31 October 2026

The Letters Project, Part 3

 

[This is the third installment of my presentation of my future parents’ correspondence from January into December 1945.  If you haven’t read Parts 1 and 2, I urge you to go back to 19 September and 10 October to read them before going on to Part 3.  There will be about 20 installments, spread out from now through the end of October 2027 on an irregular schedule.] 

LETTERS FROM THE FRONTS
January-December 1945
 

[After a brief précis of my dad’s army service (with commentary and some comparisons with my own), Part 3 picks up with Dad at sea on his way to France.  It includes his only correspondence from aboard ship and then includes his earliest letters from the ETO (he was still in France).] 

27 February – 15 March 1945

Dad had begun active duty in the army in March 1941, so by this point he’d served just shy of four years.  He’d be discharged in February 1946, having served four years, 10 months, and 16 days in the Army of the United States.  (He did a brief stint in the navy before transferring to the army, as I noted earlier [see Part 1].) 

(The Army of the United States (AUS) was the temporary, wartime component of the service designed for citizen-soldiers who stepped up to serve just for the duration of World War II rather than as a career soldier.  Most AUS officers returned to civilian life once the war was won; a few became Regular Army, that is, career, officers.  The AUS was demobilized in 1946, reactivated for the Korean and Vietnam Wars, then disbanded in 1974.

(I was commissioned in the United States Army Reserve, or USAR, the component for officers mostly commissioned through ROTC [Reserve Officer Training Corps] who served their contractual obligation—usually two years—and then reverted to part-time or inactive reserve status. 

(In my era [1969-1974], reserve officers were by far the largest contingent of officers in the active army—85% of the officer corps were USAR.  In World War II, officers like my dad, AUS commissioned through OCS—the so-called “Ninety-Day Wonders”—comprised 70% of active-duty army officers.

(A third component is the Regular Army, composed mostly of West Point grads and officers and enlisted personnel who applied for the designation and were accepted.  This constituted the permanent, professional, full-time core of the military who intended to stay in the service for a full career.  These officers use the designation “USA” [for United States Army].

(The distinction among the various components is minimal in practical terms, except as a matter of prestige and deference.  The initials formally appear after an officer’s name and rank in official records, orders, or the signature block of official correspondence, such as “Sherman T. Potter, Col., USA”; “B. J. Hunnicutt, Capt., USAR”; “Benjamin F. Pierce, Capt., AUS.”  [I’m just making up that last one; the scripts never actually said.])

Starting as a private (E-1) and holding almost every enlisted rank through first sergeant (the second-highest army enlisted rank at that time—he skipped staff sergeant [E-6] and technical sergeant [E-7]), Dad made captain (O-3) in about two years (he became a first lieutenant [O-2] on 27 November 1942 and was probably promoted somewhere between March and June 1944). 

By contrast, I served four years, two months, and 16 days on active duty between December 1969 and February 1974, starting as a second lieutenant, and it took me almost four years to make captain.  (And, no, it wasn’t because I screwed up, thank you very much.)  I was promoted to first lieutenant after a year in grade as second lieutenant, but it took three years for my name to appear on the captains’ list.

The difference?  Dad’s army service was entirely during wartime when promotions come faster, especially in combat arms like artillery.  My service began during a war—and when I started active duty, promotions to both first lieutenant and captain each came after one year in grade—but President Richard Nixon’s (1913-94; 37th President of the United States: 1969-74) “Vietnamization” plan meant that U.S. troops were withdrawn from Southeast Asia starting in 1969, accelerating in the early ’70s, and combat ceased for U.S. forces in January 1973. 

Fewer troops meant fewer officers were needed, especially in the combat support branches like Military Intelligence, in which I served, so promotions slowed down before I reached my second year of service in December 1971.  (The trade-off was that when the promotion to captain only required a year in grade, the officer had to serve another year in uniform to accept it.  I was promoted two months before I got out of the army.)  Still, three years to advance six grades (including OCS and a commission) as compared to four to rise two levels seems lopsided.

(Incidentally, when I was promoted to captain in December 1973, I asked the Berlin Station CO to use my dad’s World War II “railroad tracks” for the ceremony.  I had had Dad send them to me just for that purpose.  I still have them—a different style pin from the 1970s model and all scratched and scarred from age and, I presume, combat and outdoor bivouacking.)

In a letter on Tuesday, 27 February, Mom seemed aware of the reality that Dad would soon be leaving for a long time.  She wrote how she’d been “spoiling” Dad “terribly with all this mail” over the “last 3 weeks” and how that might change now because, she reminded him, “I once warned you, I’m not a very fine correspondent.”  As much as she’d miss him “constantly,” she explained, “I still may not get as many letters under-way as I should like to.”  Letters were inadequate to express “the thoughts and feelings” she had, anyway: “It’s like floundering around in the dark: searching for words and phrases to say what’s really in one’s heart.”

Then she reported that Kris called her early that morning to say that Dad’s father had gotten a letter from his son.  Mom immediately phoned home to find that she “had done the family one better by getting two” and left work “on an emergency ‘home visit’” to read them.  (I can only presume that these were Dad’s letters of 24 and 26 February because they’re the last two before embarkation in the collection.) 

After some of her usual complaints about work, Mom finished up with effusive regrets for not being able to see Dad “just once more, on one more pass” before he leaves.  It’s clearly a farewell letter, though it’s just as clear that no one knew exactly when the battalion was scheduled to leave.  (In the next couple of letters, dated in early March, Mom indicated that she still didn’t know if Dad had left yet or was just restricted to camp.)

Dad’s unit actually shipped out from the New York Port of Embarkation aboard the U.S.S. Argentina for what the army called EAME—the European-African-Middle Eastern Campaign—on the morning of Tuesday, 27 February, the day after his last stateside letter and the day of Mom’s last one to him before Dad reached France.  He was “at sea” on Monday, 5 March, the date of his next correspondence, and arrived in France on Sunday, 11 March, three days before he wrote his first letter to Mom from abroad. 

(In his early letters from Europe, Dad never said exactly where in France he was, which, like the precise date of departure and other specific information, was probably classified.  Since his battalion continually moved forward (north) after arriving in the European Theater, I guessed he landed at Le Havre and the 529th bivouacked somewhere outside of the French capital—surrendered by the Germans on 25 August 1944.

(On 21 May, 10 weeks after his arrival in France—and the day censorship restrictions were lifted—Dad revealed that the unit did indeed land in Le Havre.  The Allies had liberated the port on 12 September 1944. 

(After I reached the 21 May letter, I decided to insert the details Dad disclosed post-censorship about his trans-Atlantic voyage and arrival in France.  In some instances, I’d already pieced together some deductions and guesses about the facts—I was even right on a lot of my surmises—and I’m including those conclusions as well.

(Other information revealed in that letter pertained to Dad’s then-current situation in Germany, so I’ve inserted it where it was applicable, as readers will see.

(I had figured the camp was probably east or north of Paris because less than two weeks after landing in France, Dad, his CO, and a small detachment from his battalion traveled north to Belgium; Holland; and Aachen, Germany, which are generally northeast of Paris.  Once again, Dad revealed the facts in the 21 May letter.)

After landing,

the battalion was taken to Camp Lucky Strike near Fecamp (the home of Benedictine [the herbal liqueur]).  This was a large tent camp occupying a former German airfield, and was used as a deprocessing area for units prior to their commitment at the front.  We stayed there just about a month.  Our time was utilized in unpacking equipment, drawing new equipment, putting our guns [namely, the howitzers, not their small arms] and tractors in condition, and consuming a monthly liquor ration. 

An artillery tractor or gun tractor was a specialized, heavy-duty vehicle used to tow artillery pieces.  In World War II, before the development of self-propelled artillery, the U.S. Army used both wheeled and tracked tractors in the ETO.

Camp Lucky Strike was one of several American camps ringing the port of Le Havre used for assembly areas for units entering combat.  They were known as Cigarette Camps because most of them were named for American cigarette brands such as Lucky Strike, Pall Mall, and Old Gold.

Lucky Strike was between Fécamp and Saint Valery-en-Caux, about 45 miles northwest of Paris along the Channel coast of France.  It could accommodate 58,000 troops.  We’ll see shortly that on its way back to Le Havre to depart France, the 529th was sent to another camp called Camp Washington, D.C., one of the City Camps that were a companion array for the Cigarette Camps.

Back home, Mother was once more complaining about the lack of mail from Dad, and I suspect that was due both to the fact that he was on a troop ship in the middle of the Atlantic for 12 days and the wartime logistics of delivering mail from the front. 

Mother wrote on Friday, 2 March, noting that it was “a week ago from a couple of hours from now” that Dad got his “surprise” pass.  It seems Mother and Dad had even made some elaborate plans for the following day (involving a “wonderful buggy ride”) that never came to fruition.  (When Dad wrote on that last Monday, he didn’t say anything suggesting he was on his way to Europe; he was already aboard ship by the time Mom wrote this letter.

As Mom said, it had been almost a week since she and Dad had seen each other and three days since she’d heard from him.  She reported that Dad’s sister Kris had been notified the day before that she’d been promoted to lieutenant (junior grade) in the WAVES (the equivalent to an army first lieutenant [O-2], one rank below Dad) and “is very proud of herself.”  So was everybody else, Mom wrote, and they planned to celebrate “in true & magnificent style” on Monday—“Probably a movie—or something similar, before or after a short ‘snort.’” 

