Showing posts with label Soho New York. Show all posts
Showing posts with label Soho New York. Show all posts

Thursday, March 30, 2017

Lee Lozano: "Private Book 1" (Karma)


Lee Lozano Private Book 1  (Karma)

I never heard of Lee Lozano till I picked up this little replica of one of the artist's notebooks.  I'm always intrigued by artist's notebooks - even more so by writers.  The sole reason is that an artist deal with the visual medium, and although time-to-time they can also write, it's the ones that need to express themselves in such a manner where the notes are unorganized and very much thought-in-progress.  After reading Lozano's notebook, I went to our bookstore (ARTBOOK) as well as another (Alias Books East) to look at her artwork.  As a friend mentioned lots of dicks, cunts, balls, and some abstract expression like drawings.  By the end of that day, I feel in love with Lee Lozano's art and scribblings (writings).

What becomes clear through her writing is that Lozano thinks conceptually.   Her conceptual pieces are straight to the point, and it has touches of a Fluxus flavor as well.  For instance:  "Win a grant.  Invest half of it on the stock market for six months.  Pat the rent and piss away the rest."  Or here is something called "Withdrawal Piece":  "Pull out of a show at Dick's.  "Hang" with work that brings me down (David Budd & Kuyama)."   Or observations such as "Every day thousands of pounds of paint are applied to buildings in NYC, signs, benches etc., which can only mean that the city is getting heavier and heavier."   There is also poetic observations such as "Smoking remains attractive because it is an excuse to make a little fire."



"Book 1" is a small memo lined notebook, and due to size it's very intimate, but also the writing/notes with her handwriting, is witty - and very personal.  "Abortionist John Adams" and then his phone number and a note that "Dr. Spencer's recommendation."  From one page to the next, it seems Lozano's brain didn't stop.  Her appreciation or acknowledging the drugs of that time and period (1968-1969) as well as her listening habits (Pink Floyd) and views on fellow artist friends such as Dan Graham, is a combination of horrific, charming, and such a great document of New York City art Soho life.  

This notebook is an art object, but a total readable experience due that Lozano has perfect handwriting (block letters) and enough pop culture references that run through the whole journal.  It's interesting to know that soon afterward she eventually stopped communicating with women.   At first, it was a "piece" but it became a lifetime activity on her part to separate the female from the male in her world.   Women she didn't associate with at all - and she only did business with men.   A very eccentric and of course, an incredible artist.


Friday, September 30, 2016

"THE EYE OF THE SIXTIES: Richard Bellamy and the Transformation of Modern Art" by Judith E. Stein

978-0-374-15132-4

"Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art" by Judith E. Stein (FSG)

Superb biography on a New York City art dealer and visionary Richard Bellamy. There are people I should know about, and for some odd reason, and compared to the other huge dealers at the time, I never heard of Bellamy. Which is to be frank, quite idiotic of me. He brought the world, or to be more specific Manhattan, the world of Claes Oldenburg, Donald Judd, Dan Flavin, James Rosenquist and many others. The beauty of Bellamy is that he was mostly fascinated with art and the artists - and could care less about the financial aspect of that world, or what it could bring to someone's pocket or piggy bank. His devotion (as a dealer) and friendship with Mark di Suvreo as well as Alfred Leslie is a classic relationship between dealer and artist. It seems he had an eye on the bigger picture, and author Judith E. Stein captures that essence of Bellamy. Throughout the narrative we get Warhol, Yoko Ono, Yayoi Kusama, Jasper Johns, and others. If Bellamy didn't take on these artists for his "Green" gallery, he worked hard on their behalf to find them representation.


And of course, the other reason why I like this book is the character of Bellamy. Usually drunk, often depressed, hysterical, insane dresser, and quite eccentric behavior. His relationship with Robert (and kind of Ethel) Scull, the major collectors of art in Manhattan, is equally fascinating. Robert was the secret backer to Bellamy's Green gallery, and it's interesting in the up's and down's of that gallery and Bellamy's mental state - they remained friends. It seems Bellamy didn't base his personal relationships on money alone - and this is what gives his character a great heart. Also, he was a very handsome man, who in photos reminds me of Jarvis Cocker a bit. Tall, nice hair, half-Chinese, and great taste in glass frames - he must have been a striking figure when he walked in a room. This was such an enjoyable read. It's nice to spend time with a fascinating character in a very active era of the visual arts in New York City.

Richard Bellamy & Robert Scull