Great photos of Sarkin as taken by Liam King over the years. Check them out at jsarkin.com/photos
If you’re interested in high-resolution photos of Jon’s art, check out at jsarkin.com/art.
Great photos of Sarkin as taken by Liam King over the years. Check them out at jsarkin.com/photos
If you’re interested in high-resolution photos of Jon’s art, check out at jsarkin.com/art.
JON SARKIN
94R Main Street
Rockport, MA 01930
(978) 282-0334
cell: (978) 888-5320
jonsarkin@gmail.com
www.jsarkin.com
EDUCATION:
1967-71: The Pingry School, Elizabeth, NJ (now in Martinsville, NJ)
1971-75: Univ. of Penn. (BA, Biology)
1975-77: Rutgers Univ. (MS, Environmental Science)
1977-80: Palmer College of Chiropractic, Davenport, IA
(DC {Doctor of Chiropractic})
EXHIBITIONS (asterisk indicates solo exhibition):
Mar. – Apr. 2010: Straube Gallery, Princeton, NJ
*Sept. 2009: Blackburn Gallery, Gloucester, MA
Sept. 2009: Traylor Gallery, Princeton, NJ
May 2009: Riverfront Gallery, Millville, NJ
Sept. – Oct. 2008: The Pingry School, Martinsville, NJ
*Sept. 2008: Bait and Tackle Gallery, Gloucester, MA
*Aug. – Oct. 2008: Shrine Gallery, Gloucester, MA
July 2008: Bass Rocks Beach Club, Gloucester, MA
July 2008: Flat Rocks Gallery, Gloucester, MA
July 2008: Blackburn Performing Arts Center, Gloucester, MA
July 2008: Jane Deering Gallery, Gloucester, MA
June 2008: Bob Woolf Gallery, Gloucester, MA
*Apr. 2008: Home of Martin B. O’Connor II, New Vernon, NJ
Feb. 2008: Novas Centre, Liverpool, England
Oct. 2007: Philoctetes Center, New York
July 2007: Bass Rocks Beach Club, Gloucester, MA
Mar. 2007: Jane Deering Gallery, Santa Barbara, CA
*Sept. 2006: Bigzanda Gallery, Gloucester, MA
Apr. – Aug. 2006: Decordova Museum, Lincoln, MA
Aug. 2006: Jane Deering Gallery, Boston
July 2006: Jane Deering Gallery, Gloucester, MA
*July 2006: Earl McGrath Gallery, Los Angeles
July 2006: Bass Rocks Beach Club, Gloucester, MA
Mar. 2007: Jane Deering Gallery, Santa Barbara, CA
*Sept. 2005: Artspace Gallery, Gloucester, MA
*Aug. 2005: Bigzanda Gallery, Gloucester, MA
July – Aug. 2005: Jane Deering Gallery, Gloucester, MA
Mar. 2005: Jane Deering Gallery, Santa Barbara, CA
*Apr. 2005: The Revolving Museum, Lowell, MA
July – Aug. 2004: Jane Deering Gallery, Gloucester, MA
*Dec. 2004: For Rent Gallery, Gloucester, MA
*Nov. 2004: The Pingry School, New Vernon, NJ
*Nov. 2003: Jim Budman Gallery, New York
*July 2003: Sunny Day Gallery, Gloucester MA
*Mar. 2003: Home of Martin B. O’Connor II, New Vernon, NJ
Apr. 2003: Diane von Furstenburg Gallery, New York
May 2000: School Street Gallery, Rockport, MA
Oct. 1999: School Street Galllery, Rockport, MA
Apr. 1999: Organization of Independent Artists, New York
PRIVATE COLLECTIONS AND MUSEUMS:
Papers of Calvin Tomkins (The New Yorker Art Critic),
Museum of Modern Art, New York
Tom Cruise (Actor), Los Angeles
Graydon Carter (Editor of Vanity Fair), New York
Annie Leibovitz (Photographer), New York
Bryan Lourd (Film Agent), Los Angeles
Paula Wagner (Head of United Artists Films), Los Angeles
Kevin Huvane (Film Agent), Los Angeles
Richard Lovett (Film Agent), Los Angeles
Billy Ray (Screenwriter), Los Angeles
Robert Bookman (Literary Agent), Los Angeles
Diane von Furstenburg (Fashion Designer), New York
Barry Diller (Media Mogul), New York
Mullen Advertising, Boston
Mark Wenneker (Creative Director, Mullen Advertising, Boston)
Alice Flaherty, MD (Neurologist, Author), Boston
Ira Glass (Radio Personality), Chicago
Amy Ellis Nutt (Journalist, Author), Newark, NJ
Jennifer Brown (Photographer), Newark, NJ
Andre Malok (Graphic Designer), Newark, NJ
Tony Millionaire (Artist), Pasadena, CA
Willie Alexander (Recording Artist), Gloucester, MA
Chris Lydon (Radio Personality), Boston
Jane Deering (Art Dealer), Boston
Mac Bell (Real Estate Developer), Gloucester, MA
Chris Brady (Chart Group), New York
Frank Shephard (Chart Group), New York
Decordova Museum, Lincoln, MA
Revolving Museum, Lowell, MA
The Pingry School, Martinsville, NJ
Brian Rosenworcel (of the band Guster)
Adam Gardner (Guster)
Ryan Miller (Guster)
PUBLICATIONS:
“Zine Dreams,” New York Times Magazine, David Gross, Dec. 3. 1996
“Metamorphosis,” GQ , Andrew Corsello, Jan., 1997: http://jsarkin.com/news/articles/metamorphosis/
