by Frank Messina
August 1, 2012
![Ron Bishop](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicg8jzZ4gIeakEs3ylqvyasfq4jK8bIsmMNs7hzNxNhODPugrG64Fa6a6Csk0qjdb_k0oxtZORCgz4ME-9oWmAtLi_2y3DWcUS3YL9FVkqbVNIKlgPH3-DCIwH_1ACBO8W8nty8YA8VLU/s400/ronbishop1.jpg) |
Ron Bishop |
"The
first half of the 20th century belongs to Picasso, the second half to
Rauschenberg. While Picasso blew the doors off the art house, Bob
knocked it down."
Ron Bishop - Director, Bob Rauschenberg Gallery
On
a recent Thursday night, I walked into Bert’s Bar in Matlacha,
Florida—a popular local watering hole that promises good grub and cold
beer. I passed the pool table with the faded green felt and propped
myself up on a stool. On the opposite wall, a yellow sign with black
letters read: “NO POLITICS / NO RELIGION”.
Respecting
the house rules, I turned to the couple next to me and asked if they
knew where I could find some art. Good art. The heavyset man, sporting a
Harley Davidson shirt turned toward me, raised his left arm as if
carrying a barbell, and flexed. “See this? Art.” I immediately
recognized the image on his tattooed flesh as a warped version of a
Pablo Picasso painting.
“Weeping
Woman, 1937,” I said, referring to the artist’s famed painting. “You
know your stuff,” the man said. “You’re good,” his female companion
replied, who was inked up on both arms and neck, framed by a faded
Talking Heads t-shirt.
“Well, not really,” I said. "But I do know that image.”
After
a couple of drinks and some small talk, we discussed Picasso, Pollock,
and Rauschenberg. "The art critic Clement Greenberg once said Jackson
Pollock was better than Picasso," I said.
“That’s ridiculous,” an agitated Ben said.
“And
I just spoke with a guy from the Rauschenberg Gallery in Fort Myers who
said that while the first half of the 20th century belongs to Picasso,
the second half belongs to Rauschenberg," I said.
“That’s
blasphemous!” Ben said. “Picasso owns all of the 20th century and this
part of the 21st!" Katie shook her head in disgust. “Picasso is God,"
she yelled, slamming her bottle on the bar. "God!" The room quieted. The
bartender shot over. "Hey, everything alright here, guys?"
I
looked up at the yellow sign with black lettering and read part of its
message again: NO RELIGION. “I’ll take the check," I said.
![New Century Recent Acquisitions from the Martin Z. Marguilies Collection](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl5B1blJGZv4qfPNzX8np5UIv_MA37Xz6TXlv84JomqvMhfH84GsbnDF3KJDNc8K-Pp7LcI08ESqlt4fcqyXagnxUsWRmjOARtmpHXDUVyLgY90flS7bKYKvmVSQ0NTCZvk4v-9UsUFKM/s400/exhibit_view_new+century+recent+acquisitions+from+the+martin+z+marguilies+collection.jpg) |
New Century Recent Acquisitions from the Martin Z. Marguilies Collection |
The next day, I made a call to the man who had uttered the quote which almost got me tossed out of a bar.
“I have a great job,” Ron Bishop said, director of the Rauschenberg Gallery
at Edison State College in Fort Myers, Florida. “Because I get to look
at art all day long.” The words came from a man who has dedicated much
of his professional life to the legacy of the late Robert Rauschenberg,
an artist who has cast a huge shadow over the cultural landscape of
contemporary American art, whose philanthropy has benefited many, and
inspired millions.
Much
of Bishop’s job as director is developing and organizing exhibits for
the gallery—a task that entails long hours and meticulous planning. “I
cover a lot of territory,” Bishop said. “But I don’t complain about that
work."
And
why should he? The gallery bustles with energy—a collegiate presence
augmented by contemporary, albeit profound artworks. The gallery is in a
pristine building highlighted by a space large enough to display an
ambitious art installation. In my visit there last March, an exhibition
of Ray Burggraf's art was hanging. The gallery afforded ample breathing
room for Burggraf's large format paintings.
![Rauschenberg's Scenarios Exhibition, 2007](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP3THmKK3EzKT6HKnxgeHnuz-U-8IX4uh_AC6T8v7yTTTm_C5K6EWUT6gYa62o3gXmeNW7EChL-mvWrr9EcY-IJnW5idKfiEpvlNQ6Fb5MV6AR0_uBVOipRnkGwq4AldoZzEhspjMd5Fs/s400/Rauschenberg_Scenarios_2007_087.jpg) |
Rauschenberg's Scenarios Exhibition, 2007 |
Rauschenberg
moved to nearby Captiva Island in 1970. The Gallery of Fine Art was
founded in 1979 and would become Rauschenberg's home gallery. By the
time Bishop was hired in 1999, Rauschenberg had made a huge cultural and
financial impact in Fort Myers. Bishop continued the friendship with
Rauschenberg, an alliance that would prove paramount to the existence of
the gallery itself.
