Bill Radawec: A Retrospective
Artist(s)
BILL RADAWEC
1952 - 2011
EDUCATION
1975 University of New Mexico
1997 BA, Baldwin-Wallace College
SOLO EXHIBITIONS
2010 We're Not in Kansas Anymore, Project Room, Lincoln, NE
2009 Slightly Altered, The Suburban @ Hyde Park Art Center, Chicago, IL
2007 Out of the Blue..., exit (a gallery space), Cleveland, OH
2005 (A Study), raw & co gallery, Cleveland, OH
2004 Berlitz Visual Art Gallery, New York, NY
Sawtelle, the Sequel, Beaker Gallery, Tampa, FL
2003 In the Basement, Irvine Fine Arts Center, Irvine, CA
2002 SHAHEEN modern and contemporary art, Cleveland, OH
1999 SHAHEEN modern and contemporary art, Cleveland, OH
1998 Scar, Miller Fine Arts, Los Angeles, CA
1997 Retro, POST, Los Angeles, CA
1996 Four Doors, Santa Ana, CA, (with Jeanne Patterson)
Intimate Views, Scarabb Gallery, Cleveland, OH
Richard Heller Gallery, Santa Monica, CA (brochure)
Gallery 3770, San Diego, CA (brochure)
1993 AMO Contemporary Art, Los Angeles, CA
1990 Millworks, Akron, OH (a collaboration with LouAnne Greenwald)
1989 Tenth Street Market, Cleveland, OH
1987 Kent State University, Kent, OH
480 Broome Street, New York, NY
1985 Windows on White, New York, NY
1984 Abrabica, Cleveland, OH
1983 Rebenack Gallery, Akron, OH
1982 Willoughby Fine Arts Gallery, Willoughby, OH
1980 Coventry Art Gallery, Cleveland Heights, OH
1978 Kovar Art Gallery, Cuyahoga Community College, Parma, OH
SELECTED GROUP EXHIBITIONS
2011 The White Show: Subtlety in the Age of Spectacle, Clarion University Art Gallery, Clarion, PA, curated by Vicky A. Clark
(catalogue)
Donald Judd Remix, FE Arts Gallery, Pittsburgh, curated by Vicky A. Clark
Come Together, Lake Erie, Lakewood, OH
2010 Act Or Observe, Project Room, Lincoln, NE
Clear Signs,, Wall Eye Gallery, Cleveland, OH
2009 4th of July One Week, One Week Only, Jancar Gallery, Los Angeles, CA
2008 ABRACADABRA, Art and Culture Center of Hollywood, Hollywood, FL
Color Fields, Galerie Califia, Horazdovice, Czech Republic
You Are Here, SPACE Gallery, Pittsburgh, PA
TREE SERVICE, domestic setting, Los Angeles, CA
19, Asterisk Gallery, Cleveland, OH
2007 WOW, The Brewery Project, Los Angeles, CA
Kiss the Sky, Summit Artspace, Akron, OH
2006 Works in Progress, The Attic, Oakland, CA
Epicenter, Sonoma County Museum, Santa Rosa, CA
2005 Inkjet, Artists Image Resources, Pittsburgh, PA
INTRINSIC, B.K. Smith Gallery, Painesville, OH
POST @ POST, 1995 TO 2005, POST, Los Angeles, CA
Addicted to Love, Cleveland Public Theatre, Cleveland, OH
Locus Project, Miami, FL
Incognito, Santa Monica Museum of Art, Santa Monica, CA
2004 Where We Live: Outside and In, Overtones Gallery, Venice, CA, curated by Kristina Newhouse
Site Unseen, Newsense Gallery, Lakewood, OH
War Room, Artists Image Resources, Pittsburgh, PA
Tiny Works, Project, Witchita, KS
Tinseltown Two, domestic setting, Los Angeles
2003 8 - Hours of Making Art, Penelec Gallery, Allegheny College, Meadville, PA
Preliminary Inventories, Zygote, Cleveland, OH
Beauty Stripped Bare / LA Black + White, BGH Gallery, Santa Monica, CA curated by Joe Jarrell
Pandemonium!, Cleveland Public Theater, Cleveland, OH
Tinseltown, domestic setting, Los Angeles, CA
2002 Robert Levine, Claire McConaughy, Bill Radawec, Norjea, Akron, OH
One, superior (an exhibition space), Cleveland, OH