“Tom Cruise Buys Stroke Victim’s Story,” Mr. Showbiz, Anonymous, Feb. 2, 1997
“Cruise Could Play Stroke Victim,” E! Online, Jeff B. Copeland, Feb. 5, 1997
“Hunting for the Sark,” The Finger, Sam Pratt, Apr. 20, 1998
“Artist Unleashed,” The Penn Gazette, Susan Lonkevich, May, 1999:
http://www.upenn.edu/gazette/0597/sarkin.html
“Artistic Lightning,” Awakenings, Terri Knudsen, May 24, 1999
“Interview with Jon Sarkin,” The Boston Globe Magazine, John Koch, May 9, 1999
“Seven Questions for Jon Sarkin,” Seven Questions, Tom Mangan, Jan., 2000
“An Oscar Story in the Making: The Life Tom Cruise Just Had to Have,”
The New York Post, Peter Sheridan, March 26, 2000: http://jsarkin.com/news/articles/an-oscar-story-in-the-making-the-life-story-tom-cruise-just-had-to-have/
“A Stroke of Genius,” North Shore Weekly, Linda Roth, June 4, 2000
“Sight and Sound,” ARTnews, Elisabeth Morse, July, 2000
“An Explosion That Changed Everything,” The London Telegraph,
James Langton, Jan. 20, 2001: http://www.telegraph.co.uk/culture/4721106/An-explosion-that-changed-everything.html
“Heady Stuff,” Town Online, David Rattigan, Aug. 24, 2001
“Art out of Adversity,” Backroads of New England (Book Excerpt), Chris Spurling, 2001
“Getting a Good Laugh out of Life,” Gloucester Daily Times, Greg Cook, Feb. 12, 2003
“Stroke of Genius,” Newark Star-Ledger, Amy Ellis Nutt, Apr. 25, 2003: http://jsarkin.com/news/stroke-of-genius-jon-sarkin-is-an-artist-and-no-one-knows-exactly-how-it-happened/
“The Art of Healing: Jon Sarkin’s Kinetic Vision,” Vanity Fair,
Kevin Sessums, May, 2003: http://jsarkin.com/news/articles/the-art-of-healing-jon-sarkins-kinetic-vision/
“The Awakening of Dr. Jonathan Sarkin, Artist,” Pingry Review, Renee Walker, Nov., 2004:
http://jsarkin.com/news/articles/the-awakening-of-dr-jonathan-sarkin-71-artist/
“Life Through Paint and Canvas,” Gloucester Daily Times, Gail McCarthy, Nov. 20, 2004: http://jsarkin.com/news/articles/life-through-paint-canvas/
“Stroke of Genius,” Reader’s Digest, Ellen Sherman, Sep., 2005: http://jsarkin.com/news/stroke-of-genius/
“A Changed Man,” The Boston Globe, Geoff Edgers, June 11, 2006: http://www.boston.com/ae/theater_arts/articles/2006/06/11/a_changed_man/
“Jon Sarkin: An Audio Slide Show,” The Boston Globe Website, June 11, 2006:
http://www.boston.com/ae/theater_arts/specials/0611sarkin/
“Melding Art, Music and Words, ‘Big Top Road’ takes Cape Ann on a Ride
This Weekend,” Gloucester Daily Times, Gail McCarthy, Oct. 12, 2006:
http://www.gloucestertimes.com/lifestyle/x645236958/Melding-art-music-words-Big-Top-Road-takes-Cape-Ann-on-a-ride-this-weekend
“The Science of Art,” Neurology Now, Linda Carroll, Nov.-Dec., 2006: http://patients.aan.com/resources/neurologynow/?event=home.articlePDF&id=ovid.com:/bib/ovftdb/01222928- 200602060-00020
“Local Artist Honored for Overcoming Disability with his Art,” Gloucester Daily Times, Matthew Webster,
March 13, 2007: http://newsandtribune.com/archive/x518741152
“Painting the Mind,” Four Corners (Australia) June, 2007: http://jsarkin.com/news/painting-the-mind/
“Sarkin Photo, Explained,” The Exhibitionist, Geoff Edgers, June 26, 2007
“A Rewired Mind” (Audiovisual Slide Show), Gloucester Daily Times,
Oct. 2, 2007: http://www.gloucestertimes.com/local/x1876395009/ONE-VOICE-A-rewired-mind
“Sarkin and McHugh at Novas Centre,” Novas Website, April 27, 2008
“Artist and Poet Jon Sarkin ’71 Donates His Time and Talent,”
The Pingry School, May 6, 2008: http://jsarkin.com/news/articles/gary-baum-interviews-sarkin/
“Jon Sarkin Hosts First Art Show on Rocky Neck,” Gloucester Daily Times, August 28, 2008
“On the Brain,” Publishers Weekly, Matthew Thorton, Oct. 27, 2008
“An Accidental Artist,” Newark Star Ledger, Amy Nutt, Nov. 23, 2008:
http://www.nj.com/starledger/sarkin/
“Chat with ‘Accidental Artist’ Author Amy Ellis Nutt,” Newark Star Ledger On-line, Brian Donohue, Dec. 9. 2008: http://www.nj.com/ledgerlive/index.ssf/2008/12/union_couple_are_mega_millions.html
“Jon Sarkin: A Medical Mystery and Artistic Savant,” Adam Klappholz,
GQ On-line, Dec. 18. 2008: http://www.vanityfair.com/online/daily/2008/12/jon-sarkin-artist-savant
“From Stroke Victim to Commissioned Artist: The Curious Case of Jon Sarkin, Adam Klappholz, GQ On-line,
