Roy Lichtenstein was a novice college art professor living in Oswego, New York from Autumn, 1957 to Spring, 1960. He arrived from Cleveland, Ohio a financial failure, and left for New Brunswick, New Jersey, a burgeoning academic. In Oswego, he taught future teachers of the Empire State, and experimented with abstract impressionism for the first time. He also made a couple carbon sketches of Mickey Mouse and Donald Duck.
I do not know where he shopped for groceries, or visited the doctor. He might have gone to the movies with his wife Isabel, and on pleasant evenings walked with the family along the river or Lake Ontario shoreline. We know he shoveled himself out of one enormous lake effect dumping in 1958, and in hopeful May sunshine, judged an annual float parade along Sheldon Avenue. A few articles in the college newspaper mention him, two very short oral stories have been shared from living memory, a published essay breaking the mold, and taking more than one paragraph to recount his Oswego residency… The historical record is always very bleak for past human beings making art, unless one made it big and wished to talk about the past that came to the fame.
Roy didn’t like to talk about Oswego in the interviews.
Now gather this limited information to create 35 paintings, interpret them in prose, and prepare an exhibit to show the public. I know it will be a hit because something cannot come from nothing. But when it can come from practically nothing, then it must be art. Lichtenstein was Pop before Oswego, and Pop after Oswego. The historians need to dig deeper to know the man. If the establishment wishes to carry on the brand Lichtenstein much longer (reselling Pop paintings to billionaires), it had better send its coffee table book army up to Oswego to remain relevant. Roy was a failure here, tragi-comically, like me and millions of artists worldwide, in our own minds. Rags to riches is a great theme. But without the rags, riches is just pathetic yachts and more meaninglessness. The Lichtenstein story is told like Cinderella, beginning in the middle, on the way to the ball, cutting out all adversity, and never leaving even a glass slipper of doubt. Roy was born, went to college, and made Pop paintings. Unknown and then known, poor and then rich, just like that! Poof! Thank you fairy Godfather, Leo Castelli!
That’s the historical record on Roy Lichtenstein and the Pop revolution. That, and a 100,000 pages of poppedy-pop, pop, pop!
Not good enough. A repeated implication that artistic relevance matters only after some rich dude says so.
I hope my effort will spurn more research by better art historians to recount the enormous influence I believe the Oswego experience had on Roy Lichtenstein.
I wish to thank CNYArts for its enthusiasm and steadfast commitment to the artists of Central New York. Thank you Mitch Fields and SUNY Oswego Facilities Services for efforts securing a venue for exhibition. Thank you SUNY Oswego Special Collections, Tyler Art Gallery Director, Michael Flanagan, Dean of the School of Communication, Media, and the Arts, Julie Pretzat, and the memory of Professor Lichtenstein.
Andy sat down to talk one day He said decide what you want. Do you want to expand your parameters Or play museums like some dilettante?
—From “Work”, a song written by Lou reed in memory of Andy Warhol
It is resplendent mid-summer in Oswego, NY. The flower garden is weeded and bursting with color, the garlic pulled and drying in the sun, and a half day spent edging the lawn along the curb and driveway. I have been grilling meals outdoors and watering the Merlot grapes at dusk. I want to risk a tomorrow of thirty mosquito bumps to sleep under the stars tonight. Summers spent along a Great Lake give a glimpse into Elysium, where the faithful retire for eternity. Michael Fox, who came to Oswego State in 1967 to teach art and painting, lived the rest of his years with these beautiful summers. He claimed openly and often of the beauty and peace Oswego provided him. Like me, he lived next door to the college and walked to campus watching the changing skies. He laughed at those who mocked the very place they chose to live, especially the professors. “Why work here if you don’t want to be here?”
Many residents play act that Oswego is a lowly place overall. With such a depressed economy and winters that drag on forever, summer is a welcome but very limited respite to the cyclic despair of several poverties, exposed most predominantly in February with the cracked skin smiles of quiet desperation. Many professors commute from the Syracuse suburbs over the slippery roadways and lake effect white-outs, perhaps because a harried life looks best with many take-out options. February wears its prettiest sundress on Indian nights out for vindaloo. And there’s always a Wegman’s just around the corner!
Time is a prized commodity, especially for the art professors, who need to practice art to remain relevant as artists, while teaching. I think Michael Fox understood this very well. It helped that he was from another time and class of people who would be embarrassed to pretend the luxury of a Syracuse commute. Roy Lichtenstein was of that time too. Slowness was a natural breeding ground for the art process. (It still is.) Therefore places like Oswego would have been cherished as a best kept secret. Art shall take no interest in a life without frequent access to quiet and solitude. Lichtenstein came to Oswego State Teacher’s College and immersed himself into the drowsy flow of small town life, whether he liked it or not.