48 Hours of Making Art, B.K. Smith Gallery, Lake Erie College, Painesville, OH, (catalogue)
Relative Objects, POST, Los Angeles, CA
2001 Asterisk, Cleveland, OH
Southern Exposure, San Francisco, CA
Norjea, Akron, OH
Irvine Fine Arts Center, Irvine, CA
2000 For Example, Acuna Hansen Gallery, Los Angeles, CA
Elena Zass Gallery, Laguna Beach, CA
Wall Space, Miller Durazo Gallery, Los Angeles, CA
Strange Nature, Acuna Hansen Gallery, Los Angeles, CA
Beret's Final Show, Beret International Gallery, Chicago, IL
DRS Project Wall, Roberts and Tilton Gallery, Los Angeles, CA
Patrons Lover's and Other Romantics, Santa Barbara, CA
Contemporary Arts Forum, Santa Barbara, CA
1999 Millennial Tension, POST, Los Angeles, CA
Room Service, The Living Room, Santa Monica, CA
Nine Lives: Painting at the End of the 20th.Century, B.K Smith Gallery, Lake Erie College, Painesville, OH
Skin Deep, Patricia Correia Gallery, Santa Monica, CA
Miller Durazo, Los Angeles, CA
Fin ed Siecle, (end of the century), Terrain, San Francisco, CA
1998 Robert Miller Gallery, Los Angeles, CA
Drawing Show, Meyerson & Nowinski Art Associates, Seattle, WA
1997 Drawings, Gallery LASCA, Los Angeles, CA
Stirred not Shaken, Refusalon, San Francisco, CA (catalogue)
Out Auction, Santa Monica Museum, Santa Monica, CA
118 W / 24 N, Kulturzentrum bei den Minoriten, Graz, Austria
Without You We're Nothing, Refusalon, San Francisco, CA
POST, Los Angeles, CA
1996 Facing the Dragon, Artopia, Los Angeles, CA
Left of Center, New Art from Los Angeles, CA
Ten in One Gallery, Chicago, IL
Blast Art Benefit, 8 Greene Street, New York, NY
Green, Factory Place Gallery, Los Angeles, CA
Radical Artifice, California Medical Arts, Los Angeles, CA
In the Name of the Circle, Artopia, Los Angeles, CA
June 22, Tree / House, Los Angeles, CA
Summer Group show, Scarabb Gallery, Cleveland, OH
They Came From Beyond, Malibu Art Ranch, Malibu, CA
L.A.C.E. Benefit, Jan Baum Gallery, Los Angeles, CA
Superstore D Lux, Up & Co, New York, NY
The Innocence of Ornaments, St. Marks Position, New York, NY
1995 Winter Group show, Gallery LASCA, Los Angeles, CA
Hodgepodge Lodge, Art Store, Los Angeles, CA
In the Pocket, Random Gallery, Los Angeles, Travels to Luckman Gallery, CalState L.A., Los Angeles, CA
December Twentieth, Richard Heller Gallery, Santa Monica, CA
Night of 1000 Drawings, Artists Space, New York, NY
Nature Re (Contained), Irvine Fine Arts Center, Irvine, CA
AUGUST 28, Rio Hondo College, Whittier, CA
Either / Or, flamingo EAST, New York, NY, Organized by Kenny Schacter
A Vital Matrix, domestic setting, Los Angeles, CA Curated by Jane Hart, (catalogue)
Human / Nature, The New Museum of Contemporary Art, New York, NY
Salon Scans Couleur: Black, White and Grey Matter, Robert Berman Gallery, Santa Monica, CA
A Working Title, e-space, Santa Monica, CA
1994 Film Club, Four Walls, Brooklyn, New York, NY
Turning Silver into Gold, Cleveland Center for Contemporary Art, Cleveland, OH
Sawtelle, domestic setting, Los Angeles, CA
Slightly Connected, Cacao, Los Angeles, CA
Object of Metaphor, Cerritos Community College, Norwalk, CA
Toys / Art / Us, Castle Gallery, College of New Rochelle, New Rochelle, New York, NY, Curated by Lori Friedman, (brochure)
Caren Golden Fine Art, New York, NY
