Most memorably in the Italian Alps, a couple of great shows. And of course, through Sal, showed a number of times in Italy. Was with the Gomez Gallery for a while, which was one of Baltimore’s top galleries at the time. They now only allow it to be won by a few in the area. They no longer give two grants to any artist. Got the first of my two Pollock-Krasner fellowships, which is a nice big, fat chunk of cash each time. I got four Maryland State Arts Council grants. In the years that I took over after Sal left, I began to throw a series of parties that kind of raised my notoriety or profile in Baltimore, along with a lot of exhibitions. It scared the holy shit out of me, only to find out it was one of Dorfman’s figures on the verge of being packed out to some museum. Helen Frederick was the founder of that, and she was downstairs.Īlso Dorfman Waxworks were across the other half of this floor There were times when I’d come out of the elevator and see some guy standing there with a gun. In the years that I was here, the Pyramid Atlantic was born here, one of the most important residency programs on the East Coast, if not America. Yeah, in that amazing space that’s behind the Cork Factory. They’re extremely dangerous because the walls and roofs are semi-caving in, plus they’re filled with spiders and all kinds of other lovely things. I’m the only person that I think in the building now that has ever tried to explore them. Because he was full of stories, many of which I’ve forgotten.īut because of him, I found out about the tunnels that run underneath the Cork Factory down to the railroad tracks. And compassionate and just fun to talk to. How generous is that? Pretty amazing! I loved him. We asked him why he was willing to sell us the building for half the amount, and he said he had more than enough money. Weant had an offer of $400,000 for the building. I had the extraordinary opportunity with the other artists in the building to buy the building from Weant Press. He’d been in New York, but he returned to New York. After he moved out and up to Pennsylvania to the place he had there, and into New York, back again. So when he was here, this was quite the place. He was my primary mentor and a huge influence on generations of artists that came through MICA. Something almost mythical and very gregarious, outspoken and just an amazing human being. Incredible stories about some of those things. At times he would mix all kinds of strange chemicals. I mean, my God, the time that he was burning tires in here and we were pushing black smoke out into the atmosphere, and the fire department showed up and they were really furious with Sal. AZ: After Sal moved out, and Sal had taken me to Italy five times during the years that I worked here in the Cork Factory as his assistant.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |