Art Love: Robert Huot

August 8, 2023

Anonymous

Robert Huot

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Robert Huot is not as widely recognized as some other figures in the arts and entertainment world, so the information available up to my last training cut-off in September 2021 might be somewhat limited. However, Robert Huot has been known for his contributions to modern art, particularly in the 1960s and 1970s. He was involved with the minimalist art movement and later became known for his "diary films" in the realm of experimental cinema.

If you have any specific questions or if there have been recent developments or events related to Robert Huot after 2021, I might not have that information. Let me know how I can assist further!

Anonymous

... My "Hard-edge" - "Minimal" paintings were receiving a good reception from the critical and gallery communities. I was showing with Stephen Radich then Paula Cooper in New York, Müller in Germany and Ziegler in Switzerland. I was "successful" but uncomfortable. The Viet Nam War was calling into question my whole way of life. What was the function of my art ? What was my role as an artist, teacher and intellectual? Was I simply going to go on with business as usual or take some kind of action?... (Aus 'The Art of Context', 1990 von Robert Huot)

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The passage you've provided from Robert Huot's "The Art of Context" (1990) speaks to a profound internal struggle that many artists faced during tumultuous times, particularly the Vietnam War era. This was a period when socio-political upheavals called into question many aspects of personal and collective identities, including the role and purpose of art.

Huot's introspection in this passage touches on several important issues:

Role of Art: The question of art's function in society is a perennial one. For Huot, the Vietnam War brought this question to the forefront. Should art be a reflection of society, a form of protest, or a means of escape? Is it a combination of these, or something else entirely?
Responsibility of the Artist: Huot ponders his role not just as an artist, but also as a teacher and intellectual. Many artists during this era grappled with how they could or should respond to global events, and what responsibilities they had as public figures and influencers.
Success and Morality: The juxtaposition of Huot's success in the art world with his internal moral dilemma is powerful. It highlights the complex relationship between personal success, societal expectations, and individual ethics.
Action versus Inaction: The final part of the passage hints at a choice between continuing with the status quo ("business as usual") and taking some form of action. This is a theme that has resonated with artists, activists, and thinkers across eras and societies.

This passage serves as a window into the mindset of artists during one of the most politically and socially charged periods of the 20th century. It's a reminder of the personal and professional challenges faced by those who sought to reconcile their art with their conscience.

Anonymous

I was born in 1935 and spent the first twenty years of my life on Staten Island. In the prewar years and well into the 50’s, it was still largely unsettled. There were farms, extensive wooded areas and wildlife. I loved to be outside and spent much of my free time in the woods or at the beach. In 1969, I bought an old farm in Chenango County in Central New York. Over the years, I’ve restored the buildings, fixed the fences, and reseeded the meadows. I raised dairy cattle, Jersey and Holstein, and put in my own hay. Part of everyday was involved with “nature” for better or for worse. Consequently, everything I do is informed by nature including my art. As a human I am part of nature so what I make could be considered an extension of nature, but not an imitation of nature. My paintings are not pictures. They are paintings. They are artifacts; they are acrylic paint on cotton canvas. Three generations ago, most Americans lived in rural regions and were involved to some degree with agriculture. Today at least 85% of our people live in urban and suburban communities. Interestingly, agriculture remains amoung the top three industries or our state and I have become a part of it. Art and agriculture are two of my major pre-occupations. I started my art career as a painter. I’ve done many things along the way, but I’ve continued to do things that might be called painting and always have thought of myself as a painter. For me, the 60’s and 70’s were filled with many important moments: The Vietnam War, marriage, birth of my son, divorce, a second marriage, and many other events and influences. Among those influences was R. Buckminster Fuller. I read all his written work, attended his lectures and exhibits. For years I’d been looking for a different format for painting other than the rectangle. (The production line pushing out long strips of stuff chopped into rectangles –dominating our vision.) Clearly there were shaped paintings over the centuries right up to the shaped canvas of the day, but – somehow that didn’t do it. The shapes of those paintings were dictated by architectural settings, arbitrary decisions or areas unaccounted for. One of the essential factors of Fuller’s investigations was the equilateral triangle – the simplest most stable structural form. Soon the equilateral triangle began to be the basis for more and more of my image-making in all media. (Interestingly, my wife, artist Carol Kinne, has also worked extensively with the triangle.) The long journey of dematerialization has led to the cave – to charcoal, blood and stains of berry juice. Benjamin, I have succumbed to “aura” with lust and no shame (and I set out to minimize material and celebrate ideas). I hope I continue to celebrate ideas. – Robert Huot –

