“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.
I haven’t slept well lately, so I assume my fourth estate alter ego has been working overtime on plumbing my mind for good arts articles. What’s in today’s edition of the Official Newspaper of Gil Roth?
- a walking tour of the architecture of Park Slope,
- a review of an exhibition on the origins of abstract painting in America,
- what we draw about when we draw Babar,
- Van Gogh: just because,
- and the coup de grace: the history (and sales record) of a possibly fictitious acolyte of Andy Warhol.
I guess this means I’ll get better nights of sleep once the Sun closes up shop, but my arts life is going to be a lot less interesting.