Max Shertz
Torrance, CA
I am showing the works of Max Shertz for the first time since his passing away in 2009. Max was my husband and teacher
MessageThe Artist (1933-2009)
The American Artist, Max Shertz, creator in multiple mediums, painter, sculptor, writer, poet and teacher, was called by art critics and collectors a figurative and/or abstract expressionist but it is to be noted that the artist distrusted the motives of those who tried to label the style of his work and felt very strongly that his work should and would speak for itself without the need for context or explanations.
The artist studied at the Arts Students League of New York in the early fifties. Very much influenced by Hans Hofmann, he also was much inspired by Andre Masson, the father of the expressionist movement, the German expressionists, Picasso, Klee, Matisse and many others, and the figurative work of Max Beckman.
At that early stage of his life as an artist, Max Shertz, while in New York and then in Los Angeles, befriended and/or worked with artists of his time to include Boris Deutsch, Phillip Guston, Lee Krasner, William de Kooning, Robert Rauschenberg, Richard Diebenkorn and Rafael Soyer.
An emerging talent of the modern art scene of the sixties and seventies, Art in America said of his work in 1972:
“I have followed this talent closely for a number of years, carefully appraising the obvious good taste, sincerity, elegance and distinction seen in the painted results. Improvisation enters strongly into his paintings with lyricism and line of color poetically aligned while a rhythmic movement throughout prevails. The paintings are invariably enhanced with color, luminosity and the sparkle of paint handling that is frequently startling and impressive. Viewed were oil and pastel on paper, a medium that seems to have been willed into the hands of its creator. Mr. Shertz bears constant watching lest we miss a superb young stylist whose destiny is secure in the hands of posterity.”
And The Herald Tribune wrote in 1973:
“In examining the art of Max Shertz it is important to mention the evident personal quality of his style. In general, painters strive for this characteristic in their work and many achieve it to varying degree. Yet the major portion of the art product is oft times too reminiscent of earlier greats. Not so here. Dynamic would describe his color harmony and on close scrutiny this style and touch are totally unique, if one is permitted to take liberty with the word. The result here seems to have a ‘newness’ and a privacy about it that refreshes.”
From the early 70’s to late 80’s, Max Shertz lived in New York, Los Angeles and San Francisco with his wife Edith, their four children and his Muse Christiane and their love child Jed. Eventually, Edith divorced Max and he married Christiane in 1990.
During that time, Max Shertz had successful galleries on both coasts, many private and public shows, as well as works represented in Museums.
In the early 80’s, at the height of his success, the artist grew disenchanted with the public and the art world and walked away from galleries, collectors and critics.
The artist, needing the solitude necessary to do his work decided to be reclusive for the rest of his life. Max Shertz was not by nature reclusive but to be reclusive was a fundamental necessity for him to survive as an artist. There was not only the distraction of selling paintings but also the distraction of what he would call his “entourage”.
Max loved people, was a “people person” and people loved being around him, watching him create. He was a “raconteur”, a magnificent communicator, with his studio over the years filled with people who would not only watch him paint but converse with him day and night.
Max Shertz was a master colorist, his work of all periods vibrant and electrifying. In its natural evolution, the artist’s work reached new dimensions in the early 90’s with his “Art of the Unconscious”, the process of which he translated in words in a series of essays titled “Frontiers of Ecstasy” – not yet published.
Max Shertz should not compared to other artists or gauged by his financial success. The artist’s work should be viewed without judgment, comparison, attachment or revulsion of any kind but with an open heart and the desire and will to take a journey into this artist’s creations.
Statement
MAX SHERTZ STATEMENT – 1968 – REVISED 1983
This society is wrong for me as an artist. I cannot remain unaffected. Artists reflect the culture of consumerism and they never challenge it. I disdain manufacturers of bubbles as it is art for the rich. I am trapped in a situation that seems hopeless and inescapable. That is the dependence on the bureaucratic machinery which organizes and administers the consumption of art in our culture. But it does more than organize and administer it. It preconditions the drives and ambitions of artists whose well-being it supposedly exists to promote. It encourages accommodation and surrender to society’s predominant values and in doing so alienates the artist. It hardly seems to matter that a market-oriented personality is incompatible to the true posture of art. The difficulty of constructing new and radical individuality under the consumer mentality, which is our present condition, is perhaps the deepest problem that we are involved in from an art-conscious standpoint. We must convince all who can hear us that the failure of art comes about where there is not an effective positional social force of opposition so that we will not be incorporated by the economy and converted into a commodity for promotion and profit. There is also another case to be made for the other side that is the economic self-seeking. Certainly, it has a positive. It has given us after all the possibility of exceptional material prosperity and it is understandable that everyone wants a piece of the cake. However, the market has become so powerful that it now shapes the entire universe of any kind of discourse and action in which art occurs and the distorted influence outstrips its beneficial effect. Art’s value at this point means simply its price. Economic merit equals moral merit and since the market place system swallows up all or repulses all alternatives only the economically fit are to survive. The corporate mentality which determines the tone of society has already distorted the inner life of the world in which our art is produced. Its effect has invaded everyone’s mind and character. It has subdued more than one artist’s soul. Since we are living in a money culture whose cults and rites dominate, whose bureaucratic and commercial instincts have all taken over, there is a belief that the established system in spite of everything delivers the goods. Most of the artists now reflect the culture of consumerism more than they challenge it. Where everyone has like-minded interest it precludes the emergence of an effective opposition