Date:
December 13, 2013
Interviewer:
Jessica Csanky
Jessica Csanky: Where and when were you
born?
Ben Schonzeit: I was born in Brooklyn,
New York on May 9, 1942. I have never lived anywhere else than New York City for
more than a month or so.
Jessica Csanky: How did you become an
artist?
Ben Schonzeit: It never was a choice; I
always was an artist. It was the only thing that I did not have to learn. I was
the kid who was painting Santa Claus on the windows in the fourth grade. I grew
up near the Brooklyn Museum, which is one of the great museums of America, and
at a young age I saw mummies and other fascinating things that appealed to my
nine-year-old self. I sat on the floor with my classmates, newsprint pad,
charcoal, and pencils and created art. I also grew up surrounded by paintings
that my parents kept in the house, some of which were actually stolen during a
break-in.
Jessica Csanky: You were exposed to art
from a very young age.
Ben Schonzeit: Yes, my mother was a
nightclub singer and my father was a fireman, but he also had a wonderful eye and
owned a used furniture store for some time. He bought exciting antiques and
objects. Once, he looked at that painting and said, “You know, there is
something here. I am not interested in paintings, but I will give you 10
dollars for the frame.” The work was by the Hudson River School painter, John
Frederick Kensett. If we had that painting today it would be worth 70,000-80,000
dollars. I keep hoping that it will show up at auction.
Jessica Csanky: When you were young,
you had an injury to your eye that changed your life. Would you be willing to
discuss?
Ben Schonzeit: When I was five, I stuck
an ice pick in my eye and lost it. During that time, I had to stay in the house
and could not handle great sunlight. As a kid, I had crayons, model airplanes
and clay. With my time, I drew and made sculptures of houses, airplanes, and
boats. I developed the capacity to entertain myself and became an artist. I
think that the accident gave me some understanding of mortality from a young
age.
Jessica Csanky: How do you think that mortality
influences an artist’s expression?
Ben Schonzeit: I think that artists
ultimately want to express life and illuminate a certain celebration of what we
see and how we live. There is an excitement and preciousness to experience.
Jessica Csanky: Did you choose to study
art at a higher level?
Ben Schonzeit: When I went to college I
began as an architecture major. I already knew how to create art. My parents
thought that I would be able to make a living studying architecture, so I gave
them a year of architectural school before switching over to fine arts.
Jessica Csanky: Do you think that studying
art in school was pivotal to your success as an artist today?
Ben Schonzeit: I think so. The
challenges that my teachers presented to me broadened my vision. Most of my
teachers were Abstract Expressionists. Some were Figurative. The combination of
styles was interesting. In school I was attracted in cubist form: Matisse-like and
Picasso-like work.
Jessica Csanky: How did you get your
first professional break?
Ben Schonzeit: I went to see Ivan Karp,
who at the time was the director of the very prestigious Leo Castelli gallery
in New York. When I showed him my art, I presented a few different styles. He
said, “Do 20 more of these and then come see me.” Ivan eventually opened his
own gallery called OK Harris. When I went to see Ivan in SoHo, I showed him the
20 pieces. At this point, I was using photographs to make paintings. I was also
teaching at James Madison High School in Brooklyn. I had my first solo
exhibition at French and Company in about 1970. A dealer in Berlin saw my work,
which led to an exhibition there, and then Hamburg, followed by Cologne, and many
museums throughout Europe.
Jessica Csanky: How would you describe
your artwork?
Ben Schonzeit: I am an abstract artist
who believes that art should represent something. I love abstraction, and sometimes
even wonder why don’t I do it professionally; it is much easier to produce
[than Photorealism]. My parents used to look at my abstract art and say: “I know
it must be good because you did it, but I don’t get it.” What I have discovered
through photography is that I need my artwork to refer to something. Though Picasso
was an abstract artist, he thought that art should reference something and tell
a story. I come from the same foundation. On a similar note, Ivan Karp talked
about the universal movement of Pop: a major force that precipitated the modern
art world. He described Warhol’s work as creating “transcendent quotidian
epiphany.” I think that idea is what Photorealism is all about: discovery and
enlightenment focused on the every day. This is what I do. My work gives evidence
of my life and what I perceive life to be like. I love how great paintings
become like old friends. You sit down with them and five years later, it’s as
if you saw them just yesterday.
Jessica Csanky: What has inspired your
recent paintings, which beautifully depict blurred imagery?
Ben Schonzeit: I think that is how we actually
see in the world. Although focus might be sharp, the rest is blurry. A great
percentage of visual experience is vague and I wanted to concentrate on that. I
was looking at old pictures, because today is my son’s birthday, and a lot of the
images were out of focus. I thought, “Wow. I have got to paint these.” However,
creating these paintings is a tremendous challenge. They are very very
difficult. Essentially, I have to paint something that I can’t see, and the brain
doesn’t like this.
Jessica Csanky: Would you like to
discuss your relationship to photography: an art form that is deeply connected
to your paintings?
Ben Schonzeit: I look for paintings
with my camera. I am a serious photographer, but that comes second to being a
painter. I take photographs like a painter and think that artists see the world
differently from most people, catching things that others might not. In fact,
when I photograph, sometimes people think that I am taking pictures of nothing.
However, I approach photography as though it is a way of shining a light onto
the invisible. Photography puts me into a zone and a state of flow that is
always about the moment. It captures time, whereas a painting takes time.
Paintings are crafted by hand and are all about interpretation. They are slower
to make and elicit a different sense of time and energy.
Jessica Csanky: Is there anyone in
particular who has shaped your artistic career and path?
Ben Schonzeit: There are many people.
First, Velázquez. Picasso and Matisse would be the strongest influences, though
they are at opposite ends of the spectrum [from Velázquez]. The only reason I
am not a sculptor is because I love Brancusi too much; after him was nothing left
to do! Photographers and writers also influenced me and some of my favorite
painters are Rothko, Barnett Newman, and De Kooning.
Jessica Csanky: What is your biggest
challenge to overcome as an artist?
Ben Schonzeit: When I am creating a
Photorealist painting, I feel inclined to paint something big and sloppy.
Photorealism is a very disciplined form of artwork.
Jessica Csanky: That is why Photorealism
moves me; the patience involved is extreme, and the end product is spectacular.
Ben Schonzeit: It takes commitment.
Jonathan Novak Contemporary Art would like to thank Mr. Schonzeit for taking the time to provide such a wonderful interview. If you are researching the artist or plan to use any of the above text, please contact Jonathan Novak Contemporary Art for permission: (+1) 310.277.4997 or jnca@novakart.com
Jonathan Novak Contemporary Art would like to thank Mr. Schonzeit for taking the time to provide such a wonderful interview. If you are researching the artist or plan to use any of the above text, please contact Jonathan Novak Contemporary Art for permission: (+1) 310.277.4997 or jnca@novakart.com
