Stories From The Press

To read the interview click here.

Getting to New York this year for the print fair was no easy task. As you can imagine, Super Storm Sandy created mass confusion and a logistics nightmare. After many hours spent analyzing our chances of getting there we finally rearranged our cancelled flight and boarded a plane to arrive in New York Wednesday afternoon, only a day and a half later than planned.  We caught a cab straight to the Uptown Armory, suitcases in tow, anxious to see if our crates full of artwork had been delivered.  Miraculously they had, and we were able to begin intsalling our booth immediately. Thanks to the tireless work of Michele Senecal (IFPDA), Sanford Smith Associates, and the construction crews (who began building the booths midnight Tuesday and worked 18 hours straight)  the walls for the fair were ready. Not everyone was so lucky. Some art never arrived.

Uptown was in a kind of bubble, everything seemed almost OK, except that Central Park was closed and you couldn’t get anywhere by subway. But what really stood out was the shock on everybody’s face, the dazed look that us West Coasters recognize from the days following the Loma Prieta earthquake. As the magnitude of destruction unfolded, we heard stories from our collegues about the damage to homes, galleries, artwork, and worst of all, the loss of human life.  The Upper West Side had power and felt surreal in its near normalcy and we were lucky to be staying there.  Like everyone in New York who could, we offered one of our rooms to someone who was unable to commute to the fair from Brooklyn.

The show opened a day late, the attendance was at half capacity (amazing considering the circumstances). Those who did make it were the diehards, supportive, and elated to be there at all.  The fair looked especially good with the glow of survival. We exhibited our latest pieces by Thornton Dial, Isca Greenfield-Sanders, Gary Simmons, and Martin Puryear. For us the fair was extra special because it was a symbol of the city’s endurance and ability to overcome adversity.

A few highlights from the fair:

We send our best wishes to everyone recovering from the storm and are thankful for the bravery and camaraderie of the people on the East Coast.

 

Mari Iki and Martin Maguss are San Francisco collectors. They are avid collectors and have amassed an impressive collection with a modest budget.  Over the years, they have purchased works by artists such as Andy Warhol, Robert Rauchenberg, Keith Haring, Francis Bacon, Nan Goldin, Gary Simmons, Vik Muniz—the list goes on. They have also been great supporters of the many local art galleries.  Pam and I met them in the late 1990s at the first Blackman art fair at Fort Mason where they purchased a small print from us.  At a recent dinner for the artist Gary Simmons, we found out that Martin began collecting art in high school. I wanted to see their collection, and I asked if I could interview them.

 

Q:                            Martin, when did your passion for collecting art begin?

 

Martin: 

My dad instilled the values—you save up, then you can buy what you want. Growing up in Canada, I was excited about American culture. In high school, Lichtenstein and Warhol were on my radar. I had a part-time job and saved enough to buy my first piece.

 

Q:  The Lichtenstein was the first piece you purchased?

 

Martin:   

Yes. I showed it to my dad, and said, “I bought this artwork by an American artist who I absolutely admire, Roy Lichtenstein.” My dad asked me how much I paid for it, and when I told him, he was livid. I said, “Wait a minute. You told me to save, and if I saved enough money, I could buy whatever I wanted. So this is a win for everybody. Now I want to go to New York and meet Andy.” My dad said, “Andy who?” I told him, “I want to meet Andy Warhol.”

Q:    How did you know about these artists?

 

Martin:

I was attracted to pop culture. While in high school, I’d also spend my free time in the National Gallery of Canada looking at Claes Oldenburg’s Bedroom Suite and the work of James Rosenquist. Expo 67 was also a big influence, because the American pavilion exhibited all the Pop artists. I travelled to Montreal to see it!

In university, I majored in graphic design and photography. I spent a great deal of time with close friends, having wonderful dialogues about the current artists—Julian Schnabel, Francesco Clemente, and others in the early 1980s.

 

Q:   Did you get to meet Andy Warhol?

Martin:

Yes. I got on a Greyhound bus and went to New York. It was a different time, you could just do it. I’d met him a couple of times in Toronto as well. Meeting him really did change my perspective on art.

 

Q:     So when you and Mari met, your relationship revolved around art?

 

Martin:    

We were talking, obviously, a lot about art. She took me to the Berkeley Art Museum to see this painting that she just loved.