In other family news, Mom’s father had arrived home on the previous Tuesday (27 February) from a trip to Mexico.  (It sounded like a business trip rather than pleasure.  Grandpa Harry may well have gotten doll parts or fabrics from Mexico.) 

His first question for his daughter was, “Have you been seeing the boy-friend – Has he left yet?”  (That’s the first time “boyfriend” has been mentioned in the letters, by the way.) 

Mother told her father that my father-to-be was “really on [his] way this time,” but my future grandfather responded, “But you’re not sure!?”  Mother wrote Dad she convinced her father, but he was also “a little sorry.”  “In the final analysis,” Mom added, “you did leave a sweet taste in his mouth!”  I guess my dad redeemed himself after his behavior at the New Year’s party! 

(By the time I was old enough to know what was going on around me, Dad and Pop-Pop H.F. certainly had an excellent relationship.  Not only did Pop-Pop get my dad a job after he married my mother—the movie theater gig in Washington, where my grandfather also arranged for an apartment for the newlyweds—Dad became a member of the board of Pop-Pop’s doll business, eventually helping to engineer the sales of the company, first in the 1950s and then in the ’70s.  [Horsman Dolls was sold, returned, and sold again; see my post on the doll company, already referenced in Part 2, for an explanation.]  By that time—Pop-Pop died in 1967—Dad was essentially the family representative on the board.)

Mom wrote Dad again the next day, 3 March, a week since she last saw my father and even then unsure whether Dad was still in New York or on his way to the war.  She complained, as always, about missing his letters and reminisced about an evening she and Dad spent in Trenton with some other couples, including Dad’s battalion-mate and friend Fred Morris, a while back. 

Photos of the evening had been taken and Mom promised to send some if any came out “decent”—but she’d “have to approve, first,” she insisted.  A sort of civilian form of censorship in action.  Mom wrote that she was getting “‘a Hell of a lot more sleep’ than during the weeks you were here,” but said “that if I had my choice I’d take the sleeplessness & you for all the shut-eye!!” 

Mother also wrote of skipping a gig “hostessing at an officer’s dance” at some local military post.  (She went to “a pretty good picture, instead: Winged Victory . . . .  Entertaining as well as being something of a tear-jerker in spots.”) 

I mention this bit of chit-chat—Mom’s letters especially, though Dad’s, too, to some extent, were full of gossipy small talk; it’s part of what makes the letters so interesting—only because it was at just such a social event, if I remember the story accurately, that my future mother met my dad’s sister. 

If it hadn’t been for Mom’s job at the Red Cross and her occasional call to act as hostess at social events for GI’s, where she’d be expected to socialize with servicemen and -women far from their families, my mother and father might never have met!  And where would that have left me?

(Winged Victory [Twentieth Century Fox, 1944; dir. George Cukor], by the way, is a curious bit of wartime Broadway and Hollywood lore.  Moss Hart [1904-61], the writer best known for the plays Once In A Lifetime, You Can’t Take It with You, and The Man Who Came to Dinner, all with George S. Kaufman [1889-1961]; the screenplays for Gentleman’s Agreement and the 1954 A Star Is Born; and his autobiography, Act One, was commissioned by the U.S. Army Air Forces to write a morale-boosting, patriotic play in 1943, and after traveling around the country observing pilot training at various air bases, wrote Winged Victory. 

(The play, with a cast of nearly 300, débuted in Boston that fall, becoming a huge hit and transferring to Broadway in November, where it ran for 212 performances before 350,000 spectators.  The New York production closed in May 1944 so that the entire cast could go to Hollywood to film the play; the movie was released just before Christmas 1944.  After the filming, the play went on tour around the country until August 1945, playing to 800,000 viewers in over 445 mountings. 

(Because of its immense cast and the indelible connection to the WWII era and milieu, Winged Victory is one of the biggest Broadway successes that’s never been revived anywhere after the wartime national tour.  Though the film is available on video, I don’t believe it’s ever played on television.)

On Monday, 5 March, Dad finally wrote.  He was aboard the troop transport Argentina on the Atlantic and the correspondence was a V-Mail, a tactic meant to help solve the problems with mail to and from combat zones I raised. 

(Dad didn’t identify his troop ship as the Argentina until much later.  A former ocean liner originally christened S.S. Pennsylvania, built in 1929 and renamed in 1938, the Argentina was requisitioned by the War Shipping Administration and served as a troop transport from 1942 to 1946.)

V-Mail was a World War II development, used between 1942 and 1945, both to save space and weight that could be then devoted to shipments of war supplies, and to enhance security.  Because V-Mails (the V was for ‘Victory’) were single pages, they were easier to scrutinize by censors. 

The original pre-printed letter-size form on which the message was written was photographed and transported by ship or plane as thumbnail-sized microfilm images, taking up considerably less space in mailbags than full-sized paper letters.  (Thirty-seven mail bags weighing 2,575 pounds were reduced to one bag weighing 45 pounds, says the National Postal Museum.) 

V-Mail was also a faster way of getting word back and forth between GI’s abroad and family and friends at home—12 days as opposed to a month.  The V-Mail negatives were then printed (at a quarter of full size) at V-Mail facilities at the other end to be delivered to the addressees.  The photographing and printing processes also thwarted any effective use of microdots or invisible ink because such espionage techniques wouldn’t be reproduced by the photography. 

Oddly, the 5 March V-Mail my dad wrote—it was his only V-Mail in the collection—was on the paper V-Mail form, not a photo print, so I wasn’t certain it was even sent.  (Mom’s V-Mails were like small photostatic positives—as opposed to the white-on-black of the usual photostat.  Photostats, for those too young to remember the time before photocopiers, were an earlier form of making exact copies of documents.)  As I learned later, this turns out to be an erroneous interpretation of the facts.

Little more than a note, the one-page, single-sided V-Mail sounds as if Dad had been on board for several days (as, in fact, he had been).  “Monotony is the chief characteristic of this voyage,” Dad grumbled.  Aside from “the necessary chores to insure [sic] safety and maintain cleanliness,” his and his cabinmates’ principal activity “consist[ed] almost entirely of assuming an [sic] horizontal position practically all the time.” 

He reported that he and the five other captains who shared his “comparatively comfortable” quarters “are all very compatible.”  Dad’s bunkmates included his buddy from the 529th, Fred Morris, and the two young officers “gripe to each other to our mutual benefit.”  He closed the note by telling Mom that on deck “practically every night . . . I indulge in a wishfull [sic] myriad of thoughts all containing you.” 

That was my father’s only message from shipboard; in his 21 May letter, Dad revealed a little more about what he characterized as “a practically uneventful trip”:

There were several submarine alerts, and the escort dropped several ash cans [depth charges, an anti-submarine explosive] during the voyage, but other than that we suffered no alarm.  Two of the ships in the convoy did collide in the dark, and they turned back to the Bahamas for repairs. 

Dad’s next letter was dated 14 March, nine days later and three days after he’d landed in Le Havre (11 March), and annotated merely “France.”  From Mom’s letters, it looks as if Dad’s V-Mail from the ship hadn’t reached her—at least not yet; she hadn’t mentioned having received it so far.  In her next several letters, written every few days, she lamented not having heard from Dad for weeks. 

Apparently, Dad’s family received mail from him, but I don’t know when—I’m guessing not from shipboard—or how often, and Kris shared the news with Mom, but Mom was unhappy that she hadn’t gotten any letters herself.  The first letter she said she got was Dad’s first from France, written a little over two weeks after his last letter from stateside. 

Meanwhile, not having heard from Dad except second hand through Kris, Mom continued to write to him.  In a letter dated Tuesday, 6 March (but finished on Wednesday), she reported on that celebration of Kris’s promotion Monday evening, which had turned into an after-dinner affair.  It was “hardly ‘very showy,’” Mother affirmed, just “coffee & a gab” with the WAVES “and then apropos to the occasion,” the young women took in Here Come the Waves (Paramount Pictures, 1944), another wartime propaganda flick, this one a musical starring Bing Crosby as a crooning seaman and Betty Hutton as twin WAVES. 

Mom’s rating: “Really riotous—tho’ I’m not certain if it had that effect on me because the picture was that enjoyable, or because the fun derived, was ‘catchy.’”  Kris and her roommate, Blossom, “thought it was great—and couldn’t get enough of the ‘boot’ training portrayed—it reminded them so much of their younger days!!”  (You understand we’re talking about a bunch of 20-somethings here.)

“In honor of an occasion, as it was,” the ladies went for late champagne cocktails after the movie (“Flashy!  What?”) and “had an opportunity for a wonderful pickup!”  They “turned down the invitation,” Mom recounted, “in the style of true well-brought-up young ladies, or naval officers,” but she revealed that “2 gentlemen, one in the navy, the other 6 hours discharged, offered us ‘another round.’” 

The big news was that Mother decided on Wednesday to move in with Kris and Blossom for a while.  Mom’s parents had gone to New York City for “10 days-or-so,” leaving her “to fend for herself.”  I guess she was feeling bereft, so she went looking for company, “pawning myself off on anyone who’d have me.”  Mom arrived at her new digs late and discovered Kris “in Blue-jeans (what the farmers wear, you know) midst thousands of pots, pans, cutlery, dishes & food piled high—very much bewildering.”  Mom’s account of what came next reads like the stuff of farce (think Servant of Two Masters—or maybe a Lucille Ball routine).

