exposures, and images with text.”

2010, Berlin- (ISBN 9780984238750) Published in an edition of 5 hardcover copies.

Berlin. Photo by Fred Cray.

Fred Cray in 2019- “I spent a summer there in 2010 out photographing all day every day. Berlin has been important for artists for quite some time. I wanted to experience the city and witness some of the art scene. These summer trips have been important for me to reside somewhere outside of NY and someplace relatively unfamiliar so I can see “more freshly” than perhaps I do during daily life in NY. There were interventions I photographed with words placed or written in situ. Much of what I ended up doing in Berlin could be considered minor interventions; some interventions were with words and some with objects such as bread crumbs and band aids. In a way these interventions are similar to the process of leaving Unique Photographs, though people wouldn’t want to collect the band aids or bread crumbs. I was in Berlin prior to my leaving lots of unique photographs, though I did leave a few (perhaps around 20). I wrote the words stoned and punk on rocks that were piled in construction sites around the city.”

From Berlin. Fred Cray, “On the plane ride over there I was eating a nondescript, at best, meal and started tearing up the roll. It occurred to me to leave bread crumbs throughout Berlin (similar to Grimm’s fairy tales (they’re buried in Berlin and there’s an image of the tombstone in this book)).”

Publisher’s statement in 2010- “Berlin contains images taken in that city during the summer of 2010. This book continues the photographer’s street work, works using words, multiple exposures, and works with objects. Not a visual description of the city but an impression of a place important to the art world.”

2010, Movies- (ISBN 9780984238736) Published in an edition of 5 hardcover copies.

Movies. Photo by Fred Cray.

Fred Cray in 2019- “I had (and still sometimes do) photographed movies as a source for images to work with. The Travel Diaries in particular contained layer after layer of movie images allowing me to mix elements of time and place. A friend at one point commented on frames within the Travel Diaries suggesting making blow up works from single frames. This book contains later (post Travel Diary) film images, usually two minute images where I hand held the camera for two minutes while the film was rolling. In retrospect, had I known I was going to make the Porn book which followed this book, I probably would not have made this book. The important element for me was the use of time lapse imagery and playing around with time. The Porn book really stretched the use of time lapse. Most of these images were just a few seconds of a film combined into one still photograph.”

From Movies.

2011, Porn- (ISBN 9780984238767). Published in an edition of 5 hardcover copies plus two artists proofs.

Porn. Photo by Fred Cray.

Fred Cray in 2019- “The Movies book contained a few porn images. A few friends who looked at the Movies book commented on how strong and resonant the pornography images seemed to be. They invoked a lot of different things to people.  I spent a couple months watching/photographing pornographic movies. The same time lapse technique was  used so each singular image contains at least two minutes of actual film footage. As I mentioned this came about after the Movies book. When I showed people the Movies book the porn images were commented on most. Talking about porn with people made me realize how prevalent it is and how little it is discussed compared to its prevalence. It turns out just on the world’s largest porn site 5.5 billion hours of pornography is consumed each year. I was buying disks so I could stop and fast forward the images. It seems people don’t mind talking about pornography privately, but they don’t want to talk about it publicly.”

From Porn.

2011, Rome- (ISBN 9780984238774) Published in an edition of 5 hardcover copies plus two artist proofs.

Rome. Photo by Fred Cray.

Fred Cray- “I had been to Rome once years before. I was wary of spending an extended amount of time there fearing there were so many brown monuments that I’d end up with a boring series of images. I took along gels to put in front of the camera lens and ended up with a good number of vivid color works , some of which were shown at Janet Borden for the first gallery exhibition of Unique Photographs. Referring to his annual summer trips, like the one to Madrid this past July, Fred added, “I try to make these summer trips long enough so that something new happens in the work. Generally that means at least six weeks in one place. I try not to leave the city chosen, so that I visit time and time again places and see them in different light and circumstances. Also by staying in the one city I’m making myself  think that there’s not something else or something better somewhere else I should be considering. I spent summers in Athens and Tokyo (which I want to revisit) but don’t want to make book after book about my summer in so and so city. In Rome I wandered into an antique store and found a replica skull. I bought it, spray painted it gold, and carried it around with me to photograph.”

From Rome.

Publisher’s statement in 2011- “This book contains images made in Rome during the summer of 2011. Many of the images are multiple exposures of the city’s monuments and ruins in saturated colors. Contrasting images show contemporary life and people attached to their digital devices. Several unique original photographs are included in this volume.”

2011, Devices- (ISBN 0984238794) Published in an edition of 5 hardcover copies plus two artist proofs.

Devices. Photo by Fred Cray.

Fred Cray in 2019- “For a few years starting perhaps 2008 I started photographing people with their electronic devices. I was particularly interested in the element of isolation in public that phones and headphones create. Many of these images were taken in museums in Rome and Berlin on various summer trips.”

NYC Street shot from Devices.

2013, Unique Photographs- (ISBN 9781617042010) Published by 64, Published in an edition of 200 copies, each containing 4 Unique Photos, and 22 Artist’s proofs.

Beginning with Unique Photographs in 2013, it and every subsequent Fred Cray book includes at least one Unique Photograph laid in.

Each copy comes with four, different, Unique Photographs.

Subtitled “Volume 1 of the Unique Photographs” Fred has distributed. From the publisher in 2013- “Since 2008 over 10,000 Unique Photographs have been left or hidden in unexpected places in New York, around the United States and in different parts of the world including Europe, Asia, Australia and South Africa. The photographs are printed, stamped and numbered. This artists’ book frames the ongoing project, includes many of the best photographs, photographs of them in situ and some emails from individuals who have felt the compulsion to contact the artist after the random encounter with his work. Each copy comes with four Unique Photographs.”

Fred showing pages from the Unique Photographs book at a 10 x 10 Salon, May 16, 2019.

2014, Changing of the Guard (Unique Photographs Volume 2)- (ISBN 9781617042027) Published by 64 in an edition of 200 hardcover copies.

Changing of the Guard, with the Unique Photographs that came with this copy.

Fred told me “The Guard” in question is one of The Metropolitan Museum’s Guards. I can vouch for that as I’ve seen him there a number of times. From the publisher in 2014- “Changing the Guard repeats the same image of a museum guard with 52 variations created by double printing. Fred told me that after publishing the book, he went back to The Met and, after some effort, located this Guard. He showed him the book and his reply was “You make money from this?” As you can already see, in this book, everything but the Guard, changes.

2014, Conversations- (ISBN 9781617042034) Published by 64 in an edition of 200 hardcover copies.

A copy of Conversations, left, with a Unique Photograph, right, found in Aubervilliers, France by Amouret Hugues of French TV in a Wolfgang Tillmans book, that appears to be a variation of cover image.

Publisher’s statement in 2014- “An artist’s book in which photographs of words have been interwoven with the monologue from a 1960s illustrated book, creating a discussion between today and the 1960s. Photographs by Fred Cray. 64 pages; 64 color plates; 9.25 x 11.5 inches.”

2015, Cray Cray- (ISBN 9781617042102) Published by 64 in an edition of 100 softcover copies, and “a few” collector’s copies with 7 unique prints included.

A sealed copy of the now sold out Cray Cray. It contains 1 or 2 Unique Photographs.

Publisher’s statement in 2015- “Cray Cray continues Fred Cray’s work with Unique Photographs. This book contains 36 double-printed images all of which use the same self-portrait as a constant. Each copy comes with at least one unique 4×6-inch double-printed self-portrait. “

2016, # – (ISBN 9781617042041) Self-published in an edition of 150 hardcover copies.

The cryptically titled # with the Unique Photos that came with this copy.

“Clear and sweet is my soul, and clear and sweet is all that is
not my soul.
Lack one lacks both, and the unseen is proved by the seen,
Till that becomes unseen and receives proof in its turn.”*3

2016, Silhouettes– (ISBN 9781617042096) Published by 64 in an edition of 100 softcover copies.  

Silhouettes, with the Unique Photo that came with this copy.

Publisher’s statement in 2016- “Silhouettes continues Fred Cray’s Unique Photographs project. In this book images are derived from scans of double printed works where silhouettes or their inverse are over-layed upon a variety of subjects.

2017, An Incomplete Journey- (ISBN 9781617042089) Published in an edition of 30 softcover copies, and “a few collectors’ copies.”

An Incomplete Journey with the Unique Photographs that came with this copy.

Of this book, in January, 2017, the Artist said that he was “finishing a very limited edition (30+ a few collectors’ copies) handmade book titled An Incomplete Journey. About an abbreviated trip to Kolkata, India last year. Trip was cut short by my mother’s death and title refers both to trip and her life. 8.5″ X 11″ inkjet printed on archival matte paper. Different handmade paper covers. Unique Photos inserted.”

2017, Dissolve- (ISBN 9781617042072) Published in a hardcover edition of 165 copies, the first 40 copies of which come with a Unique Photograph. There is also a Limited Edition of 4 signed copies with 48 Unique Prints, 4 x 6 each, contained in a rigid, 50-page notebook.

Dissolve. This being one the first 40 copies, its Unique Photo is below.

2018, Transparency- (ISBN 9781617042058) Published in an edition of 150 softcover copies bound with a carton staple(!) plus 15 artist’s proofs.

Transparency with the Unique Photograph that came with this copy.

In November, 2018, Fred Cray said of Transparency, “(The) book is a combination of images on paper and on acetate which swings back and forth between two pages. Not a narrative but an interpretation of a recent series where two images were printed on the two materials and then sewn together with thread. Book is printed in a small run of 150 plus 15 collector’s copies. Carton staple bound softcover. Many many thanks to Edition One Books for their extraordinary work and diligent patience with this project.” Elsewhere he added- “Transparency is another component to the Unique Photographs project. The book parallels but also deviates from the recent series of artworks where drawings were printed on acetate and then sewn together with photographic print underneath. For the book some of the drawings have been printed on acetate which flips between two printed pages. Other drawings are incorporated through the artist’s practice of double printing a variety of images with unexpected juxtapositions. The book deliberately aims to create more of a cacophonous experience than the prints did. The book is printed in a small edition of 150 (plus 15 collector’s edition copies). Softcover and carton staple bound. Each book contains at least one 4’x6’ double printed Unique Photograph from the Transparency series.”

The Transparency book features a variation on the larger prints he’s created that have an acetate sheet hand sewn on top of a Photograph. In the book, the acetate sheet is bound between pages, effecting the image on each side depending on how your turn the sheet as I show here, and below-

“Have you reckon’d a thousand acres much? have you reckon’d
the earth much?
Have you practis’d so long to learn to read?
Have you felt so proud to get at the meaning of poems?”*2

2019, Dark Dog- (ISBN 9781617042065) Self-published in an edition of 200 softcover copies. 24 pages, 11 images. Thread bound.

Dark Dog

In November, 2018, the Artist said, “Been working for a while on this series with a (usually dark) dog. I see it as a metaphor for our dark times. I tend not to engage directly in political art so this is as close as I come. Unique Photo pieces with fragments of other photo works.”