I don’t think he liked it very much.
Which to me means that he was never ready to be an artist. Not like Michael Fox was a teacher-artist, or Ron Throop is a father-husband artist. I guess the best phrase to describe a career for Roy Lichtenstein would be ambitious artist until jaded and then a commercial artist.
Oswego was his test and maybe he failed. He had already proved his ability to be accepted by the in crowd of New York City—he exhibited his original work several times throughout the fifties at the John Heller Gallery, and once in 1959 at the Condon Riley Gallery, with a painfully manufactured gambit at abstract impressionism. (He was reading about trends in Artnews and interpreting them in his own work, perhaps to muster relevance in a rapidly changing art world.) So he was ambitious to exhibit with some success, and likewise able to support a family with a professor’s paycheck.
So, what made the family get up and leave, again?
The history books declare “ambition!”. If we take this approach, then we also must admit that it was ambition to be successful like any corporate entity of his day, like Coca-Cola or Frank Sinatra. Perhaps initially, but not over the long term, it may have been ambition to practice painting to achieve master status (as he believed Picasso and Cezanne were masters). He could do this better via frequent train rides into Manhattan to pretend a Bohemian lifestyle while married with children back in suburban New Jersey. After initial success, his artist self would have realized that he was being commoditized by Leo Castelli, who would become his sole, lifelong promoter. So, most unfortunately for art’s sake, what began as art growth (Pop style) was repeated over and over for promises of more wealth and fame. Like a Rolling Stones concert of today, Roy in his later years would conform to representations of nostalgia from a freer past, but in reality, remain just a spectacle of choreographed fake freedom—the opposite of art.
I don’t think that, initially, ambition had anything to do with it. There were private, familial reasons, as any human being with spouse and small children will admit. Nobody in the mild flux of struggle (raising a family on an assistant professor’s salary) would posit such open and outward delusional fantasies. Especially in 1957 when only Elvis would get famous! Roy Lichtenstein proved that he could teach and practice in Oswego. I think he found the key to contentment in academia. To be offered a lateral position in New Jersey was probably the best he could do at the time for his family. He had a wife whom he probably loved and needed, and two young boys who carried his name. There was always movie night to play fantasy, and like the Cleveland where they lived before Oswego, there was just more to do in New Brunswick, New Jersey. Heck, the Edison Museum was a five minute drive up the road. And I bet a superabundance of lively drive-ins for burgers and shakes on demand any night of the week.
Today, some Oswego art professors seek better weekend entertainment opportunities in Syracuse or Rochester (or their suburbs). They do this because practicing art is always a practice of loneliness, for better or worse. It’s just not so much fun being lonely for a career, and art teachers, like car mechanics and brain surgeons, are human beings needing a society more often than not to do its expressing for them. Hence the comforting joys of a nearby Barnes and Noble®, Smokeybones®, or Wegmans® supermarket, stocked to the ceiling with digestible relevance. In 1960, Roy and Isabel moved the family closer to a geography that could uplift the doldrums on any Sunday, even in icy February.
Michael Fox remained in Oswego as a teacher-artist. His career was teaching while his art practice remained relevant unto himself. He too experienced beautiful Ontario summers like Ron Throop, who has no career besides writing these words, and painting these images.
One day in 1961 Roy Lichtenstein brought his newest paintings to a gallery in New York City and made money—then lots and lots of money, making images in a style he barely changed for the next 37 years. At least he had a year of tasty burgers and shakes at the families’ favorite New Brunswick drive-in before becoming the ubiquitous Coca-cola® served on every tray for generations to come.
I think I have formulated a revisionist art history. It’s time to take our PhD’s in other hopeful directions. Enough with the “masters”, who were never more master than any other prolific creators—just richer. Either while living or posthumously, it was millionaires and billionaires (sometimes even the CIA) that made them masters through celebrity and finance. We must get off this track, derail the train if necessary. Because Picasso was a man, not a marker. And Jeff Koons is a monstrosity from a hell made by ignorant billionaires, who are so dirty it hurts my brain so to think about them. Yet both set standards for the multitude of creative geniuses practicing arts not of the celebrity mold. And these standards are anti-art for those seeking master status in a subjective medium, aka: judgemental world.
I suggest a people’s history of art. Art always made by people for people, locally (until the Internet), not for Christies® and Hyperallergic®, which are very unpeople-like, especially in the realm of art making and sharing. They are co-parasites in a “look-at-me-now!” bubble. Like Donald Trumps and Kim Kardashians, show poodles at the poodle show—nothing more, and much less…
Last Saturday I stumbled upon a local antiques shop in a residential neighborhood of my small town. My wife is the driver of such things that I usually avoid, that is, until of late, when I suspect there might be a treasure of a painting to rediscover. Since I am searching locally for paintings made by colleagues of Roy Lichtenstein, I have been frequenting garage and estate sales, and now antiques shops too. By lazy Saturday chance I found the pot of gold to art history, or what needs to become the new art history, if people of substance are to matter ever again.