Her very lovely intention was to have a banquet-like spread ready for Blos, who was to come in from N.Y. . . . and me, who was being sort-of welcomed!  Things apparently were not cooking up as they were expected to do—and she just had too many things to handle by herself.  However, at about 7:30 we were ready to sit down – Blos never came home in time for dinner, & so down we sat anyway & the dinner was . . . lovely.  Well, we did have fun.

I find Mom’s wry remark about blue jeans amusing, even though I take it as at least mildly sarcastic.  (She can’t really have thought my father didn’t know what blue jeans were.)  Jeans were common work pants, even for women, by the ’40s.  The navy work uniform for enlisted sailors was dungarees (which may well have been what Kris was wearing, bought at her base’s Ship’s Store, the navy’s PX).  By the time I was a little boy in the early ’50s, jeans were the usual outdoor play clothes for even us middle-class kids and by the ’60s, they were practically the uniform for teens like me. 

(We weren’t allowed to wear jeans—or any pants “with rivets”—to school when I was an elementary- and middle-schooler, but I went to a Quaker private school; we weren’t even allowed to wear loafers or sneakers—shoes had to be laced and leather; sneakers and tennis or basketball shoes were made of canvas in those days. 

(By high school, an all-boys’ prep school in my case, we wore jackets and ties and in my freshman and sophomore years of college, that was also the dress code—though, by then, below the waist, jeans and even mocs were tolerated.  That disconnect finally felled the dress requirements after my second year.) 

Mom wrote again on Thursday, 8 March, and expressed how much fun it was staying with the WAVES.  They did go to bed early, though, Mom affirmed, “10:00 the latest,” so she was getting lots of extra sleep—she couldn’t even read because the light would disturb her new roommates. 

“Being somewhat bored,” Mom reported, the young women went off on a jaunt “to Princeton for dinner (a hot dog in the street from a ‘vendor’) and a really good scary movie!”  She proclaimed the junket “great sport wasting the gas”—which, you may know, was rationed during the war—“and going on such a binge!”  Mom ended by saying how much she hoped Dad would send a letter “the minute you hit land” (which she couldn’t know would be in three days’ time).

(Princeton—12½ miles north of Trenton, a 25-minute drive—is an ironically prophetic destination.  In 1947, Kris married a Trentonian, my Uncle George, and settled in New Jersey’s capital city.  After raising a family there, Kris and George moved to Princeton in the late ’70s, where they spent the rest of their lives. 

(My cousin Bill and I both went to prep school in Princeton in the early 1960s, though I left after my sophomore year to finish high school in Switzerland when my father was posted to Germany as a Foreign Service Officer [see “An American Teen In Germany” (9 and 12 March 2013), and “Home Alone” (12, 15, and 18 June 2015) referenced in the introduction to Part 1].  Bill’s sister, Lisa, also went to high school in Princeton; brother Jim attended another prep school in nearby Lawrenceville.  Cousin Lisa still lives in the Princeton area with her family and Cousin Bill did as well until a recent move to Bucks Country, Pennsylvania—the area where my mother and her sister, as well as my brother, went to prep school.)

Mom included a curious announcement in this letter—for which she never provided any further explanation.  The rationale for deciding to dash off to Princeton for “something new with lots of spicey variety” was that Blossom wasn’t “interested in doing the every-day sort-of-things.”  The cause for that, Mom tossed off, was that “she’d just been asked to christen a ship in Portland, Oregon”! 

I have no idea what that was about—and it never came up again.  It sounds like a pretty big deal, a little bombshell—especially considering that Blossom Willens, like Kris, was a pretty junior officer, and she was all the way across the country from Oregon. (Blossom was from Chicago, so she wasn’t local to Portland, either.)  I have the feeling there was more to this story, but there’s no one left for me to ask.

(I have learned, though, that Portland was the home of several shipyards of Kaiser Shipyards, which built hundreds of Victory ships, Liberty ships, and escort carriers during World War II.  Industrialist Henry J. Kaiser [1882-1967], entered the shipbuilding industry in order to help meet the construction goals set by the United States Maritime Commission for merchant shipping.

(The U.S. Navy frequently selected WAVE officers, even an ensign based on the East Coast, to sponsor and christen these ships to boost wartime morale, honor the contributions of women in the military, and publicize the WAVE program.)

In an undated letter following the weekend of 10-11 March (I’d guess it was written on Monday, the 12th, or Tuesday, the 13th), Mom said she’d spent the weekend in New York City, visiting with her “uncles, aunts, and cousins.” 

(My mother’s family moved to Trenton from the Upper West Side of Manhattan in the 1930s [see “Horsman Dolls”], but there were still a lot of relatives there—my grandfather, for instance, had three sisters who all had daughters around my mother’s age with whom Mom was very close—so my mom and her family often used to travel into the city, about a 60-to-75-minute train ride or 90-minute drive, for entertainment, shopping, family events and visits, and holidays.) 

While in the city, Mom took the opportunity to take care of “something I’d wanted to do long ago”: buy Dad “a ‘farewell’ gift.”  She explained that she’d wanted to give Dad the gift in person, “but there were so many confusing mix-ups connected with your leaving I never was able to attend to anything.”  She elucidated:

I noticed you weren’t wearing one of those identification bracelets – because you didn’t like them or because you just never had one I don’t know.  However, I like them, & particularly the one I sent to you.  Too, you won’t hold against me my sentimentality, expressed on the back-side – please, sweet?  All in all, it’s merely a little remembrance I wanted you to have – and you will remember me because of it, won’t you? 

Well, here’s a little surprise—and the unveiling of a minor mystery.

Serendipitously, I found the little gift card that Mom had written to send with the ID bracelet; it was among some family keepsakes—graduation programs, diplomas and certificates, photos, letters, and so on—in a box of odds and ends Mom kept, but I never knew what it was until I reread that letter.  The envelope for the card was addressed to “Capt. E. M. K*****, 0-1165639.”  The note said essentially the same thing as Mom’s letter (except it didn’t say that the gift with which it was enclosed was the bracelet), closing with: “Lots of luck, sweet – Hope you don’t mind wearing this – Love – Me.” 

I don’t know if Dad wore the bracelet while he was overseas—he did confide in me years later that he didn’t really like wearing one and he didn’t during his and Mom’s marriage—but he kept the bracelet in his jewelry box, and I have it now.  It’s sterling silver and on the front, Mom had “GENE K*****” inscribed (later, after Dad got Alzheimer’s, Mom added their phone number in Washington, D.C.) and on the back, she put “JUDY 1 - 1 - 45,” the date they met.

(Now the letter, gift card, and gift are all together again—more or less.  I put the card with the letter in the scrapbook, but the bracelet is in my jewelry box.  I think the fact that all three of those items still exist and had been preserved over all these years—in three separate places—and that my rereading the letters allowed me to identify them all and reunite them is remarkable.

(It’s not so astonishing that I connected Mother’s letter to the bracelet in my jewelry box—her description of the gift was a pretty broad clue—but that I linked the letter to the note card was serendipitous.  Language in Mom’s letter is nearly identical to language in her note on the card.  I wrote up this incident as a sample of what “Letters from the Fronts” contains; it’s posted on ROT as “The ID Bracelet” [18 August 2025].)

Still waiting to hear from Dad, Mom wrote on Thursday, 15 March (“Income tax due,” she noted; 15 April didn’t become Tax Day until 1955), how much she was enjoying spring, which had broken out in New Jersey—she described the day before as “a day of days!  It was simply gorgeous—really spring; with lots of sunshine, & warm, warm weather”—and wished Dad were there so they could take “a long long walk somewhere”—and then added “pardon the suggestion—perhaps a drive would be better!” 

(I assume that’s a reference to the frequent hikes Dad had to go on as part of this army duties.  I don’t recall Dad saying anything about hiking later, but when I was a Boy Scout and started going on overnight camping trips, he did say unequivocally that he’d had enough of “sleeping on the ground” in the army and wasn’t interested in going camping ever again.  He never did, either.)  Mom pointed out that they’d only been together “when it’s been cold, nasty, & very wet”! 

Mom also recounted “a very annoying experience” the previous evening.  She and Kris returned early to the apartment and while they were busy straightening the place up, “the phone began ringing away impatiently.”  Mother answered it to find a long-distance operator on the line.  It seemed that “she was not quite certain of what she was saying,” Mom thought, “trying to find out if it was o.k. for her to charge that phone with a call made earlier that day by Lt. K*****.”  It was obvious from what Mom wrote next that she had my dad on her mind:

When she finished, it occurred to me somewhere along the line I was impressed with the idea “Capt.” K***** was meant rather than Lt. – and that a long distance call was coming in—.  Well, needless to say, both the operator & I finally came to an understanding – and “parted” – but in the meantime I fear I suffered a shock – and Kris, who knew what was going on, all the while, laughed!!  Vulgar!  No sympathy.

