The big score in my search for the collage elements of Robert Rauschenberg’s lost painting, Should Love Come First? was the magazine clipping that said just that.
It turns out to be from True Confessions, a women’s sex and relationship advice magazine. The article was written, apparently, by a reader named June soliciting advice for handling her man. I gave a brief recap of the article in Panorama, and there’s a picture which shows the pullquote, which does
seem to resonate with the situation of Rauschenberg, his new, pregnant, wife Susan Weil, and Rauschenberg’s new squeeze Cy Twombly, at the moment the painting was made:
Will I be able to find happiness married to the man who once jilted me? Or will I always remember that I was second choice?
But I have transcribed the whole thing here. And I now feel sort of compelled to look for the responses that True Confessions readers gave “June” about taking her man–and his new baby–back. What do YOU think she should do? Leave your answers in the comments! Continue reading “This Is My Problem…Should Love Come First?”
Nancy Spector posted this to Instagram today. For the second World AIDS Day, December 1st, 1989, and the first Day Without Art, she and her then-boyfriend/husband-to-be Michael Gabellini unfurled a massive, black shroud from the Guggenheim. The original call for Day Without Art was to close museums, or to cover works of art as a reminder of the art that would not be made because of AIDS-related deaths.
“At the time, we didn’t know the depth of loss we would be facing in the art community,” Spector wrote.
I am so psyched for this. I’ve been deep in another writing thing for a while and couldn’t give it the attention I wanted to when it came out. But I wrote a research note for Panorama, the Journal of the Association of Historians of American Art, and it is now available. It is the story of my six+ year search to identify all elements Robert Rauschenberg used in Should Love Come First? a collaged painting that, if it still existed, might be considered one of his first combines.
Back in the spring, when, hope against hope, a nearly blind eBay purchase yielded what I thought would be the toughest piece to find, the painted-over text that gave the work its title, I sent a snap to Michael Lobel, an art historian hero and friend who knows his way around early Rauschenberg & Weil. Because I knew he’d freak out just like I did, and he did. And then he said I should publish it in a peer-reviewed academic context, not just on the blog. And that was just intriguing and daunting enough to attempt it. And that’s what I worked on this summer.
My purpose for tracking down and buying copies of all these elements is, of course, to re-create the painting, which Rauschenberg painted over in 1953. (It still exists, in Zurich. I’ve seen it.) But now that I have (almost) all the pieces, I am stymied anew by how much I don’t know about the painting, including/especially the colors. So my re-creation project will take some more time.
But in the mean time, the amount of info that has been coming off the small pieces of paper I *have* found has been amazing. Meeting Susan Weil in the middle of this process (for another topic, and another husband) has been amazing. And getting the chance to systematically look and think and capture information in a (hopefully) clear and compelling way has been amazing. So thanks to Michael and to the folks at Panorama and to the folks at the Robert Rauschenberg Foundation. I don’t know when love should come, but I love doing this.
Last year I spotted this structure in a front yard in Washington, DC. It is a wedge-shaped cabin [?] made of wood and siding and decking and corrugated plastic. The translucent plastic panel on the angled side facing the house is hinged and often propped open, like a canopy. There is a small platform in front, but I could not see what, if anything, is inside, without going into the yard.
It reminded me, in the accumulation of fleeting instants I’d see it, of Andrea Zittel’s Wagon Stations.
And her Homestead Units.
And her Cellular Compartment Units.
Those Cellular Compartment Units especially stood out for me, as I wondered what this structure could be for, what could be inside. Zittel created a separate space for each, “single human need or desire from sleeping to eating to reading to watching TV.”
I resisted the impulse to declare someone else’s garden folly a work, and nothing I googled ever brought me any closer to finding one of my own, or figuring out what it is.
I happened to drive by the house again recently, and the structure is still there. So I’ve been thinking of it again.
I had three chairs in my house, but only one in my sitting shed in my front yard, Thoreau did not write.
I just need a quiet place to write, but I live on a very busy street with constant traffic.
Anyway, I’ve decided to go ahead, and let this stay as is, as ed. 1. And I am ready to make another. A structure customized for a single human need or purpose. It could be writing, or reading, or sitting, or showering, or pissing. Actually, there’s already a structure for that.