June 18, 2009: http://www.vanityfair.com/online/daily/2009/06/from-stroke-victim-to-commissioned-artist-the-curious-case-of-jon-sarkin
“Unbound Creativity,” mullen.com, June 5, 2009: http://www.mullen.com/2009/06/tumbling-dice-an-artists-theme-song-for-unbound-creativity/
“Unbound,” Videography by Jess Pearson, Youtube, June 19, 2009: http://www.youtube.com/watch?v=gx7gcfhyHbY
“Jon Sarkin at Mullen Advertising,” Videography by Jess Pearson, Youtube, June 19, 2009
“Jon Sarkin Donates Art to WGBH Auction,” Youtube, May, 2010
“Tour of Jon Sarkin’s Studio,” Youtube, April 27, 2010
“Life in a Day,” Youtube, July 24, 2010
“Interview with Terry Gross on NPR re: my biography, Shadows Bright as Glass, by Amy Ellis Nutt, NPR’s Fresh
Air, May, 2011: http://www.npr.org/2011/04/18/135509114/jon-sarkin-when-brain-injuries-transform-into-art
“Broad Brushstrokes Obscure a View of Brain Trauma,” (Review of Shadows Bright as Glass), Abigail Zuger,
New York Times, May 31, 2011: http://www.nytimes.com/2011/05/31/health/31zuger.html
“Mental Images,” Jan. 18, 2012, CHS Research Bulletin,, Alexandra Pappas: http://wp.chs.harvard.edu/chs-fellows/2012/01/18/mental-images/
“Jon Sarkin: Compulsive Creativity,” wineandbowties.com: http://www.wineandbowties.com/art/jon-sarkin-compulsive-creativity/
“Six People Who Gained Amazing Skills From Brain Injuries,” cracked.com, Dec. 1. 2011: http://goodmorninggloucester.wordpress.com/2011/12/01/cracked-com-features-our-boy-jon-sarkin/
“Healing Arts, Healing Hands,” Dec. 1, 2011, Today’s Chiropractic, Katie Brown:
http://www.todayschiropractic.com/Archive/FebruaryMarch2012/HealingArtHealingHands.aspx
Wikipedia entry: http://en.wikipedia.org/wiki/Jon_Sarkin
“Showcasing the Work of an Outsider Artist,” Jan. 31, 2012, Boston Globe, Cate McQuaid: http://articles.boston.com/2012-01-31/arts/31008278_1_disabled-artists-outsider-artists-scrawls
ILLUSTRATIONS:
The New Yorker
Penn Gazette
CD Cover: “Dog Bar Yacht Club,” Willie Alexander and the Boom Boom Band
CD Cover: “Light City,” Dan King
CD Cover: “Western Lands,” Dan King
CD Cover: “Easy Wonderful,” Guster
CD Cover: ”Welcome to the Carnival,” Bandit Kings
RADIO APPEARANCES:
“The Connection,“ (Chris Lydon, host), WBUR-FM
This American Life,“ (Ira Glass, host), WBUR-FM
“BBC: The World,” WGBH-FM
TV APPEARANCES:
“Chronicle,“ WCVB-TV (Boston)
“Stroke,“ Discovery Channel
“Painting the Mind,” Australian and British TV
“Medical Mysteries,” ABC-News
“My Strange Brain,” Granada TV (UK)
“Profiles,” Cape Ann (MA) TV
OTHER DOCUMENTARIES:
“What’s Your Story: Jon Sarkin at The Budman Studio, August,
2002,“ Beautiful Films
ACHIEVEMENTS:
*The rights to my life story have been purchased by United Artists for
a film to be developed by Tom Cruise’s production company. A script
has been written and a director has been chosen.
*A website about me has been established. Its URL is www.jsarkin.com.
*A biography is being written about me by Pulitzer Prize finalist Amy Ellis Nutt. Release date is April, 2011.
*In 2005, I taught a master class at The Revolving Museum in Lowell, MA.
*In 2000 and 2001, I was an artist-in-residence at the Montserrat College of Art in Beverly, MA.
*From 2005 – 2009, I have been an artist-in-residence at The Pingry School in Martinsville, NJ, where, I have taught both art and English.
*I am currently writing my autobiography.
]
*I am currently writing an illustrating a novel.
*In 2007, I was awarded a Wynn Newhouse Foundation prize for artists with disabiltiies.
*I have written dozens of volumes of poetry.
*I have produced several hours of music.
*I starred in a multimedia show, Big Top Road, at the West End Theater in Gloucester, MA in October of 2006. It featured the musicians Dave Mattucks on drums (George Harrison, Paul McCartney, Richard Thompson, Fairport Convention, Roseanne Cash, XTC), David Brown, guitar (Billy Joel, Paul McCartney), Wolf Ginandes, bass (Light City), Dan King, guitar (Light City), and Matt Webster, soundscapes.
*I was featured in the film “Polis is This: The Life and Poetry of Charles Olson,” by filmaker Henry Ferrini.
*I was in the short film “The Ghost of Dogtown,“ by film-maker Chad Carlberg.
* I wrote a concert review abiout Bob Dylan that was published on The Boston Globe website.
