Bill Sullivan (artist and editor)

For other people named Bill Sullivan, see William Sullivan.

William R. "Bill" Sullivan (September 10, 1942 – October 23, 2010) was an American painter, printmaker and publisher.

Bill Sullivan by Robert Gordon, 1968

Background

Sullivan was born in New Haven, Connecticut, and died in Albany, New York. He attended Silvermine College and earned an M.F.A. from The University of Pennsylvania, where he studied with Fairfield Porter, Neil Welliver, Jane Freilicher, John Button and Rudy Burckhardt. He also studied privately with Josef and Annie Albers.

Life

In 1957, when he was 15 years old, Sullivan was spending a summer washing dishes in Lenox, Massachusetts, and met Claes Oldenburg, who was there working at a resort and running a small gallery in a barn.[1] Oldenburg's early paintings became an inspiration for Sullivan. That fall he followed Oldenburg and his wife back to New York City, where he slept on Oldenburg's couch and camped out in Central Park. He worked as a night dishwasher at Café Figaro which, along with the San Remo Bar across the street, was a place where writers and artists congregated. Oldenburg included Sullivan's work in group shows at Judson Gallery, which he was running. Besides Oldenburg the show included Jim Dine and Red Grooms, who were unknown artists at the time.

Bill Sullivan, New York, New York, 48 x 48 inches, Oil on Canvas, 1992

In the late 1960s, Sullivan joined Bowery Gallery, an artist-run gallery in a storefront on Bowery that was dedicated mostly to figurative art, where he was one of the first artists to show. Later, when the Alliance of Figurative Artists was starting, Sullivan organized weekly panels and discussions at The Educational Alliance. He organized these panels on a regular basis for several years.

Sullivan's first solo show at Bowery Gallery in 1970 included paintings depicting people, New York cityscapes and still lifes. After this show, Sullivan developed an interest in landscape painting. The city of New York became one of his favorite subjects. New York City, the Hudson River and Manhattan's West Side highway became his main subjects. He had several shows of these paintings at Bowery Gallery and continued to paint the Hudson till the end of his life. At one of these shows he met art collector G. W. Einstein, who became his friend and represented him for many years. Sullivan had his first solo show at G. W. Einstein Company in 1978.

Bill Sullivan, The Virgin of the Motorist, Oil on canvas, 28 x 48 inches, 1983

In 1977, Sullivan met the Colombian writer Jaime Manrique; they travelled to Colombia, where Bill wanted to paint the places that Frederick Edwin Church and Martin Johnson Heade had painted in the 1850s. In Colombia he had a solo show in the Bogotá Museum of Modern Art in 1978. Two years later, Sullivan returned to New York. In 1983 Sullivan travelled to Ecuador to paint the volcanoes that Frederick Church had painted. The years following is return from Ecuador were the period when Sullivan's work was most in display in New York City. Reviewing "World is Round," a group show at the Hudson River Museum, Vivien Raynor wrote in the New York Times: " Although he believes that panorama in Western art came out of a 'need to paint battles,' Bill Sullivan himself offers a view of the Palisades at sunset, which is no less engaging for being a plain old école de Hudson school landscape."[2] Sullivan remained in New York City until 2001 where he had several solo shows. In 2002, he settled in Hudson, New York, where his two nineteenth-century heroes, Frederick Church and Sanford Robinson Gifford, had lived. He painted many of the sites Church and Gifford rendered on canvas. In 2006, The Albany Institute of History and Art had a major retrospective of Sullivan's work.

Reception

About his work, John Ashbery said:

"With only a tinge of irony, Bill Sullivan makes new the vast spaces and swooning optimism of nineteenth-century Luminist painting. Reaffirming the contemplation of nature as its own reward, he also sets new tasks for painting and undertakes them with compelling eagerness. While there has been a tendency among some contemporary artists to present a revisionist view of the 'great outdoors' of nineteenth-century landscape painters, Sullivan has no satirical agenda. After spending several years in South America amid the landscapes that attracted Frederic Edwin Church and Martin Heade, among others, he refined and strengthened this awesome imagery after returning to New York. A certain surreality floats through these vaporous visions of Colombia, though this may just be the result of Sullivan's careful documentation of scenes that looked unreal to begin with."[3]

The Cuban writer Reinaldo Arenas wrote:

Bill Sullivan, Apollo, 36 x 24 inches, Oil on canvas, 2008. Collection of Albert Roberts, Hudson, NY
"Bill Sullivan's paintings are the work of an artist expressing himself at the peak of his power. He paints with a masterly craft and has a talent for deciphering the meaning of nature. His landscapes of known and unknown worlds reveal realities new to us. His work is an exaltation, a desolate yet fully realized splendor, which he renders with the serenity and wisdom of someone for whom light and color are familiar instruments used to create mystery. His roots and concerns take him from a dreamy, organic, and telluric world toward limitless horizons where the real and the magical (intelligence and imagination) merge in perfect balance. We salute Sullivan, an excellent painter whose fervor deserves our gratitude." [4]

