The COMP Magazine Art Kleinman - The Cyclic Nature of a Long Career

For more than four decades Art Kleinman has traversed an array of aesthetic terrain that mirrored the times in which the works were produced. From early abstraction to self-portraiture to political commentary, Kleinman has not hesitated from investigating new ideas and methods in his practice. This week the COMP Magazine visited Kleinman at his Ravenswood Manor studio to discuss his long career, the various genres of painting he has worked within, his series focused upon the Golem Jewish folktale, and his recent return to working in an abstract vein.

Art Kleinman, studio view, Chicago, 2018

Over your long career you have traversed a wide array of aesthetic investigations as a painter. You’ve been working as an artist for nearly 50 years, maybe more? To set the foundation, I’m wondering if you can share with us any early experiences or people that focused your attention on painting?

When I was a kid I was always drawing. Others from my generation will remember how much time we spent watching cartoons on TV. Cartoons were a strong influence on my drawing style. I didn’t know anything about art, let alone painting. Nonetheless, I wanted to go to art school. So I wasn’t surprised when two men in three-piece suits carrying a big briefcase rang my parent’s doorbell in St. Louis. It turned out that I had won a “Draw Lincoln” contest and they were there representing the Famous Artists Correspondence School. Norman Rockwell was a teacher there, as were many illustrators and commercial artists. Just $600.00! That was a lot of money in 1966. I wanted to sign up right then, but my mother told them that I was starting college the next year and I would study art then.

When I got to school I felt like I was far behind my peers, but I finally got my chance. I had enrolled in commercial art at Kansas University. All students were required to take a life drawing class. In my second year I got a spot in the class. I wasn’t very good, but I was hooked. In order to take more drawing classes I had to change my major to Fine Arts Painting. I had to show my drawings to the dean, and my work was not good enough for him to endorse my transfer. It was up to me. It was important to commit to working hard. One day while I was in lettering class I was writing “Ah, the bird is on the wing”, and I decided to make the change to painting.

I started painting more in my junior and senior years. It was slow going, but I started to improve. The right attitude is essential. I had to make myself open, honest, and patient when making a painting and I still believe that. I graduated in 1971 with a Bachelor’s degree in Fine Art Painting.

Art Kleinman, Drawing #5, pastel and gesso on paper, 40” x 45” 1989

Art Kleinman, Drawing #3, pastel and gesso on paper, 40” x 45” 1989

Your early work looked at abstraction and formal traditions, which was followed by figurative works (self-portraiture and political commentary). I’m fascinated with how you have come full circle in recent time to once again embrace abstraction in the new series. What prompted this return?

I was at a crossroads with my work and my health became an issue. I will be 70 next year and I guess I wanted to look at my career and take stock. I decided to revisit my geometric paintings from the mid 1980s. This prompted a break down of the grid structure using only right angles. That was a very productive period for me. I settled on a group of 7 or 8 drawings from 1989 to serve as a springboard to a more intuitive and personal expression, introducing a lyrical meandering line. After a few paintings I could see where they were taking me, but I had to do all the work. Short cuts don’t really work.

Art Kleinman, Self, charcoal, pastel, and wax on paper, 47 1/2″ x 55″, 2004

Can we talk about the self-portraits? Specifically, I’m drawn to the paintings produced in the early 2000s. Often you are set in an architectural interior that reminds of a Venetian Palazzo. On one level the imagery appears otherworldly, however I find grounding in the modern attire you are dressed in. What initiated these works after a long history of painting in a non-narrative voice? What did you see as your primary focus in these paintings?

In 2003 my wife and I spent three wonderful weeks in Italy, and it had a huge impact on my work. There is art of the highest caliber to be found literally in every couple of blocks. The people grew up with it, they live with it. The churches are spectacular and this took hundreds of years to complete. The scale of the columns creates a real feeling of almost infinite space ascending to the heavens.

There are several historical references in work that followed, some subtle and some that are right out front, such as in “The Gathering.” I think I first became aware of the floors in Siena. The graphic quality of the marble floors is extremely strong. Many of them are dry fit, using no mortar or grout, and the craftsmanship was superior. Using images of those floors in my work attempts to make a connection between past, present and future. Using digital photography I was able to approach a high level of naturalism. My focus was composition and believability.

Art Kleinman, A Gathering, oil on canvas and panel, 113” x 114,” 2005

Another series focuses upon the Jewish folktale of the Golem. I believe this dates to early Judaism. In research, I noted that it is thought that Adam was created as a Golem in the Talmud. Can you speak to this work? Beyond being produced by you, how do you see this series fitting into your ongoing professional practice?

I came across the tale of the Golem about 25 years ago, while I was looking for information about Judaism. I’m a non-practicing Jew, but I have some experience with traditions and rituals, such as bar mitzvah and Hebrew school. For a couple of years it struck me as a good story and that was about it. About 10 years later I discovered the tale again. This time I had a very clear sense of strong graphic possibilities. Even if I didn’t get the story 100% correct, the decision to pursue it was not made from any religious standpoint. It was all about aesthetics and I really felt that I could make some exciting work. I made 10 large drawings (72” x 48”) and one very large painting (7’ x 22’) that took about 3 years to complete. As far as fitting in to my career, it is another example of my being compelled to pursue a particular idea, regardless of any career risk due to its “religiosity.” When the painting was finished, I felt I had taken it as far as I could and I was ready to move on.

For several years I had tried to figure out how to attach my politics to my paintings. My work has never been very subtle. I just tried not to overthink it and go for it. I started with “Word of Mouth or Left to Our Own Devices.” This piece referenced the war in Iraq (oil wells on fire), what makes a good soldier, and the evil men who lied to get it started. I was disgusted by all of it. There aren’t any words to describe these men, Cheney, Rumsfeld, the Bushes 1 and 2, and now Trump. So I painted them. Then I went after some prominent politicians, paired with comic characters having a connection with them.

Art Kleinman, The Golem, a folktale; mixed media on paper, 72” x 96”, 2008

Art Kleinman, The Good Soldier, mixed media on paper, 72” x 48”, 2008 

What do you value most in your painting practice?

Time!

Art Klienman, Dick, mixed media on wood, 48 x 134”, 2013

Art Kleinman, All In, mixed media on paper, 72” x 48”, 2012

Art Kleinman, Dick, mixed media on wood, 48 x 134”, 2013

Art Kleinman, Let’s Talk, mixed media on paper, 72” x 48”, 2012

You are currently working regularly in the studio regularly. Do you have any plans to exhibit in Chicagoland in the future? What’s the plan for the remainder of 2018?

I hope to have the go ahead for an exhibition about a year from now. For the remainder of 2018, I plan to paint as much as possible.