A collection of Don’s paintings and drawings is being exhibited at Michael Werner’s Cologne Gallery from 4 September to 16 October 2021, under the title “Ralf Love Don”. Galerie Michael Werner is pleased to announce a solo exhibition of paintings by American artist Don Van Vliet, also known as Captain Beefheart (1941-2010). Featuring small- and large-format paintings and drawings made between 1979 and 1994, the exhibition reveals the compelling evolution of Don Van Vliet’s oeuvre. The b / w short film from 1993 “SOME YOYO STUFF” by Anton Corbijn will accompany the exhibition. Van Vliet painted throughout his many years performing, and in the mid-1980s
Whilst the Michael Werner Gallery has an exhibition devoted to Don’s paintings another of his works is also on display as part of a group exhibition. This exhibition is called “Valley of Gold: Southern California and the Phantasmagoric” and includes work by Man Ray and Marcel Duchamp. According to the publicity from the gallery: Valley of Gold explores the aesthetic legacy of the European surrealists and others who worked with similar sensibilities on the art of Southern California. Examining the influence of this charged period, the exhibition traces how its effects percolated through later movements such as California abstraction, conceptual art, and Light and Space.
Updated: 4 March 2020 It’s been a while since there has been an exhibition of Don’s artwork. If you’re lucky enough you can catch this latest show called Don Van Vliet: Parapliers the Willow Dipped, Paintings 1967-1997 at Michael Werner’s Gallery in New York. Venue: Michael Werner 4 East 77th Street New York, NY 10075 Date: 31st January – 11th April (extended from original date of 31st March) Monday to Saturday 10am – 6pm There is also a pre-show reception on 30 January (6pm – 8pm) which will feature Nona Hendryx. Presumably Nona will be performing some of her Beefheart covers. If you can’t
James Kalm shows us around the Paintings and Poems exhibition of 2007 at the Anton Kern Gallery in New York. You can also view the individual paintings from this exhibition.
A 1993 poetry reading CD was included in the Stand Up To Be Discontinued exhibition book and later reproduced in the Pearls Before Swine book. It included readings of the following poems: Fallin’ Ditch The Tired Plain Skeleton Makes Good Safe Sex Drill Tulip Gill At the time, many found the recording shocking and upsetting. This was the first time Don Van Vliet had been widely heard in public since 1982’s Ice Cream For Crow and the intervening 11 years had clearly not been kind. He sounded far older than his 52 years and rumours of illness seemed to have confirmation. Today, I think they
Published by Cantz Paperback £21.95 1993 ISBN 3-9801320-2-1 Hardback Limited Edition (1500) with CD £32.50 1993 ISBN 3-9801320-3-X Deluxe Slip Cased Limited Edition (120) with original etching £180.00 1994 136 pages with 70 colour plates Contents: Don van Vliet in Bielefeld: Andreas Beaugrand Animals and Black Ladies: Karsten Ohrt Don van Vliet – The Painting: Jessica Rutherford “Stand Up To Be Discontinued”. On Don van Vliet as Painter and Musician: Paolo Bianchi Pearls before Swine. Ice Cream for Crow. On the Relationship between Music and Painting in Captain Beefheart’s Work: Luca Ferrari Captain Beefheart: Diedrich Diedrichsen Don van Vliet: Roberto Ohrt Fur Don van Vliet:
Don Van Vliet is probably the only full-time painter who used to be a mythical figure in music. Once Captain Beefheart, he is soon to exhibit in Brighton. Ben Thompson sent him a fax. DON VAN VLIET lives in the small and beautifully named town of Trinidad in Northern California, up by the Oregon border, 135 ft from the ocean. He paints there. He is a painter of note – “Stand Up to Be Discontinued”, the second British exhibition of his work, arrives in Brighton in September to confound anyone who doubts this – but he used to be a painter of notes. Until the
Ice Cream for Crow. On the Relationship between Music and Painting in Captain Beefheart’s Work Those who, over the last twenty years, have loved the music of Captain Beefheart cannot forget that he decided to abandon the music scene (it would seem definitively) to devote himself full-time to painting. Specialist rock critics, who were left the sad task of a retrospective tribute to his career, each time have boldly tried to establish correlations bet-ween yesterday’s music and today’s painting, acting in a way that is markedly ‘reparative’ and which, implicitly placing diachronic continuity to his basis, has no logical or cultural justification in the Californian
In the early 1970s the voice of Don Van Vliet, alias Captain Beefheart, was a signal and a proof that something else is possible -that nothing has to stay the way it is. His music came out of a space in which the power of existing laws was broken. It expanded the framework of the imaginable, for the members of a generation whose own attitudes and ideas embodied a radical aspiration, but who had let their own lives be defined by a set of descriptions and signs over which they had virtually no control. The music of Don Van Vliet revealed how far that generation
The terse, succinct, even programmatic formula enunciated by Don Van Vliet alias Captain Beefheart, is both peremptory and cryptic: “Stand up to be discontinued!” When a person makes an utterance, [s]he also gives something of [her/]himself- a fact that makes every statement into a miniature sample of a personality. When a person says something, [s]he usually also wants to make something happen. Don Van Vliet is said to be no lover of straight-line thinking, but a creative conversationalist, who makes unexpected conceptual leaps, and who possesses a wide mental horizon, a wild sense of humor, and a good memory. “Don Van Vliet is happiest talking
In 1990, Kunsthallen Brandts Klaedefabrik organized a large retrospective exhibition Rockens Billeder (Images of Rock), which contained works of European and American artists from the previous three decades. The exhibition included works dealing with the theme of rock music, as well as works by painters who were also practising musicians. One of the most memorable expressive works at the exhibition was the 1986 painting Crepe and Black Lamps by Don van Vliet. The composition of the picture is glaringly asymmetrical, with rolling, light, fluid human figures lining the lefthand side of the canvas and a compact, blue-black female figure with a disproportionally large head standing