Arts Desk

Margaret Bowland v. The United States of America

When Margaret Bowland entered one of her portraits into the Smithsonian's annual portrait contest, it seemed the worst that could happen was that she might lose. She did far better than that: In the National Portrait Gallery's 2009 Outwin Boochever Portrait Competition, Bowland's submission, a 2008 figurative painting called Murakami Wedding, won the People's Choice award. But that was before the National Portrait Gallery stole her painting—or so Bowland alleges. On Jan. 20, she filed suit against the National Portrait Gallery, the Smithsonian Institution, and the United States of America.

The story begins in 2008, back before things went south between Bowland and Santa Fe–based art dealer Klaudia Marr—a third party who is not named as a defendant in the case. Marr was showing the painting at her eponymous Santa Fe gallery in 2008 when it came to light that it had been accepted in the National Portrait Gallery's annual portrait competition. The museum picked up the painting at Marr's gallery following the show's run.

A few things happened over the course of the painting's sojourn in Washington, according to both Bowland and Marr, with whom I spoke in October 2010, when Bowland's allegations first surfaced. During the competition's run, Bowland broke off her relationship with Marr, she said. And at the same time, Marr sold Bowland's painting, according to Marr. They disagree fiercely over who it belongs to. The only thing that's not in question is who has it. If possession is nine-tenths of the law, then its owner is Santa Fe–based collector David Naylor.

Back in September 2010, when the National Portrait Gallery looked to return the painting to Bowland, museum registrars weren't able to reach her. Bowland says the museum tried to contact her using an old email address that she no longer checked. So the museum reached out to Marr, who directed the museum to send the painting to Naylor—the collector to whom she had sold the painting. In her legal filing, Bowland claims she has never received payment for the painting.

So why isn't this the case of Margaret Bowland v. Klaudia Marr? That's the question vexing Artinfo's Julia Halperin, who asks what this has to do with the rest of the United States. But if the feisty comments section below Halperin's story are any indication, there are any number of painting fans ready to file an amicus brief on Bowland's behalf.

"Margaret Bowland is one of the best painters working today in America," writes commenter Richie Fine. "For the readers that are not familiar with Margaret Bowlands work—they are stupendous! They belong in the Metropolitan Museum of Art," writes commenter Carolyn Kramer. Many more of the comments are directed at Halperin. ("Julia Halperin = idiot," writes Kramer. Not content to merely demean Halperin, she writes a followup comment: "Dear Mr. [Andrew] Goldstein, I would like to call for the immediate resignation and firing of Julia Halperin, your assistant Editor.")

D.C. art blogger Lenny Campello weighed in in the comments: "This is easily one of the most offensive pieces of drive-by, personal attack writing that I have ever read, and I am not only shocked at what I have read here, but surprised that the author’s editor did not see the disturbing consequences of taking unnecessary and brutal personal attacks on the artist."

(Perhaps he meant this comment from Halperin: "We’re not sure what’s more shocking here: that the painting in question was exhibited at the National Portrait Gallery, that it won the People’s Choice Award in the museum’s 2010 Outwin Boochever Portrait Competition, or that someone actually purchased it.")

News-bloggers and art critics say things like that all the time. What's so bad about Halperin's comments? That has to do with what makes Bowland's painting a People's Choice in the first place.

Fans of painters—still life-rendering, live model-drawing, nude figure-representing artists—sometimes cop a Nixonian pose. They appear beset on all sides by barbarians, in the form of performances, installations, and interventions. The Julia Halperins of the world represent a threat to this silent majority, the fans of art who still put a premium on beauty. They adore paintings like Bowland's and feel baffled that critics often give this work short shrift. (The New Criterion is the leading publication for this lonely voice in the wilderness.) Their victimhood status makes the difference between a fan of a painter and a fan of a painter who is willing to savage a writer who questions the painter.

So when a figurative series by a North Carolina–born white artist that features black girls in white-face paint strikes Halperin as self-evidently "unsettling," it puts fans of the traditional on the defensive. Bowland's supporters don't see crypto-racism or anything like a blinkered approach to race issues. Fans of this kind of work see art cultivated through talent and training, not conceptual trickery—art whose quality can be measured, in place of art whose meaning must be guessed at.

What does any of this mean for the National Portrait Gallery? Fans of traditional painting—call them Wyethians—are probably the museum's biggest constituency. After all, the National Portrait Gallery is devoted solely to artworks that look like famous people. It's a conservative institution, in that it mostly emphasizes subject over artist or artwork and caters to accessibility. For example, in its museum wall text, the National Portrait Gallery makes it a practice to retitle artworks so their meaning is utterly unambiguous. Bowland's Murakami Wedding was rechristened Portrait of Kenyatta and Brianna at the museum.

