Frank Lloyd’s blog

Art, architecture and the people that I know.

What are you doing here?

with 3 comments

For the past 35 years, I’ve been going to all kinds of art world events. That means a pretty wide range—everything from really raunchy performance art at the old downtown LAICA to scholarly lectures at the Harold Williams Auditorium at the Getty.

I’ve heard dozens of talks from the podium, endless (and often quite boring) panel discussions, and series after series of conversations, and I’ve seen hundreds of power-point presentations. You might ask, which ones were best?  Clearly, the winners in the category of enlightenment were: Kirk Varnedoe (his final tour included a talk at LACMA); Paola Antonelli (recently at the Brown Auditorium at LACMA); and Adam Gopnik (Winter Scenes, at the Getty on February 23, 2012). All spoke without any notes. I loved those talks, and they reminded me of the stimulating power of the interconnected intellect, which I first witnessed in college: genius, in simple terms.

I’m a big fan of every instance of what I like to call a generous intellect—someone who can present fascinating ideas and connections in a conversational manner. But, lately, I’ve been bothered by something that troubles me from time to time, something I still struggle with in myself, and that I can be deeply offended by in others: for lack of a better word, let’s call it prejudice.

Here are three examples:

I once attended a panel discussion, moderated by Paul Karlstrom, about the paintings of Roger Kuntz. Like many such panels, the event was in conjunction with an exhibit of Kuntz’s work at the Laguna Art Museum. Of the four speakers, I knew three quite well—two of them for 40 years, and one for 30 years. At the end of the panel, I wandered up to say hello—a common courtesy. Before I got to my old friends, though, the museum’s Director came up and greeted me. Then he asked, “But what are you doing here?”, to which I replied, “Two of the panelists were my teachers, one is a friend, and Paul is both a friend and a colleague.” But what I meant to say was, “Isn’t this an educational event for the public to learn about art?”

Around the same time, I attended a talk at the Getty Research Institute, given by Lawrence Weschler (an elaboration on themes first developed in his 2007 book of convergences, Everything that Rises). Weschler is an author, and was in those days the Director of the New York Institute for the Humanities at NYU. At that time, though, he was on leave from NYU, serving simultaneously as scholar-in-residence at Occidental College and a visiting scholar at the GRI. I’ve often been in the audience for Ren’s talks, going all the way back to our time together in the early seventies as undergraduates at Cowell College of UCSC, when for example he gave a series of talks on his grandfather, the Weimar émigré composer Ernst Toch. For this one, held in the Getty’s smaller auditorium beneath the museum, I arrived early to find a seat. And, as I wandered down the aisle, a Senior Researcher from the GRI said hello, shook my hand and said, “But what are you doing here?” I replied, simply, “I’ve known Ren since college.” But what I meant to say was, “Isn’t this an educational event for the public to learn about art?”

Probably the most disturbing instance was a few years back, at the Broad Stage in Santa Monica. In conjunction with Otis College of Art and Design, the City of Santa Monica and the Broad presented a lecture by the annual Otis artist-in-residence. I arrived early, my usual strategy, to get a seat in a packed auditorium. As I walked down the left-hand aisle, I saw the speaker, whose work in art criticism we all know quite well, and who has been a frequent visitor to my own gallery. He said, “What are you doing here?”  That time I didn’t even respond at all.

What are these people saying?  Are they saying that, since I am identified as an art dealer, I shouldn’t have an interest in scholarship? Since I am identified as a specialist in ceramics, that I can’t possibly have an interest in other forms of literature, history or art?  Are art dealers necessarily limited, in their minds, to just being shopkeepers?  Why can’t art dealers also be thought of as people who are passionate about art?

If there is one thing I’ve made perfectly clear at my gallery, our educational mission is about communication between the artist and the public, our exhibition program presents the legacy of artists in the history of West Coast art, and as part of that mission and legacy, our scholarly publications have employed several significant writers.  Someday, I hope that such heterodoxy and such commitment is more widely recognized, is in fact taken for granted—especially by those who should know better.

(Special thanks to Lawrence Weschler for his clarifications about his work.–F.L.)

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3 Responses

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  1. They were obviously impressed that someone of your stature was there. You probably should have been on those panels or at the very least you should have been the guest lecturer. There are a few possible replies to that question but they are not necessarily printable.

    Sincerely, Alan

    Alan

    June 2, 2014 at 4:35 pm

  2. Thank you for the reply, Alan. What’s also interesting about the line, “What are you doing here?”, is the many ways to emphasize different words, and change the tone and meaning, as you know quite well from the stage! “What are YOU doing here?” is, of course, the tone of the speakers here, not “What are you doing HERE?”

    Frank Lloyd

    June 2, 2014 at 4:52 pm

  3. This is a blog, with the purpose of exploring an individual’s view of a portion of the larger world of art, architecture and artists. There are much larger and comprehensive blogs as well as websites. Some are linked to the “blogroll” on the far right of this page, such as Tyler Green’s blog, Modern Arts Notes, or William Poundstone’s Los Angeles County Museum on Fire, two of the best single-author blogs. But for more comprehensive portal sites, one may wish to go to Blouin Art Info, or to Artnet’s news site. Those large portal sites have articles, and serve as aggregators of on-line information and news about art.

    Frank Lloyd

    July 3, 2014 at 9:41 pm


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