Reviewing "Bill Sullivan at Uptown" for Art in America in December 1996, Eileen Myles wrote:

"Sullivan is a cloud man, and his use of what singer Tom Verlaine called ‘my floating friends’ makes these paintings move…The artificiality of the moment is thrilling. It seems that the more intangible, elusive and ambiguous the spectacle, the more this painter likes it. It's a rave." [5]

Reviewing Bill Sullivan retrospective at The Albany Institute of History and Art, Alfred Corn wrote in Art in America in 2007:

"Comparing these paintings with each other (or with the actual scenes), you see that Sullivan is willing to alter scale and detail so as to make a more coherent picture; realism has to make concessions to design and expression. But that has always been the way of artists of the first rank."[6]
Bill Sullivan, Niagara Dusk, 38 x 48 inches, Oil on canvas, 1992

Reviewing the 2012 show "Highlights from the Albany Institute of History and Art" at The Florence Griswold Museum, Martha Schwendener wrote in The New York Times (Connecticut edition):

"Bill Sullivan's "Twilight at Olana" (1990), refers to the Persian-inspired mansion on the Hudson built by Church, who grew rich from his paintings. In Mr. Sullivan's canvases, however, Church's 19th-century sunsets and sunrises become acidic and psychedelic (or, perhaps more befitting our era, chemical)."[7]

About his own work, Bill Sullivan said:

"My ambition as an artist has been to take the painting of the New York School Realists of the generation before me to places it has never gone before. In the Hudson River School, I found an ambition and love of nature that I was able to translate into a vision that is my own." [8]

Awards

Exhibitions

Bill Sullivan, Twilight at Olana, 36 x 60 inches, Oil on canvas, 1990. Albany Institute of History & Art

Painted Leaf Press

In 1995, Sullivan started a literary press devoted mainly to publishing New York School poets. Some of his books were reviewed in major publications and received awards like The Lambda Literary Award for poetry.[9] Due to illness he stopped publishing in 2001. Among the books published by Painted Leaf Press:

Collections

Bill Sullivan, Winter Night, 38 x 48 inches, Oil on canvas, 1992

Sullivan's work is part of numerous public collections, including The Albany Institute of History and Art, the Cleveland Museum of Art, the Hudson River Museum, the Metropolitan Museum of Art, the Museum of the City of New York, the New York Public Library, the Museum of Antioquia, the Bogotá Museum of Modern Art, and Museo de Artes Gráficas de Maracaibo.

References

  1. ↑ The Autobiography of Bill Sullivan by Jaime Manrique; The Groundwater Press, Hudson, 2006; ISBN 1877593079
  2. ↑ Raynor, Vivien (1 January 1989). "ART; In Yonkers, the 'World Is Round'". N.Y. / Region. The New York Times. Retrieved 18 August 2016.
  3. ↑ Ashbery, John (1981). "Art Review". New York Magazine.
  4. ↑ Unpublished
  5. ↑ Myles, Eileen (December 1996). "Bill Sullivan at Uptown". Art in America. 84 (12): 98.
  6. ↑ Corn, Alfred (March 2007). "Bill Sullivan's retrospective at The Albany Institute of History and Art". Art in America.
  7. ↑ Schwendener, Martha (13 July 2012). "The Hudson River School, Seen Anew". Connecticut Edition. The New York Times. Retrieved 18 August 2016.
  8. ↑ Artist Statement
  9. ↑ Gonzalez Cerna, Antonio (14 July 1998). "10th Annual Lambda Literary Awards". Lambda Literary. Retrieved 18 August 2016.
  10. ↑ Sor Juana's Love Poems; by Sor Juana Inés de la Cruz; Painted Leaf Press, 1997; ISBN 0965155862
  11. ↑ Cold River (1997); by Joan Larkin; Painted Leaf Press, 1997; ISBN 0965155854
  12. ↑ In Thrall (1982); by Jane Delynn; Painted Leaf Press, 1982; ISBN 1891305093
  13. ↑ My night with Federico García Lorca (1997); by Jaime Manrique; Painted Leaf Press, 1997; ISBN 0965155838
  14. ↑ Blood & Tears (1997); edited by Scott Gibson; Painted Leaf Press, 1999; ISBN 9781891305153
  15. ↑ October for Idas (1997); by Star Black; Painted Leaf Press, 1997; ISBN 0965155811
  16. ↑ The Villagers (2000); by Edward Field; Painted Leaf Press, 2000; ISBN 1891305220
  17. ↑ The Traveling Woman (2000); by Roberta Allen; Painted Leaf Press, 2000; ISBN 1891305522

External links

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