 

Mari:        

I said, “Oh, you have to see this museum, because it’s just great.” I would go there all the time. I showed him my favorite piece—a painting by Francis Bacon.

 

Q:   Mari, was there a conscious moment when you decided to start collecting?

 

Mari:        

For as far back as I can remember, whenever I travelled with my family, I went to museums. I stood in line to attend the Avedon retrospective that David Ross curated at the Berkeley Art Museum. I had all these posters of amazing shows that I’d been to. Later, after Martin and I met, we went to the Fraenkel Gallery.

 

Martin:     

That was October 1984.

 

Mari:      

Martin asked Jeffrey Fraenkel to show us the Mapplethorpe still lifes. They were gorgeous black and white images of orchids. I forget how much they were—$500, $700—but I just said, “Wow…that’s so much for a black and white multiple.” Martin told me, “You spend money on posters, you should think of getting the real thing. Like these photographs, they’re beautiful.” We never got one!

Before I met Martin, I used to go into the Stephen Wirtz Gallery, always looking at Raymond Saunders’s work. Later, I went in with Martin and looked at a Raymond Saunders print maybe ten times. Finally, with guidance from Stephen Wirtz, the Saunders print was the first piece that I purchased.

Q:   But did you have to agree on this, or was this your own endeavor? 

 

Mari:

That was my first contemporary art “acquisition,” but we do tend to agree.

 

Martin:    

The amazing thing about our relationship is if Mari and I see an exhibition, we will usually independently pick out the exact same piece. We have to work within a budget—we don’t have a lot of “disposable income”—we both have regular jobs.

 

Mari:               

Frankly, when we’re interviewed about collecting, it’s to show that anybody can collect.

 

Q: There must have been a point at which you realized…

 

Mari:          

We saw a segment on 60 Minutes in 1995.

 

Q:   It’s not about the Vogels is it?

 

Mari:      

Yes—Herb and Dorothy!

 

Martin:            

We had an epiphany. They were such an influence to us! They didn’t have a fancy New York City lifestyle, and they had a comparable budget to work with. We thought, “Here are people who think in a similar way.”

 

Mari:           

They have some of the same priorities! It’s okay to not want to get a new sofa or something, but to purchase art. Most of our decisions revolve around looking at or purchasing art. Our friends thought we were crazy.

Q:   I want to focus for a moment on the idea of curating a collection. Do you have an overarching idea for your collection, or is it based on a gut reaction?

 

Mari:                

It is an informed gut reaction. I once asked a friend why a museum director had spent extra time with us. He said, “Because I explained to him that you have a collection.” I said, “But we don’t have a collection. We just collect.”

 

Q: Is that how you still think of it today? Or now that you have all this work, do you feel a sense of responsibility?

 

Mari:        

We do feel a certain responsibility. What happens to it when we’re not here? We haven’t really come up with…

 

Q:   The perfect plan?

 

Martin:

Yes. The one thing we’re consistent about…for any work in our collection, we will always loan for educational purposes. It’s for the betterment of the artist’s career; it’s not about us, it’s for them.

 

Q:  What about your relationship to the artists who make the work? Is it important to meet the artist? Or does that change the relationship?

 

Mari:         

When we can meet them, it’s wonderful. For example, Sean McFarland, who shows at Eli Ridgway Gallery, is an emerging photographer, and we’ve learned a lot about his work by getting to know him.

 

Martin:      

I’ve always said to Mari, if there’s an opportunity to meet an artist, we should. I remember when Mari met Diebenkorn and Thiebaud; I met Warhol, Haring, and others. If you can hear them talking about their work, that’s the best!

Q:   There’s no substitute for that.

 

Martin:         

You’ve worked with Martin Puryear, Caio Fonseca, Radcliffe Bailey, Gary Simmons, and other artists that we admire. Artists that are continuing the line of creativity. Whether they work with paint, wood or other media—when they come into your studio and address another medium, the creativity is all the same! For us, there’s little distinction between painting, drawing, and works on paper.

 

Q:  What is your advice to the novice collector?

 

Mari:             

Look everywhere, read a lot, and then remember to look at the new and emerging artists and galleries.

 

Martin:                

Mari and I spend an inordinate amount of time not only looking at work, but also talking about work. We’re always looking, even when we know we won’t be purchasing. We never buy for investment.