The Unique Photograph laid in to this copy.

“I have heard what the talkers were talking, the talk of the
beginning and the end,
But I do not talk of the beginning or the end.

There was never any more inception than there is now,
Nor any more youth or age than there is now,
And will never be any more perfection than there is now,
Nor any more heaven or hell than there is now.”*3

2019, Splendor Solis- (ISBN- Undetermined) Published in an edition of 31 copies with 4 Artist’s Proofs.

Splendor Solis, 2019 (Seen in progress.) This was a brand new book, as seen on the right, until the Artist “modified” it, left. He said, “I’m not sure that there are too many photography books that began by being smacked around with a hammer and then sanded with heavy grit sandpaper and having paint spilled on them.” Photo by Fred Cray.

In preparation as I worked on these two pieces, Fred told me he had completed Splendor Solis on August 22nd. Each copy contains 15 or 16 Unique Prints and 3 repeated prints that are are altered in a way that makes them unique. Each copy is hand modified using rubber stamps and hand-painted watercolor additions and modifications.

Past, present and the immediate future- Fred Cray in his studio, surrounded by his work as he ponders his next step in the creation of Splendor Solis, July 27, 2919. When you speak to him about work in progress, he continually speaks of his “next steps” and “where he can take things” from here.

In August, regarding Splendor Solis, Fred said, “I’d been photographing the sun for a few years. The NYPL picture collection has been a great source for my work. One day I was going through vintage advertisements and came across an image on how to take pictures. There was a drawing that instructed one to never photograph the sun directly but to keep it at one’s back. So that cemented the idea to continue directly photographing the sun (I’d been doing it for a number of years but not with the idea of making a series of it). Since last spring I knew I wanted to make some sort of book about this work. I was talking with a well known educator who also collects photography books. He mentioned he had lots of books he was happy to have but only looked at them once which was when he bought them. In the back of my mind I wanted to make a book that almost demanded multiple viewings. Another aspect to the sun series book was that I wanted each copy of the book to be different, to contain different Unique Photographs, a sort of challenge to myself to see if I could come up with about 400 decent unique photographs of the sun.”

The state of the art. A sample spread from Splendor Solis Fred provided on August 20th. In addition to the Photo on the left hand page, which I believe he took on his summer 2019 trip to Madrid, many of which can be raised from the bottom to reveal another image under, everything in color has been added by the Artist. To get an idea of the size of this project? Multiply this by many of the 104 pages in each book, times 35 books! Photo by Fred Cray.

He added, “One day earlier this summer I was looking for a book with drawings of the sun. I couldn’t find anything but did stumble across this book Splendor Solis which had a couple drawings of the sun in the context of alchemy. The book seemed ideal as a vehicle in which I could insert the Unique Photographs. I intended to insert them and call it quits. Once I started playing around with the insertion I realized something more was needed. I started painting the existing illustrations with water colors. The project grew out of control to the point where I estimate I’ve spent 12-14 hours per book, not including the time it took photographing the sun over the past five or so years, and not including the time it’s taken to make the prints. This book has really fulfilled the ideal I have at the best of times to not know how a project will turn out and to give a project room to grow out of its specific needs. Three of the images repeat in all books as a type of anchor but are altered with holes in ways that I consider to make them all unique. The edition of 31 is to relate to the lunar calendar- plus four. It’s been a time consuming monster, but has become a book I didn’t imagine – which is really the best part of making something.”

In mid-August, I got a first hand look at the level of the attention to detail Fred is bringing to this “monster” project. I accompanied the Artist to The Ink Pad in Greenwich Village.

Fred Cray holds a copy of Splendor Solis as he judges the suitability of rubber stamps to add to it at The Ink Pad, Greenwich Village on August 15th.

Surrounded by upwards of 1,000 rubber stamp designs of every subject under the Sun (sorry), Fred knew exactly what stamps he needed and exactly what kind and color of ink he would use them with.

As a last touch, Fred decided to add gold to the book. Here are the same pages in two different copies giving an idea of the similarity and the variance from copy to copy of Splendor Solis. Photos by Fred Cray.

On August 20th, he said this regarding the premise of the book- how to make gold- “I did come up with another twist/layer to the book in the middle of night last night. Since it’s a treatise on alchemy  and the reader can only be disappointed since gold can’t actually be made, I figured I should include some real gold as a consolation of sorts…I never imagined this project would expand like it did, but I’m glad it did. It’s that thing of staying with something for a while so it organically grows and goes in a certain direction, rather than just being an idea.”

“Stop this day and night with me and you shall possess the
origin of all poems,
You shall possess the good of the earth and sun, (there are
millions of suns left,)
You shall no longer take things at second or third hand, nor
look through the eyes of the dead, nor feed on the
spectres in books,
You shall not look through my eyes either, nor take things
from me,
You shall listen to all sides and filter them from your self.”*2

What I saw of Splendor Solis as it progressed revealed a book that, given all the hand applied elements it contains, in addition to recurring and Unique Photos, blurs the line between PhotoBook and Artist’s Book. If it doesn’t create something entirely new of its own. A fitting culmination to a decade publishing a unique body of books.

Addendum- Other publications on Fred Cray that he was involved in but did not publish himself-

2000, Fred Cray May 3- June 18, Exhibition catalog published by Tremaine Gallery, The Hotchkiss Gallery, Lakeville, CT, Edition size unknown. 12 pages with full page reproductions in color and black & white.

Fred Cray, 2000. An exhibition catalog is the very first publication devoted to Fred’s work.

The earliest publication of Fred’s work known to me. Published to accompany a show of his work at the Tremaine Gallery at the Hotchkiss School, in Lakeville, CT, which he graduated from in 1975, before moving on to get a BA from Middlebury College, studying at the Skowhegan School of Painting and Sculpture, both in 1979, and the Yale Graduate School of Painting, where studied Painting.

“Failing to fetch me at first keep encouraged,
Missing me one place search another,
I stop somewhere waiting for you.”*52

The Artist signing one of his books. May, 2019.

*-“Soundtrack” for this Post are quotes from “Song of Myself” included in the immortal Leaves of Grass by Walt Whitman, that he wrote between 1855 and 1881, along with the stanza number they appear in.

My thanks to Fred Cray.

NighthawkNYC.com has been entirely self-funded & ad-free for over 7 1/2 years, during which almost 300 full length pieces have been published! If you’ve found it worthwhile, PLEASE donate to allow me to continue below. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books from my collection! Art & Books may be found 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. When I asked Fred about this, he said, “64 is a pun on a bar/restaurant a friend used to own up on an island (Vinalhaven ) in Maine.” ↩

Forgotten Songs I Will Love Forever, #2- Steely Dan’s Deacon Blues

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)

Part 2 of an ongoing Series. Part 1 is here.

“Deacon Blues” by Steely Dan, written by Donald Fagen & the late Walter Becker, as recorded on their classic album, Aja, in 1977.

Hideki Fujii’s (1934-2010) classic Photo of the extraordinarily enigmatic model & actress Sayoko Yamaguchi (1947-2007). She did far more, including being a ground-breaking Artist, but even if she had only done this one Photograph, she’ll live forever.

Comment- As close to the unofficial/official Theme Song of NighthawkNYC.com as there is likely to be, and I said as much in my very first Post in July, 2015, and here in in 2024. For me, Steely Dan represents a kind of zenith in Pop & Rock- the moment where pure instrumental musicianship peaked before the machines, computers and automation began taking over. (There’s nothing inherently “wrong” in that. It’s just different.) “Libations. Sensations. That stagger the mind…”

Compared to the otherworldly beauty on the cover for Aja, it looks like the band didn’t have a lot of input into the single’s cover. Photographer unknown.

Lyrics-

This is the day of the expanding man
That shape is my shade
There where I used to stand
It seems like only yesterday
I gazed through the glass
At ramblers, wild gamblers
That’s all in the past

You call me a fool
You say it’s a crazy scheme
This one’s for real
I already bought the dream
So useless to ask me why
Throw a kiss and say goodbye
I’ll make it this time
I’m ready to cross that fine line

Learn to work the saxophone
I’ll play just what I feel
Drink Scotch whiskey all night long
And die behind the wheel
They got a name for the winners in the world
I want a name when I lose
They call Alabama the Crimson Tide
Call me Deacon Blues

My back to the wall
A victim of laughing chance
This is for me
The essence of true romance
Sharing the things we know and love
With those of my kind
Libations
Sensations
That stagger the mind

I crawl like a viper
Through these suburban streets
Make love to these women
Languid and bittersweet
I rise when the sun goes down
Cover every game in town
A world of my own
I’ll make it my home sweet home

Learn to work the saxophone
I’ll play just what I feel
Drink Scotch whiskey all night long
And die behind the wheel
They got a name for the winners in the world
I want a name when I lose
They call Alabama the Crimson Tide
Call me Deacon Blues

This is the night of the expanding man
I take one last drag
As I approach the stand
I cried when I wrote this song
Sue me if I play too long
This brother is free
I’ll be what I want to be

I learned to work the saxophone
I play just what I feel
Drink Scotch whiskey all night long
And die behind the wheel
They got a name for the winners in the world
I want a name when I lose
They call Alabama the Crimson Tide
Call me Deacon Blues

Tenor solos by Pete Christlieb.

Making a masterpiece. The making of “Deacon Blues”-

;

“We would work then past the perfection point (italics mine) until it became natural.”

I get chills watching this. When Aja came out, I, and every musician I knew, were just in awe of the incredible taste shown on every single note, and what wasn’t played. Then, there’s the lyrics…

Great Music will never die. Pay Steely Dan forward.

*-R.I.P. Walter Becker (1950-2017)

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 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.

My Search For Edward Hopper’s Nighthawks Diner

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

Arnold Newman, Edward Hopper in his New York studio, November 1, 1941, Gelatin silver print, *Arnold Newman Collection/Getty Images.

You’re looking at Art history.

After the fact, this may be one of the most historic Photographs in American Art. I’m not only talking about it being a wonderful portrait of Edward Hopper. It’s much more. The date is November 1, 1941. On January 21, 1942, the Artist’s wife, Jo Hopper, would record the completion of the work her husband created on that blank canvas he is posing in front of in the Artist’s Ledger of his work.

A section of Edward Hopper’s Ledger page for Nighthawks, from the book, Edward Hopper: Paintings and Ledger Book Drawings. It wound up in the Art Institute of Chicago almost immediately. Its sale netted Edward Hopper about $1,700.00.

In the intervening 81 days, Edward Hopper Painted the incomparable Nighthawks on that very canvas. We don’t know if Arnold Newman had any clue as to what Edward Hopper’s intentions were for that canvas. But we know now. The odds are that he had finished his preliminary work- the inspiration, the sketches, the reference Drawings, the sizing calculations he usually did, and ordered the stretcher and canvas we see behind him on his famous easel. Most likely? At this very moment, this masterpiece was all in his mind, and possibly on it, as Arnold Newman pressed his shutter release.