*I created a music video (“I Never Wanted Everything”) for the musician Sten Bowen
in August of 2007 (Available on Youtube).
*I was the guest artist for the comic strip Maakies, by artist Tony Millionaire.
*I acted in the short film “Daniel” by film-maker Emile Doucette (Available on Youtube).
*I created a mural (26′ X 5′) for Mullen Advertising in Boston.
*I did a large painting as the backdrop for a music video by the guitarist David Patterson. This video is currently in production.
*From 2008 – 2012, I’ve donated artwork to an on-air auction on WGBH-TV (Boston).
*I served on a committee at Massachusetts General Hospital in Boston that was forming an interdisciplinary program between doctors and artists.
*I did a music video with the band Guster in August, 2010.
*I’ve done two performance art pieces while the band Guster plays: one at The Metropolitan Museum of Art in New York in March, 2011, and one at the Pingry School in Martinsville, NJ in March of 2012.
EXTENDED BIOGRAPHY: What follows is a narrative of my life that fleshes out the skeletal details found in a “just-the-facts” resume-type bio:
*April, 1953: I am born in Newark, NJ. My father, Stanley, grew up in New York, the son of Russian immigrants, and became a dentist. My mom, Elaine, was the daughter of folks who settled in Elizabeth, NJ. We reside in Hillside, NJ. I had an older brother, Richard, who was born in 1950, and have a younger sister, Jane, born in 1959. My brother was a pediatrician and my sister is an editor at Vanity Fair.
*November, 1960: JFK is elected. This makes a big impression because it was so huge for my parents. Truly a “new frontier.”
*November, 1963: Kennedy is assasinated. This makes a much, MUCH bigger impression. The most indelible memory is watching his funeral procession on TV. My father came home from work about the same time as this riderless black horse with empty boots placed backwards in the stirrups went by the cameras. He started to cry. I’d never seen him cry before.
*1964: The Beatles appear on Ed Sullivan. They perform “I Want To Hold Your Hand,” which may be my favorite song. The Beatles changed my life. They really did. I don’t think it’s necessary to explain this.
*June, 1968: After Bobby Kennedy is shot, his funeral train, traveling from New York (his funeral was held at St. Patrick’s) to Washington goes right by my house, and my dad takes my brother and I to watch it.
*September, 1970: I see The Grateful Dead at The Fillmore East in New York. Jimi Hendrix died the day before, so before The Dead comes on, they put a big image of him on the screen, and blast ”Foxy Lady.” Again, I don’t think it’s necessary to explain why I’m including this.
*November, 1972: My father dies of a heart attack at age 49. This is by far the biggest thing that’s happened to me up til now. When I turned 50, man, it was like falling off a cliff.
*June, 1986: Kim and I get married. This, and the birth of my kids, is the best thing that’s happened to me. There’s really no contest.
*January, 1988: Curtis is born.
*August, 1989: I have a stroke. I don’t know what to say about this. I guess I should say something.
*August, 1991: Robin is born.
*August, 1994: Caroline is born.
*October, 2004: My brother is killed in a plane crash. How bad did THIS suck?
I don’t like to end on this note, I mean, after all, my life has not sucked totally, and ending on this note sorta makes it seem that way, doesn’t it? The whole art thing is pretty cool, don’t you think? And my kids are great. And Kim, well, she ROCKS!
To Whom It May Concern:
As Head of Fine Arts at The Pingry School in Martinsville and Short Hills, New Jersey I am writing on behalf of artist Jon Sarkin. I am a professional artist and have chaired Art Programs in Atlanta, Georgia, in London, England, and in New Jersey just outside of Manhattan for a total of over 27 years. I also founded a non-profit Art Collective and I have worked with a number of Artists Foundations/Organizations throughout my career as an artist, facilitator, and curator.
I first encountered the work of Jon Sarkin on the occasion of the opening of my school’s new Fine Arts Facility in 2003. We were holding an alumni art exhibition to commemorate the opening of this new space, and Jon sent two paintings/collages on small canvases for this exhibit. After seeing his work I invited him to do a solo show in our gallery. I curated that show selecting from hundreds, if not thousands, of his pieces.
Over the course of the last few years, I have gotten to know Jon Sarkin well. I have followed the evolution of his art, his poetry, and his performance based work including his music samplings. In my opinion, his art embodies the artmaking process in its most basic and purest sense. Particularly, as a teacher, I recognize the congruity between Jon’s persona and what I try to communicate to my students about artmaking. His unrestrained creativity, complete dedication, and total immersion in his work resonate with my students. His work is relevant and timely; and at the same time it expands on ideas found in dada, the fluxus movements, and the meanderings of Joseph Beuys.
Ironically, it is Jon’s compelling story that has perhaps tended to cause the art establishment to categorize and confine him. In many ways his art is actually still to be discovered. Jon’s story, featured in several radio and television documentaries and the subject of both an upcoming movie and an upcoming book, is extraordinary and is worthy of all of the attention it has attracted. Yet this focus on his life can cause one to look less intentionally at his art. Because Jon spends a week each year with our art and literature students, I have come to know and experience his art in a way that few have had the luxury of doing.