Mom went on to acknowledge that she knew it was impossible for Dad to be calling, but because he’d “bobbed up unexpectedly at times in the past,” she formulated “a miracle” in her imagination.  Mom never explained what actually happened, but do I have to point out that Kris was “Lt. K*****” (which Mom seems to have forgotten).

Given Kris’s reaction to Mom’s confusion, she probably had placed a call sometime that morning, perhaps from her navy base, and charged it to her apartment phone.  Hence the confirmation call from the operator.  Mom was fixated on my dad, as she wrote: “Must be I miss you, eh?  [A]nd perhaps think of you once in awhile [sic].”

(Readers should remember that calls from Trenton to New York City and vice versa were long distance in 1945.  Furthermore, a call to Kris’s family back home, which is what I’d guess this was, wouldn’t have been a work call, so she’d have had to pay for it herself, not charge it to the navy.) 

Many of Mom’s letters, at least at this point before Dad began writing again from overseas, fell into a pattern.  She spoke emotionally about missing Dad and feeling unhappy that she hadn’t heard from him in so long, and then (though not necessarily in this order) turned to gossip and chit-chat.  In an undated letter written, I figure, around Saturday or Sunday, 17 or 18 March, Mom went on at some length on the first topic:

Thought that the more I did to occupy my time – and mind would help to keep me from thinking of how far away you are, and how long it[’]s going to be before seeing you again.  But, darling, I miss you more and more each day – and with every new event or activity taking place I want you to be here to take part.  Sweet, it may be hard to believe, after reading my letters since your going away – but, actually I’m not one for writing a lot of corny sentiment – all this candy-sweet business.  I never have, and never thought I would.  But, dearest, forgive it if it’s nauseating to you – I realize once in awhile [sic] it’s pleasant – but a “habit” of it can become annoying.  However, I’ve got to write what’s on my mind and right now that’s you & my missing you – never have I felt I’d have to express myself like this in the mail.  So, dear, forgive it – and realize that after awhile [sic] I’ll get use[d] to your being away – especially after I get a letter or two from you.  Then perhaps I’ll get back to normal.

Okay, a word here about my mother’s lack of sentimentality—at least of the epistolary kind: it’s not true.  Not in my lifetime, at any rate.  I’ve said this before, but in my family, Dad was the rationalist and Mom the sentimentalist.  Now, maybe she never wrote what are essentially mash notes like this before, so she was never called upon to use “candy-sweet” expressions—but Mom never shied away from sentiment either in her speech or her letters.  (I know.  I was on the receiving end for over 60 years!)

After the emotional effusion, Mom turned to commentary, covering her first horseback ride in many months earlier that day—it left her somewhat saddle sore—and an impromptu party the night before at the officers’ club that started out to be a bridge game and ended up at Mom’s house (because her folks were gone) “for eats, etc.” 

The gathering lasted till 4 a.m. and Blossom stayed over (Kris was in Washington for the weekend—part of her navy duties) and even after they went to bed, the young ladies “had to gossip and compare notes” until the wee hours.  I tell you, Mom and Kris and their buddies were like a miniature sorority when they got together!

[“The Letters Project, Part 4” starts on the day that my mother-to-be heralds the beginning of spring.  Mother also alludes to a health problem in Dad’s family.  The first letters from Dad from France are also the first ones with actual war reports—the fighting had moved east, so Dad was describing the aftermath of combat.  ROTters’ll see that installment on or about Sunday, 15 November 2026.]


26 October 2026

Marina Abramović Redefines Performance Art

 

[I’ve blogged a bit on performance art and, specifically, Marina Abramović before on Rick On Theater.  See, for instance, “Performance Art” (7 and 10 November 2013), a run-down, as the title states, of the whole field (as of 13 years ago)—including a definition of the form. 

[“‘Art That Flows From a Will to Live’: Marina Abramović, Performance Artist” by Jessica Testa (7 September 2024) is a post on the artist on whom I’m blogging below (and which includes a short biography of Abramović), and “Feminist Performance Art” (22 May 2026) is a collection of articles on, as the headline indicates, performance artists, including Abramović, who work in a feminist vein.

[There’s even a post with the startling title “Bob Dylan, Performance Artist” (8 January 2011) by my friend (and prolific ROT contributor), Kirk Woodward.  You’ll have to read the article yourself to see why Kirk hung that label on the singer-songwriter.

[To be truthful, I’m not a big fan of performance art per se.  As I confess in “Feminist Performance,” my appreciation of performance is more for what its innovations and experimentation contribute to more conventional theater than for the live art itself that the artists make.] 

“‘THE BODY HAS ITS OWN WISDOM’”
by M. H. Miller
 
[The article below ran in T: The New York Times Style Magazine of 25 October 2026.  It was posted to the Times’ website as “Is Marina Abramović for Real?” on 9 October 2026 and updated on 13 October.]

Marina Abramović, on the cusp of 80, is still redefining performance for our time.

Contemporary art is often filtered through refusal. In general, artists don’t like to give away too much about themselves. Marina Abramović [Yugoslavian; b. 1946] is the opposite. Has any artist offered so much of her unfiltered self to the public? In 2010, during the lead-up to “The Artist Is Present” at the Museum of Modern Art in New York [14 March-31 May 2010], in which she sat, silent and unmoving, in a wooden chair as thousands of people lined up each day to take a seat across from her, she estimates she gave about 320 media interviews. If you’ve followed her career, you likely know uncomfortably intimate details of her life. Before talking to her, I knew that when she had her first period at 12, she thought she was dying, because no one had ever told her about menstruation; that her father claimed to have only one testicle because of a grenade mishap; that she was 24 when she lost her virginity to a near-stranger while sharing an apartment in Belgrade, Yugoslavia (now Serbia), with her mother, under whose suffocating gaze she lived, off and on, until age 29.

["When people ask me where I am from, I never say Serbia,” Abramović declares.  “I always say I come from a country that no longer exists" [Sean O'Hagan, “Interview: Marina Abramović,” The Guardian [New York] 2 Oct. 2010]. 

[What became the Kingdom of Yugoslavia was formed in 1918 after World War I and the dissolution of the Austro-Hungarian Empire, gaining recognition in 1922.  It became the Socialist Federal Republic of Yugoslavia under Josep Broz (known by his nom de guerre, Tito) after World War II in 1945, and dissolved into five independent republics in 1992 and then six in 2006 (Bosnia and Herzegovina, Croatia, Macedonia, Montenegro, Serbia, and Slovenia).]

Abramović’s style of conversation is performative, unsurprisingly. She speaks rapidly, in lengthy monologues punctuated by what James Wescott [English; b. 1979], one of her biographers and the author of “When Marina Abramović Dies” ([MIT Press,] 2010), describes as her “idiosyncratic Serbo-English.” Though she hasn’t lived in Serbia in more than 50 years, she notes with some resentment that she never fared well in her home country, especially with the press: “I remember the newspaper referring to my MoMA show,” she says. “‘Look at her, sitting in the chair and doing absolutely nothing and getting all this international affection because the Western culture is rotten and she’s a great product of this rotten culture.’ I can’t change this opinion ever.”

I had requested two hours for a first interview, thinking it might seem a minuscule interval for Abramović, 79. (“The Artist Is Present” lasted 736 hours and 30 minutes over a two-and-a-half-month run.) But one of the first things she tells me is, “I never talk two hours. Let’s talk one hour with intensity.” She’s on vacation, video conferencing from a house in a small Austrian village. She says that her art has helped her to understand herself better. “I discover why it’s so important, long-durational work,” she says. “After a few hours, you can’t pretend anymore. You can’t play somebody else. You actually show incredible vulnerability of yourself to the public, and the public understands and then magic happens. The biggest problem is our brain and intellect. We are overthinking all the time. Thinking is a huge obstacle. We put an entire world in our head that doesn’t exist. But the body has its own wisdom.”

I. Her First Studio  Her parents, Danica [1921-2007] and Vojo [1914-ca. 2000], were both Communist Party officials in Belgrade. Their relationship was toxic, violent and mutually hostile, but they had rather charmed lives as veteran partisans in Josep Broz Tito’s [1892-1980; Yugoslav communist revolutionary and politician; Prime Minister of Yugoslavia: 1943-63; President: 1953-80] National Liberation Army [anti-Nazi resistance partisans, 1941-45] who were granted high-ranking positions after the war. Still, it wasn’t an easy house to grow up in. There were no birthdays, because Abramović’s parents lied to her about hers, moving it up a day to Nov. 29, Republic Day, when they celebrated Tito instead. Danica never showed affection for her daughter. She’d yell and scream and beat her, so Abramović learned as a child to be silent and complacent and afraid. In a 2016 memoir, “Walk Through Walls” [Crown Archetype], she recalls the time she lost her first baby tooth and her gums bled profusely for months before her mother and father took her to the hospital, where she was diagnosed with a rare blood disorder. She spent a year there convalescing. “This was the happiest time of my childhood,” Abramović writes. “Everybody in my family was nice to me.”

She got along better with Vojo, but he was an inscrutable, often absent man, the kind of father who gave his daughter a gun for her 14th birthday. When she was 17, Vojo entered her bedroom in the middle of the night after an ugly fight with his wife and told her he was moving out. An awkward adolescent now fully under her mother’s control, she took refuge in Bach, Dostoyevsky, Kafka and Proust. Her interest in art was the only thing her mother tried to encourage. She allowed Abramović to use a spare room in the apartment as her first studio.