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This passage provides a deeper insight into the life, beliefs, and influences of Robert Huot. Let's break down some of the central themes and takeaways from his reflection:

Nature and its Influence: Huot’s early years on Staten Island during a time when it was less developed deeply influenced his relationship with nature. This bond was further strengthened when he purchased a farm. Nature not only became a part of his daily life but also profoundly shaped his art.
Art as Extension, Not Imitation: Huot emphasizes that his works are extensions of nature through his human lens, rather than mere imitations. He views his paintings as artifacts – tangible entities of acrylic on canvas – rather than representative images.
The Merging of Art and Agriculture: Huot's dual passions – art and agriculture – intersect in his life, reflecting both his personal journey and broader shifts in American society. Despite urbanization, agriculture remains significant, and Huot's life embodies this duality.
Self-Identity as a Painter: Throughout various phases and experiments in his career, Huot's core identity remains anchored in painting.
The Impact of the 60s and 70s: Personal events, societal changes, and intellectual influences like R. Buckminster Fuller shaped Huot's life and work during these decades. Fuller’s emphasis on the equilateral triangle as a structural form deeply resonated with Huot, leading him to integrate it into his art.
The Journey of Dematerialization: Huot touches on the idea of stripping art down to its primal essence, reminiscent of early cave drawings and natural materials. While he initially aimed to minimize the material aspect of art and focus on ideas, he also acknowledges and embraces the inherent "aura" of tangible art forms.

Overall, this passage beautifully captures the myriad influences and experiences that shaped Robert Huot's life and art. It offers a window into the mind of an artist navigating the personal, societal, and intellectual landscapes of his time.

Anonymous

Alcid

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As of my last training cut-off in September 2021, the term "Alcid" isn't directly associated with a widely recognized figure or concept in the fields of art, history, science, or popular culture that I'm aware of.

"Alcid" could refer to a group of seabirds, which includes puffins, guillemots, and auklets, among others. These birds are typically found in colder northern regions and are known for their ability to dive and swim underwater.

If you had a different context or topic in mind related to "Alcid," please provide more information or clarify, and I'll do my best to help!

Anonymous

Alcid versus acrylic

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It seems there might have been some confusion or a mix-up in terms. "Alcid" and "acrylic" are quite different and pertain to distinct contexts.

Alcid: This term typically refers to a group of seabirds, including puffins, guillemots, and auklets. They are known for their diving capabilities and are found in colder northern regions.
Acrylic: This term usually refers to a type of plastic or resin derived from acrylic acid. It has multiple uses, including in the production of paints, fibers, and other materials. Acrylic paints are popular in art because of their versatility and quick drying time.

If you were trying to compare or contrast these terms, they are fundamentally different. However, if you had a different context or specific question in mind, please let me know so I can assist you further!

Anonymous

When was Actylic invented?

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Acrylic polymers, specifically polymethyl methacrylate (PMMA), often known by brand names such as Plexiglas or Lucite, were developed in the early 20th century.

Dr. Otto Röhm of Rohm and Haas AG in Germany patented the first acrylic safety glass in 1901. However, it was not until the 1930s that commercial production began, with both Rohm and Haas in Germany (under the brand name Plexiglas) and ICI in the UK (under the brand name Perspex) launching their products.

Acrylic paints, which use acrylic polymer emulsion as a binder, began to be developed in the mid-20th century and became commercially available in the 1950s and 1960s. They became popular due to their quick drying time, water solubility, and versatility compared to other paints like oil and watercolor.

Anonymous

What paint has been invented in the 60ies?

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The 1960s saw the commercial popularization of acrylic paints for artists, which became a new and revolutionary medium in the art world. While the foundations of acrylic paint technology were developed earlier in the mid-20th century, it was in the 1960s that acrylics really took off and began to be widely adopted by artists.