to the system. The alienated artist, once so blunt and disobliging to business and industry, has virtually disappeared. And still in a more progressive stage of alienation he now identifies completely with the values that have been imposed on him. Besides making art, he also must make a profit on himself, sell himself successfully on the market place. The American society, in particular, is marked by the stress on personal achievement which means occupational achievement. The success story is everyone’s dream. How difficult it is for an individual to emerge from servitude once he has accepted these needs and satisfactions as his own, once they have been so deeply interjected that their repression would seem to be a whole but fatal deprivation. The reward of affluence does make the whole system immune from attack from within. If everyone is happy with the fulfillments handed down by them, why should anyone demand that things be different? Why stand in contradiction with the status quo? This contradiction no longer exists. The drift toward accommodation and surrender is tragic. Today’s ideas from every art major is that all true artists should be in New York. Transformed by the allure of material property, it is much harder to resist today than one hundred years ago and besides, social conditions forced the survival mentality. These must be seen as false conditions. These needs, these gratifications, they are not conditions which should be maintained and protected if, as a consequence, the individual’s ability to recognize society’s disease and the grasping chance to cure that disease is definitively and devastatingly impaired. The freedom of individual consciousness is embodied in the will to refuse but it is trapped when there is only one dimension and it is everywhere and in all forms. The artist must live to paint, not paint to live. He must not sacrifice his ideas to a landlord and to a costly studio when a box of color and God’s sunlight keep the soul attuned. That is all he needs for his daily bread. In this worsening situation that we all inhabit, not only is the need to make as much money as possible taken for granted but my work will be measured by my ability to make it on sales alone. Art should be a moral calling but a great deal of creative energy goes into the battle for success and fighting your way to the top. It certainly does not come from the calling of artists to make contributions to society. More than that, the intellectual refusal to go along, to play the game by the rules. Even if I am lacking in conviction I seem to appear and to be neurotic and impotent. I think the artist I am is an outcast. I stand for another way of life, one whose purpose it is to be esoteric, spiritual and a moral hero, and to create a symbolic way of life that has meaning to others. They, the subversive, will try to reduce one to a mechanical order. That bureaucratic stagnancy also engulfs other professions, intends to stifle the free self-possessed personality. Once the practice of art becomes a career like any other, once artists give up their autonomy and become compliant employees and satellites of the managerial middle man that they serve, whether consciously or not, they and I will lose our identity as an artist. The temptation to regard as freedom what in reality is a disguised tyranny is what keeps art and our society so permanently off balance. It should be obvious that radical art of necessity turns into its opposite when it agrees to play by the rules. At this moment, it no longer negates social practice but it complements it and it does preserve the constant status quo. The assimilation of creative ideals to an impersonal, calculating, contractual reality indicates the extent to which the realm of the soul and the spirit have been translated by material assimilation. Such assimilation represents a perversion of the whole idea of individualism to conform to the practices of that money culture. In this transformation, art loses the greater part of its truth. When it sinks to the level of merchandise, it loses its essence. As you can see by that condition, there will be endless compromises and conflicts arising from the fact that aims and standards have been confused beyond anyone’s comprehension. All this cultural conformism probably supports the assumption that the avant-garde artist, Max Shertz, has become obsolete or irrelevant, but the facts are that my art and other avant-garde creators’ are the future all of modern culture and mankind and we all depend on the dedication of artists such as myself in order to prevent our falling into that trap. My posture of alienation from trends is a crucial element among the balance of the forces of society and without that there is nothing to counter the drift of uniformity and conformity brought about by the bureaucratic administration of art. They are the self-determined creative beings who become just another cog in the mechanism which prescribe him a fixed route of march, little men and little women clinging to little jobs, striving toward bigger ones. I want to be a portion of the mankind that is free from this parceling out of the soul, from this bureaucratic way of life. I challenge the established order. Being an artist to me has always meant maintaining a certain independence of mind, not adapting to the competitive performance required of well-beings under the established system. Even under the course of intense personal sacrifice I still stand firm and I am alone. The artist I am is characterized by just not what I do but by how I do it and if there is a solution to my crisis, it will depend on the recovery of my effective and creative individuality to engage with and to resist the tremendous pressures in all of us to play by the rules. What we have lost is not our power of creativity but the ability to determine the psychological and moral imperative of the economic and political system in which we live. The stress on achievement and economic growth has provoked a crisis for me as an artist. It distorts the ways in which art is valued. It alters the motives for creating it. Please, dig out the truth. Remember one of us is worth and is a match for all of them. If you accept their premise you will walk on your knees for the rest of your life. I thank you all for your attention.
For the first time since his passing away in 2009 I am showing the Art of the artist Max Shertz, who lived the last 25 years of his life in a reclusive manner. Max' art goes from figurative in the 70's and 80's to semi-abstract, abstract and starting in the early 90's his art took a different turn. He wrote essays about his process creating "Art from the Unconscious". His essays are compiled under the title "Frontiers of Ecstasy" and can be viewed upon demand from collectors, galleries or other institutions - Christiane Shertz
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