Some have labeled Jon as an Outsider artist due to his lack of formal art training. After studying Architecture for one year he became a chiropractor and practiced this until his stroke and near death. During his recovery he began making art and has thrown himself into his work ever since. On any given day Jon may summarize his artmaking as a curse or as a blessing. Jon would describe this transformation as “art choosing him” not the other-way around, but this would be a simplistic explanation. Looking into Jon’s background one sees that his propensity to make art can be found as far back as his prep school days. His sister worked for years for Andy Warhol at Interview Magazine, and one of Jon’s major influences is the enigmatic Warhol. Like many of the Outsider artists, Jon Sarkin is untrained in the traditional sense but I assure you that Jon is neither naive nor uninformed. I had the privilege of being close to the epicenter of the outsider art movement in the United States in the 80’s, having been one of the first to offer Bill Arnett a show of the southern visionaries that ended up in the Saatchi Gallery retrospective many years later. There are few worthwhile corollaries between Jon and these artists. His understanding of contemporary art is insightful and sophisticated. He is well educated and well read. However, like the vernacular Southern artists, Jon’s work is unfazed and untainted by the art marketplace. He unconventionally uses materials to fit his vision. Financial gain, status, or popularity has not polluted or derailed him. He has resisted being categorized by public opinion.
Yet Jon is not making work in isolation or in a bubble. His cartoon like imagery, widely popular, is uniquely his own, but over the last two years he has shown his versatility by executing a series of totally abstract paintings that are most easily aligned with Color Field painting or the more cerebral encaustics of Brice Marden. Executed primarily with prisma-pencil on canvas, they have a sensibility not so removed from Sol LeWitt’s repetitive mark makings or the scribbles of Arnulf Rainer minus the self-portrait underneath. In the past few years Jon has also been focused on making large-scale portraits. Using his unorthodox approach of applying prisma-pencil to canvas, Jon has explored the genre of portraiture by recreating close-ups of Vermeer’s and Manet’s as well as using his own family and friends as subjects.
A great deal has been made of Jon’s compulsion for making work. Perhaps the change from chiropractor to making art 8 or more hours a day, 7 days a week is significant, but these are the habits of many dedicated artists. When we first featured Jon’s work in a solo show in our Arts Center, my reaction was to depict his prolificacy by plastering one wall of the gallery with over 100 images. This was after I spent hours wading through piles of work at his sister’s and his mother’s houses when preparing for the show. Jon’s attitude was simply “Take what you would like.” But in retrospect this curatorial approach did not best facilitate the interpretation of Jon’s work. Maybe it helped the general public understand Jon in a superficial, novel way, but it in no way revealed the brilliance that I have come to recognize in him. It is only by looking singularly at many of his works over years that I can now see the delicate balanced achieved by Sarkin between his immediate, often unedited, stream of consciousness way of working and the almost Van Gogh like obsession with ideas and images. He works and re-works material as he digests his ideas and then “puts the pedal to the metal”, a description Jon would like because quotes of blues and rock and roll music run all through his work. One can also find juxtapositions of race, politics, religion, and art subculture running throughout his work.
Much can also be gained by looking at his use of language. His iconography is intriguing as visual imagery, like Twombly’s work, but it is the conceptual nature of his use of language that has drawn me even further into Jon’s circle of admirers. Just as John Cage radically organized elements of sound and silence, Jon Sarkin establishes a rhythm or pulse linguistically in his work that is best experienced when you verbally walk through one of his paintings. Over the past few years of Jon’s yearly weeklong visits to our school, I have asked Jon to recite his poetry. (He is equally prolific as a writer as he is as a visual artist.) He often begins a class reciting the lyrics to one of his favorite Tom Waits’ songs or a famous passage from one of several poets whose works he has committed to memory. When Jon begins to recite from his own works, it is like he is polishing off a well-crafted sentence with a period, his paintings become much clearer and richer.
Perhaps one could find fault with the overwhelming volume of works in Jon’s oeuvre. He produces hundreds of artworks in any given week and many are a conservator’s nightmare. Any savvy New York artist would recognize that the quantity of his output could be an immediate marketing problem and this has dissuaded many a curator from trying to summarize Jon’s work in a comprehensive show. Most get too caught up in Jon’s life story, or in trivial facts, such as that Robert (R.) Crumb is his favorite artist, to get the true genius of his art. Personally I am convinced that his work is unique, full of content, and it is significant and contributes to the artistic canon. To date, Jon remains the most significant undiscovered discovered artist I know.
Sincerely,
Miles S. Boyd
As Senior Curator of the DeCordova Sculpture Park + Museum, a museum of modern and contemporary America art in Lincoln, Massachusetts, USA, I am writing on behalf of artist Jon Sarkin. I have known Mr. Sarkin, and have carefully followed the progress of his work, since 2005. I have conducted numerous studio visits with the artist, and attended several exhibitions of his work at commercial gallery and alternative space venues. In 2006, I was privileged to include Mr. Sarkin’s work in The 2006 DeCordova Annual Exhibition, a yearly group show focused on important recent work by emerging and established contemporary artists in the New England visual arts community. For the 2006 Annual, we staged a conceptual and interactive recreation of Mr. Sarkin’s studio, an installation that contained several hundred of his drawings, paintings, poems, and musical compositions. Subsequent to that show, we acquired several of his drawings for our Permanent Collection.