II. Courting Danger  She has stage fright. It’s more manageable now, but she tells me she still feels unsettled enough to spend the hours before a performance in the bathroom. As a teenager, she had entered the Academy of Fine Arts in Belgrade to paint but, after becoming disillusioned by her conservative education, not to mention Tito’s government (she burned her Communist Party card in 1968), she was drawn to the more conceptual works of Western artists like Joseph Kosuth [b. 1945], Lawrence Weiner [1942-2021] and Joseph Beuys [German; 1921-86]. She’d been thinking about the intersection of art and violence, and the questions she began asking were, from a historical perspective, novel: Would she hurt herself in front of the audience? Or to what degree would the audience let her hurt herself? There were other artists who put themselves in danger, like the American artist Chris Burden [1946-2015], a major influence, who in 1971 had a friend shoot him in the left arm with a .22-caliber rifle at a California gallery.

Whereas Burden’s action was meticulously planned, Abramović removed the forethought. She wanted whatever was going to happen to happen. In 1973, shortly after completing a postgraduate program in Zagreb, Croatia, she traveled to Scotland at the invitation of the gallerist Richard Demarco [Scottish; b. 1930], who had founded an experimental summer school called Edinburgh Arts. There, in a high school gymnasium, she staged her first public performance [1973]. Called “Rhythm 10,” it was based on a drinking game popular among Yugoslav laborers: You spread out the fingers of one hand on a flat surface and stab between them with a knife held in the other, trying not to hit flesh. By the end of her performance, a piece of white paper was red with her blood. One of the few people in attendance was Beuys, who was on the faculty at Demarco’s school.

She attempted to stay in Western Europe, delivering mail in Edinburgh and taking on other jobs, but was soon back in Belgrade, living with her mother. During this period, she refined her ideas of what performance could be, gravitating toward even more dangerous scenarios. In 1974, Beuys, visiting Belgrade [Student Cultural Center], also attended a performance of Abramović’s “Rhythm 5,” for which she constructed a large five-pointed star out of wood scraps, covered it in petroleum and lit it on fire. She cut her toenails and hair before tossing the trimmings into the flames. She recalls Beuys telling her, “Be careful with the fire,” but she lay down in the center of the star anyway, spreading out her arms and legs. As the smoke engulfed her, one of her legs started to catch fire, but she didn’t notice. She’d already lost consciousness. An audience member — not Beuys, though legend has often claimed it was him — pulled her out and the performance ended. When she came to, she noticed the viewers’ reactions were largely, unexpectedly positive. They seemed transfixed.

III. Tempting Fate  As her reputation grew, the questions she was asking led to a final, inevitable one: Would the audience kill her? Later in 1974, she decided to find out at Studio Morra in Naples, Italy, creating a piece in which, as she has written, “the audience would provide the action. I would merely be the object, the receptacle.” It was called “Rhythm 0,” as if she had been counting down to it. In the gallery, she stood before a table with 72 objects, some innocuous, others less so: a feather, a bottle of perfume, lipstick, a jar of honey, a newspaper, safety pins, a carving knife, a saw, a bullet and a gun. Vojo’s 14th-birthday present to her was now returning, in a Chekhovian sense [reference is to Anton Chekhov, Russian playwright; 1860-1904] and she mentally prepared herself for someone to use it.

The performance began at 8 p.m. For the first three hours, very little happened. The only instructions were to use the objects on Abramović “as desired,” and the audience was unsure of how to behave. She simply stood there, waiting. Initially, she recalls, it was the female attendees who directed the men to do things — slice off her shirt to expose her breasts, smear her face with lipstick. One man stuck pins into her skin, which made her cry. One of the women wiped away her tears, but a mob mentality quickly took hold. Members of the crowd picked her up and placed her atop the table, spreading her legs and sticking the knife near her crotch. Someone then took the knife and sliced her neck before putting his mouth to the wound to suck up the blood. As Abramović recalls in her memoir, “a very small man, who just stood very close to me, breathing heavily,” loaded the gun, placed it in the artist’s hand and pointed it at her neck as he moved her finger to caress the trigger. The crowd came to and ejected him from the gallery. At 2 a.m., the performance was over. The audience scurried away, unable to look Abramović in the eye. Some called the gallery the next day to apologize.

Soon after, Abramović compiled photographs from this and the other “Rhythm” pieces and showed them at the Museum of Contemporary Art in Belgrade. At the time, her mother was enforcing a 10 p.m. curfew, so she raced home after the opening. When she arrived, Danica was waiting in the dark, furious. She’d found out that nude pictures of her daughter were on display. She called Abramović a prostitute, spat on her and threw an ashtray at her head. Abramović entertained the possibility that her mother might kill her. She was excited at the prospect of her mother going to prison. But it was not how she wanted to die.

IV. Love  The next year, she traveled to Amsterdam for a performance. A German artist named Frank Uwe Laysiepen [1943-2020], who went by Ulay, met her at the airport and served as her guide for a couple of days. He was three years older, but they’d been born on the same date. They were drawn to each other immediately. “Our hearts beat as one,” Abramović writes in her memoir. They began working together, which was a breakthrough for Abramović: She was still vulnerable but she was no longer alone. For five years, they lived out of a Citroën van, performing wherever they could. Some of their works were quite simple. In 1977, they both stood nude, facing each other in a doorway in the Galleria Comunale d’Arte Moderna in Bologna, Italy, close enough that visitors had to slide between them sideways and choose which body they would rub up against as they passed [Imponderabilia]. Though her work still had the suggestion of violence, it was now built around themes of love and trust. In Dublin in 1980 [Rosc ’80: the poetry of vision; international exhibition; School of Architecture University College Dublin and National Gallery of Ireland], the pair presented “Rest Energy,” hooking small microphones up to their hearts, with Ulay pointing a loaded bow and arrow inches from Abramović’s, pulling the string back as far as he could. They stood that way for four and a half minutes, their hearts audibly beating faster and faster.

In 1982, they began seeking permission from the Chinese government to walk the Great Wall for a performance [The Lovers – The Great Wall Walk, 30 March-3 June 1988]. Abramović would start at one end, at the edge of the Bohai Sea, Ulay in the Gobi Desert, and they’d meet in the middle. Initially, the plan was that they’d get married there, but their relationship disintegrated as they were developing the work. He was unfaithful. She was depressed and jealous. So instead of having a wedding, they each walked about 1,500 miles to cross paths, and said goodbye. Ulay ended up marrying the interpreter who’d accompanied him on his walk, and Abramović would never collaborate with another person so closely again.

V. Fame and Its Discontents  If you admire Abramović, then you may also wish she’d say no every once in a while, or at least not say . . . that. An earlier version of her otherwise good memoir, which was revised for final publication, includes a chapter in which she describes encountering Indigenous Australians in the desert there for the first time in 1979. (“They look like dinosaurs. They are really strange and different and they should be treated as living treasures.”) This racist observation caused a global backlash, and it wasn’t the only time she’d disappoint her public. How could the person who made a work as uniquely subversive as “Rhythm 0” be the same one behind an inflatable installation [Snowy/Windy/Spring on Planet Z; open-ended run] currently on view at New York’s Balloon Museum in the South Street Seaport [DAYDREAM – Air Becomes Art; opened 5 August 2026; permanent exhibit] in which she declares in an artist statement, “Air has always been central to my practice”?

The first time she saw someone with a tattoo referencing her work, at a cafe in France, she knew she’d crossed over into mainstream culture. What a strange turn of events that this artist, of all people, would become someone whom the public was so invested in. In 2002 [15 November-21 December], she performed “The House With the Ocean View,” in which she lived on a platform at the Sean Kelly Gallery in Manhattan for 12 days. Abramović fasted, slept for no more than seven hours a day and did little else besides bathe, drink water and occasionally urinate into a toilet that had been built for her. The show was a sensation. Susan Sontag [1933-2004; writer and critic] was a repeat visitor, sitting on the floor for hours. It was even written into “Sex and the City” [American romantic comedy-drama television series; HBO, 1998-2004]. (“There are depressed women all over New York doing the exact same thing as her and not calling it art,” Carrie Bradshaw says of the work [“One”; Season 6, Episode 12 (14 September 2003)].)

Eight years later, “The Artist Is Present” increased Abramović’s exposure and deepened the obsessive relationship her audience was developing with her. Björk [Icelandic; b. 1965; singer, songwriter, composer, record producer, and actress] and Patti Smith [b. 1946; singer, songwriter, poet, and author] and Lou Reed [1942-2013; musician, songwriter, and poet] lined up to stare into her face. She’d asked the museum to invite Ulay, whom she hadn’t seen in years, but was still surprised when he sat across from her. They both wept. Crying was a common reaction on the part of the audience members, who were overcome by Abramović’s sheer presence — by her commitment to them.

From then on, everyone in our culture was a performance artist, and she was their guru, from highbrow practitioners (Tino Sehgal [German; b. 1976; Berlin-based artist and choreographer of “constructed situations”]) to overconfident celebrities (James Franco [b. 1978; actor and filmmaker]) to Instagram influencers. Abramović, who never had kids and never wanted to, tells me at one point, “You have no idea how many children I have.”