1993 L.A. night for Life, Robert Berman Gallery, Santa Monica, CA
One Nail, 1529 Wellesley, Los Angeles, CA
Coupled, Insomnia, Los Angeles, CA, Curated by Charles LaBelle and Allen Tombello
Summer Art Fare, Cleveland Center for Contemporary Art, Cleveland, OH
Mondo Lot, Robert Berman Gallery, Santa Monica, CA, Curated by Dianna Cohen, (catalogue)
New Vulgarians, Cleveland State University, Cleveland, OH, Curated by Eric Susyne, (catalogue)
Wendy Furman, LouAnne Greenwald, Jeanne Patterson, Lori Precious, Bill Radawec, Rena Small and Laura Whipple,
domestic setting, Los Angeles, CA
1992 Boomerang, Thomas Solomon's Garage, Los Angeles, CA
The 1.5 Show, Muranushi / Lederman in cooperation with Organization of Independent Artists
Cruciforms , 1529 Wellesley, Los Angeles, CA
Artgrab, Randall Scott Gallery, Los Angeles, CA
Space, Cleveland, OH
A Small Show, 1529 Wellesley, Los Angeles, CA
1991 Cleveland Center for Contemporary Art, Cleveland, OH
Uncensored, Millworks, Akron, OH
C.A.G.E., Cincinnati, OH
1990 History, Hallwalls, Buffalo, NY
William Busta Gallery, Cleveland, OH
Equilibrium, National City Bank, Cleveland, OH
The Vox Gallery, Akron, OH
The People's Art Show, Cleveland State University, Cleveland, OH
1989 Arthur Roger Gallery, New Orleans, LA
A - Z, Cleveland Center for Contemporary Art, Cleveland, OH
City Without Walls, Newark, NJ
Naturally Active, Cleveland State University, Cleveland, OH
AIDS Benefit, Aquilon, Cleveland, OH
Sin, Hallwalls, Buffalo, NY
Together, Aquilon, Cleveland, OH
Seven Northern Ohio Artists, Willoughby School of Fine Art, Willoughby, OH
The Vox Gallery, Akron, OH
Visual Poetry, Center Cultural Sao Paulo, Sao Paulo
Civic ReVision, Spaces, Cleveland, OH
Joyce Porcelli Gallery, Cleveland, OH
Skin Show, Hallwalls, Buffalo, NY
1987 Off the Wall, Cleveland Center for Contemporary Art, Cleveland, OH
Visible Attractions, Metro Gallery, Cuyahoga Community College, Cleveland, OH
Home on the Range, Mentor, OH
1986 William Radawec and Scott Miller, Art Behind Bars, Cleveland, OH
1985 Material Concern, B.K. Smith Gallery, Lake Erie College, Painesville, OH
New Figuration, Joyce Porcelli Gallery, Cleveland, OH
10 X 10 = 100, Joyce Porcelli Gallery, Cleveland, OH
The Vox Gallery, Akron, OH
MASS, Travels show organized by Group Material for Hallwalls, Buffalo, NY, Arts Consortium, Cincinnati, OH, Spaces,
Cleveland, OH, Alija, A center for Contemporary Art, Newark, NJ, New Museum of Contemporary Art, New York, NY, L.A.C.E., Los Angeles, CA, University of Sydney, Sydney Payola, Mo David, New York, NY
20 / 20, B.K. Smith Gallery, Lake Erie College, Painesville, OH
1984 Multiples, Jack Tilton Gallery and Printed Matter, New York, NY
Fashion Moda, Space, Cleveland, OH
Salon des Artists, Gracie Mansion Gallery, New York, NY
Peter Fends Space, New York, NY
C.A.G.E., Cincinnati, OH
1983 C.A.G.E. Cincinnati, OH
A - More Store, Jack Tilton Gallery, New York, NY
1982 Contemporary Arts Forum, Santa Barbara and Scripps College, Claremont, CA
1981 Philadelphia Arts Alliance, Philadelphia, PA
Coventry Art Gallery, Cleveland Heights, OH
1979 Stifel Fine Art Gallery, Wheeling, WV
Seventh National Exhibition of Drawing and Prints, Charlottesville VA, (catalogue)
1978 Davidson Gallery, Seattle, WA (catalogue)
Park Gallery, Cleveland, OH (catalogue)