Without any formal art training, Mr. Sarkin has managed to create a profound and prolific body of work over the last decade. His creativity is truly unbridled, and manifests itself in several simultaneous performative and visual arts media. I am particularly impressed by his drawings, exhibited both as single pages and as artist books. These energetic and eloquent marker drawings synthesize Mr. Sarkin’s influences and pre-occupations: automatic writing, comics and cartoons (particularly Saul Steinberg and Robert Crumb), Picasso’s sculpture, concrete poetry, music (especially free jazz), word games, Cy Twombly, Robert Rauschenberg, entropy, palimpsests, landscape, and architecture. Mr. Sarkin wrests order from this chaos to reflect the unfiltered process of human creativity that releases us from the bonds of time and space.
And, I hasten to add, in all my dealings with Mr. Sarkin, I have found him to be unerringly professional, responsible and responsive, articulate, intellectually generous, and kind. It has been a joy to work with him.
I recommend Jon Sarkin and his work to you with the greatest possible enthusiasm. Should you wish to discuss his talents, achievements, and character, please do not hesitate to contact me via e-mail: ncapasso@decordova.org, or direct phone: (781) 259-3617.
Thank you for your consideration.
Very sincerely yours,
Nick Capasso, Ph.D.
Senior Curator
DeCordova Sculpture Park + Museum
51 Sandy Pond Road
Lincoln, MA o1773 USA
(781) 259-3617
To Whom It May Concern,
I am writing on behalf of artist Jon Sarkin, from Gloucester, Mass. U.S.A. Currently, I am writing a biography of Jon for Free Press, a division of Simon & Schuster, based on a multi-part series I wrote last year for my newspaper, The Star-Ledger (Newark, N.J.). The series, called, “The Accidental Artist,” was a finalist for a Pulitzer Prize in Feature Writing in 2009. I firmly believe that honor was bestowed not only because of the extraordinary story of Jon’s recovery from a devastating stroke, but because of the sheer brilliance of Jon’s artistry.
I have known Jon for some seven years, meeting him at his first major art show in New York City at the Diane von Furstenberg Gallery. I was immediately struck by the abundance of Jon’s work, but even more so by its originality, his intricate juxtaposition of text and image, and the often wry or ironic cultural commentary embedded in each piece.
Since that time, Jon’s art has become deeper and broader. His work now spans many varied genres, from collage to portraiture, cartoon caricatures to abstract landscapes, and is nothing short of breathtaking. Jon is a truly gifted contemporary artist. And the reason has little to do with his stroke. Art gave Jon a way to more fully express himself after his brain betrayed him, radically altering his ability to walk, to feel, to hear and to understand the world around him. And we, as the audience for his art, are the richer for it.
Warmest Regards,
Amy Ellis Nutt
Staff Writer
The Star-Ledger
One Star-Ledger Plaza
Newark, NJ 07102-1200
(973) 392-1794
This is a Bio i wrote in 1999
4/27/53: born jonathan mark sarkin, in newark, nj. my brother, richard, was born on 7/3/50. he’s a pediatrician in buffalo. my father was born in nyc in ’23. my mother was born in bkln (?) in ’29. my dad married my mom in ’49. they were fixed up when they 1st met. my father was a dentist in nj. his parents emigrated to nyc probably in the 1910′s from estonia (my grandfather) and somewhere in th former soviet union for my grandmother. they had strong russian accents and called me “JON-I-TUN”. “jonathan”, by th way, means “god has given” in hebrew. is this cool? my dad grew up in th bronx. my mom’s parents were from elizabeth, nj i think. my maternal grandfather was in th juke box business, and i used to make a list of 45′s i’d want and he’d give them to me. i had (and still have) an impressive collection of 45′s. i think one reason i love music is because of all those 45′s. i used to listen to em over and over. i remember getting a copy of “i want to hold you’re hand.” man, i wore that sucker out: “oh yeah i tell ya somethin i think you’ll understan wen i say that somethin i wanna hold yer han i wanna hold yer han i wanna hold yer han lemme be yer man an please say to me lemme hold yer han i wanna hold yer han i wanna hold yer han an wen i touch you i feel happy inside it’s such a feelin that my love i can’t hide i can’t hide i can’t hiiiide yeah you got that somethin i think you’ll understand whn i say that somethin i think you’ll understand an when i touch you i feel happy inside it’s such a feelin i wanna hold yer han”
11/53: we move to my home in hillside, nj, where i live until i go to college in ’71. my mom still lives in this house w her 2nd husband. thanksgiving has always been a big deal in our family, and i think that we moved to our house around this holiday is a reason. plus family’s real important to us, more so than th avg family. anyway, this house is a big deal for me, highly sentimental & “iconic”
4/26/57: my earliest memory, which is my earliest memory because when i was very young i intuited that this was my earliest memory, so it was worth saving (why i thought this was valuable to do i never really thought about), was th day before my fourth birthday. i am in our den in my home in hillside, nj. it is a sunny day as i remember th light shining into th room.
4/58: my brother and i begin collecting baseball cards. these were very important to me, and remain as an icon. icons like this are crucial in my art, e.g., elvis, superheros, rock n roll, cacti, chrysler bldg, art deco, king kong, tailfins, cadillacs, movie stars, et al
1/59: i remember going outside during a snowstorm. th snow hits my face and feels like needles. it’s sensory perceptions like this (all 5 senses) that i realize i was hypersensitive to. i was/am also hypersensitive to emotional stuff. th “art connexion” here is obvious
4/20/59: my sister, jane, is born. you ever read th book “catcher in th rye”? jame is phoebe to my holden caulfield
11/60: jfk is elected. this is a very big deal in my house. even as a 7yr old, th energy of newness and vitality are palpable. his “utopian dream” begins for me. (see ’68)
7/62: i go to sleep-away camp for th 1st time. i start to listen to th radio cos th counselors @ camp are into it. pop music becomes a very big deal for me. i remember “rag doll” by th 4 seasons, and “surf city” by jan and dean. <> even before ’62, i was into music: “th twist”; harry belafonte; th kingston trio. my parents were really into show tunes, so i litsened to a lot of south pacific, sound of music, west side story, my fair lady, oliver, et al. anyway, music is a crucial CRUCIAL aspect to my art. you see, my “art” is more than just painting/drawing/sculpture. it’s my writing. it’s my spoken word audio stuff. it’s MY THOUGHTS.
