Dear Bev:
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What an incredible evening. It was overwhelming to reconnect with everyone and revive some of the spark. There was so much to discuss and I was touched that you were reading my article of many years ago. You may be the only one! There were so many topics that we almost needed breakout groups to handle it. One topic which has been important is the “artist in the studio” versus “the artist in the public.” On one hand in the studio you are totally in control of your work while in the other hand in a collaborative role you need to release control. I have struggled with this as an artist—wondering if anyone gets what I am doing. Yes, we both have similar concerns. In the 1970s and into the 90s I just let it evolve and tried not to burden myself with how other people define “art.” I was starting to be known as a “festival planner” instead of an “public event artist” which annoyed me Then at one point I stopped. It was after I organized OpSail for the State of CT in 2000. I designed the space on the docks, created inflatables, did graphics for banners,planned the stages, organized local museums, historical societies etc, and worked with them to offer some sort of participatory activity. It was a great success but I was burned out with the politics and egos and retreated to my studio to make smaller models of what I was trying to do. Finally I was able to explain what I was doing through this work. I even got a show at the New Britain Museum that made me feel validated. Now — I am in the mood to change direction — I am totally in control making objects. It’s a side of myself I never fully explored.
Another issue about the 1980s that we share is the balance between performance art and visual art. I think we all did incredible things in the 1980s. If you were a dancer or actor or any sort of performer we created a framework (control) and let them fill it in (release). Being a visual artist I empathized and I tried to incorporate events that were oriented to visual artists such as mural projects by Tony Falcone. Gallery exhibitions in New Haven were there but less celebrated. There was Abe Gelbin’s gallery, Linda Lindroth at Gallery Jazz and a few things here and there. I think Artspace filled this part of the equation. I loved presenting work at my studio at Erector Square as well as seeing artists opening studios all over the city. To Helen Kauder we owe a great deal.
Thank you for understanding and appreciating what I was trying to do and I am so glad that our paths crossed with the brilliant Bureaucratic Birthday Cake. It was perfection and an icon of public art.
We’ll talk more I am certain. I’ve got an archive which involves many people to protect!
Much love to you,
Bob
PS: Can you send me your address just in case I need to send things to you?