Click.

For the following 77 1/2 years (exactly, as I write this), and counting, the world has been fascinated by Nighthawks like they have few other Paintings created in the 20th Century. Some of us, including myself, are borderline obsessed by it.

Written on my soul. The last time I stood in front of Nighthawks. August 28, 2013, at Hopper Drawing at the old Whitney Museum.

I’ve stood in front of it twice in my life. The first time at The Art Institute of Chicago in 2005, the second at the old Whitney Museum in 2013. In July, 2015, I named this site after it and wrote about why in the very first piece I Posted here, “Welcome To The Night,” To commemorate the 4th anniversary of NighthawkNYC.com, I present My Search for the Nighthawks Diner.

Edward Hopper posed for Arnold Newman, and Painted Nighthawks here, on the top floor of 3 Washington Square North, just east of the Arch in Washington Square Park, in Greenwich Village, that it looks out on, where the Hoppers lived for over 50 years, from 1913 until the Artist’s death in 1967. This is a key point for a variety of reasons, and an intriguing one because Edward Hopper was the furthest thing from “bohemian” one could imagine. Yet, living here he, like most New Yorkers, walked regularly, probably daily, and so the areas he was able to walk to may have become the sites of, or the inspirations for, his Paintings. And so, for almost all of the past 77 years viewers have been asking the question-

“WHERE is the diner Edward Hopper Painted in Nighthawks?”

I’ve been trying to find it for the better part of my life. Having lived in the area for 28 years and having frequented it before I lived here, the Village is an area I’m as familiar with as I am any anywhere. During that time, as during the Hopper’s time here, change has been the only constant. Change has also been a constant enemy in the attempts to locate, for once and for all, the diner we see in Nighthawks. My search has been carried out using only a few tools. First, the extensive Hopper literature. Though very little of it is directly relevant to this search, much of it is indirectly relevant, providing a framework for how, when and where he created his extensive oeuvre of Paintings, Watercolors and Drawings. The books by Gail Levin, (the Hopper’s biographer and the author of numerous other books on the Artist and his work, including the 4 volume Catalog Raisonne), particularly her Hopper’s Places, Second edition and the catalog for the 2013 Whitney Hopper Drawing show have been the most referred to for this quest. Outside of this, I have relied on my own two feet, my cameras and, yes, my gut.

Once that “Could this be IT?” bell goes off, I research the possibility, beginning with “What did this place look like around 1940?” Is any of that here to be seen now (i.e. when I was standing there)? What does common sense tell me? In the case of Edward Hopper, “common sense” comes from studying his work. Hopper’s Places provides part of the basis for some of that “common sense.” In it, Ms. Levin shows us contemporary Photographs she, herself, has taken at various sites Edward Hopper Painted around the world- though not Nighthawks, “…to show how he both recorded and transformed” these places, she says in her “Preface to the Second Edition,” P.vii. On P. x, she adds, “Research for the biography also revealed that in his later years Hopper relied upon observing specific sites more often than anyone had previously realized.” Even though much has changed over time, I still get a bit of a sense of Hopper’s approaches to rendering actual places. Much is, also, to be learned by looking at and studying historic and contemporary pictures of places under consideration. In the case of Nighthawks, I used all of these tools in my search.

Rooms for Tourists, 1945. About 40 years later, I found this actual Rooming House this Painting is based on in Cape Cod, Mass., and stayed there. *Photographer unknown.

My gut has already helped me find one of “Hopper’s Places.” In the 1980s, I was traveling through Cape Cod and looking for a place to stay in Provincetown, Mass. I came upon a small Rooming House and instantly recognized it from the Hopper Painting, Rooms for Tourists, and so I just had to stay there. Part of my belief that Edward Hopper based Nighthawks on a real diner was finding that actual Rooming House in the 1980s when I visited Cape Cod.

I’ve spent most of my time searching in the West Village. For two primary reasons. First, this was the neighborhood Edward Hopper lived in and walked through regularly and most often. Second, as soon as one walks south of West 14th Street (the Village’s northern border) on 7th Avenue South, you’re faced with this-

Standing in 7th Avenue South at the intersection of Greenwich Avenue and West 11th Street, facing south, July, 2019. It HAS to be somewhere in this picture, right? No. There are countless triangular corners in the West Village, but this view is the most likely to contain it, I think. Click for full size.

As I stood in the middle of 7th Avenue South (NOT recommended) there were no fewer than TWELVE triangular corners around me! Those familiar with Manhattan know that almost all of it north of 14th Street is a grid made up almost exclusively of rectangles. Below 14th Street, “old Manhattan” streets wind seemingly with minds of their own, interrupted here and there with a semblance of uptown’s rectangular regularity. The triangular corners we see in Nighthawks are everywhere. WHERE to begin?

The former Two Boots Pizzeria, #11 in the picture above, is from the right period, but its building goes straight up, so I ruled it out quickly. Nothing feels “right” to me about it.

Mulry Square (in the foreground), #3 in the picture.

Perhaps no site has gotten more “hype” about it over time in regards to Nighthawks than Mulry Square, #3 in the picture. In spite of what many have said, I have seen nothing to indicate to me that this was the site of the Nighthawks Diner.

I would guess this would be  the early 1980s from the Rita Marley ads and Miles Davis ads, on the remnants of the hamburger place, which may be the remnants of the actual hamburger place that stood here in the 1940’s, which I show later on. Miles Davis came out of retirement in 1981. Is that a covered window along the left side? I haven’t been able to find out. *Photographer unknown.

The historical archives show a gas station with a small burger place at the time, but it looks more like a White Castle precursor to me than anything resembling the Painting’s diner. If anything, it may have been an inspiration for the “fishbowl effect”- where we are looking in through the glass at the customers. More on this later.

This is seen on the other end of Mulry Square, #4 in the picture, on another triangular corner, today. No viable candidates have been reported on this, also triangular, side of the Square, which is occupied by this too modern edifice today. I’ve also ruled it out.

#9. Max Gordon Corner, named in honor of the long time owner of the Village Vanguard.

Directly across the street from #4 is this building, #9 in the picture, which has been home to the world’s greatest Music club, in my opinion, the Village Vanguard since 1927. There is a pizza place on the corner and the windows go through to the back street, but at 2 stories, I’ve long ago ruled it out. However, Art history will remember this spot because another great Painter, Richard Estes, wonderfully Painted it. (Which reminds me- In 2016, I visited the known site of one of Richard Estes’ latest Paintings in a piece I ironically called “Richard Estes’ Dayhawks At The Corner Cafe.”)

Village Cigars, 7th Avenue South and Christopher Street, Greenwich Village, NYC, June, 2019.

The site of Village Cigars is not numbered in the picture, being further down 7th Avenue on the right past #8. It’s garnered surprisingly little to no attention in the Nighthawks searches I’ve seen to this point. It has some things going for it- the shape and the cigar sign (Nighthawks has a Phillies cigar ad over the diner) but in speaking with the manager, I was told it’s been here for over 100 years, but it’s been a cigar store the whole time. Also, it doesn’t have the curved front window, those dual subway entrances were most likely also there in 1940 and are not in the Painting, and the buildings behind it are too far away. I’ve ruled it out. The Stonewall Inn is a few hundred feet to the left.

Some believe the inspiration lay in movies of the period, like this one, Stranger on the Third Floor, 1940. The suggested diner down the street on the right looks nothing like it, in my opinion. Possibly another “fishbowl effect” inspiration.

I remain completely unconvinced by any and all suggestions of movies I’ve seen. Yes, Edward Hopper was taken by a short story, “The Killers,” written by Ernest Hemingway in 1929, but I, for one, have not seen the evidence of that in the setting in the Painting. In the figures and the mood? Much more likely. “The Killers” was also made into a film, but, in 1946, too late to be considered. Maybe the Painting influenced it, as it has countless movies since.

That leaves the contenders. Speaking of movies, Edward Hopper reportedly frequented the Lowe’s Sheridan Movie Theater (which stood where #12 is in the picture earlier, and is seen further below), and based a Painting inside of it. His walk to and from it is interesting to me and it has been suggested that a few locations along this route are candidates for the Nighthawks diner. I looked closely at these.

Yes, West Village Florist at 70 Greenwich Avenue is sort of triangular. The picture above was taken standing on the northern edge of Mulry Square, seen earlier. Yes, it was along one of Edward Hopper’s possible routes from his apartment to the Lowe’s Sheridan Theater, which was directly across 7th Avenue to the left of the picture.

This picture came to me dated 1938 and that would appear correct. Looking toward Mulry Square on the right shows the side of the White Castle-ish hamburger place seen earlier under the Esso sign. The place on the triangular corner, center, at the intersection of 7th Avenue South, Greenwich Avenue and West 11th Street, is now West Village Florist, shown here when it was a cigar/cigarette store. Whoever told this picture is standing on the curb outside of what was Too Boots Pizza, #11 in the panorama posted earlier, with the Lowe’s Sheridan Movie Theater directly to his or her left. Photographer unknown to me.

Yes, it housed a deli 20 years ago before becoming a flower shop the manager told me, and my research added a cleaner/tailor shop circa 1914, and a cigar store in the period of Nighthawks as seen in historical pictures (including in 1938, above), but it’s too small inside, the prow is also too small, and the corner lot too big in my reading of the Painting. Nowhere have I seen reference to it being a diner or coffee shop at any point. The buildings in the background are wrong now, and were wrong then, according to historical pictures.

Inside West Village Florist, standing just inside the door. I had room to stretch my arms out, with maybe an extra foot on each side, but the space quickly narrows, as you can see. It’s just too small. Stop by and see what you think. They are very nice people who have a beautiful assortment of plants and flowers.

There is little doubt he saw it, but as I showed earlier, there are countless triangular corners in the area that could have been a partial inspiration. At best, that’s all this is, and I doubt it was a big influence. I’ve ruled it out.

West Village Florist’s building has this unique, strange, angled shape to it seen from head on, July, 2019.

The serious contenders.

The intersections of Greenwich Avenue and West 12th Street with the Loew’s Sheridan Square Movie Theater, rear. Photograph by Percy Loomis Sperr (1890-1964), Manhattan: 12th Street – Greenwich Avenue, 1932, *NYPL Digital Archives.

In this 1932 picture of the intersection of Greenwich Avenue and West 12th Street, the low, triangular shaped building in front of the west side (the back) of the Lowe’s Sheridan Movie Theater is Crawford Lunch. There are historic pictures taken from Greenwich (on the right) that show customers in Crawford Lunch with West 12th Street seen behind them- which I reproduce further below. I think it is entirely plausible that Edward Hopper saw this, too, and this inspired his conception of a sort of “fishbowl” like setting. Here was an actual working diner/restaurant of the time. Today’s West Village Florist building is about 3/4 of the way down to the right of this picture.

Change is the only constant in New York. The same scene, today! I stood as close as I could to the spot the 1932 picture above was taken to take this in July, 2019- 87 years later!

