Two David Campbell Pieces For the Price of Meaningful Art History

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Print by David Campbell: Toledo 1964. 28 x 22″

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.

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Backside of “Toledo”. Buyers cut out signature and pasted it on back.

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Sheldon hall (“Old Main”), from Washington Blvd.
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Sheldon Hall from estate sale.
1960 faculty photo
Roy, David and other wonderful people.
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My painting: David Campbell Painted “Lewis Bluff” in 1958, and Roy Lichtenstein Did Not 2019. Acrylic on paper, 15 x 23″

Cosmic Pineapple Coolatta Large, 120 Grams of Sugar

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2019. Oil on canvas, 40 x 50″

The American Heart Association limits sugar intake for children between 12 – 24 grams per day. The corporate leadership at Dunkin’ Donuts thinks that, at 120 grams of sucrose, this cosmic happy drink to outer space will take thoughts away from the methodic and very lazy filicide that is happening across the United States. I hate Dunkin’ Donuts, more so since its crazies have opened the gate to psychopath for parents who once cared if their children got premature diabetes. Duncan Devilnuts and his/her apologists are yucky bad.

What does this have to do with Roy Lichtenstein?

The things that “made” Roy Lichtenstein are the same things that push sugar on children.

And it’s painted in oils.

In 1957, Joe Shoenfelt, Jewelry Professor at Oswego State Teacher’s College, Went On Sabbatical to San Miguel de Allende to Expand His Horizons. It Worked.

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2019. Acrylic on paper, 17 x 22″

From a letter sent to students dated October 30, 1957:

“Tomorrow is the Day of the Dead and the streets are filled with candy skulls—little candies, big candies, candies of all shapes and colors, candy animals, skeletons, dolls, and baskets. They are the most lovely candies I have seen. But they all taste like plain sugar.

We went to one cemetery this afternoon and preparations were already being made for the celebration. A cemetery here is a very grim place. The people do not buy the lots:they just rent them, so that when the rent is not paid, the bodies are dug up. As we walked around we saw lots of skulls and human bones. Some of the skulls still have hair on them.

The Indian will have picnics at the graves of the recently deceased on Saturday, and that seems to be the reason for all the elaborate candy for which San Miguel is famous.”

The Pissant and the Painter

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2019. Oil on tablecloth made in China, 70 x 47″

Recent business news informs the lowly that it’s wrong to compound tariffs on China because it will hurt business and the economy. Some articles on the Internet begin with an image of a cargo ship loaded with colorful shipping containers, docked at port with no place to go. The oceans are rapidly acidifying and I am still being propagandized to think that shipping containers filled with fidget spinners and plastic paper clips will bring contentment to my loved ones—if only those ships are free to cross the sea and filth up our lives and ecology. Personally, I believe 2,000% trade tariffs should be charged on all international goods, except for illicit Chinese items (street heroin) which must be outlawed with brute force. I painted this image on a tablecloth made in China that was flimsy like wet Shanghai kelp, even after after being gessoed and dried twice. China makes crap. And the United States buys the crap. The crappiest kind of people get rich in the process, and buy more crap like yachts. Economically, both China and the U.S. are just crappy states of peasant people terrified of their own governments.

Good people feel guilty for making a carbon footprint in a musty basement painting pictures.

Bad people talk, write, and think about trade while spitting in the hot wind of their own making.

Though I understand that in order to survive socially sane and dignified in the modern age, a marketplace needs to remain open, and all people (good and bad) will partake on some level. When good people make a transaction for slight profit, it should feel like getting a strong urge to stool on a very hot day in an open marketplace without a single toilet nearby.

A good person will take the money, put her head down in shame, and run.

Established New York City galleries have placed enormous 1% tariffs on paintings they acquire and sell. Meaning that only the 1% could ever afford them, and also be the type of loathsome people to even want to.

In my painting, the New York City art market is always the pissant, and back in 1961, Roy was just another painter. The day he dropped off his six pop pieces to Leo Castelli was a great day. He left without a deal, taking a stroll to a nearby coffeehouse to dream. A few weeks later he returned and was offered representation and a path to fame and fortune. Most likely, Roy, like every peasant painter who came before him, got the pressing urge to stool. Unlike the majority of peasant painters, however, a great embarrassment overwhelmed Roy on the spot. He didn’t put his head down in shame and run.

He stood there and pooped his pants unabashedly.