 

There are always opportunities for young collectors. Someone might not have the budget for a Kerry James Marshall painting, but they could consider one of his amazing prints.

 

 

The work of Isca Greenfield-Sanders has the ability to convert even the most jaded person into a hopeless romantic. Her paintings and etchings often seduce the viewer into a wistful state–suddenly yearning for days past or simply imagined.  

What better season to celebrate her six new etchings than summer? Isca’s ocean waders and mountain bathers inspired all of us at Paulson Bott Press to share our own youthful images of summers spent by waters.

As the daughter of an English teacher, I am deeply programmed to live for summer days.  The three remaining seasons have always seemed but preludes to the main event. Growing up, my sisters and I spent long days in the Sierra, soaking up the fresh air and sunshine and jumping off rocks into lakes.

It is always the artist that inspires us to be, once again, at the water’s edge, where we are living life to its fullest.  The joy of my summers at the lake is best expressed in one of my mother’s poems:

Stepping off the plane, Renee and I were engulfed by an ocean of hot air. Ninety-five degrees and 103% humidity (as our waiter later remarked). We caught a cab straight to the Art Institute of Chicago and met up with Mark Pascale. Mark is curating a show of Martin Puryear’s works on paper and invited us to discuss the prints we’ve made with Martin over the last 11 years. Graciously, Mark gave us a welcoming tour of the newish Renzo Piano addition, including the spacious gallery Martin’s exhibition will occupy. The light in the new section is refreshing, with windows overlooking native prairie gardens.
Mark further indulged us by taking us into the cavernous storage rooms of the works on paper collection, where row upon row of large flat files housed works slumbering in a climate-controlled stupor. Mark opened drawers and unshelved framed works, rousing Lee Bontecou etchings printed by Tatyana Grosman, gigantic Russian war posters, a dog collage by Joan Brown, and a charcoal study by Kerry James Marshall that I will never forget. Next up was the conservation department, where we talked glue theory with the conservators and enjoyed inspecting all their work areas and tools.

 

Finally, we found repose in the study room in the company of “Profile” by Martin Puryear and kicked back for an overview of the material that has been gathered to date for the show. Last fall, we shipped 99 working proofs and miscellaneous ephemera from our projects with Martin to the Art Institute to document the process of making the prints. It is really amazing to see this idea for the exhibition take shape.
Exiting the museum, we swam over to Millennium Park, strolling beside smartly designed fountains full of hot Chicagoans cooling themselves in the mist.  We wound our way over to the fun house mirror, “Cloud Gate” (Anish Kapoor’s monumental bean) and around to Gehry’s Jay Pritzker Pavilion. All wows!Mark visited Martin a few months ago with Ruth Fine (curator of special projects in modern art, National Gallery of Art) and Harriet Stratis (head of paper conservation at the Art Institute) to take a look at his personal archive of works on paper. Martin studied printmaking in Sweden and made highly successful prints early in his career. Renee and I had glimpsed these early works the first time we visited Martin’s studio. It was great fun to be virtually reintroduced.

 

 

The next day we looked at all the working proofs and the correlating edition prints, analyzing how we got from A to B. Not always easy to recreate, but thanks to usefully redundant documentation, we were satisfied we had it right. Mostly!

 

Later, after a quick walk to the lake, we met up with our old friend Stephanie Sherman for drinks and dinner at Gage, across from the museum. Stephanie (an amazing art professional) introduced us to the very handsome Billy Lawless, who owns Gage as well as Henri, its sister restaurant next door. We relaxed with a great cheese plate, fine martinis, a venison burger, and the fabulous staff. Then it was on to Henri for a memorable dessert at the bar.

Thankfully, the next morning, the temperature had backed down, and rainclouds mitigated the blazing sun. Skirting downpours, we paid a visit to Kerry James Marshall’s studio. Kerry is an amazingly productive individual. He has multiple projects in the works and then some. We were delighted to see several of his models, who closely resemble the one he worked with while in our studio.

Of great interest to me are the costumes Kerry and his assistant have designed and sewn for his dolls/models to wear when he draws them. They intentionally avoid recalling a discernible time period yet remain oddly familiar. The use of oversized elements like buttons and textures from the ribbing of socks upends the expected.

We boarded the plane back to the Bay Area exhausted and inspired. However, we were certainly not as exhausted as this guy in Renee’s row.