1976 Tusculum College, Greenville, TN, (catalogue)
1975 The Cleveland Museum of Art, Cleveland, OH (catalogue)
PUBLIC COLLECTIONS
Akron Art Museum, Akron, OH
Buttler Institute of American Art, Youngstown, OH
The Progressive Collection, Cleveland, OH
University Hospitals of Cleveland, OH
Cuyahoga County Public Library, Parma, OH
Monsanto Corporation, Chicago, IL
Cedar-Sinai Medical Center, Los Angeles, CA
Donahue and Scanion, Cleveland, OH
Edward Howard & Co., Cleveland, OH
The Capital Group, Los Angeles, CA
Fidelity Insurance, Covington, KY
SELECTED BIBLIOGRAPHY
2010 Wolgamoth, L. Kent, "Art Show is Write On", Lincoln Journal Star, January, 24, p. C9
Wolgamoth, L. Kent, "Thinking Inside the Box", Lincoln Journal Star, May, 9, p. C8
Clark, Vicky A, "Bill Radawec,, The Man Behind the Curtain", www.vickyaclark.com
Wolgamoth, L. Kent, "Art of 2010", Lincoln Journal Star, December, 26, p. C7
2008 Ozuma, Tony, "Good Vibrations", The Prague Post, April 18 issue
Lee, Sasha, "Review: Tree Service", beautifuldecay.com, July 28
Bowman, Amy Joan, "Placement Test", Pittsburgh City Paper, July 30 - August 6, p. 30
Shaw, Kurt, "SPACE exhibit shows artists' depiction of sense of Place", Pittsburgh Tribune-Review, Thursday, July 31, TICKET
p. 15
2007 Utter, Douglas Max, "Turning Point", Free Times, January 17 - 23, p.24
Lewis, Zachary, "Review: Out of the Blue, Scene, January 17 - 23, p.26
Durbin, Rodger, "Sky the Limit in Summit Artspace Show", Westside Leader, July 12 - 18, p. 22, 25
Shinn, Dorothy, "Goodbye brings the blues", Akron Beacon Journal, July 15, p. E5
2005 Lewis, Zachary, "Review: A Study", Scene, September 14 - 20, p. 26
Bly Lyz, "Storytime with Uncle Bill", Free Times, September 14 - 20, p.54
Tranberg Dan, "Hard to Escape Recurring Theme", The Plain Dealer, December 30, p. 25
2004 Zellen, Jody, "Continuing and Recommended", ArtScene, June, p. 22
2003 McEvilley, Thomas, "Bill Radawec at Shaheen Contemporary", Art in America, February, p. 120
Newhouse, Kristina, "Interview", zerodgreesart.com, April
Newhouse, Kristina, "Sequel at domestic setting", artnet Magazine, April 17
Wood, Eve, "Basement Memories", artnet magazine, May 15
Frank, Peter, "Register Distance, Black + White / L.A., Christine Cunninghan", LA Weekly, May 16 - 22, p. 141
Taxel, Laura Faye, "Benefit Organizers Plan a Dinner That Will Provide Many Meals", The Cleveland Plain Dealer, September 3,
Pf. 4
Brown, Tony, "A Find Alternative", The Cleveland Plain Dealer, September 12, p. 44WE
2002 Susyne, Eric, "Asterisk Gallery", zingmagazine, Volume XVI, Winter, p. 224
Tranberg, Dan, "A Center Launches Spring Season with Two Show", The Cleveland Plain Dealer, Friday, March 22, p. 37
Tranberg, Dan, "A Little Space goes a Long Way to Recharge Local Art Scene", The Cleveland Plain Dealer, Friday, April 12, p. 55
Utter, Douglas Max, "Between the Cracks", Cleveland Free Times, July 17 - 23, p. 60
Tranberg, Dan, "Earthquake's Aftermath is 'Crack Up' Artist's Inspiration", The Cleveland Plain Dealer, Friday, July 15,
p. 55, 56
2000 "The Crème De L.A. Crème, Art", The Los Angeles Times, August 10, p. 20
Tumlir, Jan, "90's Art in Los Angeles", artext, November 2000 - January 2003, p. 42 - 51
1999 Tranberg, Dan, "Alive and Painting", Cleveland Free Times, September 1 - 7, p. 68