The artist Elizabeth “Betty” Stokes di Robilant was interviewed by Christie’s in May 2013. Stokes was a longtime friend of Cy Twombly. Their story and relationship and collaboration, and her later erasure from Twombly’s official story, is discussed in Chalk, a biography of Cy Twombly by Joshua Rivkin, which was published in October 2018. Rivkin quotes the interview by Robert Brown, which was published on the occasion of the sale of a painted bronze cast of a 1966 [or 1956, or 1959, or 1980 or 1981, or 1990] sculpture Twombly gave to dee Robilant for her 10th wedding anniversary. Twombly later reworked and cast the sculpture in 1990 in an edition of five. Di Robilant’s three children each got one; she got one, and Twombly got one. Ed. 1 of 5 was sold at Christie’s London on June 25th, 2013, for GBP 1.63 million.
Last winter I was visiting museums on the Mall a lot in order to write this review/roundup. It was pretty grim going, and I don’t think I was wrong about the mood.
These black cubes appeared along my drive, and I would take note of them, think about them. They had an eye-catching, out-of-place presence and no discernible purpose, which made them feel of temporary sculpture. They were also alongside a conduit road whose main feature was not slowing you down on your way, which created a tension, if only for the briefest (passing) moment.
They made me think of Tony Smith’s Die, obviously, but if anything, that easy association pushed back against my own doing anything with these cubes. They also made me think, though, of Smith’s massive 1967 sculpture Smoke, which, like so much of his work, first came into being as black plywood.
Smith built Smoke in one half of the Corcoran’s atrium while Ronald Bladen built X in the other. Or rather, the Corcoran built Smoke and X for Smith and Bladen. The sculptures were commissions, fabricated by the museum’s carpenters for a three-artist show called, “Scale as Content.” [The third work was Barnett Newman’s Broken Obelisk, which was installed outside, facing the White House and the Washington Monument. The Corcoran ended up owning none of these works.]
Artforum’s retardataire reviewer didn’t like it “as art,” but “Scale as Content” feels pretty on the nose for Smith, who realized Die in six foot steel in 1968 after noodling for six years over a six inch cardboard model. [In 1967 Smith also showed a plywood version of Maze, and published the cardboard version in Aspen Magazine.]
Anyway, these boxes were not placed where they are for artistic reasons. I finally went to investigate them on foot in January. They’re cover/markers for some infrastructure node, presumably related to the construction staging on the lawn between the Tidal Basin and the Washington Monument. They’re close to crosswalks; maybe they’re hookups for eventual pedestrian crossing signals.
But this is not really the time, and these are not in the place, for benign indifference to the apparatus of the state. In this era of plate readers, wifi sniffers, Stingrays, and ICE raids on pizza delivery guys, these black boxes now feel like–like black boxes. Given what we keep finding out on a daily basis in DC, what could we possibly not know yet? You don’t have to be Trevor Paglen to wonder about the menace of ersatz apparatuses popping up on the major thoroughfares of Washington. Are they some nefarious surveillance system in waiting, or one that’s already at work?
The intervening months have also brought Paglen’s Trinity Cube and Rachel Whiteread’s cast voids to town, and so I still pass these cubes and still think. One thing I think a lot about is the point of declaring something a work. Another thing is declaring. Another is a work. Sometimes, during a year of wondering if I’m rationalizing, I wonder if the reflexivity, the impulsion, the emptiness of these things are reasons in themselves. Emptiness as Content.
Though we have emailed several times over the years that I’ve researched her and her first husband’s work, I finally met Susan Weil a couple of weeks ago, and it was awesome. The occasion was the first US show in nearly 40 years of sculpture by her late (second) husband, Bernard Kirschenbaum, which is currently at Postmasters Gallery. Weil discussed Kirschenbaum’s work, and their life together, and her work, and it was great. Our conversation was just published on ARTNews, so go check it out:
[W]e’re used to the idea of calling what he did as sculptural now, because we’ve come through Minimalism, and the artist’s mark, and having things fabricated, but at the time, that was still largely unheard of: that you could order a sculpture. That you could have something fabricated in a shop, and it would be a sculpture. Did he think about that much, or was it not a concern for him?
Well, it wasn’t that way with him, because he wanted to be a part of every step of it. He didn’t order something and then it came. He worked in all the materials, in the actual welding, and finishing, and this, that, and the other. He had to know everything about how things were made. No, he had a beautiful vision.
I somehow had not seen or noticed this 1962 Cy Twombly painting, The Vengeance of Achilles, in the Kunstmuseum Zürich. And I did not see it–or anything, tbh–at the Pompidou’s Twombly retrospective a couple of years ago. But its mountain-like, or volcano-like, form is amazing. Also it’s huge, three meters tall. Most of those marks are within an arm’s reach, but some of them look like they required Twombly’s full wingspan.
Then while looking up more information about it, I realized that one of the equally huge paintings in Fifty Days at Iliam, which Twombly painted 16 years later, and which are at the Philadelphia Museum, is also titled Vengeance of Achilles. Aaaannd I guess that is not a mountain.