The usual artifacts—vintage tools, tchotchkes, and roller skates, record albums, post cards, coins, 19th century books, costume jewelry, tables, a chair, and yes, paintings on the walls. Mostly framed prints, a few originals by who knows who—rarely art historians, of course, because they’re not searching for the obscure lessor knowns…
Up in the corner of a far wall was the treasure. I thought I recognized the style. Sure enough, a Dr. Aulus Saunders original, signed and dated, 1981. A painting of a then local restaurant long ago out of business. On the tag was written “Not for sale. For future exhibition”.
In 1937, Aulus Saunders was picked by Ralph Swetman to head the art department at the State Teacher’s College of Oswego. He was instrumental in the hiring of every art faculty member until his retirement in 1978. He hired Roy Lichtenstein in 1957.
Unfortunately, via the uber-influential cult of celebrity, Lichtenstein got fame and fortune because millionaires were conned by other millionaires to buy his trinkets, to be in the know, to have collections in their names, and be spoken of with respect at high parties—the ones just like others, with toilets and sinks, and careful conversations. And the painting practice and pedagogic genius of Dr. Saunders bound to obscurity in an antique shop. The majority of Oswego professors Saunders hired to teach art and art history abandoned the man who gave them license to perpetuate the fraud of modern celebrity art. Thousands of students loaded to confusion with facts, interpretations and style about nothing really—impressionism, expressionism, surrealism, ad nauseism… Future art historians churning out more coffee tables books than a solar system could possibly want, unless necessary for house building during the final throes of the sixth extinction.
And then Steve the proprietor came over to me while gazing at the Saunder’s painting. He bought the entire collection years ago from the professor’s son. 80 paintings, cornered and covered in Steve’s home basement. He thought maybe one day he would have an exhibition, or maybe the college would be interested in acquiring a few for its collection. 80 original paintings by a man dedicated to art practice and pedagogy. Ho boy! And local to boot. An absolute dream to any non-convoluted historian. A radical concept. Art history without art celebrity. Painters who practiced literally what they preached. That is, a dedication to art and art-making. Productivity through creativity, and then shouldering the responsibility to carry on art traditions to a younger generation.
I tried to conceal some of my excitement. I’d take a loan out to secure these 80 paintings safe passage out of Steve’s musty basement. I just think I might.
So should any art historian worth his or her salt. Roy Lichtenstein made pop art a popular name. Aulus Saunders hired Roy Lichtenstein and many other practicing teacher-artists, and himself practiced art until he died. Both have value to the future. However, I shall always argue that one is of lessor substance, even if it happened to purchase a mansion in the Hamptons, and abandon art for commodities’ sake.
Dear art historians of today and tomorrow. Kill the Buddha to see how many million Buddhas are popping up all over the place. If I can find dead collections to come alive, so can you. Start searching estate sales and in your local antique shops. A people’s art for the future, and the little rich dandys can continue their prostituting to Sotheby’s of Dubai. They are so much old news, like Picasso in his underwear and Michelangelo lounging about the Pope’s brothel.
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.
This 1959 photograph shows temporary buildings that were constructed at the end of World War II, and used initially for housing to accommodate the influx of returning G.I.’s, and then as classrooms when enrollment went back to normal levels. They were called “Splinter Village”. Roy Lichtenstein shared one of theses boxes with Industrial Design professor Vernon Tryon. I met the latter last Tuesday afternoon in a local restaurant. He told me a story about the time an animal died under their classrooms and it smelled real bad.
The students used to ask, What is that stink, Professor Tryon?” I broke into Vernon’s reminiscing to quip, “Probably Roy’s ambition”.
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.
In 1937, Dr. Saunders was hired by Ralph Swetman to help turn the Oswego Normal School into a State Teacher’s College. He retired in 1970 and was instrumental in hiring many inspired art faculty over the years.
In 1957, he chose Roy out of hundreds of applications for the job as assistant professor of art. At that time the department was being stocked with several practicing artists, all serious about their craft, and some even dedicated to teaching.
Not Roy. He was ambitious in ways disconnected from pedagogy. I guess he would have stagnated in Cleveland, carrying on with barbeque and agonizing repetition if the good doctor hadn’t “plucked” him out of suburbia.
In this painting Aulus draws an autumn night at East Park in Oswego the first year he arrived. He was a great inspiration to men and women seeking self-improvement through art and teaching. He must have wanted to punch his new hire in the eye when Roy handed in his resignation.