Frank, Peter, "Art Picks pf the Week", LA Weekly, April 2 - 8, p. 152
1998 LaBelle, Charles, "LSD (Lemon Sky Discussion) with Jane Hart and Mr. X", "zingmagazine, Volume IV, Fall, p. 238 - 231
Fredericksen, Eric, "Drawing Lessons", The Stranger, July 23, p. 25
Hackett, Regina, "Drawing Invitational Recalls Personal Taste", Seattle Post- Intelligencer, Wednesday, July 22, p. E5
Spaid, Sue, "L.A. Undercover", Art Papers, March - April, p. 14 - 17
du Tan, Stephanie, "Bill Radawec's 'RETRO': An Authentically Fake Prequel to the Future Uncertainty", zingmagazine, Volume IV,
Winter, p. 202 - 2004
1997 Munchnic, Suzanne, "Art Computer Primer, for Uninitiated", The Los Angeles Time, October 6, p. 64
Niegelhell, Franz Von, "Alltagsmaterialiem und Neo - Sur-Realisum", Kultur, Sunday, September 14, p. 39
Baker, Kenneth, "Is Small Beautiful", San Francisco Chronicle, Saturday, April 5, p, E1
Carter, Ann. "William Radawec: Scarabb Gallery, Cleveland", zingmagazine, Volume III, Autumn/Winter, p, 217, 218
1996 Curtis, Cathy, 'Works Miss Catching the Grass Ring", The Los Angeles Time / Orange County, p. F29 R
Hart, Jane, "Letter from L.A.", artnet magazine, June 5
Scareborough, James, "A Gauche du centre: Nouvel at Los Angeles", Art Press, April, p. 74
Wilk, Deborah, "Left of Center", New Art Examiner, March, p. 35 - 36
Dunlap, Doree, "A Vision of Our Times", O.C. Weekly, March 1 - 17, p. 19
Camper, Fred, "Seeing is Deceiving", Chicago Reader, February 9, p. 31
Silman, Amy, "Left of Center", The Thing, February 2
Mendenhal, Laura, "Documenta: Huntington Beach Center's Exposition of Emerging Stars", Coast, February 1, p. 28
Curtis, Cathy, "Convergent Ideas, Culture Intersects in Huntington Beach Show,
'Documenta", The Los Angeles Times / Orange County, January 23, p. 1
Curtis, Cathy, "Baker's Dozen of the Best Bets Promises Diversity In Art", The Los Angles Times / Orange County, January 2,
p. F1 - F3
DiMichelle, David, "In an Entirely Matter, Artist / Curator in L.A.", Artweek, January, p. 26 -29
1995 O'Brien, John, "New Alternatives from L.A.", Art Papers, November / December, p. 26
Friedman, Terri, "Veerd Science / A Vital Matrix", zingmagazine , Volume 1, Autumn
Benish, Barbara, "Summer L.A.", "Altelier, p, 9
Gould, Katherine, "At Home with Art", Westsider, August 2, p. 1,3
Barton, Stephanie, "DIY / domestic setting", Fizz, #3, p. 138, 139
Pagel, David, "Baby Bergamont Booms", Art in Auction, April, p. 46, 48, 50
Tennesen, Michael, "Artin' Around", The Los Angeles Times Magazine, February 5, p. 11
Munchnic, Suzanne, "Beyond the Living Room", The Los Angeles Times / Calendar, February 5, p. 51, 54
Zimmer, William, "An Exhibition in New Rochelle Showcases Sheer Invention", The New York Times, January 1, p. 12wc
1994 Cohen, Michael, "Alternatives Gallery Update", Flash Art, October, p. 110
Jones, Amelia, "Taro Chiezo, Michael Cohen, LouAnne Greenwald, Charles LaBelle , Marie Lafia", Artforum, October, p.109
Brown, Betty Ann, "Gatekeepers, Artist Seize the Means in Southern California", Visions, Fall, p 21 - 23
Frank, Peter, "The Art of Higher Learning", Press - Telegram, September 4, p, J6
Jarrell, Joe, "William Radawec", Sculpture, March, p. 20
Gleason, Mat, "Los Angeles Scene", Coagula Art Journal, Number 11, p. 2
1993 McConaughy, Claire, "Los Angeles Overview", Cover, December, p. 14