[10 minutes later update: Wait, what? I go Googling for some vintage Nine Discourses of Commodus reviews, only to find a Twombly biography that quotes the same Menil Collection conservation interview and the same Nicola del Roscio T Magazine profile I’ve had open in my browser tabs for three years? How did I not know this? Because it is brand new, and dropping in a couple of weeks.]
It is not clear if it is indeed the artist behind the account, but @cadynoland‘s posts are clearly from the Noland Instagrammic Universe. Of 120 photos so far/at the moment, there are currently only three that contain comments by the artist accountholder. If or as more are added, and or if or as more information becomes known, this post will be updated.
I am a bigger fan of Wolfgang Tillmans than of the British royal family, but this is a truly excellent image, and I would definitely like to see it IRL, preferably pinned on my wall. It’ll be sold at Christie’s during Frieze Week.
As a 1/1 acquired directly from the artist, and with no exhibition history, I’d imagine this print has an interesting story of its own.
If I don’t scare up an extraneous GBP 50,000 by next month, perhaps a Shanzhai Tillmans series is in order. Of course, unlike a Shanzhai Gursky, I’m not sure what the difference between a Tillmans and a Shanzhai Tillmans would even be.
I’ve always supposed that artists were allowed to paint however-whatever they pleased and to do whatever they please with their work–to or not to give, sell, lend, allow reproduction, rework, destroy, repair, or exhibit it…
He is direct about his work, an area of his life which he jealously guards. Once, at a dinner, a wealthy collector who owned several important Johns paintings announced over coffee that he had an idea for a print that Johns should do. He said that Johns should make a print, in color, of an American map. The collector argued his case cogently. He pointed out that Johns had done other prints in color based on paintings from that period; he alluded to the significance of such a print to the whole body of Johns’ work; he mentioned the opportunities for the sort of image transformation which Johns’ other color prints had explored; and he pointed out the peculiar arbitrariness that had led Johns do to map prints several times in black-and-white, but never in color.
A hush fell over the table. There was a good deal of tension. On the one hand, one doesn’t tell an artist what to do, but on the other hand, the suggestion was not uninformed, and it did not come from a source the artist could casually alienate.
Johns listened patiently. “Well,” he said finally, “that’s all very well, but I”m not going to do it.”
“Why not?” asked the collector, a little offended.
This is the first view of the log cabin formerly known as Log Cabin [actually, we learn, it was called Log Cabin Facade], a 1990 sculpture by Cady Noland, which the collector, Wilhelm Schürmann, left out in the mud for ten years, where it rotted, and then he had the whole thing refabricated without the artist’s consent or consultation, and then he flipped it, and the new buyer factchecked it, and found out the artist was very much not into it, and so he returned it, and had to sue for a refund, but got it. And during that whole process, no images of the remade sculpture [sic] ever surfaced.
But since then, Noland herself has filed suit claiming copyright infringement in both the US and Germany, and a violation of her moral rights under VARA, by the collector and dealers involved in destroying the original, and making and publishing and selling an unauthorized replica. And that lawsuit is where these images come from, from an exhibit in Noland’s attorney’s most recent memorandum [filing no. 79] arguing for the continuation of the case and against the defendants’ motion to dismiss it.
I’m reminded of this today because KOW, the gallery in Berlin where Log Cabin [sic] was unveiled in 2011, has a sleek, new website, with extensive documentation of the show–except for one, giant, contested thing.
The memo in the court case includes some other notable information, not least of which is a five-page affidavit by none other than Cady Noland herself. A sworn artist statement, if you will. It should go in the canon, so I have uploaded it here [pdf].
Noland talks of conceiving, designing, and realizing the artwork, Log Cabin Facade, in New York City “in or around 1990,” and traveling to Germany “to examine and approve the Work” as installed at Max Hetzler gallery. She “was not aware of the sale to Defendant, Wilhelm Schürmann, until August 1991,” she affirmed.
“Sometime around the mid-1990s…Schürmann sought permission to display the work outdoors…I agreed…At the same time Schürmann agreed with me the Work should be stained a dark color for ‘aesthetic reasons.'”
“At my request Schürmann had the work stained a dark shade of brown, I color I specifically selected and mandated. The stain [was]…basically a pigment, not a wood preservative,” the artist attests.
Noland continues to explain her expectations about Schürmann’s care for the work, which is the basis for her position about its damage, his its purported conservation, and refabrication. But these particular issues of timing and staining are important in new ways. They appear to this non-lawyer to be crucial to Noland’s invocation of VARA rights, which only apply to work made on or after the date the 1990 law went into effect, or which was made before the law went into effect, but which was only sold afterward. That date is June 1, 1991.
