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Libr.ary of Congress Cai~log Card Number 93.onn7 Office of f>ublications C 1993 Brandeis Univcrsiry 110081750 Cover: flonu1gr lo "11le1], 1960. oil on c:mv:as, 90 x 80 inches April 30-July 30. 1994 S.ltctcd Works on l'>per Pollock-Krasner House and Study Center E.st Hampcon, New York June 17-July 30, 1994 University Art Gallery ScJllcr Ccnccr fo r chc Arts Stocc University of New York 01 Sconybrook Contents 2 Prebce Carl Bdz 3 Acknowlcdgmenu Bonnie L. Grad 4 Robert Richenburg: Bonnie L. Grad AbStr2Ct Ei<prC$Sionist 32 Foor notes 34 Chronology 36 Sclecrcd Bibliography 40 Exhibition Checklist I was unaware of Abstract Expressionist Robcn Richenburg's work until it was brought to my attention by distinguished Ouk University an historian Bonnie Grad, who had herself discovered it only by chance in 1986. As she had been, I wa.s immediately impressed by the work's vision, scale and ambition, and I likewise shared her desire 10 bring Richcnburg' s ach~mcn1-widcly admowledg«I, Preface I would learn, ai the time tha1 ii was forged, ~ subsequcndy bypassed in bmorical accounu of the New York School-co a larger audience. Such is the purpose of thi& exhibition, which the Rose Art Museum is proud to sponsor. For the opponuniiy 10 do so, I am gra1cful to guest curator Bonnie Grad, withou1 wbooc selfless and dcdica1ed cffons the proj<ct could not have been rcaliud. Equally, I am grateful 10 die anist, for his inspiration and die visual rewards ofiu expression. Carl Belz Hcruy and Lois Foner Oireaor 2 This project would nor have happened Clark also deserves thanks for without the support of nuny individiWs accommodating my leave ofabsence to and institutions. However, it is the work work on ibis projccr at Brandeis. of Robert Richcnbwg rhar constirures the cxbibitiOn, so firs< honors mus< go 10 Some of the ideas in this exhibit I him. From rhe time of my firsr viewing was able to explore in a preliminary way of Bob Richcnburg's paintings in bis Easr in my "An Since 1945" classroom at fhmpron srudio and garage seven years Clark. My srudenrs' projccrs on "The Uses ago, borb he and bis wife, Margucr Kerr, of Black" in rhe art of this period have answered countless questions, uncovered some rdevant sources. One uncovered long-unseen paintings and student~ Lynne Moulton. went on to drawings, helped move unwieldy canvases become an invaluable research assisrant, out for viewing. uncarrbed 30-ycar- working borh in Bosron and in Easr old clippings, r=lled the circumstances Hampron on many aspccrs of this projccr. in which painrings were crcared or career Among other conrribucions, she was ~ions made, and, in general, have primarily responsible for the chronology patiently patticipared in a rcrrospective included with this caralog. Valuable review of75 years oflife. Thanks 10 them assisranoe was also provided by Rebecca both and, mOSt, ro Bob for having Clark and Beth Fritz. fuhioned works worthy ofsuch effort. Over the course ofrcscarcb a number of Having a brilliant corpus of paintings to other individiWs discussed Richcnburg's exhibit is one ming. bringing "unknown" an wich me or reviewed aspecu of works by an older artist to rhe public work of the period or the organization of eye is anorhcr. This exhibition would not the exhibition. Among these should have appeared wirhout the willingness be mentioned Ibram Lassaw, Pcrer Kahn, ofCarl Belz of rhe Rose An Museum to Bernice Stcinbaum, Professor Ellen look at unfuniliar paintings, and, then, to Landau ofCase Western Reserve (a former sponsor a show of rhem. Helen Harrison srudent of Richen burg's), Jeffrey Wechsler at the Pollock-Krasner House and at the Zimmerli An Museum at Rutgers, Srudy Center and Rhonda Cooper ar rhe Tibor de Nagy and Andrew H. University An Gallery at the Srarc Argot, Assisrant Director of rhc Tibor de University of New York ar Srony Brook Nagy Gallery. were equally supportive in committing · their institutions to an exhibit Additionally, I thank the staffs ar of"new" work, and rbanks are also due the Bosron Public Library, the Archives to Nancy Jarzombek, formerly of of American An, the Robert Hurchins the Herbert F. Johnson Museum of An Goddard Library at Clark University at Cornell University. and the Rose An Museum and Goldfub Library at Brandeis University. I am Key encourag<:menr in the form of grarcful to the Whimcy Museum financial assistance came wirh a grant of American An, the Museum of Modern from the Richard A. Florsheim An Fund An, the Hirshhorn Museum of An and ofTampa, Florida Clark University the Cho/sler An Museum in Norfolk. awarded me a Faculty Development Virginia, for cheir help in providing access Grant as well, and a Mellon Grant from to Richenburg's works in their