Litt, Steven, "New Vulgarian Cast Wry Eye on Today", The Cleveland Plain Dealer, November 3, p. D9
Sparks, Amy, "Not - So - Vulgar Vulgarians", Cleveland Free Times, October 27, p.22
Frank, Peter, "Art Picks of the Week", LA Weekly, September 17, p. 109
Anderson, January, "Underground Art Finds Common Ground", West L.A. Record, April 7, p. 1
DiMichelle, David, "Making Ends Meet", Artweek, January 7, p. 14
1992 Litt, Steven, "Three Exhibitions at Spaces Offer Diverse Artistry", The Cleveland Plain Dealer, December 27, p. 31
1991 Sparks, Amy, "In the Beginning", Dialogue, January / February, p. 20
Cullian, Helen, "Choices", The Cleveland Plain Dealer,
1990 Cullian, Helen, "Take Them at Their Word", The Cleveland Plain Dealer, December 31, p, C1
Shinn, Dorthy, "Anarchy - Art - On - The Cheep is calling Akron 'Home'", Unsetting Exhibits Neatness
Order", Akron Beacon Journal, December 9, p, H1, H7
1989 Freigh, Becky, "Art in Unusual Places", The Cleveland Plain Dealer, March 17
1987 Benson, Tracy, "Making the Scene", Scene. December 6
Sanstrong, Karen, "Fine Arts Show Demands Much of the Viewers", The News Harold, September 14
"Seven Artists", Dialogue, September / October
"Fine Arts Association Opens with a Reception", Free Enterprise, August 30
1986 Runyon, Pamela, "For Collectors II", Contemporary Quarterly, Winter
Cullian, Helen, "Window Art Worth a Peek", The Cleveland Plain Dealer, October 2
Porcelli, Joyce, Speakeasy, Volume II
The Newsletter for the Cleveland Center for Contemporary Art, April
Camden, Vera, "Inspiring Collection", Dialogue
1985 Cullian. Helen, "Even Art Toys will be Toys", The Cleveland Plain Dealer, December 8
Cullian, Helen, "Spaces Imports New Work: Foot Artists", The Cleveland Plain Dealer, November
Robinson, William, "From Province to Provincialism", Dialogue, July
Glaiser, David, "Lakeland Exhibits Shows Case Talented Artists", The News Herald, June 7
Cullian, Helen, "Show Features Young Artists", The Cleveland Plain Dealer, June 2
Corcoran, James "20 /20", Dialogue, May / June
Cullian, Helen, "Art Trades Erasing Regional Labels", The Cleveland Plain Dealer, May 1
Cullian, Helen, "Critic Choice", The Cleveland Pain Dealer, April 28
1983 Shinn Dorthy, "Too Often Viewers are Left Guessing", Akron Beacon Journal
1982 Glaiser, David, "Fine Arts Feature a (Dis) Arming Exhibit", The News Herald, April 30
s
Press Release(s)
Everyone thinks of art as a solitary pursuit. It is a solitary activity, but whole hoards pursue it. Art people, in particular, build communities around themselves and one another, in order to facilitate not just the production of artwork, but the growth, sustenance, and stability of those who do the producing. Cranky as they are, artists are among the most social of animals. Bill Radawec was a brilliant artist, to be sure, witty, insightful and inventive; but he impressed me most as a communitarian, dedicated to the well-being of his fellow artists (and those who love 'em) and so fully identified with the "art scene" that he would sacrifice his own productivity to get his friends' - and acquaintances', and strangers', and (if he had any) enemies' - art out in the public. He clearly regarded the display and dissemination of others' art part of his own portfolio.
