“Everybody was looking for the next van Gogh . . . so that opened up the space for anybody who put two sticks together to be a sculptor, or two dabs of paint on a canvas to be a painter: ‘Don’t miss him! This man is a genius!’ You’re not going to catch the next van Gogh by just throwing everything on a wall.”
Jonah Kinigstein is having a moment . . . at 92! The painter and cartoonist has published his first collection, The Emperor’s New Clothes: The Tower of Babel in the “Art” World (FU Press) and had an exhibition of his work at the Society of Illustrators in the past few months, and he’s just getting warmed up! We met at his studio to talk about the abysmal and unredeemable state of modern art, and why he elected to stay in the representative mode of painting despite the allure and rewards of conceptual art. He also talks about a near-century of New York City, his glory years in Paris and Rome, his disenchantment with the National Academy, and more! Give it a listen!
“Here I was, studying anatomy . . . and there’s a man who’s dripping on the floor! I’ve got a lot of drippings on the floor; I think I’ll put them up!”
Jonah’s got plenty of venom to spare for artists like Pollock, de Kooning, and Hirst, but also talks about his great artistic influences, his reasons for pasting angry anti-modern-art cartoons on the walls in SoHo, why he paints on wood instead of canvas, and making a living designing department store windows and point-of-sale whiskey displays. It’s a fascinating life, and I’m glad we had the chance to talk! You can check out my photos from Jonah’s studio, including several of his panels, over here.
About our Guest
Born in 1923 in Coney Island, Jonah’s early influences were discovered during visits to the Metropolitan Museum- “When I really saw the old masters, it blew my mind, of course.” He attended Cooper Union for a year before he was drafted into the Army, serving from 1942 – 1945. Soon after, Jonah moved to Paris where he spent time at the Académie de la Grande Chaumière, conversing with other aspiring artists, exchanging ideas, exhibiting his work, seeing established artists, and generally soaking up a fertile creative environment. He exhibited in several shows including the Salon D’Automne, Salon de Mai, and the Salon des Moins de Trente Ans, and had one-man shows in the Galerie Breteau and Les Impressions D’Art. After Paris, Jonah moved to Rome on a Fulbright Scholarship and studied at the La Schola Di Belles Artes. After a year, he returned to the U.S. and exhibited his paintings at the Downtown Gallery in Manhattan. Like so many painters, he was unable to make a living solely from painting, so he worked in the commercial art world and did freelance illustration and design. Throughout this time, Jonah’s commitment to his own art never wavered, and he continued to paint and occasionally exhibit.
Credits: This episode’s music is Sous Le Ciel De Paris by Edith Piaf. The conversation was recorded at Mr. Kinigstein’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of Mr. Kinigstein by me.
“My weakness is that I don’t have a set of parameters. My work always looks like a group show. But the connections are real. Anyone who looks can see the connections.”
Artist Mimi Gross joins the show to talk about her art, her life, and the joys of collaboration. Mimi’s been part of the New York art scene for more than half a century, and her paintings, sculptures, sets and designs have been seen around the world. We talk about how she stood out as Mimi Gross when she was “daughter of sculptor/artist Chaim Gross” and “wife of artist Red Grooms”. We also get into the difficulties of having a family while being a working artist, making art in response to 9/11, designing sets and costumes for dance and how that fed back into her other art-forms, the multi-year process of building Ruckus Manhattan, the problems and perks of not fitting into a particular tradition, the experience of building the Renee and Chaim Gross Foundation, and the loose definition of success. I also ask my half-assed “Jeff Koons: Fraud or Prank?” question again, but I really get shown up for my lack of knowledge of contemporary art. Give it a listen!
“It wasn’t until I was well over 40 that I realized that not everyone has imagination.”
About our Guest
Mimi Gross is a painter, set-and-costume designer for dance, and maker of interior and exterior installations. She has had several international exhibitions, including work at the Salander O’ Reilly Galleries, and the Ruth Siegel Gallery, New York City, the Inax Gallery, in Ginza, Tokyo, and Galerie Lara Vincey, in Paris. She has also shown work at the Municipal Art Society and at the Port Authority Bus Terminal in New York. Her anatomically-themed artwork is on permanent display, courtesy the New York City Parks Department, at the Robert Venable Park in East New York.
Her work is included in numerous public collections, including those of the Metropolitan Museum of Art, the Art Institute of Chicago, the Hirschhorn Museum and Sculpture Garden, the Museum of Contemporary Art in Los Angeles, The Brooklyn Museum, the Jewish Museum, le Musee des Art Decoratifs in Paris, the Nagoya Museum of Art, the Onasch Collection in Berlin and the Lannon Foundation, as well as the Fukuoko Bank in Japan and New York’s Bellevue Hospital.
Gross has been the recipient of countless awards and grants including from the New York State Council on the Arts, twice from the National Endowment for Visual Arts, the American Academy & Institute of Arts and Letters, and a “Bessie” for sets and costumes. She held the McMillan/Stewart Endowed Chair in Painting at the Maryland College of Art in 2010-2011, and has taught at the Art Institute of Chicago, the Rhode Island School of Design, the Penland School of Crafts, Syracuse University, SUNY Purchase, as well as other universities and educational institutions, giving workshops and advising students, as a visiting artist.
From 1960-1976, Gross collaborated with Red Grooms on many large, multidimensional installations, including the fabled Ruckus Manhattan. Since 1979, she has collaborated in a fruitful (and on-going) partnership with the dancer, Douglas Dunn and his company, designing sets and costumes for his performances. She also collaborated with the poet Charles Bernstein. Her on-site drawings of the World Trade Center from 9/11 and after are included in the volume, Some of These Daze, published by Granary Books.
Credits: This episode’s music is Shoulda Been a Painter by Karl Hyde. The conversation was recorded on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Lower photo of Ms. Gross by me, no credit given for upper photo (studio shot).