collections. Clark enabled me to take a class to East Harnpron in 1987 to visit galleries I also thank my father, Julius Grad, and and srudios, including Richenbwg's. my husband, Gary Wolf. B.G. 3 lrring Sandler wrote in Art lnt""4M1141 in 1961 that "Richenburg emerges as one of the lllOI( fon:cful pain ten on the New York An Scene."' In the Nnu Yori Pon, Sandler cledartd that his an was "indMdual, vital, and commanding."' The nat year, Emily Gcnauer rcponed in the Nnu Ym Htrtzli/ TribrtMthat Ricbenburg was a •powerfully individual abotnctionist. .. [wbo) shows srunningly forcieful symbolical paintinp. ., Major colleaors ofconternporuy an purchased Ricbcnburg's paintiJI&<. among them Walter Ouyslcr, Joseph Hitshhom, Patrick Lannan, James Michener, Alben and Murid Newman and Mr. and Mrs. Frederick Weisman. Chrysler and Michener, in particular, wttc avid followers of Richen burg, and in an essay in A.rt Voico in 1962, author Michener recounted how Ha.rvcy Amason and Irving Sandler had pointed him in Richcnburg's direction.' The Whitney. Museum of American An, the Museum of Modern An and the Philadelphia Museum of An, among others, added his work to their collections. In 1961, when Sandler published his words of praise, Richenburg was 44 and at the height of exhibit at his career. -·to• che New School for _. che Sable Gallety This success was not to last. In 1964. ocherYilual forunv for Richcnburg argued with the Pnn New Yock School.' and admini.stntion over academic freedom. F . W _,,, included in What might have been only a squabble became a showdown o""r his right to ·-MUINID of Modem ...._ R. Gugmheim teach as he saw fit, which meant, in this ..dic Wlai-r MllKWl'I of case, to encourage radical directions in his AK. He.-• ir"'d in ·New dassroom. Grace Glueck rcponed in Th< ... USA: 1960,. organized by Ntw Yori 7imtS the details of the P ' ,· .,ofAns. In 1959, controversy o""' the "well-known abstract ....ol che Tibor de c:xpressionin painter" and his teaching ! .....his dealer, and philooophy, coming to a head over the ---_,.mews by Dore work of his female student who created Ndlcld ........ Donald Judd IJ.-ICI C f ~ 111, among odica. ally 1960i, Ricbenbwg had • oo-nc!ing body of painrinp •• • t abnoa univcrral acdaim. 5 • asscmblaga or tinfoil, rag> and oiher Cttating DOW on a mon: pet>0oal scale, objects bo1111d together in plastic."' The out of the public eye, Richenburg administration told Richenburg to rein purposefully pur>ued ideas from his in his students. He refused. In die end, he painting. which in turn generated resigned.' new ideai, as did his new materials and techniques. Thus, the adversity that Just as he had opcricnced as a student sundaed his career also launched him at Holinann'$, Ricbenbwg encouraged an into a rich, vinually unknown period of open, cxpcrimcnral environment in the creativity. He created an exceptional, dusroom, despite die f.ict that his own divcr>e series of works on paper. These an was rooted in die New York School. n:vcal his engagement widi endless In oontraSt to many suddenly "old guard" experimemation and "play" wiih all sons anists who W<Ore shocked by new ideas, of techniques, inoorporacing oolhge, he acknowledged die new approaches to com paper, dec:aloomani>, printing. an dw bis srudents '""'° exploring. applying paint wiih a roUer and painting among diem direaions that c:lullenged on paper. Often exploring <hemes abstna aprcaioniam, as pop, inhcn:m in his paintings of die pttvious assemblage, oonceprual. mininul, decade, these works on paper att at times environmental an and happenings all brilliant exercises that extend and enrich would. Many of the radical ideas <hat die dittetions orab.tract expttSSionism. RicheDburg nurtured would show up While Richenburg went on to pu..ue SOOD in New York galleries. and a number such cxpcrimcncicion with other maccriab of bis students went on to emblish and in other media, these 1960s' paper themselves in die an world.' works $Wld as an oeuvn: closely ttlated to his earlier moDumenal oils. Together Richenburg's inviolable integrity came at with ihese paintings, <hey represent an a high price. The loss of liis teaching unknown excur>ion in die an ofdie New position or 13 years meant finding new York School that deserves recognition." employment clscwhere. He left New York City with his wife and son, forfeiting die It was during a serendipitous visit to bis momentum he had establ.ished over ihese and bis second wife's recently oom.pleted years. and soon l"ound his ties wiih die East Hampton studio in 1986 that an world ruptured, h.is sponsorship by the I first saw Rohen Richenburg's an, just Tibor de Nagy Galleiy terminated. He unpacked from over tw0 decades slumber.
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