John Brown Archive

The show at Olga Korper’s was a great success. I was at the opening and spoke on a panel with David Liss and Margaux Smith. The gallery was packed for the talk and the opening, Jack’s work looked imposing and magnificent on thew walls of the space again (the industrial architecture was made to measure for Jack’s work) and dozens of friends an fellow artists were given he opportunity to talk and laugh and reminisce. The show also yielded material for the archive: a Grimm I had not yet documented and two drawings from the Ping and Mouth series. I was also contacted by an old friend of Jack’s Lisa Celotto, who sent me photographs of a drawing and two Small Autopsy paintings that Jack had given her as gifts. Thanks to Lisa for sending the photos: I will add them the the relevant pages in the next week or so. Anyone with archival material that they think should be included can contact me at jnoonan@uwindsor.ca

After a long hiatus I have made some important additions to the catalogue of paintings and works on paper. The recent show of Jack’s work at Olga Korper Gallery included four pieces that I had no visual record of: a large untitled piece from 2015, a Grimm, a Ping, and a Mouth painting. The catalogue pages have been updated to reflect these new discoveries. I have also begun to sketch out the fifth and concluding essay in the series I have been working on. It will be entitled “The Grimm Anomaly” and focus on the Grimm series. I hope to complete it within two or three months. Thanks for visiting. All inquires about work or the archive should be direct to Jeff Noonan: jnoonan@uwindsor.ca .

I have not updated the site in quite sometime because I have not discovered any new archival materials. However, I do have exciting news to report. The Olga Korper Gallery (17 Morrow Avenue, Toronto) will be mounting a solo exhibition of many of the remaining major works in their possession. The show opens at 2 pm, Saturday, Feb. 21st. The opening will be preceded by a gallery talk about John’s practice and legacy. I will be speaking alongside curator David Liss and Toronto painter Margaux Smith.

Just as I was despairing of being able to provide visual documentation of any of the works that I know exist but for which i do not have photographic evidence, I discovered a drawing when i was visiting Jack’s brother Joe last week. In 1986 when I was living with Jack at 401 Richmond he was working with beeswax and produced a series of three grease pencil figure drawings. They were not exhibited to my knowledge, but they were completed. I own one and– it turns out, happily- Joe owned another, but I had not documented it. It has now been included in the Works on paper page (1986).

The drawings that I listed for sale last month remain available, and I will be adding some works on paper soon (but it is the beginning of the term, so once my classes are up and running I will post the available works.

I have added a new page to the archive offering older works that came into the possession of the estate for sale. These drawings, many of which were never exhibited, have been in storage in my house since Jack’s death. the first set of works available were included in the Jack’s 1990 solo show at Carmen Lamana. While John Bentley Mays noted the arresting power of the drawings of the male figures, calling them “probably the most beautiful and accomplished” drawings that Jack had yet shown, none of the works sold, and they followed Jack from studio to studio for 30 years. (Globe and Mail, March 9th, 1990) I had to remove them from their frames when we packed up his studio and I now offer them to interested parties. Over the next few weeks I will also be listing some of Jack’s early grease pencil drawings for sale. Please contact me for prices:

jnoonan@uwindsor.ca

Aside from the new page I have not made any other substantive additions to the archive. While I had fully intended to be be hard at work on the sixth and final essay on Jack’s corpus, I have been consumed with other work. Time does indeed fly, but the summer is not yet over, and I will start work on the essay on the Grimm series before autumn falls. I also have a couple of newly discovered reviews and critical commentaries to post, which I will add soon. Thank you for visiting, and please check back regularly for updates.

If one thinks of time spatially, there seems a great distance between July, my last update, and January, the current update. However, experientially, when one is submerged in work, six months flies past like it were a matter of seconds. Part of the reason for the long delay is that most of the detective work for the catalogue is over. While I still have a few slides to go through, I think that, barring the unexpected discovery of a trove of as yet undocumented paintings, the catalogue is more or less complete. The main task now is to complete my series of critical essays. In that regard,I am happy to report that I have completed and posted the fifth of a planned six essay cycle. The newest essay, “The Architecture of Dread” focuses (as the previous essay did) on works of Brown’s final period. I have one final essay planned, on the still evolving at the time of his death Grimm series. I do not want to put a strict time frame on the writing of it (I hate missing deadlines, so I will not impose one on myself), but I would like to complete the whole series by May or June. We shall see.

