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Home , David Salle, Gretchen Bender, Jack Goldstein, Robert Longo

American Gothic

ARTIST GETS HIS REVENGE

UNTITLED (ST. LOUIS RAMS/HANDS UP) words by ANDREW GOLDSTEIN photography by BJÖRN WALLANDER 2015, charcoal on mounted paper, 65 x 120 inches opposite page: Artist Robert Longo, photographed in his studio in front of UNTITLED (PENTECOST), his 20-foot-long triptych of the robot from Pacific Rim, , July 2016

The sign on the charcoal-blackened door sell for upward of a million dollars and He began taking night classes at Nassau of Robert Longo’s Little studio reads are championed by people with names Community College, this time studying art SOMETHING WICKED THIS WAY COMES, but on a like Leo, Eli, and Dasha. Guardian critic history. “I distinctly remember going from recent Sunday afternoon, the artist presented Jonathan Jones has called his drawing of the kid who sat in the back of the class to being another side of what it means to be a refined, Ferguson police officers holding back black the kid who sat in the front. I really wanted if world-weary, badass. Dressed in black and protesters “the most important artwork to do this,” he says. After a summer visiting drinking a mug of tea—he foreswore alcohol of 2014.” This fall, Longo has a new show the museums of Europe and then acing a and drugs twenty years ago—Longo riffed on opening at Moscow’s Rem Koolhaas-designed battery of art-history tests, Longo transferred his work while giving a tour of his expansive Garage Museum of , to SUNY Buffalo to pursue a bachelor’s in atelier, his confident gait somewhere between placing his work alongside that of two other fine arts. a shuffle and a swagger. The hyperrealistic paragons of ferocious intensity: Francisco “It had a really horrible, reactionary art charcoal drawings range in subject matter, Goya and Sergei Eisenstein. department,” Longo says. But it did have a from an epic tableau of armored riot police Born in in 1953 (he retains the spectacular media studies program, taught by confronting Black Lives Matter protestors to a gruff accent) and raised on , the avant-garde filmmakers—and his future giant, 20-foot-long triptych of the Pacific Rim Longo struggled in school as an undiagnosed mentors—Paul Sharits and Hollis Frampton. robot surveying the wreckage of his last battle. dyslexic, picking fights to get kicked out of There was also a beautiful art-education major Each piece is arresting in its intensity. In tests. He was skilled at drawing but didn’t named . They fell in love. one corner, a black-and-white picture frames think much of his ability. “I didn’t like the It turned out that the two had grown up less a close-up view of a woman’s full, shapely idea of being an artist,” he remembers. “To me, than a half hour’s drive from one another on breasts nearly popping out of her skimpy black artists were those guys with the striped shirts Long Island, watching the same classic films dress. “This comes from our culture,” he says and berets and little skinny mustaches—they on TV. “There used to be a thing called The of the drawing. “It’s from when I’m walking just seemed too icky to me.” Instead, Longo Million Dollar Movie on Channel 9 that would around and see a bus ad of a naked lady. Come threw himself into football—he played middle play the same movie all week—in the morning, on! I’m just minding my own business, but I linebacker at the University of North Texas— afternoon, and at night—so you could see King feel it here”—he grabs his crotch—“so this is and played in bands. Kong or On the Waterfront thirty times if you my revenge on that.” But this was the 1960s, and Longo, were home sick,” Longo says. In Buffalo, their Longo knows, and likes, the taste of whose high-school classmate was one of the love of cinema and contemporary art began revenge. A superstar of the 1980s art world students killed at Kent State, was drawn to to merge; when the two moved in together, whose work was widely collected and featured the counterculture. “I was the guy on the movie magazines were intermingled with in the , the , football team with the long hair. I wore their copies of . and two shows, he fell off the No. 00. My coach hated me.” He became Longo, meanwhile, had become friends map by the end of the decade, thanks to his cocaptain anyway, but the game was brutal. “I with a local artist named Charlie Clough wild lifestyle. Today, Longo, who is married love the contact of football, but they were really who had a ramshackle, live-in studio in an to the German film siren and onetime Rainer out to hurt you,” he says. “I was smoking a lot old ice factory. He was the first working artist Werner Fassbinder muse , is of pot and taking LSD, and I got hurt. I said, Longo had ever met, and soon Longo rented enjoying a virtuoso second act. ‘Fuck this.’ ” a space of his own across the hall. Longo, His recent black-and-white drawings— Leaving the team, he soon flunked out of Sherman, Clough, and some other friends of tigers, mushroom clouds, sharks, fighter school and ended up back in New York City, pursued the idea of siphoning some money following spread: Courtesy of the artist and Galerie Thaddaeus Ropac, London, , Salzburg. pilots, and now scenes of political upheaval— where he got a job working in a warehouse. from the university’s do-nothing art club to

113 UNTITLED (RUSSIAN SU-30 JET FIGHTER) 1994, charcoal on mounted paper, 70 x 120 inches Longo’s studio in New York’s Little Italy. opposite page: UNTITLED (PENTECOST) 2016

