COLUMNS

  • Harry Callahan, 1912–1999

    Harry Callahan, who died in March at eighty-six, created a unique body of work that wedded his own vision of photographic modernism to deeply personal concerns. He was central to the Chicago school of photography at IIT’s Institute of Design, where he taught from 1946 to 1961, although he himself had studied only in Detroit camera clubs. Experimentation was as important to Callahan as to László Moholy-Nagy. He called it “photographic seeing,” which he explored through techniques including the use of multiple exposure, camera movement, light studies, and variations in focus. Despite the technical

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  • Nelson Goodman

    NELSON GOODMAN’S WORK touched on so many fields—philosophy, of course, but also the arts, the sciences, and psychology—that it is difficult for anyone to appreciate, much less summarize, what it has all meant for us, or even to specify the “us” that will continue to have some stake in his work. More appreciated in Europe than America, invoked as an authority in fields from cognitive science to artificial intelligence to art criticism to analytic philosophy, Goodman has had a massive yet unobtrusive influence on contemporary thinking in a wide variety of disciplines. He never achieved the kind

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  • Norman Bluhm

    NORMAN BLUHM WAS AN EXTREME example of the many Americans, mostly World War II veterans, who went to Italy and France after the war to learn about art history and in doing so simultaneously taught the typically despairing and poverty-stricken European artist something about American energy, expansiveness, and optimism. Like Sam Francis and Joan Mitchell, Bluhm was one of the most powerful so-called second-generation Abstract Expressionists (more accurately second-decade) and, also like them, among the few who remained consistently faithful to this aesthetic.

    After four years as a bomber pilot—a

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  • Jean-François Lyotard

    THE PARADOXICAL TITLE GIVEN to Jean-Francois Lyotard’s Artforum essay of 1982, “presenting the unpresentable,” might retrospectively name an art and an ethic peculiar to this philosopher/critic/aesthetician who died of complications from leukemia in April at the age of seventy-three; it might characterize a long philosophical activity, without method or doctrine, carried on in many places and in many ways. For his was a singular intelligence—mobile, generous, light—that had navigated all the debates and divisions of his time. He was a man of “peregrinations” (as he called them), through many

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  • Richard Bellamy

    HE NEVER SEEMED TO AGE; they would continue to call him boyish right up to his death, at seventy, this March. Richard Bellamy’s youthfulness was as much spiritual as physical: he remained filled with wonder to the end of his days. He was an anomaly, the loose round peg in the tight square grid that the art world became. He was called an art dealer because he ran galleries, but that was hardly his vocation: he was the artist’s confidant who, when it was absolutely necessary, could negotiate the real world on behalf of those even more alienated than he. In truth, he was a terrible salesman, so

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  • Roy Lichtenstein

    ROY AND I HAD these little talks whenever I got shaky about dying. No one else I knew seemed so certain about death’s vacant aftermath, and seemed so certain without bravado or dread. He had no fear of death, he said. You were just gone and out. As for any aftermath, Roy was going to leave his soul to science.

    So much for what I’d already known. In this arena (and perhaps this was the only one), there were no consolations forthcoming from Roy. Why did I bother to ask? Just to hear him repeat how unfearful he was, I suppose. For the tonic effect it might have on me.

    Hemingway said that one of the

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  • Douglas Huebler

    I WAS INTRODUCED TO Doug Huebler in 1968 by Seth Siegelaub, a soon-to-be former dealer who at the time was showing Robert Barry’s and Lawrence Weiner’s paintings and the work of a few others as well as Doug’s Formica sculptures (as these artists’ work changed, so did the nature of Seth’s activity). Doug had strength, grace, and a kind of wizened humility, all qualities that I, at twenty-three, frankly lacked. He also had maturity—when I was born in 1945, Doug was serving as a sergeant in the US Marine Corps. The image of him as a Marine fit in with the strong impression he made physically. He

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  • Martin Kippenberger

    MARTIN KIPPENBERGER’S MAGIC always cast a powerful spell over his audience, sometimes literally putting them under the influence. Not so long ago I invited him to visit the Yale School of Art, and with extravagant melodrama he struggled through the early-morning commute to New Haven. Immediately on arrival he scuttled his scheduled lecture by ambushing the students with a cheering invitation to head straight for Yale’s favorite bar. At the Anchor, they ate from the breakfast menu and got all liquored up. He held forth, judging the quick and the dead in the art world; opinions were refueled with

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  • James Lee Byars

    JAMES LEE BYARS DIED in the Anglo-American Hospital in Cairo late on the night of May 22 or early in the morning of May 23, 1997. Cancer had planted flags of occupation in his body for several years, and finally claimed it all. Toward the end he said ruefully, “My bones stick to the chair.” Yet in the days and hours before his death, he was engrossed in the lingering issues, problems, and satisfactions of his life—working on a new will, speaking on the phone with friends on other continents and vigorously pursuing his artwork up till, literally, the final minutes.

    Late on May 21 a turn for the

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  • Willem de Kooning

    WHEN I HEARD THE NEWS of Willem de Kooning’s death, I was speeding down a highway in New Mexico. I had just left New York where an exhibition of his late paintings at the Museum of Modern Art was still on view. The artist had been in fragile health for years and had recently taken a turn for the worse, but I was still jolted by the irrevocability of the event. De Kooning had not been “with” the world for a long time, but suddenly he was gone from it. Needing to gather my thoughts about an artist whose work had been the focus of my thinking for the past three years and whose example dominated my

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  • Peter Cain

    PETER CAIN DIED on January 5, 1997, at the age of thirty-seven. He had a cerebral hemorrhage in his sleep, lingered in a coma for a few days, and was gone.

    His work was widely seen but not too widely known. He’d had five one-person exhibitions in New York and California since 1990. He was in the 1993 and 1995 Whitney Biennials, so he had “respect,” and a lot of warm bodies had passed in front of his work, but his serious audience remained small—small enough that we mostly knew who each other were. His paintings and drawings are odd and special, and they’ve always polarized people.

    An occasional

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  • Dan Flavin

    THE DEATH OF Daniel Nicholas Flavin, Jr., on November 29, 1996, sent my memory rushing back to the early ’60s, now a mythic moment in the history of art. Born on April 1, 1933, Flavin was part of my own generation, for which the complementary austerities of an iconic soup can and a perfect rectangle appeared to launch a visual order in which industrial uniformity and pure cerebration would be the reigning muses. Worshiping early at New York’s shrines of Modern art (he once worked as a guard at the Museum of Modern Art, and attended Meyer Schapiro’s lectures at Columbia), by 1963 Flavin had become

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