“Oh, the timeline sounds complicated and possibly contestable!” you say. It is not. Or rather, it is not important, because Log Cabin Facade is not Log Cabin Facade, but Log Cabin Facade (2). In the memo, Noland’s attorney explains that, “When the original natural wood color of Log Cabin was stained dark, Noland created a derivative version of the work,” which is “fully protected under [VARA].”
So Schürmann bought Log Cabin, which became Log Cabin Dark Shade Of Brown For Aesthetic Reasons, which he left outside to rot, and then threw into the wood chipper after replacing it with a brand new log cabin facade made in the (unpigmented) style of the original Log Cabin, which copyright and VARA he and his dealer friends viol–no, it was the original work’s copyright but the derivative work’s VARA. (Doesn’t the derivative get its own copyright?) What happened to Log Cabin [below] when Noland had it stained into Log Cabin DSOBFAR? Was it destroyed? Are we now bereft of twoLog Cabins, with only the current log cabin, which is either a “refabrication,” a “reproduction,” or “a copy [that] was not authorized by Noland,” aka, “a forgery,” to remind us of our loss(es, which we didn’t know we’d lost until now?)
But no, this is not about you or me, but about the artist, whose work suffered neglect and destruction at the hands of those entrusted with its care, and whose wishes and intentions no one seemed interested in finding out until someone’s $1.4 million was on the line. The artist who now has “a gap in her artistic legacy” because “the original Work is no longer a part of [her] artistic body of work.” To which I would add, sadly, neither is the derivative.
And while there are many possible artistic strategies for authorizing, reauthorizing, declaring, or reconceiving the Work and preserving or increasing the Value in ways that many people, with much experience and insight, would be all to happy to elaborate upon, the simple fact remains that it the artist’s call, not theirs.
“I said the provenance for the sculpture must now include the name of the conservator because the work was not mine alone,” said the artist in her affidavit. Also, “I feel very strongly that the unauthorized copy of Log Cabin robs my Work of a quarter century of history and denigrates my honor and reputation. The Log Cabin that I created does not exist.”
Noland is actively pursuing a lawsuit that makes an affirmative argument about her work and her artistic decisions that confronts cultural, market, and legal presumptions of what art is and what an artist does. And here at the end of this post, I’m deciding maybe it’s more interesting to consider the implications of Noland’s actions as they stand rather than to game out scenarios for her like an armchair lawyer–or an armchair artist.
8. Write for a very limited audience – your closest friends. Do not try to please anyone – crowd pleasing costs.
I recently listened to my first director’s commentary in a long time, and was struck by the director’s awareness of giving advice to filmmakers, as distinct from just telling production stories or even discussing craft. But it oddly felt like the kind of conscious narrowcasting Hope mentioned.
13. Make the most of a day’s work. It’s easier to get a commitment for one day than it is for a week. Exploit people’s willingness to give a day.
I get the point, but I’ve grown wary of that word, exploit. If you’re bartering your time and project for theirs, fine, but it just feels important to respect people’s labor, not just their time.
Anyway, I’ve been thinking of filmmaking more lately for a variety of reasons, and this is a good thing to read.
The information on it is maddeningly slight. It is apparently from the 70s, and by the architecture professor Lorenzo Cremonini. It has three levels above ground, plus at least a garage below. It is 200 m^2, around a 60/90/50 split, and from the outside, it feels too proscribed to be anything other than a house.
Besides its simple, cantilevered concrete slab construction, its most distinguishing feature is obviously its supergraphic tile skin, which is fantastic at every angle. VERY of the period, yet somehow intact. That gigantic concrete canopy feels slightly too big. (Oh, but maybe not from the back, as in the photo above!) The curved section that forms the terrace railing sometimes feels like it should have been straight. Or does tile make it work? So it’s not perfect, it’s awesome.
Except for some boring presentation clips on Voxel’s facebook page, the only interior shot I have found so far is maybe this video of riot police raiding the place? Or nah, doesn’t that seem like an other library, plus the date’s wrong. Still low-key amazing how throwback the Bologna riot police are.
From the unhelpful articles I’ve found, it does seem to be “known” as the Palazzina, but I just can’t say for sure. The absence of almost any info about the building, or Cremonini, is shocking, not the kind of thing I’d come to expect in these internet days. I feel like his 1992 book, Colore e Architettura, might have more information, but it is in Italian, and in Italy. So it will have to wait a little longer.