VI. Peace  When her mother died in 2007, Abramović found her diaries. “If I read one page when I was growing up, our relationship would be completely different,” she says. She understood how “emotionally wounded” Danica had been by Vojo, and that her coldness was an attempt to make her daughter become stronger than she was. When I ask if she’s forgiven her mother, she says, “Oh, just recently, my dear.” It was when she was making her new work, “Balkan Erotic Epic,” which debuted last year in Manchester, England [Manchester International Festival, 1-31 July 2025], and will open at the Park Avenue Armory in New York in December [8-20 December 2026], that she was able to come to terms with the relationship. A four-hour autobiographical production, it begins with Tito’s funeral in 1980 and features her mother as a character played by the Spanish-Serbian performance artist Maria Stamenković Herranz [Swiss-born; b. 1976; based in Spain]. Unlike her mother in real life, Danica in “Balkan Erotic Epic” is warm, sensual, liberated. “Everything which I could not do with my mother, I could do through this character,” Abramović says.

It’s also the culmination of a realization she first had during “The Artist Is Present”: that her work is her only means of experiencing unconditional love, which has often eluded her in her personal life. It’s “just unconditional love generally for the universe, the planets,” she says. “I genuinely love human beings, and I especially love when they enjoy life. Most of the time, my own generation is so miserable.” This feeling she experienced as she sat facing all those crying people has carried her through her later career, in which she’s found a kind of tranquillity [sic; British spelling]. At the opening performance of “Balkan Erotic Epic,” she got to dance with Danica — or the version she’d invented, the one who loved her back. And it was in this moment that Abramović forgave her mother. “Now that I’m getting to 80, there’s no way out,” she says. “You have to learn to reconcile. Otherwise you leave here with this hate in your heart.”

VII. Life After Death  Three years ago, she had a blood clot in her lungs, fell into a coma in New York and nearly died [pulmonary embolism; May 2023]. Many of the people who were important to her were gone. Beuys died of heart failure in 1986. Ulay died of cancer in 2020. After so many years of courting death in her art, Abramović now understood how much she liked being alive. She hopes to live until she’s 100. That way, she says, “no one can ignore me.” She already has plans for her funeral, which are printed in Wescott’s biography. She developed them in 2005, after attending a gloomy memorial service for Sontag in Paris [17 January; Cimetière du Montparnasse]. She wants hers to be more fun. It will include three coffins: one containing her actual corpse, the others with lifelike dummies. The guests must wear any color but black. The British singer Anohni [Anohni Hegarty (b. 1971; British-born singer, songwriter, and visual artist based in New York City and Ireland)] will choose a song to perform (Abramović had originally thought of Frank Sinatra’s [1915-98] “My Way” [French song translated by Paul Anka [b. 1941], released by Sinatra in 1969]). I’m curious how she thinks her death might happen. “Do you want it to be midperformance?” I ask.

“First of all,” she says immediately, as if this weren’t an odd question, “I can’t plan that, because you never know what’s going to happen. I only know that I don’t want to be afraid, I don’t want to be angry and I want to be conscious. I want to experience this passage from life to death very clearly. I have no idea how to achieve this, other than to be ready. This is why I think of dying every day. Because only when you really think about how death is there can you enjoy life fully — every single minute of it.”

[M. H. Miller is the features director for the New York Times’ T Magazine.  He’s a prominent journalist and editor who writes extensively on contemporary art, culture, and the historical evolution of New York City’s art scenes.

[Before joining the New York Times, Miller built a robust career as a culture journalist and editor.  His writing has appeared across several major literary, news, and art publications such as the New York Observer, where he served as a reporter and senior editor; ARTnews, where he worked as an editor; the Guardian; the London Review of Books; Bookforum; the Village Voice; and National Public Radio.]


21 October 2026

Artists Working In Uncommon Media

 

[Readers of Rick On Theater will know that I have an interest in the visual arts.  I’ve posted many articles, both by me and by others, including a number from published sources, on art from one perspective or another.  I’m often fascinated by innovative and experimental art, work that’s groundbreaking and daring—even if I don’t always like the results.  Just as I am with theater, I’m taken with artists who devise new ways to express themselves with new media or new techniques.

[Recently, I read two pieces in the New York Times’ monthly style magazine, T, about artists working with materials that are, not unique, but also not mainstream.  One works with cloth and thread, though he’s not a tapestry artist or a needlepointer.  The other’s a sculptor who work with lighted tubes of neon.  I say “works with” and not “works in” because he incorporates the neon tubes in his sculptures with other elements—though the tubes and the light they emit are the most dynamic components of the sculpture.

[In both cases, I hope, you’ll see what got my attention—and piqued my imagination.  Maybe these artists and their work will intrigue you a little, too.] 

“Out of Whole Cloth”
by Siddhartha Mitter 

[The article below was published in T: The New York Times Style Magazine on 27 September 2026.  It was posted to the paper’s website as “What Happens When a Painter Abandons Paint?” on 10 September 2026.]

Eric N. Mack has created a singular style of painting by forgoing paint altogether and using fabric instead.

The artist Eric N. Mack [b. 1987], known for his abstract fabric assemblages, works in a simple studio in an office building turned creative hub in Manhattan’s financial district. When I visited in early June, I found the room packed with textiles — piles of colorful remnants, gauzy lengths unrolled on the floor and racks of clothing, some of Mack’s own design. A heavy-duty Singer sewing machine held the center of a cluttered worktable. Out the window, we could see the South Street Seaport at a distance, the ship sails echoing Mack’s fabrics.

Mack, 39, identifies as a painter — and trained as one in art school at Cooper Union, and later at Yale. Back then, he was already challenging the norms of the field, painting onto unusual surfaces like blankets and drop cloths and setting them up as sculptures; for almost a decade now, he’s used fabric and thread, not paints and brushes, to make his marks. His assemblages can stretch over metal frames or hang off lines and free-standing armatures, or cascade in bright hues across, say, a museum atrium, making the space itself a sculpture of light. When we met in the studio, he was preparing his exhibition at Paula Cooper Gallery in Chelsea that opens today [You Red The Shirt Off My Back, 10 September-24 October 2026]. Pinned to the wall were works he was making, including some for the show: Each was a kind of collage, joining small segments of many different shapes and patterns and materials, stitched and layered into irregular forms.

[Cooper Union for the Advancement of Science and Art on Cooper Square in the East Village neighborhood of Manhattan offers education in art, architecture and engineering, as well as courses in the humanities and social sciences.

[Chelsea is a neighborhood on the West Side of Manhattan. The area’s boundaries are roughly 14th Street to the south, the Hudson River to the west, 6th Avenue to the east, and 34th Street to the north. In the 1980s, the area began to attract restaurants and nightclubs and, in the ’90s. art galleries focusing on the most contemporary artists and works.]

One of a cohort of young Black artists to appear in the early 2010s with fresh ideas and cross-disciplinary tendencies, Mack received institutional recognition almost immediately, participating in an influential group show of emerging artists at the Studio Museum in Harlem in 2012 [Fore, 11 November 2012-10 March 2013]. His work was in the 2019 Whitney Biennial [17 May-27 October 2019], and he had his first New York City solo exhibition that same year at the Brooklyn Museum [Lemme walk across the room, 11 January-4 August 2019]. He’s shown widely ever since.

[The Studio Museum is an African-American art museum in the Harlem neighborhood of Manhattan. Founded in 1968, the museum collects, preserves, and interprets art created by African Americans, members of the African diaspora, and artists from the African continent.]

His fabric works join a lineage of conceptual experiments that are based on painting while also shedding the medium, in part or in full. Among his touchstones are figures like Sam Gilliam [1933-2022; see “Picasso, Bearden, Gilliam, and Gauguin” (26 June 2011) and “Sam Gilliam (1933-2022): A Personal Tribute” (2 July 2022)], the great Black abstractionist who began draping his painted, unstretched canvases in the late 1960s; Robert Rauschenberg [1925-2008], the protean assemblage figure who made textile works in the 1970s; even [Vladimirov Javacheff] Christo [1935–2020; Bulgarian] and Jeanne-Claude [Denat de Guillebon; 1935-2009; Moroccan-born French national], with their wrapped buildings and monuments. This fall, he will also appear in “Hard Art,” an intergenerational show of 44 artists at MoMA PS1 [Long Island City, Queens; 5 November 2026-8 March 2027] that traces the legacy of Black abstract painters, including Gilliam, Mary Lovelace O’Neal [American; 1942-2026], Joe Overstreet [American; 1933-2019] and more, across many media. (And a large-scale installation by Mack is on view at the Speed Art Museum in Louisville, Ky. [Rare Essence, 27 May-29 November 2026], responding to the building’s architecture, through Nov. 29.)

But Mack finds equal inspiration in street and high fashion, and in the histories of quilting and the domestic arts. How fabric is made and traded, and with whose labor; how it is worn on the body; how it is kept or reused: All this, for him, infuses the material down to the snippet. This concentrated potential keeps Mack trawling fabric and remnant shops, visiting markets and artisans on his travels and accepting the miscellaneous batches of fabric that friends think he might want to use. It has led him to focus his practice. Where he once employed different methods — readymades, ornamentation, photo transfer, magazine-page collage — he has pared his priorities to fabric, space and form. The result is a distinctive visual language, sensitive to fabric’s social and emotional life, how a remnant can marshal a memory; how a pattern comes with a story embedded in it. Unlike paint, Mack told me, fabric can “also talk about time and fragility.” He added: “I like that about textile. It’s something that I’ve wanted painting to be able to do, which is why I’ve conceptually fused them.”