It’s so different, 87 years later, as to defy anyone to guess this site had anything to do with Nighthawks. Therein lies a good deal of the problem finding its sources. It’s now The NYC AIDS Memorial Park at St. Vincent’s Triangle. Note- the brown building on the very far left. It does not look like what’s in the background of the Painting. More on this follows. The Whitney’s Hopper Drawing catalog suggests that Edward Hopper may have looked through Crawford Lunch and seen the “fishbowl effect” we see in the Painting.

Subway construction photograph of 88-86 Greenwich Avenue and West 12th Street, New York City, April 18, 1926. Identifier- 86446d_GreenwichAve_SubConst958. *Collection of the New York Historical Society.

Here, we see a revealing example of this “fishbowl effect” seen at Crawford Lunch in a picture taken on April 18, 1926. Notice how you can see into and through the restaurant, on the right, to West 12th Street behind the man in the dark hat under the word LUNCH on the window. The brown apartment building seen in the far left in the prior picture is about to be built seen straight ahead just across the 12th Street past Crawford. Note, also, the word “LUNCH” on the window for later. I believe this is the possible source of the effect given how close it is to the Lowe’s Sheridan Theater (next door). However, it could have as easily been something he saw somewhere else on his walks, in a place they, or anyone else I’ve come across has not considered. But, unlike most of the locations suggested to date, Crawford Lunch was an actual restaurant at the right time and in the, possibly, right place.

The almost identical view in the previous picture today at the former site of Crawford Lunch also approximates the view seen in Nighthawks. That brown brick apartment building, seen early in its construction above, has been here since the late 1920s, and hence, at the time of Nighthawks, making it wrong for the Painting. Seen in July, 2019.

That Crawford Lunch was an influence would seem to be confirmed by this-

Study for Nighthawks, 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 × 15 in. Given he finished Nighthawks on January 21, 1942, I doubt this was done in 1942. It seems he was still finalizing his ideas when this was done. *Whitney Museum collection & photo.

I can barely make out the word “LUNCH” on the widow above the man with his back to us in this study for the Painting. As we know, Edward Hopper did not include this in the final Painting, among other changes he made to what we see in this incredible and endlessly fascinating Drawing. It sure reminds me of the Crawford Lunch window and may be a give away of its source and, possibly, the source, once and for all, of this “fishbowl effect.”

Edward Hopper said little about the inspiration for Nighthawks and, frankly, I don’t know what to make of what he is reported to have said. In Katherine Kuh’s The Artist’s Voice, P.134, he says, the Painting “was suggested by a restaurant on Greenwich Avenue where two streets meet.” He adds, “I simplified the scene a great deal, and made the restaurant bigger.” Um, Ed? Could you be a bit more obtuse? “Greenwich Avenue where two street meet,” is said to mean West 12th Street & 7th Avenue South by Gail Levin (Hopper’s Places). Couldn’t “two streets meet” mean Greenwich & West 12th Street, where Crawford Lunch was? If it means Greenwich and two other streets, it has to be the triangles where West Village Florist and Mulry Square are. In any event, “…suggested…” I believe means a scene he saw at one of these places, the “fishbowl effect,” which I think he saw at Crawford Lunch, a confirmed restaurant at the time. But, Crawford Lunch doesn’t look like the diner in the Painting- even if he “…made the restaurant bigger.” Neither does the hamburger place on Mulry Square or West Village Florist. And that comment doesn’t specify it’s the same restaurant he mentions on Greenwich Avenue. It could mean “the restaurant we see in the Painting.” Intensely frustrated by this, I finally decided to continue on my own path. This meant looking a little further afield from the Greenwich Avenue vicinity. It turns out I didn’t have far to look.

Further down 7th Avenue South, not as far as Village Cigars, and still well within Edward Hopper’s walking neighborhood, I came across this-

“Oh. My. Gosh.”

The site of the now sadly defunct Riviera Cafe, which was open here for 48 years, from 1969 until August 31, 2017.

The former Riviera Cafe at 225 West 4th Street at 7th Avenue South.

When I came across this site, I had an “Oh. My. Gosh.” moment. Picture it without the modern “greenhouse” addition and it becomes much more like the diner in Nighthawks. Back in the day, I spent a few nights in this place, as I’m sure many reading this have, too, since it was centrally located right at the heart of the West Village. The building behind it to the left, while not exactly what we see in the Painting (I believe they are the same buildings that were standing on this site in 1940), at two stories, which fits all we can see in the Painting (they may go higher in Nighthawks, or they may be cut at two- we can’t tell), and they’re the right distance, though at a slightly different angle, from what we see in the Painting. If this is the location Edward Hopper used, why didn’t he use the buildings we see in the background? I believe it was because of the color. That long building which takes up a good portion of the back is too brightly colored to fit the mood he wanted in Nighthawks. So, possibly, he replaced them. More on this in a minute. I measured the depth of the greenhouse at 90 inches- 7.5 feet. If it were not there, it would have allowed me to stand closer to the building taking this shot. Thinking back to my visits here, there was a bar along the back wall then, and I believe there were tables behind the seats/stools facing the bar, approximately under where that brick wall would come down with the greenhouse gone. Would a horseshoe counter have fit here?

As I looked closer, I discovered this-

The front of The Riviera Cafe facing West 4th Street and giving it its address, 225 West 4th Street.

Lo and behold, there was something none of the other candidates I’ve discussed thus far have- a curved front window! And, it’s the same on both sides of that door! But, that door. Was it always there, or was the curve complete at one point, which would make The Riviera, minus the modern greenhouse addition, an almost perfect match for Nighthawks Diner?

The back of The Riviera Cafe on West 4th Street.

Stepping around to the back of The Riviera- more intrigue. What’s up with the right half of the wall, and what was there before they replaced it? A window? Also, that door to the left looks earily similar to the door in the Painting on the inside of the Nighthaks Diner. As I said, when I was here, I remember a long bar inside that wall and along it, meaning you’d probably be able to see the necks of liquor bottles in that rectangular window that’s still there, center. But, that’s now/more recently. What about in the past?

Intrigued, to say the least, searching further, I uncovered this-

1941! The year Nighthawks was Painted. Percy Loomis Sperr (1890-1964), Manhattan: 7th Avenue South – 4th Street (West), 1941, *NYPL Digital Archives.

In 1941, The Riviera was called Riker’s and it was a restaurant! It looks pretty new and shiny, too. Some encouraging things in this picture- there are retractable awnings instead of the permanent greenhouse, for one, but that troublesome front door is still there to the left, and it looks to be the same structure, with the curved windows on either side of it.

The Riviera Cafe occupies the biggest triangular space in this part of the West Village. It’s very accessible to the Hopper’s apartment (a few blocks to the east). Why has it never been properly considered as a candidate?

In 2013, during the Hopper Drawing show, the Whitney Museum came out and said the following-

“…has led art historians to cite the building’s prow as one of the influences…” What are the others? Seen in 2013.

They’re talking about the Flatiron Building, which is on West 23rd Street at the intersections of Broadway and 5th Avenue- no where near Greenwich Avenue, where that quote has caused most to look, and it’s not even in Greenwich Village! So, the museum has taken the same approach I did in this sense. Also, in the Hopper Drawing catalog they fail to publish the Kuh Hopper quote (above), only footnoting the page in her book it’s on (P.118, footnote 2)! Perhaps, they, too, find it as frustrating as I do? (I realized this only this past week, after my quest had been completed.) They state the Flatiron was “one of the influences,” but fails to name any others!?? “One of” means “more than one.” Well? I’m naming names here.

An installation of “Nighthawks” in the prow of the Flatiron Building by the Whitney Museum in 2013. The installation is 2D and only a few inches deep, as I show below. I shot it at this angle to show the problematic lining up of the buildings in the back on Broadway, across the plaza, which is not at all like what we see in the Painting. Seen on September 1, 2013.

Assessing the Flatiron’s candidacy, I discovered that at one point it was a cigar store (again, the Painting has a Phillies cigar ad on the top of the diner), but I did not find evidence of it having been a diner. Looking closer at the interior space, I discovered it ostensibly measures 10 feet wide, at its widest, to the right in the picture above, by 30 feet long. I’m no restauranteur, but that seems pretty narrow to me to get a horseshoe shaped counter inside, room for seating around it, room to navigate around those seats and room for the counterperson to work. Glare notwithstanding, here’s what the space looks like pressed against the front curved window-

A look at the installation of “Nighthawks” in the prow of the Flatiron Building on September 1, 2013.

Notice the radiator on the right, and how far it is from the window. There’s another one on the left which is hard to see in this picture. Both, and the room around them they require for safety and comfort, considerably cut into the amount of usable space here. Also notice the large column to the left rear of the photo, which serve to partially support the gigantic mass of the building above them, which also has a counterpart that’s hard to see because of the glare on the right side (see the picture of the whole prow, above it). The opening between them appears to be tight. How are people supposed to come and go here?

Then, there’s the site itself. It doesn’t feel to me like what we see in the Painting.

A panorama shows the distance between what would be the far side of the prow in the Painting and the buildings across the plaza and Broadway.

The buildings that would be in the background of the Painting are too far away and angled incorrectly- 23rd Street angles to the south east relative to the Flatiron at this point making the buildings begin too far back to be seen as they are in Nighthawks, in addition to being not at all like those seen in the Painting in the many existing historical pictures. Therefore, I believe the Flatiron’s prow isn’t what we see as the diner in the Painting, and this wasn’t the scene shown in the Painting. Of course, any Artist is completely free to do whatever they want, to make anything into anything else, whether it would fit in the “real” place, or not. (There is no such thing as “photorealism” in Painting, in my opinion, but that’s a battle for another day.) Edward Hopper, as per that quote, could have made West Village Florist or the Fatiron’s prow bigger, but their settings are still wrong, in my opinion, so I don’t believe he used either. However, like the Whitney, I believe the Flatiron’s prow was an influence.

Currently under renovation? Cleaning? Diner installation? Maybe I should wait and see what emerges before reaching a conclusion. (Just kidding.) July, 2019.

Looking at the Painting, one thing is undeniable- that curved window Edward Hopper includes. I’ve found it nowhere else besides on the Flatiron- either on existing buildings or in historical pictures. And, some of the ribs we see on the window in the Painting are present on the Flatiron’s prow today. In 1939, Edward Hopper exhibited at the World’s Fair1, and so he may have seen the Fair, but was certainly aware of it.

“Fishbowl effect” indeed. The history of glass making through the ages seen in glass bubbles at the Glass Incorporated Pavilion at 1939 World’s Fair, Queens, New York, New York, USA. Coincidence? Or influence? *Image by Peter Campbell/CORBIS

It was an Art Deco marvel. The Nighthawks diner has a decidedly Deco/Streamlined/Moderne feel to it. Though the Flatiron is a Beaux Arts building, the curved window of the prow has a decidedly Art Deco, streamlined, feel to it.

Early Sunday Morning, 1930, seen at the Whitney Museum, July, 2019. This looks uncannily similar to the background of Nighthawks to me.