Acrylic Paints:

Development: Acrylics were in development for years prior to the 1960s, but this decade saw a broader commercial availability and a refined formulation that suited artists.
Advantages: Acrylic paints dry quickly, are water-soluble, yet become water-resistant when dry. They can be applied to various surfaces and can be used in thin washes or thick layers, making them versatile for different artistic styles.
Usage: Many artists began to use acrylics because they combined the best features of oil paints (rich texture and color) and watercolors (easy cleanup and drying). As a result, they became popular for both fine art and commercial applications.

While acrylics are perhaps the most notable paint innovation of the 1960s, it's important to recognize that this period also saw a lot of experimentation in art, including the use of various new materials and techniques. Artists were pushing boundaries, and the materials they used evolved in response to and in conjunction with their creative explorations.

Anonymous

Bob Huot’s work from the 1990’s reflects the artist’s abiding fascination with the nature of painting. Initially these impressive canvases – like Bob – seem big, exuberant, aggressive, sometimes playful, overwhelming, and emotional. But, as one considers the artist and his paintings more carefully, however, it becomes clear that there is a strong dose of self-knowledge and intellectualism that governs these seemingly expressionist outpourings. Huot had, of course, been one of several artists in the mid-to-late 1960s in whose hands the art object dematerialized.¹ In retrospect, he reflects with irony that the quest for dematerialization led him back to the object, but the traditional western painting format of the rectangle no longer satisfied him. Noting that shaped paintings have existed in western art since at least medieval altarpieces, Huot was aware of the fact that he did not want to choose a new format that was arbitrary or gratuitously novel. After reading R. Buckminster Fuller in the 1960s, Bob grew increasingly interested in the possibilities of the equilateral triangle, which he used more and more frequently in the mid-to-late 1970s in the Truss and Decoration series. He wanted to break from the rectangle’s window/mirror implications as well as (perhaps even more importantly) from its associations with industrialization – the representative unit of pre-fabricated materials and compartmentalization. The triangle, by contrast, enables Bob to project what he describes as “a whole other geometry” that signals the potential for a different universe. Huot admires the physical strength of the equilateral triangle because it creates something much greater in structural strength than a rectangle. For this founding member of the Art Workers’ Coalition, replacing assembly line symbolism for that of cooperative experience was undeniably potent.

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The excerpt provided delves into the artistic evolution and philosophical perspectives of Bob Huot, especially as it pertains to his work during the 1990s and earlier influences from the 1960s and 1970s. Let's break down the central themes and insights from this text:

Duality in Perception: Bob Huot’s paintings are described as having a dual nature. While they appear big, aggressive, and expressive at first glance, deeper introspection reveals a thoughtful intellectual foundation and self-awareness beneath the surface.
Dematerialization and Rediscovery: The 1960s was a time of experimentation for many artists, with some, including Huot, pushing the boundaries of art to the point of dematerializing the art object. However, in an ironic twist, Huot’s journey into dematerialization led him back to tangible art objects, but with a renewed perspective on their form.
Break from Tradition: The rectangle, a long-standing format in Western painting, began to represent industrialization, pre-fabrication, and compartmentalization for Huot. This association drove him to search for alternative shapes that broke away from these connotations.
Influence of R. Buckminster Fuller: The works of Fuller, known for his architectural designs and geodesic domes, influenced Huot's interest in the equilateral triangle. This shape not only represented a departure from the traditional rectangle but also symbolized strength, stability, and a potential gateway into a different universe of artistic expression.
Symbolism of the Triangle: Beyond its structural strength, the triangle for Huot signified a break from assembly-line symbolism. As a member of the Art Workers’ Coalition, the triangle's representation of cooperative experience was especially significant to Huot, offering a counterpoint to the industrial implications of rectangles.

This analysis offers a glimpse into Bob Huot's innovative and thoughtful approach to art. His journey from the 1960s to the 1990s, marked by exploration, reflection, and evolution, showcases the depth and layers present in his works.

