Archive for the Dean Fleming Category
The Two Coats of Paint blog posted a nice a piece on the Park Place Gallery, on the occasion of an exhibition, at the Blanton Museum, that takes retrospective look at the artists who helped establish the ground-breaking 1960s gallery.
One of the artists, Dean Fleming, was featured in several short posts last year on the Chronicle of Artistic Failure, as an artistic figure who’s long been forgotten by the mainstream art world.
Here’s an interesting passage from the press materials for the show at the Blanton Museum (quoted also by Two Coats…), which is called “Reimaging Space” [emphasis mine]:
Park Place artists were united by their multifaceted explorations of space. Their abstract paintings and sculptures, with dynamic geometric forms and color palettes, created optical tension, and were partially inspired by the architecture and energy of urban New York. The group regularly discussed the visionary theories of Buckminster Fuller, Space Age technologies, science fiction, and the psychology of expanded perception, and these ideas become essential to their work. Dean Fleming’s paintings of shifting, contradictory spaces were intended to transform viewers, provoking an expanded consciousness. Di Suvero’s allegiance was to Einstein’s Theory of Relativity, and his kinetic sculptures explored gravity and momentum in space.
By assembling a selection of major works not seen together since that era—as well as photographs and documents chronicling the group’s activities—this exhibition opens a new window on the art world of the 1960s. In doing so, it reveals the decade to have been a period of much richer artistic possibility than standard art histories suggest. According to Guest Curator Linda Dalrymple Henderson, ‘Reimagining Space’ is meant to ‘encourage new, more subtle readings of the 1960s and to direct attention to the superb Park Place artists who have not received the critical attention they deserve.’
Posted by: admin in Libre Community, Dean Fleming, Ah New York..., Drop City, Artists in exile, Paula Cooper, Buckminster Fuller, Exploiting artists, Idealizing bohemian excess, Aging artists, Doomed artist, The struggles of artists, Decline of human culture, Misunderstanding the artist's life, Artists are their own worst enemies, Artistic failure in America
I met Dean Fleming in the summer of 2005. Driving through the Sangre de Christo mountains about 40 miles south of Pueblo, I realized the weather in Colorado in August is about a perfect you’ll ever fine. Heartbreakingly beautiful. The sky is a pearlescent blue ocean hanging over the sage green ocean-bottom valleys and the distant coral-reef mountains. On each side of the Huerfano valley, the landscape rises up into scrubby chaparral then disappears into rocky murky mountaintops.
Dean Fleming first discovered this region in 1966. At the time, he was feeling increasingly stifled in New York. “Art was a profession,” he said, “like playing football. You get together a resume and a portfolio. You work to get the critics to do a review… The structure of the profession was not something I ever worked at. I didn’t spend a lot of time worrying about it. In New York, there’s a lot of pressure to repeat yourself and do the same thing. In New York I was the ‘parallelogram’ painter, which I thought sucked beyond belief. I didn’t want anything to do with that. I wanted to do what I felt like.”
Dean Fleming, “Untitled,” 1965
Fleming took a get-out-of-New York trip to California in 1966 with composer Steve Reich and painter John Baldwin. On the way, they stopped Ignacio, Colorado, to catch a Native American Sundance. “I found it magical,” said Fleming. In a letter to New York gallery owner Paula Cooper in July 1966, he wrote:
Excellent mustanging across country spending 4 days with the Colorado Utes sun dancing, basking in stars & Rocky Mountain blaze of sun, cleansing chunks of Manhattan funk & generally changing. Steve playing tapes, John the trumpet & me giving out books & buttons, we Johnny Appleseeded culture across the land…
Fleming’s suggestion that he was changing was revealing. It was difficult for him to adjust again to SoHo when he returned: “When I went back to New York, ” he said, “to my loft on Broom Street, I had a dream that I was supposed to be in the country, surrounded by friends. That was the impetus to come back to Colorado.”
In 1965, some artists, filmmakers, and philosophical types from Lawrence, Kansas had started—in Trinidad, Colorado—what would become known as the first rural “hippy commune,” Drop City. The founders of Drop City had hope to continue working on an art concept—Drop Art—they had developed earlier at the University of Kansas. Drop Art was informed by the “happenings” of Allan Kaprow and the work of John Cage, Robert Rauschenberg, and R. Buckminster Fuller—a professor and inventor who pondered questions related what would later become known as the “sustainability” movement. (Fleming knew “Bucky” Fuller, as he called him. In fact, he learned to make the geodesic dome that is his Libre Commune studio/home from him.)
“The Ultimate Painting ,” by Drop Artists, 1966, acrylic on panel, 60″ x 60″
Fleming first stopped at Drop City with a few friends for a short stay, coming to think of the place as a “touch chaotic.” “They had this open-door policy thing that was untenable,” he explained. “Artists need their own space to think and get work done. They were doomed for failure.” (Drop City was abandoned by its residents in 1970.)