Yet, what he depicts in the background of Nighthawks looks curiously not dissimilar to his Early Sunday Morning, 1930. It’s almost like he dropped those buildings into the background. But, 10 years after the earlier work a good many of those buildings were no doubt still everywhere around town, so they may as easily be generic. Whatever their origin, in this way he juxtaposes the old New York with the new world just seen in the 1939 World’s Fair, which showcased “modern” streamlining and the new flourescent lighting.

Early Sunday Morning is something of a “pendant” to Nighthawks as Carter E. Foster points out in the Hopper Drawing catalog (P.99). It’s the same size and shape and the two are bookends in some ways.

7th Avenue between Fifteenth and Sixteenth Streets, June 10, 1914. I’ve indicated the scene depicted in Early Sunday Morning, with a blue bounding line centering around 88 7th Avenue, seen in these two photos taken on June 10, 1914- 16 years before the Painting. The shutters on the windows are gone in 1930, so are the awnings, and there was only one barber pole. The hydrant was either to the left, or around the corner to the left. The center white line are the borders of the two photographs shown. All the buildings in these pictures have long ago been replaced. Subway Construction Photos modified from the Whitney Hopper Drawing website.

Interestingly, the inspiration for Early Sunday Morning were shops on 7th Avenue, but not in Greenwich Village. They have been located as being between 15th and 16th Streets in Chelsea, just north of the Village. Comparing the Painting to period pictures is fascinating. While it’s unlikely that Edward Hopper stood with a sketchbook and drew the scene, he did capture any number of correct details. But, he changed others- most notably the sunlight. The sun never shines on 7th Avenue at the angle he Paints it shining!

Mid-Sunday Afternoon. The site of Early Sunday Morning, seen in July, 2019. The original buildings have long ago been replaced. Notice how the shadows go in the opposite direction of those in the Painting.

7th Avenue runs North/South, not East/West, like the sun. In reality, the sun would be directly behind the viewer! So? Here’s a case of a found actual site and how Edward Hopper used creative license to mould it to his vision- even if that meant changing nature! What’s moving a curved window 20 blocks south compared to moving the sun?

My Conclusion-

I currently believe that Edward Hopper saw Riker’s about 1941 and those 2 curved windows in its front. I believe he, too, may have been frustrated by that front door and decided to “remodel” it. With a a paintbrush. So, he morphed the Flatiron’s prow’s curved window onto it and then created his own (though somewhat similar to the real) background on West 4th Street in the Painting.

Unless and until I find better candidates, THIS is what I believe Edward Hopper did.

Yes, I’ve used the original, 2015, NighthawkNYC.com banner, which removed the famous couple, leaving that figure I relate to in honor of NHNYC’s 4th Anniversary. On the same page she dated Nighthawks on in the Hopper Ledger, Jo Hopper refers to him as “sinister.” I love her, anyway. Before she died the year following Edward, she bestowed one of the greatest American Artistic Estates to the Whitney Museum (who promptly “rewarded” her incredible generosity by throwing out virtually all of her work, thereby denying Art historians and Art lovers a chance to assess her work on its own- forever2). And I used the banner because, yes- I once sat at The Riviera Cafe’s bar by myself, too.

But, beyond ALL of this, for me? Nighthawks is the first truly modern American Painting. It marks the beginning of all that came after. It captures the essence, the FEELING of living in a City- here, in New York, or anywhere, but even more, it captures the feeling of modern life, which has become more and more about isolation, and fleeting moments of connection- or not, since January, 1942. I always try and remember that Nighthawks, like many of Edward Hopper’s other works, is a voyeuristic moment seen by a pedestrian, who more than likely kept moving on, past this fleeting moment and this scene, wherever it was, and didn’t pause to ponder it indefinitely, like so many have since.

Moments exist as flashes of time.

Click.

Here right now, gone forever. Unless, you’re one of the great geniuses in American Art history, who has the vision, the power and the talent to make it last, and speak to us, indefinitely.

But, for me, at least, Nighthawks isn’t about capturing a fleeting moment magically, though it does.

The other reality that common sense dictates be mentioned is that 78 years later, a better explanation than mine, or a better real life candidate for the Nighthawks Diner may never be found. It may have existed only in his imagination, with a few pieces of real life thrown in- like the Flatiron prow’s window. And that, too, may be part of his point. Nighthawks, in one reading, may not be about place as much as it is the psychological, the inter-personal, and? 

Loneliness.  

Have two people in Art ever been closer together, yet further apart?

The woman in red is all dressed up to go HERE?, I can hear her mentally screaming. Her “companion” sits physically next to her, close to her, but, in my reading of it, their hands don’t quite seem to touch. Maybe you see it differently. For me? I can’t look at this and not think of God and Adam in Michelangelo’s Sistine Chapel Ceiling. There is no life giving, or love giving touch here. He has a cigarette in his hand- not her (left) hand, which remains empty. There is a distance that belies how close together they sit. All of this is, somewhat humorously, mimicked by the twin silver coffee urns to the right of them, that are, also, immobilized and frozen in time. At least they’re together for a common purpose! The same can’t be said of the immortal duo sitting at the counter. 

The gent, who’s nose Jo Hopper called a “Night Hawk” after the beak of the bird seems to be in a conversation with the counterman. About what? Here, he has this lady dressed to kill next to him and he’s ignoring her? Every time I’ve seen this happen in a bar or nightclub, instantly my antennae went up. Something’s not right here. If she’s not getting attention? Something’s wrong. But this is December, 1941. Pearl Harbor happened right in the middle of work on this Painting! 36 days after Arnold Newman took that Photo of Edward Hopper up top. It’s very hard not to think about that when looking at it, though it’s probably easier for many now that World War II was over 75 years ago. Are they discussing the War? Being drafted? Enlisting? A friend who has already been killed? Possibly another denizen of the diner? There are all those empty stools at the counter, after all. “Where is he?” “Oh. You haven’t heard?…” 

The War brought many things. It also brought separation, life without love, life without women, for men, and without men for women, or partners for the LGBT communities. 

Then? There’s my alter-ego. Frozen in paint. Immobilized. Alone forever. Perhaps the most isolated figure in Western Art. What appears to be a rolled up newspaper is under his left elbow. No doubt he knows the score. At least he’s possibly not leaving anyone behind. 

But, for a moment? Let’s forget World War II is getting off to a raging start around the world at this very moment, if we can. Edward Hopper probably conceived this work before Pearl Harbor. What’s striking to me is that of all the loneliness I’ve just mentioned, there’s still more of it I haven’t. 

Let me ask you this- Who is more lonely in the scene in this Painting? 

Any of those 4 people in the diner?
Or?
The person viewing this scene from outside the diner?

For me? Nighthawks remains the ultimate parable of loneliness.  

Maybe then, I shouldn’t be on such a mission to find the “real” place it depicts. Maybe then, it doesn’t need a real place to inhabit. It exists as a permanent condition of being alive inside each one of us, as it did inside of Edward Hopper. Maybe I look for it in the hope of finding the end of it.

*- Soundtrack for this Post is “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”

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. Hopper Drawing footnote 33, P.119 ↩
  2. Gail Levin, Edward Hopper: An Intimate Biography, P. xv-xvii ↩

Louie Palu’s Tools of Remembrance

Written by Kenn Sava. Photos as credited.

“Another day in Kandahar
I must focus now
Think of the frame
Think of each side of the rectangle


Focus on the frame
Stay calm under fire
Focus your mind
Acknowledge the danger
And work
Everything happens so fast
I must control my mind
Relax
and get the shot”
Louie Palu in the opening voiceover in his documentary film, with a screenshot from, Kandahar Journals, 2015

US Marine Lance Corporal Damon Connell, age 20, one of the series of soldier portrait cards included in Front Towards Enemy, by Louie Palu

A few years ago I met Rickey Rogers, as he was about to relocate to London to begin his new role as Global Photo Editor for Reuters. As we spoke, I was struck by his passion for what he called “conflict Photographers.” Though I’ve long had an interest in the work of Matthew Brady, Roger Fenton, Robert Capa, Don McCullin, Larry Burrows and Susan Meiselas among others, after meeting Mr. Rogers, I began looking closer at the work of  the contemporary Photographers who are putting their lives on the line to show us what’s going on in the world- even when it’s very hard to look at what they show us. It’s crucial we do.

Louie Palu is part of that rare breed.

A Canadian soldier walks up a narrow path in what is known as “Route Nightmare” in a village in Kandahar, Afghanistan. The mud paths allow for easy planting of mines and road side bombs by insurgents. This image appears in the newsprint publication included in Front Towards Enemy.

Today, at a time when it’s possibly never been harder to do this job, which has never been “easy,” I’m often reminded of the fact that these Photographers have often turned their lenses to other subjects. Basically, they’ve turned them everywhere their lives took them, capturing a very broad range of the human experience in the process. Robert Capa also Photographed Picasso frolicking on the beach, Susan Meiselas captured Carnival Strippers and the secret world of an NYC S&M club, Mr. Palu’s fellow Canadian, Larry Towell, Photographed the Mennonites, and so on. Yet, because they were, also, present in war, and somehow managed to capture remarkable Photographs in the heat of those moments, their conflict images have become part of history- they are the ones these great Photographers have, largely, become best known for.

The caption reads, “An Afghan police officer who was wounded by gunfire sings to birds at an outpost in Pashmul, Zhari District, Kandahar Province,” from Front Towards Enemy. There is a timeless quality to this image that, save for the arm badge, could have been taken in any war.

Though Louie Palu spent five grueling years in Afghanistan covering the war from 2006-10, which resulted in the thousands of Photographs and the award winning documentary, Kandahar Journals, he’s also created important work on a number of subjects away from war. That might be why Mr. Palu refers to himself, simply, as a “photographer.”

Front Towards Enemy is published in an edition of 750 copies by Yoffy Press, it contains about 60 Photographs and an essay by Rebecca Senf.

Still, I was unfamiliar with Mr. Palu until PhotoBook guru Jackson Charles pulled my coat to the Yoffy Press table in the PhotoBook Publisher’s area at AIPAD in April telling me I “HAD to see” Louie Palu’s latest two books, which Yoffy had just published. As usual, he was right. I was immediately engrossed in his Front Towards Enemy and A Field Guide to Asbestos.

A Field Guide to Asbestos

The design of each may gain your immediate attention (the former, which comes in a slip case/wrap that when opened reveals a variety of elements inside to be explored in any order the reader chooses, (a bit like Chris Ware’s Building Stories).

Front Towards Enemy’s slipcase opened to reveal its four components- a packet of soldier portraits, top,, an accordion fold image set, next, staple-bound zine and a newsprint publication, under. The entire publication can also exist as a pop-up exhibition. This copy is signed on upper left of the inside flap.

And the latter who’s front and back covers suddenly reappear in the center of a book that tells the rending story of two Canadian brothers who each died from mesothelioma after years of working in asbestos mines), but it is the depth of the dedication to the stories each contain that makes them unique & powerful. The first printing of A Field Guide to Asbestos almost immediately sold out.

