“The powerhouse Blum gallery, which has locations in Los Angeles and Tokyo, and which planned to open a new New York space this fall, has laid off most of its staff and plans to cease brick-and-mortar operations.”
“There are no guidelines for what happens when you get successful as an artist. My heroes were artists like Acconci, and he didn’t make any money. That’s what I thought success was.” — Robert Longo
Bischoff, who in 1976 told Paul Karlstrom: “I’m still supporting myself by teaching,” had only two one man shows before his first New York show at Staempfli Gallery in 1960, including a 1955 show at the Paul Kantor Gallery in Los Angeles from which nothing sold. In contrast, leading artists in New York benefitted from a booming art market. For example, Willem de Kooning’s 1959 New York show sold out on the first day, bringing in about $150,000 (about $1.2 million dollars today, when adjusted for inflation).
Of course, de Kooning was a sensation, but many other New York artists sold well while California artists struggled. In this situation, decently paying teaching jobs were a rare and precious commodity. When it was rumored in 1955 that David Park had been offered $10,000 per year to teach at UC Berkeley, artist Nathan Oliveira – who at the time was earning $2.50 per hour teaching art 18 hours per week – thought that Park had been given “the opportunity of a lifetime.” As it turns out, Park’s actual starting annual salary was $5,300.00.
Elmer Bischoff Orange Sweater 1955 Oil on canvas 48 ½ in. x 57 in. SFMoMA collections
By being treated in these damaging ways, the child learns that being yourself is dangerous, that in order to survive and be at least marginally accepted by your caregivers, you have to hide who you really are: your thoughts, observations, feelings, and preferences.
Other times the child decides to lie to get their needs met, needs that otherwise would be completely ignored. For example, if the caregivers are emotionally distant, the child might lie or pretend that somethings going on just to receive some attention.
And, of course, if the child is routinely attacked or rejected for being authentic, they learn to hide and pretend. In many cases, to the degree where they gradually lose connection to their authentic self and have no idea anymore who they really are.
This is tragic. However, its important to realize that, as adults, we don’t have to be afraid of abandonment anymore. We don’t need our caregivers to survive. We can endure and deal with all these feelings of betrayal, hurt, distrust, shame, loneliness, anger, and many others.
As adults we can slowly untangle all of these problems and slowly rediscover who we really are. We also can start working on trusting others who actually are trustworthy. We can become authentic again.
“Art for the most part, is about concentration, solitude and determination. It’s really not about other people’s needs and assumptions. I’m not interested in the notion that art serves something. Art is useless, not useful.”