After a few months, Fleming and his group discovered a plot of acreage on a mountainside near Gardner, Colorado. Somehow they scraped up the money to purchase it ($6000), and thus began the Libre Community, a continuously existing commune that has expanded and contracted through the years—with various artist microcommunities popping up then fading away. Amazingly, the commune still exists today, forty years after its founding.
“It’s a funny mix here,” said Fleming, who these days possesses deeply lined face and a long mane of white hair. “There have always been Native American practitioners, Buddhists, wine drinkers, pot smokers. Theater artists. Photographers. Artists. Everyone, each in their own area. Some of the groups overlap. But for me, it’s always just been a great place to work.”
Fleming’s life as a working artist in Colorado has been long and rich—even removed as it’s been from mainstream currents. “I don’t have a lot of money. I never have. But if I have a place to stay, it works out.” Still, like anyone, he seems to have his share of regrets. “I worry about not having health insurance,” he said several times over the course of my stay.
Fleming still paints every morning, first thing—”even when I’m traveling,” he said. Behind his geodesic studio, a good-sized shack holds a large cache of paintings reveals the results of this fifty years of effort. He is pensive about his legacy as he shows this trove to me. “My situation (as an obscure artist) is deliberate. It doesn’t matter in the long run if people like my work or not. I seek a place always where the painting takes over. I’d hope the observer would have that experience, but that’s very individual. It’s the nature of people to like a different painting for different reasons. I think of painting as being a mirror for people—where they’re at.”
Posted by: admin in Richard Kostelanetz, Dean Fleming, Mark di Suvero, Park Place Gallery, Libre Community, Exploiting artists, Artists who fall through the cracks, Failed artist, Doomed artist, Aging artists, The struggles of artists, Artists are their own worst enemies, Artistic failure in America
As promised, here’s another story of what happens when an artist is exiled by the community or neighborhood he helps (re-)build into a vibrant and hip art district. This time the artist, Dean Fleming, became “exiled” by choice.
Scene: It was the heady 1960s; for the past decade-plus, America’s comfortable and prosperous middle class had been fleeing the country’s cities for the newly built suburbs, leaving huge openings in various city districts for all sorts of opportunistic elements to move in. Such a district in New York City, in 1962 sometimes called “Hells Hundred Acres,” was described by Richard Kostelanetz in his book on SoHo thusly:
“The area below Houston Street [in New York City] was an industrial slum that I might have walked through reluctantly on the way from Greenwich Village to its north or Chinatown to its east. Industrial debris littered streets that were clogged with trucks and truckers during the working daytimes but deserted at night… I first became aware of someone actually residing in the nineteenth-century industrial slum in 1965 when I was introduced on Canal Street to a Korean artist [Nam June Paik] who had just arrived in America and rented a nearby ‘loft,’ which was a word new to me at the time… I later learned of such urban pioneers as Alison Knowles, who, in the late 1950s, had rented space in an industrial building on Broadway just north of Canal Street, where she lived with her husband-to-be, Dick Higgins… By the time I relocated downtown, first to the East Village in 1966, I became aware of artists who had rented large open space in which they worked and, incidentally, lived… [the author mentions Yoko Ono, Robert Rauschenberg, the writer Donald Barthelme, Chuck Close, and many others in the text that follows].”
Dean Fleming, a California native, came of age as an artist in New York in the 1960s. A contemporary and friend of sculptor Mark di Suvero, Fleming worked initially in a catchy, trendy (but not earth-shatteringly original) minimalist-geometric style, and he had a few years of success in the gallery scene of the time. Fleming also was, along with di Suvero, a co-founder, in 1963, of the Park Place Gallery in SoHo, which is often called the first cooperative gallery in the district. Kostelanetz doesn’t seem to make mention of the space, but Wikipedia explains, “the gallery showcased works by younger, less established artists with an emphasis on Geometric abstraction, shaped canvas, Hard-edge painting, Op Art, paradoxical geometric objects, and experimental art. Many of the sculptors, painters and other artists who exhibited in Park Place Gallery were interested in cutting edge architecture, electronic music, and minimal art.”
In 1967, burning out on the increasingly large crowds of people clamoring to see what was going on in SoHo, as well as the quickly fragmenting and trend-driven New York art scene of the time, Fleming took off to travel, to far off places like Morocco, Mexico, and the American southwest. While intending to return to New York eventually, in 1968 Fleming became enchanted by the Huerfano Valley region of Colorado, a few hours south of Denver. And, with a few idealistic friends and fellow artists, he bought a few acres and founded, on Greenhorn Mountain, a commune called the Libre Community. His idea was that the community, which still exists to this day, would be a refuge for artists like him looking to get out of the busy city and recharge for a few months. He had it in mind that he’d be able to exchange space in the commune, which has various structures and studios spread across its multiple acres, for an occasional stay in a New York loft. This never happened, unfortunately, and Fleming has remained in the Huerfano Valley—rarely exhibiting in New York or outside of his region—for the past forty years…
TO BE CONTINUED…