And so the conflict between Bowland and the National Portrait Gallery might be less interesting than the potential conflict between Bowland's supporters and the National Portrait Gallery. Observers have, after all, seen what a few thousand phone calls can do to a body, and Bowland's work appears to attract the right temperament for manufactured outrage. ("Ms Halperin has no place being associated with Artinfo. Shame on her and shame on you for printing her article.")

Fortunately for the museum, they have been spared the headache. It doesn't seem that Bowland's bad turn has embittered her fans against the National Portrait Gallery—not with someone like Julia Halperin to beat up on instead.

Blog Widget by LinkWithin
  • Carolyn Kramer

    Dear Kriston- This was my original letter to Andrew Goldstein who is no longer with artinfo.

    I want to thank you for this article. You have redeemed my faith in journalism.

    I wish you were able to interview Margaret Bowland - she is a professor at The New York Academy of Art. My partner is an MFA student there. Margaret Bowland stands alone in my opinion of her brilliance. She truly deserves to be recognized by the masses especially when charlatans and shopping mall painters like Damien Hirst are making gazillions of dollars for having his staff paint dots. What has happened to the art world. Clement Greenberg would be rolling in his grave to see what has happened to the art world. It's just one big brand now like H and M or the Gap or Pottery Barn. It's reprehensible that a painter that is so inimitably talented is not recognized like a John Currin or a gag me right now, Tracy Emin. Margaret deserves to be in the canon of art and sadly, unless she meets Larry Gagosian or Charles Saatchi, that may not happen.

    Andrew Goldstein
    Executive Editor, Artinfo.com
    agoldstein@artinfo.com

    TO: Andrew Goldstein Executive Editor, Artinfo.com

    Dear Mr. Goldstein,

    I would like to call for the immediate resignation and firing of Julia Halperin, your assistant Editor. The article (trash) that Ms Halperin wrote about Margaret Bowland, American painter, belongs on Page 6 of the Post, not on such an esteemed periodical as Artinfo. Her piece is slanderous; it’s also an uncalled for diatribe about Ms Bowlands EXTRAORDINARY portraits. If Ms Halperin ever took the time to meet Ms Bowland or see her work she would be writing Ms Bowland a retraction and an apology as we speak. Few painters today are brave or courageous enough to tackle difficult issues – Damien Hirst is a sham! But Ms Bowlands paintings are raw and real and they address so many issues that it would be pointless to list them all here. Ms Halperin has no place being associated with Artinfo. Shame on her and shame on you for printing her article.
    You owe Ms Bowland an apology immediately!

    Sincerely,

    Carolyn Kramer

    Brooklyn NY

  • margaret bowland

    Dear Kriston,

    Your position is intriguing. You first posit folks who like my work as Nixonians. Easily the equivalent of saying they are friends of Hitler. And yet, you support Ms. Halperin's position that the work is bad because it is "unsettling". I did not know that the mission of art was to settle. Her position, in support of power is , well, conservative.

    If your understanding of any representational work is that is is conservative, well how can anyone simply talk to you. I am, as you have pointed out , am from NC. I have spent a good part of my life in the company of folks I loved but whose opinions were so stillborn that they simply identified on every count with power.

    By any understanding of what happened to me with this sad show at the NPG, things went wrong. As I understand at this point what happened is sadly simple. My relationship with Marr was new and interfaced with my entry into this competition. She understood the directives of the situation from the get go. I had a conversation with the registrar of the competition about Marr in the early stages. Lovely woman. Everything understood. Here is the jist of it all. She was a contract registrar because the contract registrar was ill. This usual lady used by the NPG came back on board in time to give my work back to Marr. She did not know me from Adam's house cat. Even though I had been in a relationship with Brandon for months. I was receiving an email every two weeks from the NPG.

    Kriston, if you were I, would you have thought that these folks were unable to reach you? If you had been talking to four separate members of the staff for months, including bringing the models to DC for a film at your own expense? Well, would you have believed that you were hard to reach? Also, by contract, the rules of the contest state, and you can read this, that if an artist cannot be reached, the work will be held for 30 days, after which the cost of storage will be billed to the owner. They held my work for 10 days before sending it to a thief.

    My point is that you obviously do not like my work, consider it too conservative, passe, and do not wish it to be acknowledged in any way. Fine, your gig. I was an abstract artist for many years. Easy stuff, does not offend a soul. I would simply like you to admit this rather than hide behind some identity with a power you do not understand.

    best,
    margaret bowland

...