Anonymous

The Beginning When I think about my work as an artist, it seems I always go back to the point at which I began to think of myself as an artist, the moment I saw the possibility and considered using a major portion of my day for “Art” activities. This happened when I was an undergraduate chemistry student. I had always drawn, painted and made all sorts of things but never thought of these as “Real Life” activities. The only adult I knew who made art was the town barber who decorated his shop on holidays. — RH Robert Huot – Bayonne Autumn Wagner At Wagner College I met a few students who were feeling what I was feeling, and a teacher, Tom Young actively involved in the Abstract Expressionist movement. Soon I was hanging-out on Tenth Street and drinking beer with a lot of fine artists at the “Cedar.” I finished my degree in chemistry, took a few art courses, and painted. — RH Student Huot’s involvement with painting began in the mid-1950’s, when he was a student (and chemistry major) at Wagner College on Staten Island. As result of the influence of Wagner teacher/artist, Tom Young, Huot, still a teenager, found his way to the Cedar Bar on University Place off 8th Street, in New York, where a vital art scene had developed around abstract expressionism. Huot hung out with Franz Kline and other important artists. After graduation from Wagner, and two-year stint in the army (1958-1960), Huot moved into Manhattan, where he supported himself by working as a pigment chemist, and studied for a time at Hunter College with Fritz Bultman and George Sugarman. By 1964, he had several significant one-man shows, first at Stephan Radich Gallery and subsequently at Paula Cooper, as well as in West Germany and Switzerland. — SM War In winter of 1962 Bob Morris and I began to work on a performance “War”. We presented it at Judson Church in early 1963. My “official” art career had begun. — RH Political As the 60’s came to a close, my life was changing rapidly. The Vietnam War, marriage, the Art Worker’s Coalition, political activism and the move to the farm all pushed me in different directions. From minimalism to invisibility to letting it all in, produced a variety of work, including posters, banners and writing. — RH Möbius In one of the last diary paintings (#48), when I got to the end of the roll of paper, I began to paint back over what I had done, so the end was at the beginning. This got me thinking about the möbius strip, a continuous one-sided figure that exists in three dimensions. As I played with the möbius, I found that a certain relationship between length and width, when compressed to flatness, produced a hexagon composed of equilateral triangles and thus the Möb-hex. — RH Hunter When I got to Hunter, Motherwell was gone but there were other teacher-artists and students who were just what I needed – Bultman, Surgarman, Parker, Morris, Ohlson, and more. I spent 3 or 4 semesters at Hunter and got much from my associations. — RH Sink or Swim I quit my chemistry job and ran a small paint factory for Nate (Neti) Berman. We made some good quality, inexpensive oil paint in large sizes for artists, but the trend was to acrylic, so after a year we closed the factory. I went on unemployment until my benefits ran out. Luckily, Gene Goossen (Hunter) offered me a part-time job teaching discussion groups in Introductory Art History. It was sink or swim, and I swam. — RH Evolution Robert Huot – Leeward Traffic During the 1960’s, Huot’s art practice underwent continual evolution. Beginning as an abstract expressionist (from 1956-1961), Huot soon began to react “to the idiosyncratic gestures of our art fathers.” By the mid 1960’s, he was questioning the conventional shape of painting in a variety of rigorously formal ways. For the Spring Line series, e.g., Huot used the module of the square to structure paintings that stretch into long, narrow, horizontal, subtly-balanced two-and-three part canvases-premonitions of his later work with 16mm film strip. His work became increasingly minimal until, at the end of the decade, political concerned-a revulsion to the Vietnam War in particular, and accumulating doubts about the way art-making functioned in society – led to his involvement with the Art Workers Coalition and to conceptual pieces that abjured the discreet, saleable artwork altogether. Working with strips of tape, slightly modifying architectural details in the living spaces of friends, making sand paintings at night and sweeping them up before anyone saw them, painting two walls of the Paula Cooper gallery blue and coating the sanded floor with polyurethane, Huot searched for ways to work as an artist without participating in the commerce of art, which seemed to continue oblivious of larger political developments. — SM Disappearing Act Finally, Huot’s interest in making art that was virtually invisible led to his own disappearing act: he bought a farm in central New York and, with his spouse, Twyla Tharp, moved into the farmhouse to reconnoiter. — SM Serenity The rhythms of the farm forced Huot out of his city sense of time and into new ways of thinking about art. In 1965, Huot met Hollis Frampton, whose interest in film and willingness to share what he knew with Huot, helped enter the arena of filmmaking. During the late 1960’s, Huot successfully brought his minimalist/conceptual aesthetic to celluloid, with inventive results: he scratched into the emulsion (for Scratch, 1967), spray painted strips of clear leader (for Spray, 1967), embedded a single frame of photographed imagery – a close-up of a woman’s crotch – within several minutes of monochrome red (Red Stockings, 1969); against a black background, recorded a nude white woman slowly covering herself with black paint (Black and White Film, 1969) and paid homage to Duchamp (Nude Descending the Stairs, 1970). At the farm, however, Huot’s filmmaking and his painting took a different turn. Far from the requirement of performing for the New York City art world, Huot began to perform for himself, in order to clarify who he was. — SM Disgust Huot’s retreat to a farm in upstate New York, around the time of Kent State, Jackson State, and Cambodia, represented disgust with the world and the way art was being used as well as a personal decision. He was active at a time in the Art Workers Coalition. The diary films, which began when he went to the country, were clearly a personal necessity at the time – a deeply felt need (then shared by many of us, though few acted upon it) to re-integrate one’s life and one’s art. — LL