"Bob
had done so much for us," Bishop said. "When we had a show with him, he
gave us limited edition prints, an edition of 100 or 160, entirely for
us to to sell and benefit the gallery. We put it through the state of
Florida's cultural endowment and we were able to stabilize the gallery,"
Bishop said.
"The
Division of Cultural Affairs has a program that matches two-thirds to
one the money that you put into a holding account and we live off of
that interest," Bishop said. "The principal is essentially what Bob gave
us through the sale of those prints. That’s my exhibition money."
Recognizing
the huge impact Rauschenberg was having on the gallery's success,
Bishop set the wheels in motion that would eventually result in renaming
the gallery in the artist's honor. I asked Bishop how that developed.
"I identified quickly that this was our future and that Bob had given it
to us," Bishop said. "I went to the foundation department and said, we
name buildings all over campus for donations that people give us." He
brought the idea of renaming the gallery in Rauschenberg's honor to the
president and board of directors, which they readily endorsed. "Then we
went and asked Bob if he'd agree, and he did," Bishop said. In 2004, the
gallery was officially renamed.
"One
of the things I do each summer is try to find an event that supports an
organization in the community," Bishop said. In this spirit, Bishop
works tirelessly to help produce and present "Arts for ACT Fine Art
Auction" to benefit the Abuse Counseling and Treatment, Inc. (ACT)
organization.
Artists
from around the area donate a piece to ACT to be sold at their annual
summer auction. The artist's work is showcased in the gallery for about a
month where visitors can preview the works before auction.
Raushcenberg's generosity has rubbed off on a new generation of successful artists.
Michelle Weinberg, an artist from Miami and New York says she's pleased to donate her work, a silkscreen called Artist Studio in Landscape.
"I
frequently donate works to fundraisers," Weinberg said. "I try to
participate when the cause is worthy. In fact, I created the silkscreen
editioned work, so that I could say yes to all the requests for
donations I receive."
Bishop
said Weinberg's extremely generous gift emanates directly from the
Rauschenberg's legacy. "Bob did exactly that. He donated pieces to ACT."
![A Quake in Paradise exhibition, first US show, 2005](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg44r9qs-b9lifx87oGF_bchyIhAOsdu_0SPHpPN_UUEZswIr4Sd4MzTLJkU7J3HTehF24FVyDC-G8hyP9s9wzMNBxY73M2r_GsDweATGlNbTbTSUjEX4phaIBb5eae6C9yBgpd8BHdlE4/s400/a+quake+in+paradise+first+us+showing+2005.jpg) |
A Quake in Paradise exhibition, 2005 |
Bishop
also organizes a charity event for the state-run program, Very Special
Arts, which benefits young and adult artists with various sorts of
challenges. I asked Bishop how much money is raised from the
Rauschenberg-inspired donations. "Hundreds of thousands annually,"
Bishop said. "Donations range from anywhere from three-hundred to
half-a-million."
Rauschenberg's
generosity has become the stuff of legend among collectors and
admirers. In a New York Times Op-Ed piece written shortly after
Rauschenberg's death, musician David Byrne waxed poetic on the subject
of the artist's giving nature both in money and time. "Bob was
extraordinarily generous. I don’t mean he gave away art — though he did
that, too — but he was generous with his time and with his ideas and
spirit. He started Change Inc., a foundation that awards grants to
emerging artists who can’t pay their rent, utility or medical bills. No
questions asked. Bob’s generosity of vision was, it seemed to me, more
profound than the financial kind," Byrne wrote.
![Ron Bishop with Bob Rauschenberg](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Fu4IX34TdDm7Urescozo35wUEILudpuyC8CM02OcKaCBAmiRnrqxxQ2FmHf4ZSj_elDVMRWA8WulAAj1AUHkBY5eOJZlFX-VubK52j4xin12DlBGCO5iDszsxkF1mqwLdwQYxGg1qQ4/s320/DSC00727.jpg) |
Ron Bishop with Bob Rauschenberg |
Bishop
echoed Byrne's sentiment. "Aside from your first observation of
generosity, I think seeing Bob's work throughout his life all the way to
the end of his life it was always cutting edge. He was always
exploring, always trying new materials, always looking for a new way to
present imagery," Bishop said.
"I
think he gave people an in-road that freed them and gave them
permission to think about art differently and just opened the door for
them," Bishop said. "He changed everything. He used everything. Anything
of today. Anything in the world was Bob's image. And if we look at his
career and the imagery he used throughout this career it was always of
the world. It was always now. He collaborated with everyone. He loved
that energy of free thinking, coming to new conclusions, not having a
set path. He said to me once, 'Art is organic.'"
I
asked Bishop about Rauschenberg's influence on local artists. "There
are people in the community that more freely incorporate collage
imagery—imagery out of magazines, world imagery as opposed to painting
everything by hand. You don't find Rauschenberg-influenced work
everywhere. But you do here, and I think that is a direct relationship
to the amount of opportunities people had in seeing Bob's work. We got
to see his work more than anyone. We got to see more of his than anyone
and that's pretty amazing. We're privileged to have been in the same
community as him.
Bishop's
love and admiration for Rauschenberg is obvious, and like many people
who dedicate their lives to another, he has made big sacrifices. By our
last interview, I sensed Bishop was a man of many layers. I wasn't sure
how to explain it, but it seemed there was more to Ron Bishop than
meets the eye. And I was right.
![Geometric Wisdom by Ron Bishop](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq1Xdmf2dvnd75SLlnHYQiKtmh7w3Rtx-KYGWumS2RmsBFnUIP3JFZXDp9quX9JMx1NcAQBF0ejBKRDAMXRPC5HJmaofkOviRT8ghj2xCQnogKPAyykqrYMxMMbnZImc05t-Iy17KIZtg/s400/Geomantic_Wisdom.jpg) |
Geomantic Wisdom by Ron Bishop, 8" x 10", acrylic on canvas |
"I'm
a painter," Bishop said. "I have a masters degree in painting from
Cranbrook Academy of Art, in Michigan." And perhaps even more
impressive, he has fifty exhibitions to his credit.
When I asked if he'd send a few images of his work, he was squeamish. But why?
"Because of the respect and reputation this gallery has," Bishop said. "I haven't shown my work in twelve years."
Damn shame, I thought. Because, good art should be seen.
![Fables of Life by Ron Bishop](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghfYjQKExNz80imxbmq3LyU8zDbmr37rZ1cXm1L-AglBItIf-LahOoqTUvMhiUebHt15owcgppzVqjhYE-G3dYIhDGxp8hT2TwsSIIAXUDW0MA7t5JxNx9T9Y4Acz2qzm5j6tLB0NNh_4/s400/Transcript_of_Magic_and_Life.jpg) |
Transcript of Magic and Life by Ron Bishop, 12" x 34", acrylic on canvas |
![Guardian of Time by Ron Bishop](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH1AAxn4OmvkC3vm6hyphenhyphen-QoYtGzS5ClozBv_y5RBtancLohLhzu0SaUsj9E0ps0nHj0P1xbRTNdVKFgl8zki1KctYh2qnSZo9DBADFCUS1zgPZHZWTBBzPuY0aZMlBB0q0LInXCHUzekfg/s400/Guardian_of_Time.jpg) |
Guardian of Time by Ron Bishop, 18" x 56", acrylic on canvas |
"So, you've been more dedicated to the gallery than your own work?" I asked.
"Absolutely,"
he said. "I have so much fun and enjoy what I do here, even though in
fact it has been a sacrifice it doesn't feel like it. I got to have six
shows with Robert Rauschenberg. It's kind of hard to miss my career as
an artist when I get to work with people with such marvelous acclaim,
wonderful people."
"My work is fairly intimate in scale. I want to bring you close into it."
I
hovered over the image and studied the colors. "My work comes from a
metaphysical place," Bishop said. "I am a colorist." And then another
revelation: "This is probably the last year of my work at the gallery."
"Why?" I asked.
"I'm at a point in my life where I'd like to catch trout and paint pictures," he said.
About
a week later, I went back to Bert's Bar. I passed the pool table with
the faded green felt and propped myself up on a stool. On the opposite
wall, the yellow sign with black letters stared back. But it was
different this time. Someone had used a magic marker to amend the house
rules: “NO POLITICS / NO RELIGION...and NO ART".
Big Ben leaned up against the bar. "So did you find any good art?" he asked.
"Yes, I did."
"Good, tell me," he said.
"Well, there's an artist, and his name is Ron Bishop."
8099 College Parkway SW
Ft. Myers Florida 33919 | Phone: 239.489.9313
Acknowledgements: Thanks to the Bob Rauschenberg Gallery, Michelle Weinberg, Ron Bishop and the Archives of American Art.
All
photo copyrights revert to the photographer except where noted. All
material copyright protected and may not be copied or
disseminated without the expressed written consent of Fine Art
Investigations, Frank Messina, Bob Rauschenberg Gallery, the Archives of
American Art and the
Artist Rights Society.