 

Lichtenstein Worried Less About Nuclear Weapons Than I Do About the 6th Extinction

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2019. Oil on canvas, 23 x 24″

It is so easy to be an artist when it comes to pretending to occupy head space. Just draw a picture and let people guess at your profundity. As a 16 year old boy, often flabbergasted by the insensitivity and hypocrisy of man, I had no outlet other than a spoken word “why” to react to interplay with myself and a world gone wrong. A friend gave me the nickname “Philosopher Ron,” which I didn’t know what to do with other than add more “whys” to a lengthening list on the sins of friends and family. I was working class, poorly educated, and limited to wonder that never took me too far outside my caste. I had no mentor, no teacher, no guru. So, why did the chef at the restaurant where I worked my first job as dishwasher serve late arrivals spaghetti that he scooped out of the garbage? Was his life that interesting after punching out to save time on the clock washing garbage can pasta and reheating it, rather than boiling another pound? That week on my night off I watched “The Day After”, a made for TV nuclear holocaust movie that was all the rage among adults pretending to give a crap about their own government’s trespass on the rights of all life on earth. What was a moral dishwasher with the intellectual capacity of a stone, yet the sensitivity of a butterfly wing, to do with that information?

Naturally, for me in my station, as inquisitive young dope and novice dishwasher, I just asked “why”, and then went to bed.

I am sure Roy Lichtenstein either watched or at least heard about the movie, for adults everywhere always talk about things the TV wants them to. He was rich and well cared for in 1983, and although he had the eyes of many thousands of thinking peoples, he thought best to remain humble in his art and let Ronald Reagan be master of the weapons that would melt his loved ones. Roy made one political painting that year, a framed “abstract” entitled “Against Apartheid”, which was very safe and popular and showed that the millionaire artist cared very much about oppression in South Africa. The rest of his output for 1983 is more brushstrokes, more frames, and some apples. And he probably took Dorothy out for spaghetti late one night, at the hour when chefs get very bitter and angry over their station in life.

Today, Philosopher Ron can’t help but to think that all popular visual artists are lazy jerks to the survival needs of mankind. I think the same of priests of religion, pop musicians, and writers with best selling books. Each has a huge following, yet uses expression to maintain the means that keep them grounded to the same spot on the spectrum of goodness and badness. They reside where the money comes and popularity is maintained. Popular artists, like infamous presidents (all presidents), gain the world and lose their souls. It’s just a matter of fact.

Fear of insignificance keeps the ambitious producing nothing to prevent the race to our own extinction. Whether it be pretty pop paintings or the B83 thermonuclear bomb.

Roy, I Gave Up Interior Design For This Place?

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2019. Oil on stretched “Peasant” dinner napkin, 12 x 12″

Isabel Lichtenstein, Roy’s first wife, was not inspired by Oswego living. She was the breadwinner in Cleveland, and lost all her clients when Roy wanted to play teacher-pretend at the State College in Oswego. I can only imagine her frustration, if it existed at all. Imagining is what this project is all about. Historical fiction through paint.

Late 1950s America was not going to allow Isabel a career in design. Not with two little boys to raise. Society never fails to break into and disrupt the hardy, happy minds of of its enthusiastic artists. It was not a “privilege” for Roy to be pressed into a career in teaching when his drive was painting. In Cleveland, Roy was often employed as assistant to Isabel as nuts and bolts of her business. Together they paid the Lichtenstein bills. However, Cleveland would never allow Roy to become a homemaker outright, and raise toddler boys while cooking the meals and washing the clothes. It was a brief workable world turned upside-down. Certainly both Isabel and Roy knew that it could not last forever. Acquiescence to inertia was their best bet, and they made it. All the way to Oswego with hard winters and no one interested in freedom for art’s sake.

I stretched a 1950s “Peasant” linen dinner napkin I purchased on eBay. Oil is a new medium for me. It is for more patient methods I cannot succumb to. I am a hyperactive painter, and must make oils work how I need them to. Painful, but worth every drop of turpentine.

I too am an “All Pure” peasant. I too am the brusher of multitudes.

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Another Study in Acrylic for Future Big Oil

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11 x 14″ on canvas paper. Title below

“1959—Isabel Came to the Faculty Wives Dinner Dressed in Red Stockings and Caused Quite a Stir!”

This, (or something nearly this), will become a large oil painting when the oils arrive.

The quote in the title came directly from my next door neighbor Helen who knew the Lichtensteins in the late 1950’s. Her husband was a physical education teacher and the soccer coach admitted the same semester and year as Roy—Fall, 1957.

I too feel like wearing red stockings wherever I go in Oswego. Now I think I might. Who could tell with the sweatshop of garments I need to wear just to step outside in January!