Passages

  • Leigh Markopoulos (1968–2017)

    AFTER LEIGH MARKOPOULOS DIED it became common among her friends and acquaintances to remark on what a private person she was, and how she would have disliked the fuss and attention being paid her memory. Reflections like this one would have made her uncomfortable—so the wisdom went—and would have exposed her in a way that she would have deplored. I have my doubts about the accuracy of this. Leigh was territorial, perhaps even secretive, but not exactly private. She was the consummate diplomat’s daughter (her father, Dimitri, had worked for Greece’s foreign service): flexible, multilingual, and

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  • Leigh Markopoulos (1968–2017)

    Curator, art writer, and professor Leigh Markopoulos had expansive but erudite interests in art. She loved rigorously conceptual work but also whimsical ephemera. She was drawn to both the poignant and the funny. Some of the works in the slideshow above come from her personal collection; others are things she much admired.

    Jessica Silverman is the owner and director of Jessica Silverman Gallery in San Francisco.

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  • Trisha Brown (1936–2017)

    AT AGE SIXTEEN, I glimpsed Trisha Brown in rehearsal at Bennington College. She was making Opal Loop, 1980, and being filmed by WGBH-TV Boston. What I saw indelibly touched me. I became an ardent, unrelenting fan of her choreography. I never imagined we would meet. That privilege came in 1999 when, as a curator at the Philadelphia Museum of Art, I invited Trisha to create her first new work for a museum since the 1970s (a decade when the art world provided her abstract dances their most important venues). After our project, It’s a Draw/Live Feed, 2003, premiered at Philadelphia’s Fabric Workshop

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  • Julian Stanczak (1928–2017)

    JULIAN STANCZAK died in my arms on March 25, 2017. His body gave up fighting, but awareness of his unique spirit only keeps growing.

    Living together for almost fifty-five years, Julian and I—and later our children, too—experienced many memorable adventures; we crossed the country by car from one national park to the next, from one unique experience to another. As I took in nature’s formations and found myself enthralled by America’s geology, Julian was registering everything within his mind’s eye.

    Julian never forgot anything but kept all impressions tucked away in his mind, ready to be re-experienced

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  • George Braziller (1916–2017)

    I FIRST MET THE RENOWNED BOOK PUBLISHER GEORGE BRAZILLER at a dinner party in 2002. There were some thirty people at two long tables, but good fortune placed us diagonally across from each other, and we talked all evening. A few months later he contacted me about translating a book from Italian into English. It was a first-time effort by a very young writer, Randa Ghazy, born in Italy to Egyptian parents. Her book, Sognando Palestina, was the story of a group of young Palestinians and their struggle for identity and dignity. A commercial success in Europe, the book engendered tremendous controversy.

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  • Dore Ashton (1928–2017)

    DORE ASHTON CAME OF AGE IN A GALVANIZING PLACE AND TIME—New York in the 1950s—when Abstract Expressionism was giving the art of the United States international significance and when partisan arguments over the proper way to interpret this art were flaring. The dominant voices in those arguments were male—Clement Greenberg, Harold Rosenberg, and Leo Steinberg among others—but a number of women were also shaping the critical discourse, including Aline Louchheim Saarinen, Elaine de Kooning, Belle Krasne, Katherine Kuh, and Emily Genauer.

    Even as Ashton’s early reviews covered a broad range of work,

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  • Bernard Zürcher (1953–2017)

    SHOCK OVERCAME ME JANUARY 16, 2017, when I heard that gallerist and art historian Bernard Zürcher had died from a heart attack that morning in Paris. He was only sixty-three. What a loss for the international art world, for me and the other artists represented by Zürcher Gallery, for his wife and business partner, Gwénolée, and his son, Theo. Within a genuinely humble and sweet demeanor, Bernard was amazingly bright, educated, and accomplished. Although he had a practical side, Bernard was sincere, even idealistic, about supporting the art he loved.

    I first met Bernard on January 20, 2013. In

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  • Barbara Weiss (1960–2016)

    I MET BARBARA WEISS AT A TIME when I still regarded galleries as false agents of a new financialization of the city. So at first I hesitated to show with her, but over several conversations with her I found that she was receptive to my concerns and even shared some of them. This is what moved me to exhibit with her. At that point, I didn’t yet know the meaning of sustained collaboration or what it was like to be able to count on someone across decades; it was to her credit that she showed me that.

    Barbara Weiss advocated not only artistic positions that represented their creator’s subjectivity

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  • Gustav Metzger (1926–2017)

    IT WAS THE CULTURAL COMMENTATOR FRED KAPLAN who observed that many of the great epiphanies of the 1960s were set in motion in 1959. This is certainly true in the case of Gustav Metzger—1959 was the year he wrote his first manifesto on “auto-destructive art,” a public art form that held up a mirror to a social and political system that Metzger felt was progressing toward total obliteration. Auto-destruction, he wrote, was “an attempt to deal rationally with a society that appears to be lunatic.”

    I heard of Gustav years later. I was on an eight-city lecture tour of the UK with not much to lecture

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  • Ferreira Gullar

    FIRST-TIME VISITORS to the poet Ferreira Gullar’s apartment were often struck by his homemade replicas of works by Piet Mondrian and Alexander Calder. “Since I cannot afford originals,” he used to say, “I make my own.” His nonchalance about copying these masters underscores just how close Gullar and the midcentury circle of Brazilian artists around him felt to the modernist lineage they admired; Lygia Clark even wrote a personal letter to the long-deceased Mondrian in which she told him, “You are more alive today for me than all the people who understand me, up to a point.” Instead of revering

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  • Daan van Golden

    DAAN VAN GOLDEN vowed never to give an interview or a lecture. In 2004, when awarded the Dr. A. H. Heineken Prize for Art, he chose to accept the honor with a number of found quotes. “Art is not a contest” was a particular favorite of his. Van Golden elected not to participate in the competition of art. He worked slowly, even stopping altogether for a decade beginning in the late 1960s. He participated in the BKR (Beeldende Kunstenaars Regeling), a system of financial support then given to artists by the Dutch government in exchange for their works, and so his art, for the most part, belongs to

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  • Barbara Weiss (1960–2016)

    I HAD HEARD MANY THINGS ABOUT BARBARA WEISS before she invited me for a one-person show at her legendary gallery in Berlin this past November. She was notoriously tough, strong willed, known for doing things her way and speaking her mind. But by the time I arrived in the city she was already bedridden with cancer. So from the invitation to the exhibition itself I communicated exclusively with Barbara through her directors, Daniel Herleth and Bärbel Trautwein, who helped me to turn my show into a wonderful, successful endeavor.

    This made my exhibition an exercise in remote communication and delayed

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