9/62: i start 4th grade in a private school, th pingry school in elizabeth, nj, and the influence of this place on me, which i attended fr ’62 to ’71, is profound. everyday in chapel, i saw our school motto: “THE FEAR OF THE LORD IS THE BEGINNING OF WISDOM.” this is fr th bible. now, this is a heavy trip to lay on any1, let alone an impressionable kid like me. no, VERY impressinoable. i never really understood what that meant. until my stroke, that is. it’s funny/ironic how it takes adversity to give one insight. i guess there’s no free lunch, huh?
11/63: jfk is assasinated: VERY VERY big deal in my house. i see my father cry for the 1st time as he sees that black riderless horse at his funeral on tv. things are never quite the same.
’64: i am aware of th beatles: VERY BIG DEAL. their influence on me, culture, thought, you name it, is inestimable. they were at th right place at the right time. ALWAYS always a good strategy. hell, it’s working for me!
’65: music continues to be influential, e.g., beatles, byrds, stones
’66: music: beatles, byrds, stones, lovin spoonful, et al
’67: music: hendrix, jefferson airplane, sgt peppers. the psychedelic era looms large for me. HUGE.
4/68-6/68: king’s assasination, rfk’s assassination, democratic convention in chicago, vietnam, et al: i’m only 15. i REALLY think america is falling apart. i REALLY think there’ll be a revolution, an overthrow of th govt. i think, before all this stuff that’s about to go down, that there’s a chance for jfk’s “utopian dream.” i was not alone in my thinking here, either. whatever uotpian dream jfk had set up in my head (or my parents had set up in my head, and fostered by th “accentuate th positive” gestalt that was such a part of th ’50s for me) died in ’68.
8/69: woodstock: again, i cannot emphasize its influence. you see, for most baby boomers, th 60′s was just another decade: they grew their hair long and smoked pot and protested th war and listned to psychedelic music et al. mostly cos they were young and everybody else was doing it. but now they’re doctors or lawyers or stockbrokers or whatever, and that ENERGY of th 60′s is no longer with them. but it IS with me. and i no longer have to sublimate it as i did when i was a chiropractor. in retrospect, i see that i was incredibly informed by th ’60s. for example, in th fall of ’69 i went to visit my brother, who was then a sophomore at college. i was 16 at th time. he had all these ZAP comix, which i had never seen before. i was into art when i was a kid, and these comix blew my mind. i remember spending hours tudying them: rick griffin, r crumb, s clay wilson, moscosco, spain, rick williams. i never stopped my obsession with them. i owe a lot of my graphic style/sensibility to underground comix, especially crumb and griffin. i saw the movie CRUMB. unbelievable. i still study th way these guys draw. eyeballs, e.g.
9/70: i see th grateful dead for th 1st time. talk about being informed/influence by th ’60s. i was at a time in my life where almost anything seemed possible; now i’m in a time in my life where EVERYTHING seems possible. anyway, on looking back on seeing th dead, one thing stands out: th limitless potential/power of “morphing” music with visual images, and now i can “distill” it down to sound and light. i saw th dead @ the old FILLMORE EAST in nyc. they used to have light shows there. and they’d make th light show correspond to th music. so, during th opening act, TH NEW RIDERS OF TH PURPLE SAGE, this connection is being made obvious. before th dead come out, they show this silent movie of an old locomotive steaming through snow-covered traacks. then th dead start playing one of my favorite songs, CASEY JONES. i am indelibly impressed. i think my artistic interest in combining sound and light comes from understanding just how synergistic it can be. e.g., grateful dead.
9/71: i matriculate @ univ of penn
11/72: my father dies of a heart attack @ age 49. for th past 27 yrs, i’ve divided my life into 2 periods: pre-this and post-this. this was/is/will be th most transcendent, transforming, catclysmic, you-name-it event in my life. i guess th stroke vs. my father’s death is in a photo-finish for this distinction, but whatever comes out ahead is wholly moot. i was 19 when he died so i’ve spent TWENTY-SEVEN YEARS w/o him TWENTY-SEVEN YEARS!!!!
9/73: my mother remarries BILL ZHEUTLIN
9/75: i start a master’s program in environmental science @ rutgers univ in new brunswick, nj. i need a place to live and i see a sign in th cafeteria advertising an opening for a roommate. the house is about forty minutes away in th country. th guy sez they’re all vegetarians and into meditation. i am totally psyched! i have hippie pretensions (but i’m not a true hippie; i’m a college grad, upper-middle class and attending grad school), so i immediately check this place out & live there for two yrs. HIGHLY FORMATIVE. i learn lots about nutrition and meditation, and these guys are all into chiropractic. i start going to a chiropractor, and next thing you know, it’s ’77 & i’m going to chiropractic school.
9/77: i start PALMER COLLEGE OF CHIROPRACTIC in davenport, ia.