In addition to being an extremely moving account of the lives of its two subjects, it’s, unfortunately, one of the very rare books (let alone PhotoBooks) about the epic and continuing Asbestos crisis.

Mr Palu happened to be sitting a few feet away at Yoffy’s table, so my first impression of his work was still flooding my brain as I spoke with him. In the succeeding weeks, he graciously found time in a very busy schedule and full life to answer some questions for me. Given that not nearly enough has appeared in the media about Front Towards Enemy and A Field Guide to Asbestos– two of the more compelling and important PhotoBooks of the past year in my view, I’m happy to be able to bring my Q&A with Louie Palu to you here.

Louie Palu, standing left, at the Yoffy Press table in the PhotoBook Publishers section of AIPAD, April, 2019.

Though I always do my own research, here is one time I find it hard to top Wikipedia’s first line as a succinct introduction to Louie Palu- “Louie Palu, RCA, (born 1968) is a Canadian documentary photographer and filmmaker known for covering social-political issues, including war and human rights,” it reads. The RCA is Royal Canadian Academy of Arts, to which Mr. Palu was inducted in 2014. His work has appeared extensively in publications throughout North America and Europe including The Globe and Mail, Toronto (where he was on staff for 6 years) to The New Yorker, The Wall Street Journal, USA Today, The Washington Post, The New York Times, Newsweek and The Atlantic.

A screen shot of the “In Print” tab on Louie Paul’s site shows only a few of Mr. Palu’s images in print. As you scroll down the page, the powerful images just keep loading…

So, it’s highly likely his work is familiar to you even if his name is not. He’s been  exhibited by the Canadian War Museum and was included in the important show War/Photography: Images of Armed Conflict and Its Aftermath at the Museum of Fine Arts, Houston that travelled to Los Angeles, Washington and the Brooklyn Museum in 2012. He’s been honored with the Hasselblad Masters Award and Canadian Photojournalist of the Year Awards, both in 2008, a 2013 Pictures of the Year International Award and has received a Pulitzer Center for Crisis Reporting grant and a 2016 Guggenheim Foundation Fellowship.

The front cover of Cage Call by Louie Palu and Charlie Angus

His dedication and commitment to the issues he’s covered can be seen in the fact that a number of the projects he’s undertaken have lasted over a decade. To date, he’s focused on five- The Canadian Hard Rock Mining Belt, Guantanamo Bay, the Mexican Drug War, Kandahar, Afghanistan, and Asbestos. Counting the two new releases I mentioned, he has now released five PhotoBooks, with, first, Industrial Cathedrals of the North; second, Mirrors of Stone: Fragments from the Porcupine Frontier, and third, Cage Call: Life and Death in the Hard Rock Mining Belt (all three with Charlie Angus), preceding his two new books. In 2015, after a very successful kickstarter campaign, he released the documentary Kandahar Journals, in which he is featured, as well as co-directed and produced.

That’s not blood. The caption on this photo when it appeared in Front Towards Enemy reads, “An Afghan soldier warming his henna stained hands…” The poster for Kandahar Journals, 2015, featuring, co-directed by and produced by Louie Palu.

In Kandahar Journals, Louie spoke about what inspired him to cover war. “My reason for covering the war is related to my family history,” he said. “As a child my parents told me many stories about the war (in Italy in World War II) around the kitchen table. Their traumatic experiences have shaped who I am. One of the stories my father told me was watching his own father being taken away by soldiers at gunpoint. I needed to understand what he understood.” Louie went to Afghanistan, following US, Canadian and Afghan troops and American Medics (including going on 150 medevac missions with the 101st Airborne in 2010). He decided to take a different approach than those reporters who spent short periods there. Instead, he spent five years.

From Kandahar Journals.

Why did he chose this approach, and stay that long? He explained in an interview last year-

“I think there probably isn’t a single person in this room who wasn’t effected by 9/11 and I think that that was sort of the foundation of it, but it didn’t drive me to want to go there yet. When I got there I realized I couldn’t cover the war in the way I thought it should be covered (staying there for a short period)…I wanted to do a long term study. I wanted to keep looking at something over and over and over and over again because I think that things reveal themselves if you look at them over time.” He decided to leave his staff job, go out on his own, and return there. “I’m gonna stay here,” he continued. “When I figure out the story, then I’ll report it. I did sell stuff sort of on a per story basis. But over the years as the pictures started coming together, they started telling a new story, they started explaining things more than just the bombings and the bodies, they started explaining the culture, the place, its history, and I really think it became a unique story, a unique dialog about the place.”

From Kandahar Journals.

The pictures and the story did come together, in Kandahar Journals, and in the PhotoBook, Front Towards Enemy, released last fall, after many of his images from the war had appeared in numerous news outlets. Kandahar Journals is described as “the story of a photojournalist who reflects on the events behind his psychological transformation,” according to its site. It won the Dziga Vertov Award for Best Documentary Feature, 2017. When I saw it, I was struck by stylistic echoes of Apocalpyse Now. Mr. Palu’s voiceover, often reading from his journals, are reminiscent of Martin Sheen’s Captain Willard’s voice in the Francis Ford Coppola epic, but the whole effect of Mr. Palu’s documentary is also a journey into “the heart of darkness” not unlike that taken by Sheen’s Captain Willard, though here also we see him return from the war. Whereas Francis Ford Coppola was showing us a drama based on Joseph Conrad’s Heart of Darkness, Mr. Palu’s doesn’t have a fictional moment in it. The film wonderfully alternates Mr. Palu’s still Photographs, often seen in montage, with moving images, many taken in active combat situations. Known to this point for his still work, his and his team’s filmmaking show a flair for editing that is both taught and spontaneous. It deserves the kudos it’s received, and more viewers.

Seen at work in Kandahar Journals.

This fall, his work on the Arctic will appear in National Geographic, and his work has been selected to be included in the upcoming PhotoBook, On Death, by Jon Feinstein, Roula Seikaly in collaboration with the Humble Arts Foundation and published by Kris Graves Projects.

Kenn Sava (KS)- You’ve been involved in books about Canadian Mining and Miners, a book about the horrors of asbestos- a deadly product that just won’t go away, and, more recently, a film and book about your experiences in Afghanistan covering the war. What drives you? Where does it come from?

Louie Palu (LP)- All my drive comes from my emotional reaction to hearing my parents oral histories about the Second World War, poverty, workers and the experience of immigrants and refugees. My entire childhood neighborhood in the West side of Toronto is filled with a rich mix of migrant workers from the West Indies (mostly Jamaica), Italian, Bosnian, Crotian, Serbian, Indian, Irish and many more nationalities who came to Canada for a new start.

Louie Palu signs Front Towards Enemy, AIPAD, April, 2019.

KS- The public sees the books and the films- the end results of mountains of long, hard effort. The tip of the iceberg. What’s it like being you? Can you give us a bit of a sense of what goes in to being able to make these projects and then make them into a book or film?

LP- I don’t look at what I do as a job. There are conventional work and job-like tasks, but I take it on as a way of living, thinking and feeling about the world and the people around me. These projects are all very hard, no matter how long I have done this (28 years since college). When I start them it’s a real challenge, like the Cage Call project on the mines, that was like being out of breath non-stop because I was young and did not know what I was doing. I failed so many times, but that is how I got to where I am now, that helped me set the bar higher and higher. The difference from my first 20 years at this, and now, is I have the experience and confidence to clearly understand my process and not be afraid of failure now. I enjoy the process more. I was also lucky to have a few mentors come along and show me the way. I can’t say enough postive things about everyone finding a mentor.

On being me… I like being alone. Though work can be very consuming at times, I have found the places I fit in and exist in when I am not doing photography are usually places and events that have nothing to do with photography. Some of these actitvities involve extreme music like hard core punk and death metal. Additionally, alternative versions of theater, music and art are also therapeutic. I love cruising used book stores, actually I love books and places that sell vinyl, comic books and seeing art house films. I am also very active, I run bike, bike and fish. I like being in the woods alot alone and camping.

From Kandahar Journals.

KS- Was it hard to get the permissions you needed to be at the front documenting the war in Afghanistan for five years? Once you were there, was it hard to gain the acceptance of you and your cameras from the soldiers?

LP- It is hard to get access anywhere and always has been. My first project when I was 16-years old was on homelssness in the 1980’s in the East end of Toronto. I recall getting hit in the face by someone who did not want to be photographed on my first day on the street, I got some hard lessons early on. It can be hard to get access to politicians. Actually, that’s probably harder than getting access to a war zone. I have always figured out access and built relationships well with who I was photographing. Many of my indirect teachers for my values, after my parents, were the work of photographers like Peter Hujar, Mary Ellen Mark, Don McCullin, Susan Meiselas, Eugene Smith and many more.

Louie Palu on his way home. From Kandahar Journals.

KS- How did your years in Afghanistan change you? Did you suffer any of what many soldiers have coming back to Canada and United States in adjusting?

LP- Afghanistan was life changing. Everyday I wake up I am pretty positive. Afghanistan set a bar for me, which is if there are no suicide bombings, land mines to step on and I still have my legs I have nothing to complain about. I certainly struggled hard when I got home, but I rallied because I had good friends who made me go to therapy. Helping people can give you a sense of purpose, being a good person can help you help yourself.

KS- Front Towards Enemy is certainly a unique concept for a “photobook.” Why did you decide to make it this set of multiple parts, in different formats and on different papers, so the reader could put it together however they wished? 

LP- FTE is a deconstructed book, it can be taken apart and re-edited by the viewer. I think its good for readers of the news to understand process and editing. Photo editing is a key part of what we see and don’t see, thats what FTE is after, which is participation of the reader. FTE came out in the wake of and is part of a series of self published newspapers on the same concept. They are Mira Mexico (Mexican drug war) 2013, Guantanamo Operational Security Review 2014, Federal City (political identity in Washington DC) 2017. They can all be seen on the Photoeye website.

KS- With Kandahar Journals, released in 2015, you’ve added film to your photographs. Images from the film appear, also, in Front Towards Enemy. When did your film work begin? It seems like it must be hard to know in advance which camera to pick up since you can only guess what is about to happen, and the unexpected certainly happens all the time. Is this where your experience comes in, or do you prefer to stick with still photography for some things and film for others? 

Louie Palu at work on Capitol Hill, Washington, DC. From Kandahar Journals.

LP- I have always been interested in the moving image. I obssessed over several films as a child and felt that cinematography has an experiential quality that still photos do not, neither is better than the other. I think I watched Apocalypse Now fifty times (the original version is still the best), mostly because Vittorio Storaro and the soundtrack created this psychological space for Francis Ford Coppola’s directing that was rare in films. I never have a problem with which camera to use, I go by what I feel I should use. I have since made a short film on Ukraine and am now making a feature version of it among 3 films in development.

From A Field Guide to Asbestos.