start an exhibition space in the hall between an evolving movement of artists who were photographs of them mimicking the dying Bender, , and . the studios. When they secured the funding, making art about Hollywood, magazines, man in The American Soldier, getting them to “Julian Schnabel, Neo-Expressionism, they started inviting artists from New York branding, and the commercial forces shaping jump off low ledges to elicit the spastic effect. and Reagan were bringing money back into City to lecture at the school and display their the culture. Longo’s contribution—a cast- Back at his studio, he used a graphite pencil the art world,” Longo says. “Greed became work at Hallwalls Contemporary Arts Center, aluminum relief modeled after an image of a to render them on a large scale. “I started to good. I always say that Neo-Expressionism their new gallery space in the ice factory. It man in a shirt and tie jumping after being shot draw because that was the cheapest thing that was about what art was, and what we were was 1975, and the artists they convinced to in the back, an idea taken from Fassbinder’s I could possibly do,” he explains. doing was about what art could be. Somehow, come included Sol LeWitt, Robert Irwin, and The American Soldier (1970)—became the Around this time, he and Sherman broke I got caught in the spillage of that shit, and I Lynda Benglis. most-talked-about work in the show. up. When Longo later began dating Bender, actually started to sell work—and that was After graduating, Longo and Sherman For all the attention he received, Longo they all remained friends and collaborators. a really big break.” The Tate, MoMA, The moved into a loft in the ice factory. Longo, was still struggling and took a job driving a In 1981, agreed to show Longo’s Menil Collection, and a museum in Japan Sherman, and Clough each received state taxi to make ends meet. In his spare time, new drawings at the gallery she had recently each bought a piece. He started to get into grants and, eventually, National Endowment he would assist in photographing Sherman cofounded, Metro Pictures. Calling the series major exhibitions. In the four years after his for the Arts funding to run Hallwalls. In posing as different characters against the “Men in the Cities,” he paired The American Metro Pictures debut, he was shown at MoMA 1976, Longo and Helene Winer, director of cinematic backdrop of the city. “I think Soldier–inspired drawings with clay reliefs of and in the Whitney Biennial, “The New Art” the budding SoHo alternative arts group I knew what she wanted,” he says. “I’d say, the tops of skyscrapers. “I lived down by Wall show at Tate Gallery, , and the , organized a show in Buffalo ‘This looks like The Passenger, this looks like Street amid all these white people in suits and Carnegie International. of groundbreaking work by Troy Brauntuch, L’Avventura,’ and she’d say, ‘No, I want it like ties, and I wanted the buildings to fall down Longo poured the money he was making , Paul McMann, and . this, and let’s shoot it from a low angle.’ ” These on them,” says Longo. “You realized it was back into his work, turning away from “Men When the curator wanted to images would enter history as her “Untitled this white world that was basically doomed.” in the Cities” to bring together and put together a similar exhibition—the now- Film Stills” series. Right at the beginning of the 1980s art into aggressive, ambitious combines legendary 1977 “Pictures” show at Artists As for his own work, Longo decided boom, the show was an instant sensation. with increasingly political messages. Sword of Space—he invited Longo to participate. to double down on his success from the The dealer and a young Turk the Pig, for example, is a triptych of a church It was enough encouragement for Longo “Pictures” show and invited his friends— named signed him up for steeple, a naked male bodybuilder, and an IBM and Sherman to move to New York City, driving including Sherman, the actor , shows. At the same time, the so-called missile-launching site. Longo describes the down in the summer and taking an apartment artist , and the musician Pictures Generation (named after the Crimp image as “a really weird apology for masculine on Fulton Street. Crimp’s show crystallized —up to his roof to take Courtesy of Galerie Thaddaeus Ropac, Salzburg. show) was making stars of artists such as oppression of women.”

116 117 BODYHAMMER: GLOCK 19 BODYHAMMER: MAC II BODYHAMMER: .38 SPECIAL BODYHAMMER: UZI

1993, graphite and charcoal on paper, 97.5 x 49.5 inches 1993, graphite and charcoal on paper, 96 x 48 inches Courtesy of the artist 1993, graphite and charcoal on mounted paper, 96 x 48 inches 1994, graphite and charcoal on paper, 96 x 48 inches

118 119

UNTITLED (NAGASAKI, B) UNTITLED (IVY MIKE)

2003, charcoal on mounted paper, 96 x 72 inches previous spread: Courtesy of the artist and Galerie Thaddaeus Ropac, London, Paris, Salzburg. this page: Courtesy of the artist;and Metro Pictures, Galerie New Hans York. Mayer, last Düsseldorf; spread: Courtesy and Metro Pictures, of the artist; Capitain New York. opposite Petzel, page Berlin; and following and Metro Pictures, spread: Courtesy New York. of the artist 2003, charcoal on mounted paper, 82 x 60 inches

122 UNTITLED (COPS) 2016, charcoal on mounted paper, two panels. overall dimensions: 101 x 140 inches

“Sickness of Reason” series. Slowly at first, may be in turmoil, Longo is steady, now in Longo’s market began to rush back. his prime. “That’s one thing I can always rely His drawings have become markedly on—the world to provide me with shit for my more political, from the Ferguson drawings work,” he jokes. to his recent Galerie Thaddaeus Ropac Today, Longo’s past continues to evolve. show, titled “Luminous Discontent,” which “Men in the Cities,” for instance, has become featured drawings of a bullet hole from the a cross-generational icon, quoted in the Charlie Hebdo massacre, a crowd of Vatican Mad Men credits and ads for Bottega bishops with their backs turned, and a storm- Veneta. Cindy Sherman recently tossed rendering of Géricault’s Raft of the persuaded him to print photographs of the Medusa that evokes Europe’s migrant crisis. series’ original source images, which So distressed is he about America that have now been made into a book. He’s even Russia has started to look good. Having thinking of revisiting Johnny Mnemonic, visited that country to prepare for his Kate too. “I’m either going to reedit it or Fowle–curated show at billionaire couple I’m going to try to make another film,” Roman Abramovich and Dasha Zhukova’s he says. “Either way, I need redemption with Garage Center for Contemporary Art, he it.” Like the linebacker he once was, Longo reports, “We’re just as much an empire as can take a hit—and he’s never stopped the Soviet Union was.” But while the world hitting back.

125 UNTITLED (LEAVING IRAQ) 2012, charcoal on mounted paper, 70 x 120 inches