For my essay on the John McLaughlin show, John McLaughlin Paintings: Total Abstraction at The Los Angeles County Museum of Art in Hyperallegic Weekend, go here:
Saturday, December 17, 2016
Tuesday, October 11, 2016
believing in the new
by Douglas Messerli
A couple of days ago Art News announced that the gallerist-curator Klaus Kertess had died, at the age of 76.
I had never visited his noted Bykert gallery, which he ran, with Jeff Byers, from 1966 until 1975, nor did I ever meet Kertess face to face; but my husband Howard and I did know of several of the artists his gallery showed, including Brice Marden, Barry Le Va, Alan Saret, Chuck Close, Dorothea Rockburne, and Deborah Remington.
Kertess, himself, described the scene before Bykert’s existence, arguing that, except for Park Place, run by Paula Cooper, “there were no galleries that were actively looking for new artists and no galleries where younger artists could turn to in the hopes that they would show their work.”
Besides showing and curating great artists, he also employed several of them, including sculptor Lynda Bengalis, as a secretary, and later, future gallerist Mary Boone, who years later marveled at Bykert’s commitment to artists as opposed to collectors.
Upon leaving Bykert, Kertess became a curator at the Parrish Art Museum in Southampton, New York, were he showed Carroll Dunham, April Gornick, Jane Freilicher, Alfonso Ossorio and others.
In 1998, he curated “Willem de Kooning: Drawing Seeing/Seeing Drawing” and the Drawing Center in New York
2007 saw him curating the premier show for the Museum of Contemporary Art Detroit, which, once again, included a wide range of artists ranging in age and styles, including Mark Bradford (a personal friend of Howard and mine), Kara Walker, Barry McGee and numerous others.
In 2009 Kertess received the Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History from the Smithsonian’s Archives of American Art.
In 1979 or early 1980, while he was still at the Whitney, Kertess, out of the blue, sent my Sun & Moon: A Journal of Literature and Art a story, “Pisonia,” which I accepted and published in the award-winning “Experiments in Traditional Forms” issue in the summer of 1980.
Los Angeles, October 11, 2016
Reprinted from Art Là-bas (October 2016).
(The factual information above is based on the story by Andrew Russeth published in Art News. October 9, 2016.)
Tuesday, July 5, 2016
by Douglas Messerli
Gronk Theater of Paint, Los Angeles, Craft & Folk Art Museum, Howard Fox, Pablo Capra, and I attended the show on Sunday, July 3, 2016
Just a few weeks ago I mentioned to my husband Howard that I had not seen new work by the Los Angeles artist Gronk for some time now. In fact, it turns out that he has not had a solo museum exhibition in Los Angeles for more than two decades. Now, fortunately, the Craft & Folk Art Museum reveals to us what Gronk has been up to in a stunning new exhibition, “Theater of Paint.”
Beginning in 1989, moreover, the artist turned his attention directly on creating large canvases with wooden and cardboard accessories for plays and operas. That year he painted the single “backdrop” for Milcha Sanchez-Scott’s Stone Wedding for the Latino Theatre Lab of Los Angeles Theatre Center. The work, so he told us, had been stored at that theater for all these years, and was rediscovered when director of the Craft & Folk Art Museum, Suzanne Isken called the Center.
In 1990, Gronk did sets for four more plays, including Culture Clash’s The Mission and a production by the East West Players for Come Back, Little Sheba.
The following years, he added several other new plays to his resume, including Ibsen’s Hedda Gabler, a character who, once more, closely relates to La Tormenta, and a play by the noted Peruvian author, Mario Vargas Losa, performed at Los Angeles’ Chapel Court Theater, which won the Drama-Logue Award for set design. Numerous other plays followed before, in 1998, he began working with the noted director Peter Sellars, first for an adaptation of Jean Genet’s The Screens by Gloria Alvarez, Peter Galindo, Lynn Jeffries at Cornerstone Theater Company, for another collaboration between Gloria Alvarez and Sellars of Igor Stravinsky’s L’Historie du soldat. Ainadamar, with a libretto by David Henry Hwang and music by Osvaldo Golijov, which Sellars directed for The Santa Fe Opera and was later performed at Lincoln Center in New York; a Production of Henry Purcell’s The Indian Queen, this directed by Sellars for The Perm Opera and Ballet Theatre in Russia, followed.
This new exhibition contains several full backdrops—which Gronk creates after extensive research into history and mythology, aiming for an emotional expressivity rather than a specific setting—along with models and video screenings of the sets. “Theater of Paint” also includes an entirely new work, inspired by the book of surrealist-like poems by Chuck Rosenthal and Gail Wronsky which Gronk illustrated. The set also contains a decorated stage with cardboard props so that museum-goers can themselves become actors, playing out events of their own imaginations. Pablo snapped a picture of Howard and me with Gronk, appearing to my way of thinking, a bit like three monsters holding a kind of alien baby.
The exhibition will also feature a performance of Tormenta Omnia on July 16, in both English and Spanish, a poetry reading by Rosenthal and Wronsky on July 24th, and conversation between Sellars and Gronk on August 6.