One of the great things about being an artist is that you never grow old. This is true of everybody in a creative field: writers, composers, musicians, inventors. Maybe your age numbers get higher but your soul remains forever young. If there are disabilities, you learn to work with them; they may even lead you to explore new terrain.
The New York Times recently featured the latest hot ticket item in the art world: a 101-year old Cuban born woman painter, Carmen Herrera. A member of the Hard-edge, geometry-based movement popular in the 1950s and ‘60s, she has had moments of recognition since then but like many of the others in the field, faded from view. I’ve always admired Hard-edge painting, impressed by anyone who could achieve a flawless layer of paint or remove a piece of masking tape without making a mess. Perfect edges were never my forte; I got a C in drafting in college and only because I burst into tears when I heard I was getting a D.
Anyhow, Ms. Herrera is finally making the “big time” at the age of 101 with a retrospective of her work from the 1960s and 70s at the Whitney Museum. It doesn’t get much better than that. It turns out that while she never achieved the upper echelon of the Hard edge/Minimalist movement like Albers, or Barnett Newman, Ellsworth Kelly or Frank Stella, she consistent kept working and exhibiting and even today, at 101, manages to paint several hours every day. She’s “in” on several fronts: her age (older artists are now being recognized), she’s a woman, and she’s Hispanic, a triple whammy of political correctness for the Whitney. Frankly, I’m most impressed that despite being crippled by arthritis, she’s going strong.
I once knew a pretty famous abstract expressionist sculptor (yes, there were a few) called Reuben Nakian….a colorful old rascal. When asked how to achieve fame and fortune in the art world, he would reply: “You have to live long enough.” And that’s exactly what I am trying to do.
But here’s where I get into trouble with the political correctness police. I really resent someone who achieves success for any reason other than the quality of his or her work. There’s enough competition without adding extraneous factors. I don’t approve of an artist being neglected or rejected because of their sexual orientation, their ethnicity, their age or their race. On the other hand, I resent it when they get a break because of these factors. I know the rationale is that this is ‘catch-up time,’ but I still think it’s wrong. In the case of the Hard-edge movement, I can name a half dozen other artists from that era, i.e. Nicholas Krushenick or Chuck Hinman, relatively unknown today, who I think are as good as or superior to (and much more original than) Ms Herrera. This is not to say her show won’t be excellent (it will be) and she’s not worthy of belated recognition (she is,) but in the best of all possible worlds, this should come to an artist because of their body of work, not because they happen to be “the flavor of the month.”
The illustrations for this post don’t really relate to Hard Edge. They’re photos I took several years ago of a dead neon sign graveyard in Las Vegas. It was the most interesting part of the trip.