I close with three requests. First, I want to ask anyone who remembers any conversations with Jack about the Grimm series– how he conceived it, what, if any, principle unified the 90 or so paintings that make it up, how he thought about it in relation to his other works, both aesthetically and thematically- to please get in touch and share whatever information you have (jnoonan@uwindsor.ca). Jack himself left almost no written reflections on his work, so I have to rely on friends and colleagues testimonials to give some historical substance to my arguments.

Second, Jack’s studio at the time of his death contained a number of paintings and drawings, on both paper and panel. The recent paintings I sent to his gallery, but I still have many of the older drawings and works on paper in my possession and would like to start returning them to the world. In the aftermath of Jack’s death they felt as a living presence and I wanted to keep them close to me. However, art, like people, has to live and breath in the world. I am going to make a number of them available for purchase for a very reasonable price. If you are interested, please contact me at the email address above and I will send you .pdfs of the available works.

Finally, if anyone knows of a small press that would be interested in releasing a print version of the essay cycle that I am working on, please send me their information. For a number of reasons I have decided against pursuing publication through a Canadian university press, but I would like to see a print version if one could be arranged (not for the sake of my own vanity or career, but because Jack’s work deserves the sort of permanent public presence a book would confer).

Thank you for visiting the archive and please spread word of its existence.

I have happily been able to return to my critical work and have now published the first of two essays on Brown’s final period (2003-2019). This first essay explores what I regard as the high point of Brown’s achievement, the large, heavily worked paintings comprised by the Thing, Nothing, Something Series, the Future Dates series, Towerversion 1 and 2, and two of his final paintings, Abandoned Desert Town and Poe. I regard these paintings as unique in twentieth twenty-first century painting: if there are more formally original and aesthetically powerful paintings in existence I would be most pleased to know where I can see them. Despite their extraordinary, complex beauty there has been little critical or public museum interest in them. Please share this essay as widely as you can in an effort to begin to correct this art historical oversight.

I will now set to work on the final two planned essays on Brown’s career and hope to have at least one (“The Architecture of Dread: Brown’s Final Period 2”) completed by the end of summer. With any luck I will also finish the final essay: “The Grimm Anomaly” by September.

As always I am interested in feedback and information relevant to the archival mission of the site.

Today marks the third anniversary of John Brown’s death. Constructing the archive has been a source of bittersweet joy to me. It has been a way for me to discharge the debts that I accrued over a lifetime of connection to Jack. He opened up artistic and intellectual worlds that I would never have had access to otherwise. More importantly, it serves as a public repository of his work and a still growing resource for its critical reception and interpretation. My duties at the university have occupied most of my time since the summer, preventing me from further developing the archive. While most of the photo-cataloguing of Jack’s body of work is complete (unless I uncover a thus far hidden source of new documentation) there is still work to do building out the photo record of Jack’s studio practice, adding as yet un-catalogued reviews and critical notices, and completing my planned five part series of critical essays on his career. I plan to return to these projects in earnest this spring and summer, so please visit regularly to stay abreast of updates. I am heartened that people are finding their way to the archive and being reminded of Jack’s monumental contribution to 20th and 21st century Canadian painting.

Finally, after a busy winter term in which I had to teach 3 courses for the first time in a number of years, and a spring spent reading the proofs and indexing my latest book, I have had time over the past month to return to work on the archive. The biggest addition is a new page devoted to a discussion of Brown’s evolving process and practice. As with everything in the archive, this page is a work in progress. If you knew Jack and discussed his practice with him and have insights into it that are not discussed in my overview, please contact me and I will revise the page and credit whomever has important ideas to share.

I have also continued the detective work necessary to make sure that the catalogue of Brown’s works is as complete as possible. I am happy to report that I have found images of 1 further Grimm painting and 4 later works of his partner Herb’s Sigman’s handwriting. I have continued to go through slides and archival materials. This research will lead to further additions to the Works on Paper and Ephemera pages in the near future.

I have also been hard at work on the third paper of a planned 5 essay collection exploring all phases of Brown’s career. This piece focuses on his middle period that begins following the Human Head’s series (1989) and runs to roughly 2002. I hope to have it posted in the next couple of weeks.

Thank you once again for visiting and I am always happy to receive new content that you might have.

Preparations for a return to teaching kept me busy writing lectures over the past two months. Nevertheless, I am pleased to report that I was able to complete my essay on the Human Heads Series. I have also added three new pdfs of reviews of that pivotal show. . Time will continue to be scarce until April. Once I can devote more time to the project I will begin a new page devoted to Brown’s practice and process. His Cd records meticulously record the way he created his later works. I will also soon commence work on the third of the five planned essays. I also have commitments from other artists in his circle to contribute critical essays. Stayed tuned in the coming months for these new developments.