On a Saturday in May I visited an estate sale a few doors up the road and discovered two works by David Campbell, professor of art at the State Teacher’s College at Oswego, and colleague to Roy Lichtenstein from 1957 to 1960. A signed print (48/49), titled Toledo, and a lithograph, titled Loch Ness, both from 1964. On Toledo, the owners cut the signature, date and print run and pasted it on the back to fit the frame. I am thrilled by this great luck. I shall auction Toledo off at the Lichtenstein exhibition in October. All sales from this and my paintings will go to a one time local high school senior enrolled at SUNY Oswego, and intending to major in art history or studio art. The Tyler arts building is going through its second stage of renovation and this will give something back to a place that has been a mentor house to my family for thirty years.
David Campbell is a fine painter. He has a website and prints available for those Oswego affiliations who wish to be as lucky as me. The bulk of art history is lost to the cult of celebrity. Roy was no dummy. He must have known his fame and fortune was lottery-like luck. No one passes through Oswego without humility. Van Morrison has mentioned time and again that his world recognition, and wealth stemming from it, is owed to his early departure from obscurity. He left the small town for the big city, and never looked back.
That is brave, but it isn’t art. Art is work, and like Van Morrison, Roy got recognition in a busy city and then worked very hard to keep it.
To me it always seems like unnecessary struggle, often making a circus or a brand out of a person. To please myself is a daily exercise sweating determination and will power. I cannot imagine any sanity maintained with the pressure to please an entire world.
This discovery of David Campbell work hanging on lower middle class walls next door in small town, 2019 is true art history because it touches my own story in some real way, far beyond fame and money. No one really wants to possess a painting by Lichtenstein for any other reason besides fame and money—whether that be a museum or a mountebank. No one besides members of his family, friends, descendants, subjective hobbyists and connoisseurs, and the occasional historian who feels the need to tell a story, without all the wild speculation and false promotion, should be interested in another person’s art. A museum can hold paintings if they have contributed towards the uplifting (or degeneracy) of civilizations. However, art movements are never art history if promotion was the only reason for their coming to recognition. That’s art marketing, and mostly an industrial invention.
Leo Castelli was a rich art marketer in 1962. Larry Gagosian is one today, and Christies and Sotheby’s, Inc. are the banks of lies. None of it is art like David Campbell is art, yet to express this more clearly, I’ll need another 35 pages of time.
You can buy the book at the opening on October 11th, 2019.