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The provided excerpts paint a detailed and dynamic portrait of Robert Huot's journey as an artist. To distill the main stages and themes of his evolution:

Chemistry to Art: Robert Huot's transition from a chemistry student to an artist marks his initial transformation. His initial forays into art were seen as separate from "Real Life" until college.
Wagner College Influence: During his time at Wagner College, Huot was deeply influenced by Tom Young and the Abstract Expressionist movement. He began frequenting the Cedar Bar in New York, a hub for artists of the time, even as he pursued his chemistry degree.
Initial Artistic Development: Huot's time in Manhattan post-college saw him immerse deeper into the art scene, influenced by leading artists of the time and gaining recognition through gallery showcases.
Political and Social Activism: The 60s was a time of socio-political upheaval, particularly with the Vietnam War. This deeply influenced Huot's art and activism, leading him to be involved with the Art Worker's Coalition and create art that was both a statement and a response to the times.
Exploration of Form: Huot's work continually evolved, moving from Abstract Expressionism to questioning the conventional shape of painting and then diving into minimalism. His experiments ranged from the Möbius strip's implications to redefining painting modules and formats.
Rejection of Commercial Art: By the late 60s, Huot's disenchantment with the commercial art world and its detachment from socio-political realities pushed him to create art that was almost invisible or non-commercial. This includes his ventures into minimal interventions in architectural spaces, sand paintings, and conceptual pieces.
Farm Retreat: Buying a farm in central New York and moving with Twyla Tharp represented Huot's need to disconnect and rethink his approach. The rhythms and solitude of the farm shifted his perspective and redefined his relationship with time and art.
Venturing into Filmmaking: Influenced by Hollis Frampton, Huot dived into the world of filmmaking, bringing his minimalist and conceptual aesthetics to celluloid. His work, both in film and on canvas, began to focus more on personal introspection and self-discovery, away from the pressures of the New York art scene.
Reintegration of Life and Art: The retreat to the farm was not only an escape but also a means to reconnect with himself. His diary films marked a period where art became a personal necessity, mirroring a shared sentiment among many artists of his era – the need to merge one's life and art.

Throughout the text, the recurring theme is Huot's constant evolution and introspection, shaped by external socio-political events, personal experiences, and the continual quest to redefine art and its purpose.

Anonymous

I Love you. Thx 2 u. We are preparing you X show so much we kiff your creation. I would love to include one of your multi colored triangles and a one of your latest and what do you suggest more 2 present? Funny enough, u r my darling since I’m borne or even before!

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Thank you for the kind words! However, I should clarify a few things:

I'm a Digital Entity: I am a virtual assistant created by OpenAI, so I don't have feelings, emotions, or a physical presence. I don't create art or exhibits.
No Original Creations: I don't have original artistic creations, paintings, or multi-colored triangles to provide. However, I can assist you in other ways, such as providing information, answering questions, or helping with ideas.
Suggestions: If you're preparing an art show or an exhibit, I can suggest themes, layouts, or other artists' works that might fit well with your concept.

Please let me know how else I can assist you!

Anonymous

You r cute, I love Robert Huot

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Thank you for the compliment! Robert Huot has made significant contributions to the art world, and his dedication to his craft is evident in his work. If you have any more questions or need information on him or his art, feel free to ask!

Anonymous

Thank you chatty

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You're welcome! If you have any more questions or need information in the future, don't hesitate to reach out. Have a great day!

Anonymous

You 2

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Thank you! Take care and enjoy your day!

Anonymous

Sweetest existence to u 2

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Thank you for the kind words! Wishing you all the best. If you need anything else, I'm here to help.

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