KS- A Field Guide to Asbestos is one of the most grimly intense, and, unfortunately, still timely books I’ve seen recently. With reports this month in the NY Times and elsewhere about asbestos possibly making a comeback, it’s a book more people need to know about right now. How did it come about? What’s it going to take for the world to finally get rid of it, once and for all? 

LP- Sadly asbestos still exists and is used in homes and many other materials around the world. If you all only knew what I know, you would be horrified how this material is still very much everywhere. I think bans can be overturned, because they are usually writing. But photos of horrors are tools of remembrance. If we have books, photos and documents that are artifacts and evidence of what it does and people see them enough it will be hard to forget. This book came about because I began to hear the talk amongst some US policy makers that asbestos could be something that could be used again in construction.

The caption, which reads in part, “U.S.soldiers under rocket and small arms fire from insurgents…” neglects to mention that the Photographer, Louie Palu was, as well. From the newsprint publication in Front Towards Enemy.

KS- We live in a time where the truth is under attack, as the essay in Front Towards Enemy points out, and it’s, also, increasingly hard to do what you do- be a journalist/photojournalist/documentarian. What can readers do to help you and the others?

LS- Go to the website for the Commmittee to Protect Journalists and read the stories of journalists being jailed, murdered or attacked just for reporting the news. Help yourself understand and imagine what your mind would be like without a free press so that you could be informed on everyting from vaccinations to human rights or simply even a warning that some of the food you purchased has a serious health related issue or there is a rapist in your community. We would all be blind and worse off.

I met a person at a film festival recently who did not know what D-Day was, imagine if we start forgetting about the Bill of Rights and the Constitution? We would be a nation with no moral compass. The press is a key tool of oversight and a platform so that we don’t lose our way entirely, or at all.

Q&A Ends.

Can a PhotoBook change the world? It seems to me that Photographers like Louie Palu can make the pictures, get them published, and once in a while make PhotoBooks of them. It’s up to those who see them to take things from there.

BookMarks-

From Front Towards Enemy– the soldier portrait cards, the accordion fold image set and exhibition suggestion card, left to right. Photos by Yoffy Press.

Front Towards Enemy, was published by Yoffy Press in October, 2017 in an edition of  750 copies. Inside it’s cardboard slipcase are four components- a set of soldier portrait cards, an accordion fold image set, a newsprint publication, and a staple-bound zine. The entire publication can also exist as a pop-up exhibition, per the enclosed “exhibition suggestions.” It includes about 60 images and an essay by Rebecca Senf. It may be purchased here.

The first edition of A Field Guide to Asbestos sold out after its publication in April, 2019. A second edition is currently available. It’s a softcover of 72 pages, and is available here. You can get a $15 discount if you buy both, as I did, here.

Kandahar Journals is a first hand look at Louie Palu’s experiences in Afghanistan. What more need I say about it?

Lesser known (and not counted in the five books I mentioned earlier) are two additional newsprint publications self-published by Louie Palu, Mira Mexico, 2012, and Federal City, 2017, both 32 pages. The former consists of a group of his Photographs on the Mexican drug war, while Federal City, a haunting publication that looks at the “other Washington,” those who have no direct connection with the Federal government. Since they are not bound or stapled, both publications may be pulled apart and perused in any order the viewer chooses. Personally, I find both compelling and Federal City exceptional. As I write this, both are available through Photo-eye.

For further reading, Photojournalists on War: The Untold Stories from Iraq, by Michael Kamber, though about the war in Iraq, not Afghanistan, is an unprecedented collection of interviews with some of the other leading Photojournalists of our time, including two who were killed in conflicts after being interviewed. It’s a book I find impossible to put down after I pick it up, and its large size brings the words home with full size photographs reproduced throughout. An extraordinary, highly recommended book. I bought mine from Quinn and Tom of Housing Works Bookstore, who I thank.

*-Soundtrack for this Post is “I Believe In Miracles” by The Ramones from Brain Drain, 1989-

 

My thanks to Louie Palu and Jackson Charles.

My previous pieces on AIPAD 2019 are here, and on Photography are You can

NighthawkNYC.com has been entirely self-funded and ad-free for over 6 years, during which over 250 full length pieces have been published. If you’ve found it worthwhile, you can donate to keep it going & ad-free below. Thank you!

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.
For “short takes” and additional pictures, follow @nighthawk_nyc on Instagram.

Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

 

Studio K.O.S. Carries On After Tim Rollins

Written & Photographed by Kenn Sava

I’ll always miss my late friend Tim Rollins who left us at just 62 years of age in January of last year1, but I can’t imagine how his “Kids” feel.

Tim Rollins & K.O.S.: A History. Published in 2009 to accompany the traveling retrospective of 25 years of their work. I’ll never forget seeing Tim with the phone book sized “draft” of this book in 2009, which he let me thumb through, in awe, while it was in preparation.

His Kids, better known as “Kids of Survival,” or K.O.S., a group of at-risk public school students, some barely in their teens, (as you can see in the Photo taken of them, above, by Lisa Kahane in the 1980s that appears on the cover of the retrospective on them), that Tim taught Art to that became the group “Kids of Survival” in 1984. When they began, he told them, “Today, we’re going to make art. We’re also going to make history.” With work in over 87 museums and public institutions (and counting)2, they’ve succeeded on both counts. In 2010, a terrific documentary film on Tim and K.O.S. was released entitled Kids of Survival: The Art and Life of Tim Rollins and K.O.S., which details the unprecedented journey both Tim and the members of K.O.S. took as they forged their own way into Art history. “History” is a word that keeps coming up in discussing Tim and K.O.S. in 2019, which is fitting because this year marks the 35th Anniversary of the founding of K.O.S..

Boys to men. Together, they made history. Tim Rollins & K.O.S. in 2016. Steven Vega, Ricardo Savinon, Robert Branch, Tim Rollins, and brothers Angel & Jorge Abreu, left to right, at Lehmann Maupin Gallery, West 22nd Street. Lehmann Maupin Photo

“To dare to make history when you are young, when you are a minority, when you are working, or nonworking class, when you are voiceless in society, takes courage. Where we came from, just surviving is ‘making history.’
So many others, in the same situations, have not survived, physically, psychologically, spiritually, or socially. We were making our own history. We weren’t going to accept history as something given to us.” Tim Rollins.

Tim even added “and K.O.S.” to his signature. Angel Abreu signed under it. From my collection.

While he taught them Art in school, with the goal of having them get into college, he also began naming everything he and the they created as being by “Tim Rollins & K.O.S.” Giving the students/apprentices equal status with the Artist as collaborators was unprecedented in the history of visual Art, as far as I know, as so much of what he did was unprecedented in Art education. Now, a year after Tim’s passing, K.O.S. have announced that they are going to continue as Studio K.O.S.. “History” becomes “living history.”

Curator Ian Berry, “Thinking about the increasingly important role of what Tim and K.O.S. did together over 30 plus years is so important for us to see now.” Installation view of Tim Rollins and K.O.S.: Workshop at Lehmann Maupin in May.

The past, the present and the future were the subjects of the show Tim Rollins and K.O.S.: Workshop at Lehmann Maupin in May and June, the first by Studio K.O.S. It included a “mini-retrospective” of their work curated by Ian Berry, who said of his selection, “The show’s called Workshop. I was thinking of works that really exemplified the idea of a group of artists sitting together around a table making work together. Sharing ideas. Thinking, reading, talking, seeing together. So each of the works is a very overt example of their hands and the imagery of the individual members on each of the works.”

Amerika (For Karl), 1989, Watercolor on paper mounted on canvas, 97 x 132 inches

He continued, “And then, I’m thinking about the guys being in Studio K.O.S. without Tim, and I’m thinking about the crazy politics that we’re living in, and thinking about the increasingly important role of what Tim and K.O.S. did together over 30 plus years is so important for us to see now. I really value the idea of this show now. It’s so important to see education leading to justice. It’s so important seeing different versions of identity and self-empowerment and speech, that is so needed now. It’s great seeing these images of Pinocchio logs potentially waiting for birth. It’s great to see this really intense room of all black works, which I hope moves you to be engaged, and be active in thinking about what’s going on around you. It’s a history, but it’s also a workshop that we’re all hopefully invited to join in.”

“It’s great to see this really intense room of all black works…” Two works from I see the promised land (after the Rev. Dr. Martin Luther King, Jr.), both 2008, Matte acrylic and book pages on canvas, 108 x 72 inches each.

Walking through the show with as unbiased eyes as I could possibly muster, given my personal connection, I found myself in complete agreement with Mr. Berry when he spoke of “the increasingly important role of what Tim and K.O.S. did together over 30 plus years.” When I’ve seen their work over the years, it’s generally been a piece here or there, as in MoMA’s 2007 show What is Painting: Contemporary Art from the Collection, where the group’s Amerika VIII, 1986-7, was on view.

Installation view of MoMA’s 2007 show, What is Painting: Contemporary Art from the Collection, with Amerika VIII, 1985-6, left. MoMA Photo.

I remember standing in front of it and feeling overcome with joy- the joy of a beautiful work and my sense of all that had gone into, and all that had been overcome, achieving it- let alone having it wind up in the Permanent Collection of the Museum of Modern Art (An aside- To this day, MoMA owns NO Paintings by Jean-Michel Basquiat. That’s another story). Then, I walked over to the label you can barely see to the right of the work in the Photo. My jaw hit the floor. Here’s exactly what it said-

If you know of another Artist in Art history who included the names of his students or apprentices on his work, let me know. MoMA Photo.

I remembered standing there thinking- “Can you imagine being them, having overcome all they did, then seeing not just your work, but YOUR NAME on the wall at the Museum of Modern Art?” Angel Abreu was about 12 years old(!), Ricardo Savinon was about 15(!) when this was made.

Seeing a wonderfully chosen selection of their work today, it looks remarkably prescient. Beyond it being a landmark collaboration that marks fresh paths for Art education, their work doesn’t feel one bit dated, and, even more? I think it’s going to hold up; it’s going to continue to speak indefinitely to viewers, regardless of age. My recommendation is that the other museums & institutions not included in the current list of 87 above step up and acquire a work while they can.

The “Kids” are adults now who have forged their own successful careers in Art, and Tim lived to see it happen, something I’m sure gave him as much joy as anything else he experienced in his life. You can see just that on his face in the Photo of he and K.O.S. from 2016 I showed earlier. While each now has a successful career of their own, the legacy they embody and share is still every bit a vital part of their lives, and it sounds like it will continue to be going forward. There remains much to be done.

The legacy continues. Ricardo Savinon, Robert Branch, Jorge and Angel Abreu, members of Studio K.O.S., joined by curator Ian Berry, from left to right. Lehmann-Maupin Gallery, West 22nd Street, May 3, 2019.

