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 Seated Figure in Garden 1958 Oil on canvas 47 ¾ × 56 3/4in. Whitney Museum of American Art, New York
“I write about my own work because I want to speak for myself. I might not be the only authority, nor the best authority, but I want to participate in the writing of my own history. Why should artists be validated by outside authorities. I don’t like being paternalised and colonised by every Tom, Dick or Harry that comes along (male or female).”
Marlene Dumas Miss January 1997 oil on canvas 110 ¼ x 39 3⁄8 in. Price realised USD 13,635,000
“I blur things to make everything equally important and equally unimportant. I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information.”
Gerhard Richter (b. 1932) Zwei Liebespaare signed, titled and dated ’“Zwei Liebespaare” Richter 66’ (on the reverse) oil on canvas 45¼ x 63in. (115 x 160cm.) Painted in 1966 Price realised GBP 7,300,500
Art and narrative are closely connected because storytelling is a powerful way to convey meaning, emotion, and context. Here are a few reasons why art often needs a narrative:
1. Contextual Understanding: A narrative provides context that helps viewers understand the deeper meaning or message of the artwork. Without a story, the interpretation of art can be vague or ambiguous.
2. Emotional Engagement: Stories evoke emotions, and when art is tied to a narrative, it can resonate more deeply with the audience, making the experience more impactful.
3. Connection with the Audience: A narrative allows viewers to relate the artwork to their own experiences, thoughts, or feelings, creating a personal connection between the art and the audience.
4. Cultural and Historical Significance: Art often reflects the time, place, and culture in which it was created. A narrative can highlight these aspects, making the artwork more meaningful in a broader context.
5. Guiding Interpretation: While art can be open to interpretation, a narrative can guide viewers toward a particular understanding or theme, helping to convey the artist’s intended message more clearly.
6. Creating a Legacy: Narratives can preserve the stories behind art, ensuring that future generations understand and appreciate the significance of the work.
“Abstract means literally to draw from or separate. In this sense every artist is abstract for he must create his own work from his visual impressions. A realistic or non-objective approach makes no difference. The result is what counts.” — Richard Diebenkorn
Richard Diebenkorn (1922-1993) Ocean Park No.121 1980 oil on canvas 78¼ x 78 3/8 in. Price realised USD 7,698,500