At the studio, I asked Mack to guide me through one of his works in progress. Pinned to the wall (and still untitled), the piece involved several dozen elements: a dynamic assembly of strips and squares of many colors, patterns and textures. The total work possessed the rough proportions of a dress — albeit one bizarrely confected, and then deconstructed by some centrifugal energy. Mack pointed out a rectangular section near the work’s top. It had bands of narrow stripes in shades of red, blue and green. He got it, he said, on Chongming Island, an outer district of Shanghai in China’s Yangtze River Delta, where women have woven homespun cotton for centuries.

As we continued to look over the piece, alighting on other fabric segments, it became a map of the artist’s sources. A lace section, for example: “I got this in Turin in a secondhand shop,” Mack said. An Indian-style, paisleylike print was purchased at a market in Rome, a bit of burlap at an ordinary home and garden store. A swath of linen came from Emblem Weavers, one of the surviving traditional suppliers in Ireland. “They gave me a lot of remnants that I’m still working with,” he said. And the larger rectangle, slightly frayed with loose threads hanging, in a tartan pattern anchoring the bottom of the work? “There’s a punk shop I go to in the East Village,” Mack said. “If it has a grid on it, I’ll get it. It felt like it kind of balanced everything out.”

[The East Village is a neighborhood on the East Side of Lower Manhattan. It’s roughly defined as the area east of the Bowery and Third Avenue, south of 14th Street, north of Houston Street, and west of the East River. The area has undergone many changes since the early 19th century, and today it’s a center of avant-garde and experimental culture and arts, including the visual arts, theater, music, and writing.]

A grammar was emerging, one that relied on a combination of history and intuition. The work’s energy — and also its control — dwelt in its torqued internal geometry, the way Mack positioned the patterned fabric pieces slightly off kilter. The artist often leaves deliberate gaps in his compositions that he likens to oculi or breezeways — “like the work is beginning to unmake itself,” he said. In the jagged edges, he was exposing the vulnerability of the material.

At the same time, all the reference points and different histories seem to create something familiar, a kind of connection between the work and the viewer. “People ask me if the viewers can touch the work,” he said. “And my answer is always that I think the viewers already know what it feels like. Because so many of the fabrics are so ubiquitous, you already can imagine, which ends up being a kind of sensorial overlay.”

Clothing and style are fodder for experiments that have landed along the spectrum between fashion and art. He’s collaborated in the past with the London-based streetwear designer Kiko Kostadinov [Bulgarian; b. 1989] and with Grace Wales Bonner [English; b. 1990], now the creative director of Hermès men’s wear. (When we met, Mack was dressed unassumingly in jeans and a Supreme jacket.) At one point, he was making “outfit collages,” incorporating full clothing pieces — trousers, windbreakers — into his scrap-and-remnant assemblages. Though there are fewer overt explorations of fashion in his work now than earlier in his career, the possibilities lurk. While we were looking at the patchwork piece we had analyzed on the studio wall, he said, “I think it may need to be worn.”

Mack grew up just outside of Washington, D.C., and his parents both worked at the National Gallery of Art — his father in exhibition installation, with a specialty in plexiglass vitrines, and his mother in the gallery archives. The family identified so much with the museum that they chose his middle name, Nathaniel, for its alliteration with “national.”

Mack’s father also owned a clothing store, so his son would either accompany him to the museum, where he roamed the galleries and watched him clean the vitrines — “with his personal proprietary solution”— or help out at the shop. These formative experiences built his awareness of not just art and fashion but “how close they were at times,” he said. “What people were wearing on the street, how culture moved through fashion — there was this progress where I was like, ‘Oh, I’m seeing this in real time.’”

Outside was the Black D.C. of the 1990s, rhythmed by go-go music, the stubbornly regional dance genre epitomized by bands like Rare Essence, Trouble Funk and other hyperlocal acts. “It was an interesting kind of cultural specificity, and it had its own resistance,” he said. “It just had such a flavor and feeling — really Black, but also just complex.”

He’s titled works and shows after D.C. locations or bands. How these memories filter into his art is abstract. “Just as I’m preserving an old piece of fabric in the middle of these newer materials, or thinking about simultaneous contrast, there’re these moments of culture that I want to compress into the work.”

Equally in the air for Mack, who attended an arts program in high school, was the local fine-art legacy — notably the Washington Color School [see “The Washington School of Color” (21 September 2014)] painters of the 1950s and ’60s, who sought a language of color on canvas using acrylic and methods like shaping and soaking. This group, plus offshoots, included Kenneth Noland [1924-2010; see “Morris Louis” (15 February 2010) and “Picasso, Bearden, Gilliam, and Gauguin” (26 June 2011)], who cut canvases into sculpted shapes; Morris Louis [see “Morris Louis”], who poured color on large unstretched canvases; and Gilliam, as well as the great Black painter Alma Thomas [American; 1891-1978], known for the bold rhythms and patterns of her abstract paintings. All were influences on Mack, he said.

Shortly after high school, he visited a Gilliam retrospective at the Corcoran Gallery of Art [Sam Gilliam: A Retrospective (15 October 2005-22 January 2006); see “Awake and Sing!, et al.” (3 April 2017) and “Sam Gilliam (1933-2022): A Personal Tribute” (2 July 2022)], followed by one of Louis in 2007 at the Hirshhorn Museum [Morris Louis Now: An American Master Revisited (20 September 2007-6 January 2008)]. Later, he said, he realized that “these were bookends — these are saying so much, and they’re local artists who, unlike go-go, were really able to penetrate. They’re in museums all over the world.”

[The Corcoran Gallery of Art was an art museum in Washington, D.C. Founded in 1869, the Gallery closed on 28 September 2014 due to a prolonged economic shortfall. Its art school and building transferred to George Washington University and its collection was distributed to other public museums and institutions in Washington, primarily the National Gallery and the American University Museum.

[The Hirshhorn Museum and Sculpture Garden is an art museum in Washington. Opened to the public in 1974, it’s part of the Smithsonian Institution and focuses on contemporary and modern art, mainly on the post-World War II period.]

Mack has “an almost encyclopedic knowledge of all these artists and movements,” said the artist Abigail DeVille [American; b. 1981], whom he befriended at Yale. “I’ll show him a picture of a work in progress and he’ll have immediate references.” The artist Tomashi Jackson [American; b. 1980], a friend since Cooper Union who showed alongside him in the 2019 Whitney Biennial, said that anywhere Mack went, he always looked for the library. “He is a good-faith participant in art-historical lineage,” Jackson said. “As a maker, and then inside of our inherent responsibility to give it back.”

In the late winter of 2019, while Mack was preparing for the Biennial and had installations up at the Brooklyn Museum and the Serpentine gallery in London, he participated in a fourth show that is perhaps the one that most impacted him as an artist, even though its material trace has been lost. For the Desert X outdoor biennial in California, he draped billowing lengths of cloth over the plaza of an abandoned gas station just outside the town of Mecca [California], by the Salton Sea. The fashion house Missoni donated fabric. He titled the work “Halter.”

[Desert X is a site-specific, contemporary art exhibition that is held in the Coachella Valley in Southern California. The inaugural Desert X was held in 2017, and subsequent exhibitions have been held every two years. Desert X 2027 will take place from 30 October 2027 through 7 May 2028 and will mark 10 years since the inaugural exhibition.

[The Salton Sea is a shallow, landlocked, highly saline endorheic lake in Riverside and Imperial counties in Southern California. An endorheic or terminal lake is a body of water that doesn’t flow into an ocean or a sea and maintains its water level only by evaporation.]

One month into the exhibition, the work disappeared, leaving only bits of fabric and rope, apparently burned, in circumstances that have never been resolved. Speaking at the time to ArtNews, Neville Wakefield [English curator, b. 1963], the exhibition’s artistic director, said there was little to be done: “The beauty of the piece was that it was extremely fragile, ephemeral, diaphanous work. The fact that it has succumbed to its own fragility might add to the narrative.” The loss strengthened Mack’s resolve. All his pieces since then, he told me, “come in a continuum where they’re answering for the absence of that work.”

From this perspective, the outdoor work Mack showed last year at the American Academy of Arts and Letters in Upper Manhattan was cathartic for the artist. The piece, titled “Cartouche” [2025], part of “Fishers of Men,” Mack’s solo exhibition at the academy [27 September 2025-8 February 2026], addressed the peculiar architectural setting: The mannered Beaux-Arts complex of Audubon Terrace — the grand dream of an early 20th-century philanthropist — dead-ends at the rear facades of two prewar apartment buildings more typical of Washington Heights [neighborhood in the northern part of the borough of Manhattan], with their fire escapes and water towers. Against this backdrop, Mack strung two parallel ropes and attached between them a billowing textile collage that stayed up through most of the winter. “This exposure to the elements — and being braced by the architecture — was ideal,” Mack said. From earlier New York artists, he added, he’s come around to the idea that “the city is a collaborator.”