During the run of the show, a panel discussion was held on May 3rd in which Ian Berry was joined by four long standing members of K.O.S.- Ricardo Savinon, Robert Branch, and brothers Angel & Jorge Abreu, men that were very young men when they first met Tim and became members of K.O.S.. Surrounded by Art they created with Tim, each proceeded to tell his story- how he came to be part of the group and the journey they’ve taken over the years, that I’m sure felt like they passed way too quickly. Over the course of 90 minutes, the stories were powerful and joyful, each one a remarkable tale of perseverance and single-minded dedication on the part of students and teacher. Nary a tear was shed, instead laughter was free flowing throughout.

Ricardo Savinon is someone I’ve known for well over a decade. During that time, he was the person I saw most often with Tim. They struck me as having a closeness that truly was on that fine line between family members and close friends along with a very strong level of mutual respect. Rick, as he’s known, was extremely ill, hospitalized, and was reportedly near death himself, when Tim passed away. Thankfully, he recovered, but when I last saw Rick, at Tim’s Public Memorial Service last April, he looked very thin and gaunt. So, I was extremely relieved to see him now back to his usual full of life self, with his ever present sharp wit and even sharper mind in full effect. Rick joined K.O.S. in 1985 at about 14. He went on to study at the School of Visual Arts before becoming the interior designer, Art installer and curator he is today. Angel Abreu, who is about 3 years younger than Rick, met Tim and joined K.O.S. in 1986. He has worked on every major K.O.S. project and exhibition since he joined. Today, he’s a Painter and is on the faculty of the School of Visual Arts, where Tim, himself, studied between 1975 and 1977 and more recently was an SVA faculty member when he passed. His brother, Jorge, joined K.O.S. at age 12 about 1991, as he related in an unforgettable story I relay below. Today, he’s working on a poetry collection around growing up in the golden age of hip-hop. Robert Branch joined Tim and K.O.S. at 16, circa 1993. Today, he holds a BFA from Cooper Union and a masters from Teacher’s College, Columbia University. I had met both Angel and Robert in passing with Tim over the years.

Angel Abreu speaking about participating in a show at Saatchi Gallery in London at age 13, rubbing elbows with Ashley Bickerton and Jeff Koons.

Angel Abreu- “What I’d like to say before we get into this, is that if you can imagine, at 12, 13, 14, or 15 years old, we really didn’t know what was going on. But what we did know, at least I can speak for myself, is that I could not stay away. This was before cellphones, right. And there were many moments when we had, and again, Tim would tell us, ‘There’s no greater motivator than a deadline.’ We are so thankful that we had so many amazing deadlines.”

By any means necessary (Trapped/Caught), 1985-7, Black gesso on book pages mounted on canvas, 21 x 28 inches. From The Autobiography of Malcolm X.

“But we had no idea. It wasn’t really until later until I think we got into high school and into college where we realized how extraordinary this was that we were doing. But, really it was the day to day we’d go into the studio. And he’d say, ‘Ok, by the way, we just got included in the next Whitney Biennial.’ Alright, that’s cool, Tim. I have no idea what that is. Yeah, that’s good.”

Ricardo Savinon, “Tim was Professor X…”

Rick Savinon- “Also, I want to chime in. How impactful that us being part of the group and realizing that we were kind of outsiders with our families joining an outsider group. So, it was almost like the X Men where Tim was Professor X and he got together this group of mutants who didn’t know how to hone in their skills.”

X-Men/Malcolm X (after Marvel Comics and Malcolm X), 1997, Comic book covers on rag board. 1 of 12 parts.

“But in the studio he taught us how. But, in doing so, we impacted so many people, Our peers, our families, our friends. I mean I remember probably after 15 years of being in the group, I have a friend of mine who was walking down the street and said, ‘I was taking Art History class and I saw a picture of you. What the hell’s going on? What are you up to?’ I just said well very calmly, ‘I’m glad that you’re pursuing art. I’m part of this art group for the past 20 years, and this is what we’ve been doing. And he was so proud because we managed to come from a situation where there’s a lot of poverty, violence and we together, we decided to do what was necessary for ourselves. And a lot of others, our peers, our friends that are still friends of mine. I’m very modest. ‘What are you doing right now?’ I’ll say ‘Well, I’m an artist.’ ‘Well, what kind of art, maybe graffiti?’ ‘No, no…’ And so, they’ve always been proud, my family’s been proud. That’s part of the reason my niece is studying engineering at this point because I’ve influenced her. In some subtle way, in the things that I’ve done. Not sitting her down and lecturing her. But just because she’s acknowledging what I’ve been doing. I’m sure that Angel and Jorge and Robert their family does the same…their kids.”

Jorge Abreu, “So, this was a tragedy for my family…”

Jorge Abreu- “Alright, so I’ve got a story to tell. So, just imagine seeing your older brother he’s going off to London (at age 12) and doing all these great things, and you’re home playing Nintendo 64, except it wasn’t Nintendo 64. No. We still had the Commodore. So, obviously this was ground breaking. The way I sort of came into the group was sort of an S.O.S. kind of thing. We had a summer vacation with my dad down to the D.R. We had a terrible car accident, the day before we were supposed to fly back to New York. I was unconscious for 2 weeks. Woke up. Before then I was a kind of straight A student. But, I woke up. Lost my memory. Didn’t recognize who my family was. Ended up staying in the Dominican Republic for a couple months after that rehabbing and recuperating.”

“So, this was a tragedy for my family. We lost my dad at that point, through the accident. Finally get back to New York. I couldn’t walk. One day I woke up. Had to do a whole lot of rehab. My memory was shot. So I went back to school. I believe it was the sixth grade. Really lost. Really intimidated. Really insecure. My mom had some concerns. But, I’d always been a writer as a younger child. I don’t know what happened, sort of a transformation. Now, I wanted to draw. I started drawing and doodling. Obviously my mom was a little concerned for me, so she sort of approached Tim. ‘He’s starting to draw. try to get him involved in the group.'”

Amerika, The Hotel Occidental, 2006, Acrylic and graphite on book pages on canvas, 72 x 59 inches.

“I remember the first day. I had known of Tim. When I went into the studio, I had my portfolio. Alright. And this portfolio consisted of many MLB team logos. Right? So, top notch stuff. So, Tim sort of laughed it off but he gave me a shot. I’m a true believer that this you can take from one of Tim’s great quotes from Amerika when Karl joined the utopian group that took him in right before he was going to leave America. That everyone is an artist. This skill can be developed. If you stick with it. It’s all about just doing it. So, I’m pretty sure Tim was kinda like, ‘This kid’s alright, but he’s not the best.’ But, I continued to come and kept coming and kept coming. I earned my spot. I’m definitely thankful for that. I didn’t know what I was joining. But hey, if it took this guy to London (indicating Angel), I want to be part of it. Next time I want to go, too. “

Robert Branch, “This was my one opportunity and I wasn’t going to let it go.”

Robert Branch- “So, I joined the group later on, I was 16 years old, I was at a High School in the Bronx. JFK. That doesn’t stand for ‘jail for kids.’ The only reason I was going to school was that I had these Dominican working parents. Listen, you either go to school or you get a job or dad’s going to kick your ass. My dad’s bigger than me, so…I was real lucky in that there was a dean who was real tough and he wouldn’t let me skip class.  I really wanted to be a comic book artist. Waiting to be the right age where I could bring my portfolio down to Stan Lee. Luckily, the Art teacher would make sure I attended school, he would call my dad. So, I had this kinda thing where they were really on me and they didn’t want me to fail.”

A Midsummer Night’s Dream (After Shakespeare and Mendelssohn), 2014

“I was really fortunate that the Art teacher brought me to the studio on a trip, walked past the Pinocchio on a freezing cold day, I come all the way down there to the Bronx and I’m like, ‘This is it.’ I’m coming to study here. I’m going to ask as many questions as I can. This is my one shot to figure out what it’s like to be an artist. Because, up to that point, I had not been able to take an art class until my junior year in high school. Think about that. New York City, one of the wealthiest cities in the world, and it had no opportunities to take art classes, and I was in a high school that had some resources, so you know I made the most of it. I was in the studio and I was like ‘What’s this? What do you do with this?’ I asked at least a dozen questions and Tim said, ‘Oh my god, he’s either really into art, or he’s going to come back and rob me.'”

In each work a seed is included- somewhere. In, this detail of A Midsummer Night’s Dream (After Shakespeare and Mendelssohn), as seen above, it’s a a mustard seed visible right in the center of this picture. A beautiful and fitting metaphor.

“So, it was just a wonderful experience because this was my one opportunity and I wasn’t going to let it go. Tim was deeply intuitive and he knew that I had this interest in making art. And that was the beginning of a journey that took me from…my dad…I ended up going to college and I would never have crossed that threshold  if it weren’t for the support and mentorship that Tim gave me. And you know what a college experience can mean to a person’s life. I wouldn’t have gone down that path.”

“Tim wasn’t just my friend, my first white friend, he was an authority figure. I remember dropping something off at his apartment. I had my nephew in the back. My dad drove us. I’m a real city kid- I don’t drive. So, my nephew asks, ‘Who’s that guy?’ My dad said, ‘Well, next to me, that’s the most important man in Robert’s life.’ And that’s the gift that Tim gave me with his friendship and consummate mentorship.”

Believe it or not, out of everything Tim & K.O.S. created thus far, this work, what appears to be simple logs laying on a gallery floor, speaks to me, personally, as much as anything they’ve created.

“Recognize the creative glimmer in others,” Tim said.

When you look closer…Detail of Pinocchio (after Carlo Collodi), as seen above, 1991, Wood, plastic, wax, tung oil, 43 x 6 x 6 inches.

As their work, Pinocchio shows, brilliantly in my opinion, locked inside each of us are whole untapped worlds of possibilities. Tim Rollins even saw mine.

*My thanks to Rick Savinon, Studio K.O.S., and Twice Sold Tales, Seattle, WA. 

BookMarks-

Tim Rollins and K.O.S.: A History by the aforementioned Ian Berry is the standard reference on the group’s work and history, as I mentioned published to accompany the traveling 25th Anniversary Retrospective. 220 pages, full of illustrations, stories and an interview with Tim. Highly recommended to anyone interested in exploring their amazing accomplishments and the even more amazing story of how it all came to be.

Kids of Survival: The Art and Life of Tim Rollins + K.O.S.. is an unforgettable documentary on Tim and the group, a must see for everyone- Art lover or not, in my view. It’s, also, an invaluable look at teaching Art today. Having known Tim and a few members around the time of it’s release, it gave me a “you are there” look at their incredible backstory, into them before I knew them, and even much, much younger. It’s somewhat miraculous that this story exists on film as much as it does, and it leaves me praying that there will be an updated version, given this was released in 2010.

*- Soundtrack for this Post is the X-Men Theme from the 1996 Television show.

NighthawkNYC.com has been entirely self-funded and ad-free for over 6 years, during which over 250 full length pieces have been published. If you’ve found it worthwhile, you can donate to keep it going & ad-free below. Thank you!

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.
For “short takes” and additional pictures, follow @nighthawk_nyc on Instagram.

Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

 

  1. My Remembrance of Tim Rollins is here. ↩
  2. Per the list, here. ↩