Max Ginsburg at the Salmagundi Club by RAYMOND J
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Raleigh on Film; Bethune on Theatre; Behrens on Music; Seckel on the Cultural Scene; Critique: Max Ginsburg; Lille on René Blum; Wersal ‘Speaks Out’ on Art; Trevens on Dance Styles; New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 28 No. 2 September/October 2011 Max Ginsburg at The Salmagundi Club By RAYMOND J. STEINER vening ‘social comment’ — “Caretak- JUST WHEN I begin to despair about ers”, for example, or “Theresa Study” the waning quality of American art, — mostly he chooses to depict them in along comes The Salmagundi Club extremities — “War Pieta”, “The Beg- to raise me out of my doldrums and gar”, “Blind Beggar”. His images have lighten my spirits with a spectacular an almost blinding clarity, a “there- retrospective showing of Max Gins- ness” that fairly overwhelms the burg’s paintings*. Sixty-plus works viewer. Whether it be a single visage — early as well as late, illustrations or a throng of humanity captured en as well as paintings — comprise the masse, Ginsburg penetrates into the show and one would be hard-pressed very essence of his subject matter — to find a single work unworthy of what the Germans refer to as the ding Ginsburg’s masterful skill at classical an sich, the very ur-ground of a thing representation. To be sure, the Sal- — to turn it “inside-out”, so to speak, magundi has a long history of exhib- so that there can be no mistaking his iting world-class art, but Ginsburg’s vision or intent. It is to a Ginsburg work is something a bit special. Nor painting — say, “Foreclosure” — that does the Salmagundi often give over the expression “one picture is worth a their walls to a single artist, but they thousand words” truly fits. And yet, certainly have an eye for exception- here I am, trying to put words down, Bus Stop ally outstanding artists when they one after the other, to bring you some find them. To say that Max Ginsburg idea of what it is to actually view one on the ‘problem’, this does not mean the chain-link fence in “Two Worlds” of his paintings. A humanist with that he slights his duties in depicting and its shadow on the back of a per- a social realist message, Ginsburg that human — Ginsburg is nothing son seated nearby. Look closer: Now makes perfectly clear what his ‘mes- if not a highly-skilled draftsman. see how the individual links of the sage’ is — and that is that the human Facial and bodily details — of age, actual fence are merely “commas” of condition is at times a sorry thing to of race, of gender — are exquisitely white paint — as we step back from behold. I say “social realist” since, if rendered, carefully delineated by the painting, the illusion is magically I had to catalog his work, his work an eye and hand that is very nearly masterful. In his artist’s statement, most properly fits that ‘30s theme in infallible. Undoubtedly, it his role Ginsburg states: “I believe realism is American art. Neither as sarcastic, as illustrator (several included in truth and truth is beauty” — in view- say, as a Jack Levine, Ginsburg still this exhibit — “Tapestry”, Hoops”, ing his work, one can hardy argue goes beyond the somewhat ‘softer’ “Another Time, Another Village”, with his reasoning. humanism of a Philip Reisman — etc.) — that honed his talents of *“Max Ginsburg Retrospective (both artists, incidentally, that I’d verisimilitude, but Ginsburg’s preci- Exhibition” (thru Aug 5), The profiled and come to know personally sion goes far beyond the human face. Salmagundi Club, 47 Fifth Ave., during their lifetimes) and whom Automobiles, park benches, building NYC (212) 255-7740. The show will Ginsburg (whom I’ve not met) most facades, crutches, food stands, cloth- travel to The Butler Institute of reminds me. Although “Torture Abu ing, fences, fire escapes, gates, canes, American Art, 524 Wick Avenue, Grahaib” is a notable exception, Gins- stone steps and walls — all are given Youngstown, Ohio (Sept. 15 - Nov. burg’s focus seems to be less on the equal care, equal time of his attention 11, 2011). individual — victim or perpetrator and skill. Note, for just one example, — than on the misfortunes inflicted ef Theresa_ study upon humankind. War, poverty, ill- is a “realist” is somewhat misleading ness, aging — these are the culprits — for he is that, and then some. His in Ginsburg’s eyes, conditions of CSS Publications, Inc. Support the Arts; figurative work ranges from early humanity that ought to be addressed PO Box 730 — if out of our power to ameliorate. Enrich your Life “impressions” through the sketchy Mt. Marion, NY 12456-0730 use of a palette knife (“My Father”), We can — declares Ginsburg’s paint- www.arttimesjournal.com 845-246-6944 to such graphic depictions as “Torture ings — at the very least take notice Abu Grahaib” — with a subtle range and sympathize, empathize. He does of nuance lying in-between. And, al- this by what I term above his ‘blind- though he can depict the majesty of ing clarity’. Thus, when I say that he Subscribe to ART TIMES a human countenance with no inter- does not focus on the individual but ART-LITERATURE-DANCE-MUSIC-EXHIBITIONS-THEATRE-FILM-ART-LITERATURE-DANCE-MUSIC Sept/ Oct 2011 ART TIMES page 2 Peeks and Piques! ART TIMES WE’VE PROBABLY ALL heard and attention — do not always know just before we founded ART TIMES. Commentary and Resource for the Fine & Performing Arts about long-suffering spouses of cre- or appreciate what lies behind their A handsome man with prodigious ART TIMES (ISSN 0891-9070) is published bi- monthly by CSS Publications, Inc. with copies ative people — the wives — and yes, parent’s life. In a great many cases, talent and a very popular teacher, distributed along the Northeast Corridor primarily sometimes the husbands — who have having a child is less of a desired he was beloved by almost every one I throughout the Metropolitan and Hudson Valley Regions, Connecticut, Massachusetts and New to stand in the shadows of celebrity event than it is an ‘accident’ that knew who either met or studied with Jersey each month. Copies are also available by artists (of all stripes), and the toll of crops up in an artist’s life — the focus, him. Although I knew him for years, mail to subscribers and arts organizations through- out the US and abroad. Copyright © 2011, CSS such uneven ‘presences’ when united as we all know, is to satisfy that inner I never knew he had either a wife or Publications, Inc. in marriage. Over the past thirty-or- drive — a ‘fault’ that neither an artist a daughter — and meeting her after Publisher: Cornelia Seckel so years that I’ve been profiling art- parent nor an artist’s child can ever a visit to my studio was taken aback Editor: Raymond J. Steiner ists — and meeting spouses, I’ve been really understand or correct. One art- when she told me who she was. “Oh Contributing Writers: privy to both spoken and unspoken ist friend of mine once told me that my, “ I said. “I never knew he had a Henry P. Raleigh Robert W. Bethune Ina Cole Dawn Lille tensions. It comes with the territory, “his paintings were his children” and daughter.” “Well,” she said quietly, Frank Behrens Francine L. Trevens I guess. that “they will support me when I get “sometimes he didn’t, either.” An old Subscription Rates: It probably wasn’t until Mommy old” — and, in fact, although he mar- story I thought. But then she came USA: $18 /1 year $34 /2years Foreign: $35 /1 year $45 /2 years Dearest came along, however, that we ried a woman who had children from out with an interesting comment. Contact for Print and Online Advertising Rates: began to take a closer look of the toll it a previous marriage, he himself never “When I lost my father, though, I CSS Publications, Inc., PO Box 730, Mt. Marion, also took on their offspring. I did see fathered any. A blessing, perhaps. I felt like I lost a library.” That really NY, 12456. Phone or Fax (845) 246-6944; that there were very often strained recall after profiling another artist, made me sit up. What a tribute for an email: [email protected] Web site: www.arttimesjournal.com relationships between artists — most that he thanked me for “explaining artist, for any human being! Imagine Advertising reservations are due: June 15 for Jul/ usually men — and their children. If him to his daughter” — already a having a tombstone that reads: “Here Aug; Aug 15 for Sep/Oct; Oct 15 for Nov/Dec; Dec proud of their ‘famous’ Dads, a lot of mother herself, living in another lies a library”. It’s just too bad that 15 for Jan/Feb; Feb 15 for Mar/Apr; Apr 15 for May/ Jun. Items for inclusion in the Calendar must be up- them resented the time taken away state, and estranged from him for greatness so often engenders so much loaded to www.arttimesjournal.com/submitevent. from them that was devoted to ‘art’. some years. Soon after the profile was hidden sadness. Small wonder that htmland Opportunities listings must be submitted by email/ fax or mail by the 15th of the preceding Time spent in the studio is more printed, they re-connected and picked history has shown that so many art- publication month. Email for guidelines. ‘important’ than time spent in the up at least some semblance of recon- ists were dissuaded from their choice ART TIMES solicits short fiction and poetry — see nursery or going to recitals or tossing ciliation.