[Audubon Terrace is a cultural complex comprising eight buildings in the Washington Heights neighborhood of Upper Manhattan. Developed for several cultural institutions between 1904 and 1930, Audubon Terrace was commissioned by Archer Milton Huntington (1870-1955; philanthropist and scholar). The complex is designated a New York City landmark and is listed on the National Register of Historic Places.

[The site was originally part of the estate of John James Audubon (1785-1851; French-American artist, entrepreneur, naturalist, explorer, and ornithologist), which was later developed into the Audubon Park district. The first buildings were completed in 1907 for the Hispanic Society of America and the American Numismatic Society. Additional buildings were designed for the American Academy of Arts and Letters (AAAL), the American Geographical Society (AGS), the Heye Foundation's Museum of the American Indian (MAI), and Our Lady of Esperanza Church.

[In the late 20th and early 21st centuries, the AGS, ANS, and MAI moved out. (The Museum of the American Indian, now a New York satellite of the National Museum of the American Indian in Washington, is located downtown at the Alexander Hamilton U.S. Custom House at 1 Bowling Green.) Boricua College, the Hispanic Society, and AAAL took over the other three institutions’ buildings; Boricua College itself moved out during 2026.]

When I asked Mack’s old school friend DeVille about him, she’d replied with a poetic note. “I think of Eric’s work not only as an extension of the body but as an ancient technology of place making,” it read in part. “It’s carving out a space of memory, loss, whimsy, dreaming as a poem or song.”

In the studio, Mack put his aspirations differently: “I think the way that I break through is with this kind of public address. This relationship to freedom. Taking these knowable formats and introducing these worlds that I don’t see as disparate at all.”

[Siddhartha Mitter writes about art and creative communities in the United States, Africa, and elsewhere.  Previously he wrote regularly for the Village Voice and the Boston Globe and he was a reporter for WNYC Public Radio.]

*  *  *  *
“Afterglow”
by M. H. Miller

[This report was also from T: The New York Times Style Magazine of 27 September 2026.  It was posted on the website on 21 September 2026 under the title “He Grew Up Without Electricity. Then He Became Obsessed With Neon Lights.”]

In the 1960s, the artist Stephen Antonakos developed a spiritual relationship with neon. Today, his preserved SoHo home and studio is a testament to the material's mysteries.

One evening in the late 1950s in New York City, the artist Stephen Antonakos [Greek-born; 1926-2013] left his West 29th Street studio and began to walk downtown toward his apartment. As the story goes, at some point during this walk he had a near-religious epiphany after seeing a restaurant’s neon sign. Neon wouldn’t have been an unfamiliar sight for Antonakos, who worked in advertising by day and at night made exuberant sculptures out of found materials like pillows or empty sardine tins. Back then, it was still a part of the urban landscape, though by the early ’70s it would begin to be replaced by more affordable and practical LED lighting. Having lived in New York since the 1930s — except for two years in the Army during World War II, when he was stationed in the Philippines — Antonakos grew up around neon icons like Radio City Music Hall and Katz’s Delicatessen. But it was as if he were seeing neon for the first time: the intensity of its color, the way its glow called attention to itself. He’d later describe the moment as finding “what I didn’t know I was looking for.”

[Katz’s Delicatessen is a Jewish deli (but not kosher) at the corner of Houston and Ludlow Streets on the Lower East Side of Manhattan. Since its founding in 1888, it has been popular among locals and tourists alike for its pastrami on rye, which is considered among New York’s best. In 2016, Zagat gave Katz’s a food rating of 4.5 out of 5, and ranked it as the number one deli in New York City.]

Neon is a natural element (number 10 on the periodic table) that was discovered by British chemists at the end of the 19th century. In 1910, the French engineer Georges Claude [1870-1960] patented sealed glass tubes that combined neon with an electric current. Claude planned to sell his invention as lamps, but their intensity proved more useful in advertising; in 1925, a Packard car dealership in Los Angeles was one of the first businesses to install a neon sign. In the 1960s, neon had a powerful influence over American contemporary art. In addition to Antonakos, artists who worked with the material included Chryssa Vardea-Mavromichali (another Greek American, who went by the mononym Chryssa [1933-2013]), Dan Flavin [American; 1933-96] and Bruce Nauman [American; b. 1941].

But few artists explored neon with a deeper affection than Antonakos, who treated it less as a material than a medium unto itself. He was the subject of numerous gallery and museum shows and made more than 55 large-scale public neon works in places ranging from the facade of a Tel Aviv power plant to a terminal at Atlanta’s Hartsfield-Jackson International Airport. Yet the greatest showcase of his art is at his home and studio on West Broadway in SoHo, where he lived and worked from 1967 until his death, at age 86, in 2013. The loft, which can be visited by appointment, has since been preserved by the artist’s second wife, Naomi Spector Antonakos [b. 1938 or ’39], now 87, who was born in Massachusetts and worked for several of the New York galleries that represented her husband. The two married in 1972, and the couple raised their daughter, Evangelia [b. 1975], now the head of the department of math and computer science at Bronx Community College, there. (Antonakos had a son from his first marriage, also named Stephen, who died in 2020.) The family slept in bedrooms scattered around the space, none of which had walls that reached the ceiling in order to maintain a continuous flow. Antonakos worked in the northwest corner of the loft, using a utilitarian drafting table and a metal desk, a section of its surface covered by a blue neon rectangle under frosted glass.

[SoHo, short for “South of Houston Street,” is a neighborhood in Lower Manhattan. Formerly home to small factories, since the 1970s, the neighborhood has been the location of many artists’ lofts and art galleries and has also been known for its variety of shops ranging from trendy upscale boutiques to national and international chain store locations. Designated by the New York City Landmarks Preservation Commission, listed on the National Register of Historic Places, and declared a National Historic Landmark because many of the buildings incorporate cast-iron architectural elements.]

When he moved in, the 5,000-square-foot space was raw and virtually uninhabitable. There was no kitchen or even refrigerator. The bathroom was little more than a closet with a trough. SoHo, which had only recently acquired that name, was largely undeveloped, full of abandoned manufacturing spaces with high ceilings and large windows. Antonakos’s studio evolved alongside the neighborhood, where he and his wife became social fixtures, befriending other artists, including Robert Ryman [American; 1930-2019], Sol LeWitt [American; 1928-2007] and Richard Artschwager [American; 1923-2013]. The place came together, Naomi told me during a recent visit to the studio, based on “Stephen’s instinct. It’s very subtle and it’s just him.”

Antonakos was born in a village in southern Greece with no electricity, where natural light was taken seriously. “We can’t imagine the darkness,” Naomi said of her husband’s upbringing. “If there’s no moonlight, you cannot see your hand, much less your feet.” In interviews, Antonakos recalled how he’d sometimes lie awake in the early hours before dawn, waiting for the sun to arrive.

The center of his universe was the Greek Orthodox Church. “To enter the chapel was to enter another world,” he once wrote in an artist statement. “Being inside it was like being plunged deep inside my own feelings and finding a paradise at the same time.” When he was 4, his family (he was the youngest of four sons) moved to Manhattan’s Upper East Side. Later, they lived in a Greek enclave in Bay Ridge, Brooklyn, near another Orthodox church that became vital to him. He remained very religious throughout his life: Near his worktable, he covered a small section of the wall with religious items.

Some of this iconography appeared explicitly in his work, most famously in 1965’s “The Blue Neon Cross,” a modified crucifix bisecting four differently colored neon squares. But more often his pieces display an almost primordial sense of minimalism. In one area of the studio is a scalene triangle in green neon; in another is a board painted solid white and backlit by blue neon. These suggest a rare confidence that the [art] critic David Ebony [American; b. ca. 1954] has described as a “what you see is what you get approach.” The art historian Irving Sandler [American; 1925-2018] called Antonakos “essentially a classicist in the Constructivist tradition” — his forms have no symbolism or meaning outside of themselves. Antonakos himself once explained his working method as “I place things in space.”

In the 1970s, he began designing free-standing rooms that incorporated neon pieces, but his process was always simple and straightforward, even as his neon works grew very large. He’d draw detailed, to-scale renderings of neon installations in colored pencil on brown paper. These plans would be sent to Spectrum on Broadway, a neon sign maker in Woodside, Queens, that was his chosen fabricator.

As an artist, Antonakos seemed to have little interest in the answers to big questions. What fascinated him more were the questions themselves — and materials, like neon, that sometimes seemed to elude interpretation altogether. In 1971, when he was teaching briefly in California, he wrote to friends in New York, asking them to each send him a package. He didn’t know what he’d been sent and never intended to open the packages, preserving the mystery. “I do not want to tell people how to experience art, mine or anyone else’s,” he once said. “I simply want to try to find for myself ways of putting things together visually so that the possibility for a kind of higher consciousness may occur.”

[M. H. Miller is the features director for T Magazine.  He’s a prominent journalist and editor who writes extensively on contemporary art, culture, and the historical evolution of New York City’s art scenes.

[Before joining the New York Times, Miller built a robust career as a culture journalist and editor.  His writing has appeared across several major literary, news, and art publications such as the New York Observer, where he served as a reporter and senior editor; ARTnews, where he worked as an editor; the Guardian; the London Review of Books; Bookforum; the Village Voice; and NPR.]