the future

I grew up as an artist in Cincinnati, Ohio. I graduated from the Art Academy in 1974.

There was a lot of idealism back then. We were all going to move to NYC and become famous for never compromising our values. Famous artists back then were like characters in movies. Abstract expressionism was the rage, with de Kooning in the lead. We could relate to the passion of it all.

It wasn’t long after graduating that I made the move. I clearly remember my thinking at the time.

I thought that NYC was where artists go to get discovered. I thought that the main focus of the galleries was to look for and find genius: the next big thing.

I have always known that I am that person. It’s something that was thrust upon me as a small child. It’s something that happened that made me very different. I think of it as the universe intersecting with my life.

I have never met anyone else who has had this experience, so it’s kind of hard to talk about with disinterested others. Mostly I am made to feel that I should apologize, or at least shut up about it.

I find that impossible to do, because having had this experience, I became the experience. You can see it in every single thing I say and do.

One of the things I do is art.

I’m fond of saying that all expression is self-portraiture. The way we walk, the way we talk - it’s all an expression of who we exactly are.

I have grown up with both feet firmly planted in two different realities that, for all practical purposes, we could call the here and now, and the future.

You can see it in my art. It’s just there. It’s what makes it great art.

Wayne Thiebaud came to see one of my shows in the East Village and said nice things about my work, so when the East Village art scene went bust, I approached Allan Stone Gallery, because Allan represented Wayne.

The first time Allan saw my work, he personally bought 14 paintings. I quickly became his best client’s favorite artist. Between the president and the company, Morgan Stanley owns 30 major paintings.

People who know painting and drawing have always recognized the quality of my work. It’s pretty much undeniable. I seriously doubt that you could find a single thoughtful person who, having done the research, would publicly say that I am not a master at what I do.

The problem is that when it comes to established galleries, or art institutions especially, they are most definitely not looking for anyone or anything that is new and different than what they are already doing.

I find that, by and large, most everyone everywhere, is only interested in what they are already invested in.

Galleries, museums, they already have agendas in place. Anything different is seen as being a distraction.

If the new and different person really is a potential genius, far from being a good thing: the distraction now becomes a threat.

I think that what I most want to say to everybody, is that I am not a threat to anyone.

My path simply led me to Montclair as it has to other places at other times.

I first approached the Mayor and Town Council.

I told them that if we all got on the same page, we could bring NYC to Montclair, for art, in no time.

This is easily doable.

It’s almost as if it can’t not happen. All of the work has already been done.

Look at my Projects (for example).

What’s that about?

It’s clearly not about making money or being an art star.

A painter of masterpieces has shown up in Montclair and he says that it’s like he is from the future.

That’s all anyone has to say or do.

Lay the vision on a level field and allow everyone to look at it with wonder and respect. Encourage thought and questioning, as that is what interest looks like.

The whole world is about to come to Montclair.

May, 2023