By Richard Hertz
Jack Goldstein and the CalArts Mafia is anchored via Jack's reflections, dramatized through Hertz into first individual narratives, of the early days of CalArts and the final days of Chouinard; the recent York artworld; the pains and tribulations of discovering and retaining good fortune; his inter-personal relationships; and his disappearance from the paintings scene. they're complemented by way of the dramatized first individual narratives of Jack's acquaintances, together with John Baldessari, Troy Brauntuch, Rosetta Brooks, Jean Fisher, Robert Longo, Matt Mullican, and James Welling. There are provocative graphics of many popular personalities of the 80s, together with Mary Boone, David Salle, and Helene Winer, all operating at a time while the aggressive spirit was once robust and sometimes brutal, being concerned little approximately something yet oneself and making lots of cash. Has whatever replaced?
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Extra resources for Jack Goldstein and the CalArts Mafia
A story going around about Wheeler was that he was making some pieces with resin in the manner of Bob Irwin and that he sprayed resin with a spray gun. The story was that he wasn’t careful and had to go to an ear, nose, and throat specialist to pull plastic out of his nose. If the story is true, it is a miracle that he is still alive. I remember being surprised that Jack’s work had that extremely designed quality, which his work has had since. In his typical way, he rarely made the work himself; it was true even then that he had it made by someone else.
At first it was the Asher Faure Gallery, but then Betty Asher, Michael’s mother, dropped out and it became the Faure Gallery. I remember delivering art to Nick Wilder in the 1960s; it seemed to me to be a decadent scene. Nick could be so rude, but he was smart about art and he had a very good eye. I often went into his back room and looked at the paintings in storage; I would see all the great stuff he had back there—work by Joe Goode, Agnes Martin, Ed Ruscha, and a lot of others. Before she flipped out, I asked Eugenia Butler to my studio; she had a mastectomy and then started hanging out with Paul Cotton, who wore a pink bunny outfit with a pink peeny hanging out.
He had piles of sand through which he stuck neon tubes; there were more neon tubes on the wall. The tubes were fragmented so they almost looked like bamboo; they were very elegant. All of the art ladies would come around to Chuck and Laddie’s place to order Plexiglas frames, to get laid, and to buy their pictures. It was a one-stop shop. I had taken over another place that was tiny but very cute, which Jim Ganzer was vacating. At that time I was gilding sandwich-sized paper bags; I made a set of ten and put them on 44 J G and the CA M a Plexiglas shelf.