His name is Roy Lichtenstein. He had that black outline—it reminded me of Leger somehow. Blum called Warhol and went to see him. Maybe doing them better than I was doing them. But Blum remembered seeing a torn-out magazine photograph of Marilyn Monroe stuck to the wall with pins as he walked into the studio.
I showed them to Dennis. He caught the pop sensibility before there was a pop sensibility. Roy had finished with the cartoons of women and he was working on landscapes. There were two, both good, a reductive one called White Cloud , which I bought, and Dennis bought the other, Sunset , a great masterpiece.
We left feeling like champions. Peggy was really interested in painting. She was the primary model for Gernreich, who had a studio around the corner from the gallery. He lives in Newport. I never had that much spare cash, but I did what damage I could. After Hopps left Ferus to become a curator you married his ex-wife, art historian Shirley Hopps and had a son, Jason Ferus Blum, famous now for producing Paranormal Activity and Insidious. He also collects.
Do you advise him? I advise him. I love that he has been able to carve out a place for himself in an unforgiving profession.
The guy was incredibly charming and available. Interview with Peter M. Brant, Interview Magazine , April 19, And for thirty-four years later the art dealer kept his promise to Warhol that the series would stay together. As a result, small white shelves ran along the perimeter of the gallery, intimating the shelves of a grocery store. Why not? Soon after completing the Soup Can series, Warhol discovered silkscreen, allowing him a mechanical and commercial process to reproduce his work.
So I thought L. This was So I came to L. But the most interesting gallery to me was the one that was started by Walter Hopps and Ed Kienholz a few months before I got there: the Ferus Gallery. You might have a conversation with him. BLUM: Exactly. BLUM: It was completely chaotic. Number one, they represented around 60 people; and number two, the space was really uninteresting.
It was behind a little antique store on La Cienega Boulevard. Who comes by in a regular way? Vincent Price came in. Gifford Phillips came in. An astonishing lady by the name of Sayde Moss came in. Both Dennis and James Dean spoke regularly with Vincent, who was really encouraging of their interest in art. BLUM: Yes, she was the backer. In any case, I found a space across the street from where Walter and Ed were located, and we were off and running.
Then the next thing I did was reduce the number of artists that the gallery showed. I took a lot of my cues from Leo, and he was just incredibly generous.
Just to tell you one story: I came to New York around and went to see him. He had just begun in the same way that I had just begun. Can we do something? Jasper supports my entire gallery. I have a waiting list for the work of three or four people.
Here is his phone number. Call him and maybe something will happen. He liked to develop relationships with other dealers who he knew really understood what he was doing.
As I walked into his place, I saw a [Kurt] Schwitters collage in the entryway that he had traded a dealer for, and then a long table with his sculptures—the light bulb, the flashlight, the ale cans. Nothing in my career up to that point had prepared me for what I was looking at. The Schwitters collage and your sculpture—we could do a show in my gallery in California.
So I had that show with Schwitters and Jasper. I kept two sculptures and sent the rest back. But making an actual sale at that time was a rare occasion. BLUM: A rare occasion. I mean, you could hardly do it. That helped a lot.
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