The jankiness of this 1964 Ellsworth Kelly collage is surpassed only by its intricacy. And its problematics lapped them both.
It is one of [at least] two collages Kelly gave to David McCorkle, who sailed with the artist to France for the last three months of 1964. Dale McConathy, listed in the Ellsworth Kelly Foundation’s chronology as a former employee of Betty Parsons Gallery, also joined them, and wrote a catalogue essay for Kelly’s show at Galerie Maeght. [Upon his return in 1965, McConathy became an editorial assistant, and then quickly literary editor, of Harper’s Bazaar, where he published his avant-garde artist friends and French theory. James Meyer wrote of McConathy’s role in magazine/art culture and the confluence of art & fashion in 2001. I think McCorkle later tried his hand at Broadway, then in the ’70s became a caterer. In any case, in 1964 Kelly was 41, and it sounds like McCorkle and McConathy may have been 40 together.]
The primary element of both of McCorkle’s collages, for sale at Rago Arts next week, is a Sea & Ski suntan lotion ad. They could have run elsewhere, too, of course, but the one with the girl grabbing the guy’s hair, titled PAL because of another collaged element, ran in the June 19, 1964 issue of LIFE magazine. And the one above ran in the July 3 issue.
Kelly has torn the blonde, sunglassed face of the lifeguard in the ad, and drawn another in the void, with Black features. [From the one of many portraits Kelly drew of McCorkle that Galerie Maeght published as a lithograph, we know that Black face is not McCorkle’s.] We don’t know if McCorkle had a gorilla tattoo on his shoulder, one of the tiny, almost surgically collaged elements Kelly added. [Other carefully cut elements include “David” on the patch on the lifeguard’s swimsuit, and the compound that gave the work its title, “found/ in the sand, the,” at least part of which came from a caption in the same issue of LIFE.]
“in the sand, the” puts the whole issue of LIFE in Kelly’s hand at some point, not just a tearsheet. So what was on the page facing the lifeguard? A book review about “The Problem,” aka, “The Negro Revolution,” by Albert Murray. Is that what the Black face Kelly drew is looking at? Or was it the inspiration? That feels like the most benign explanation, though it does not explain the gorilla, which does not appear in this or any contemporaneous issues of LIFE.
13 Nov 2024, Lot 145: Ellsworth Kelly, Found in the sand, 1964, est. $5-7,000 [ragoarts]