6/80: i meet dr. bruce hedendal, a chiropractor in gloucester, ma, at a seminar in nyc. i am impressed by this guy. i decide when i get out of school, i’m going to work for him. this is why i move to cape ann. my relationship w hedendal sours in ’82, but i’m mentioning this because w/o meeting hedendal, i would’ve never moved to cape ann, met kim, had our kids, etc
10/80: i graduate fr chiro school
10/80: i get married for th 1st time. i feel uncomfortable talking about this. but so what? th period i am involved with JANET, from ’76 to ’82, makes a big, lasting impression on me. much of th “angsty”, chaotic, dark energy that is expressed in my art comes from how i relate to this. not to say this energy was non-existent before i met her. but she sure FACILITATED it. i was too screwed up when i was with her to express it in any productive/creative way, even though i still was a chiro.
10/80: i move to cape ann
10/82: i open the HAMILTON CHIROPRACTIC CENTER in south hamilton, ma. i was TOTALLY into being a chiro. i’m incredulous when i look back at my level of commitment & dedication. that sure ain’t me now! i remember loving being a chiro. man, i was so into it! i was a good chiro, too. i got really good @ treating jaw (“TMJ” — temporomandibular joint) disorders. i went all over th country taking and giving seminars. i usd to TEACH seminars to other doctors! cool! i taught at minneapolis, atlanta, chicago, orlando, nyc, ma, omaha, and nj. i used to wear a suit, drive a saab, and man, thinking about how i was in my office, i can’t believe it. i was respected in my community. i was DR. SARKIN. i took X-Rays; i made sick peole well; people came to me in pain & i took their pain away. i wished i kept all th letters overjoyed patients wrote to me over th yrs. i really made a difference in a lot of people’s lives. how can you put a price on taking someone that couldn’t work and healing them so they could return to work? it was very rewarding to make miserable people happy. i try not to look back, but i’m not always successful. do i miss it? like i said, i try not to look back. i was into it lock, stock & barrel. hassles w patients. hassles w staff. hassles w insurance companies. bring em on!! i loved th GAME: can you make th benefits of chiro outweigh th costs?
4/83: i meet kim. this is th best thing that happened/is happening/will happen to me. i have quite an active imagination, but it fails miserably when i try to imagine something better happening to me than being married to kim. th movie about my life wins an oscar for best picture? big deal! someone sends me a check for $1,000,000,000? big deal! no, these are very, VERY small potatoes compared to meeting kim, marrying her and having kids with her. i can safely say that th next event in my life that will compete with kim and our kids is our kids gettng married and becoming a grandfather. meeting her has made material things take their proper place in my back seat.
6/26/86: i am married @ stillington hall in glo
1/87: my last full year before th 10/80 “cerebral excitement” (CE) resulting in my stroke
1/16/88: curtis david is born @ beverly hosp birthing ctr
10/88: golf course incident resulting in stroke
8/89: stroke
11/89: i am released as an inpatient
5/90: i return to work
8/18/91: robin page is born @ bev hosp
8/2/94: caroline ruth is born @ bev hosp
6/94: i sell chiro practice
8/94: i retire fr chiro practice
11/95: i rent my gloucester art studio
1/97: th article in GQ appears
2/97: cruise-wagner (parmount) agrees to purchase my life story w th intent of tom cruise depicting me
12/97: th screenwriter and cruise-wagner exec spend about a wk in cape ann
6/99: i am on wbur’s “connection” radio show w christopher lydon
In 2006 Sarkin was nominated for a Wynn Newhouse Foundation award for artists with disabilities. As part of the application, he composed the below essay to describe his disability. Sarkin ended up receiving one of the runner-up prizes at the awards ceremony in New York in the spring of 2007.
HOW MY DISABILITY HAS INFLUENCED MY WORK
There is no facet of my work that has not been profoundly impacted by my stroke. Because of this fact, any note of how my disability has influenced my art is very difficult. It is hard to describe this precisely because my disability has affected every aspect of my life so pervasively. It is extremely challenging to be objective about a thing as subjective as yourself.
Why am I unable to be reflective about how my stroke affected my work?
Our physicality and perception are how we access and negotiate and navigate our environment and surroundings.
When these were paradigmatically and physically altered, so too was my understanding of, and my relationship with, the outside world.
There exists a connection with the external world and my “internality” that is truly intimate. TRULY.
When this balance is disturbed, the resulting disequilibrium changes everything. EVERYTHING.
How this intimacy has been disquieted informs every aspect of my art. One of the things that is most apparent is its sheer abundance. I create in a fever, in a mad torrent of ideas and images. This directly relates to my inability to censor the floodgates of my imagination. Another part of my work is its stream-of-consciousness “texture.” This correlates with how my neural architecture has been scrambled by my stroke, resulting in an inability to think linearly and logically. Also, because my stroke has caused me to be obsessive, my art involves working with the same images over and over and over again. suffer from a syndrome I like to call “obsessive-compulsive-manic-depressive-creative-disorder.”
I see everything differently now. Much of this has to do with my double vision. When one’s vision is doubled, i.e., when one cannot focus on the same image with both eyes, one loses depth perception. I see objects quite differently now, and this is translated into how I draw them. My sense of color is changed, too. My perception of everything, including color and shape, and, come to think of it, sound and smell and the way things feel, has been cataclysmically and deeply altered.
This is why it’s hard to explain how my disability has influenced my work.