The Art of Tristan Meinecke -- Abstract Expressionism, Surrealism, Cubism, Found Art, Split-Level Painting -- Crushed Canvas

 
Franklin Rosemont
Revolution in the Service of the Marvalous

Franklin Rosemont and Tristan Meinecke became close friends. Both of these overtly rebellious men liked and respected each other. Franklin's extremely sizable poetic intellect had similarities with Tristan's. They shared other views as well. Most importantly, they agreed on much about art and its creation. Below is what Franklin wrote about Meinecke in his book titled: Revolution in the service of the Marvelous. (All emphasis is as written by Franklin Rosemont.)

"Meinecke's basic equipment as an artist has included large quantities of refusal--refusal to obey idiotic rules, or to submit to senile traditions, or to follow commercial fashions. An irreconcilable enemy of banality, he has always steered clear of the cultural/political "middle of the road" (or "Vital Center," in Arthur Schlesinger, Jr.'s insipid phrase), and held steady to a passionate jump-for-joy creative extremism, defending the all-important prerogatives of poetry and dream in the most luminous and trouble-making sense of the words. While most artists were content to do the same thing over and over, he kept finding his own unique ways of doing something different. Thus he exemplified Washington Allston's charming definition of originality: "Individualizing the Universal."

What makes Meinecke's work so much more powerful and enduring than that of most of his better-publicized contemporaries -- I am thinking here particularly of the vastly-overrated Ivan Albright, and equally hyper-hyped "Chicago Imagists" -- is precisely that fierce dedication to the poetic and oneiric, or in other words: his extravagant and untamed imagination.

It was imagination, of course -- the one absolutely essential element in painting, and the very quality that most frightens critics and curators -- which attracted the surrealists to Meinecke and, vice versa."

No mention of Franklin Rosemont would be anywhere near complete without Penelope Rosemont -- a great intellect, artist, poet and person. Together, she and Franklin - a wonderful pair of revolutionary artists, thinkers, and trouble-makers in the best sense of the word -- shared everything life had to offer. To this writer they exemplified the joyful but unyielding revolutionary spirit that has always been a part of Chicago -- simply because people like Franklin and Penelope (and Tristan and Angel) choose to live and make their artistic / cultural stand here.

The following is from American Pink: Penelope Rosemont, attended Lake Forest College. She has been a painter, photographer, collagist and writer, and "graphic designer for and other publications," Her painting The Night Time is the Right Time "was selected by the Chicago Jazz Institute for the 2000 Chicago Jazz Festival t-shirt".

Penelope Rosemont is the editor of Surrealist Women: An International Anthology and The Story of Mary Maclane & Other Writings by Mary Maclane. She is the author of Surrealist Experiences: 1001 Dawns, 221 Midnights, and books of poetry, including Beware of the Ice, and Athanor. She wrote a forward to Crime & Criminals: Address to the Prisoners in the Cook County Jail & Other Writings on Crime by Clarence Darrow. In 2008 her memoir came out, Dreams & Everyday Life, André Breton, Surrealism, Rebel Worker, SDS & the Seven Cities of Cibola. A collection of true stories of Chicago, Armitage Avenue Transcendentalists edited by Rosemont and Janina Ciezadlo came out in 2009.

In 1983 she and her husband Franklin Rosemont became directors of Charles H. Kerr & Company, a publisher of books on history and radical history in Chicago

The Alternatives in Publication Task Force of the Social Responsibilities Round Table of the American Library Association awarded the Rosemonts and Carlos Cortez the 2001 Jackie Eubanks Memorial Award "recognize outstanding achievement in promoting the acquisition and use of alternative materials in libraries."

 


 


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