That's how I knew Bill during his years in Los Angeles, and that's how I heard from and about him during his Akron years - or Ohio years, I should call them, as his presence seemed to stretch from Toledo to Youngstown. Bill may or may not have been larger than life, but he was larger than art - because he was dedicated to helping others get theirs out as well as making his own. "Art is what makes life more interesting than art," Robert Filliou wrote, and Bill demonstrated that living art was the most interesting thing of all.
It takes a village to raise a child - and produce art. Bill Radawec could have run for mayor of that village. And won.
Peter Frank
Senior Curator at the Riverside Art Museum and art crtic for Angeleno Magazine
Regarding Bill Radawec…
my mind goes into overdrive, a natural reaction to the almost frenetic energy Bill possessed. How in the world did he manage to cultivate such a devoted cast-ofthousands and communicate with all of them while being a prolific artist with a strong, challenging body of work? Not to mention surfing the web. And, of course, the ongoing love and inspiration with his soul mate Ibjoka. Perhaps he never slept or was bionic or had a super-powered chip for a brain…
Running through my mind is that tune from The Sound of Music “How do you solve a problem like Will I Am (Maria for those of you who haven’t memorized every word of the musical)?” with a nod to the supercool member of the Black Eyed Peas. How is it possible to understand the multi-faceted, fantastical creature that is Mr. Bill? I called him the man behind the curtain aka The Wizard of Oz. Well, he is the wizard, a merry
prankster, and an everyman, all at the same time.
Bill and I connected on a deep level instantly—- that was Bill: intense, hysterically funny, a raconteur par excellence who always made you feel that you were the center of the universe. We lived parallel lives for years before becoming friends as our paths crossed in Los Angeles without our ever knowing it. We knew the same people. We saw the same exhibitions. We shared similar experiences of living in the miraculous
kaleidoscope of that vibrant city that could barely contain the awesome beauty of the beach and the heroic folk art of Watts Towers, the kitsch on many street corners and the treasures of MOCA, the Taper, the Museum of Jurassic Technology. (In fact, David Wilson could do a fantastic job by adding Bill Radawec to his cast of characters.) LA inspired us, inculcating an insatiable curiosity about the world.
Add to that shared experience a love of ideas, a Rube Goldberg/FischliWeiss wonder of how things actually worked, and those six degrees of separation, which in Bill’s case were reduced to only two or three. And don’t forget the sensibility we picked up from the sixties’ counterculture.
Bill could spin a tale of Sammy Davis Jr, complete with show-and-tell artifacts, connect the dots between Frank Lloyd Wright and Lincoln Logs, reduce the convoluted complexities of 9/11 to the simplicity of a white wisp in a blue sky with his contrails, generate haikus in his color chip paintings, and create miniature dioramas for the miniscule HO figures, personalizing his subject in each and every work. His interests
ranged from the quotidian to the inexplicable, with numerous stops in between. And he was on the verge of a new endeavor, the collaborative efforts with his wife. Everything was fodder for his art, his way of sharing a boy’s wonder at the world in which he lived.
So how can we memorialize the inimitable Mr. Bill? One of Yoshitomo Nara’s numerous characters could capture the inquisitive, mischievous little boy with an effervescent charm, insatiable wit, and overwhelming energy. Mr. Bill from SNL? Or… Did you know that you can design your very own bobble head? Yes, that’s it: a talking Mr. Bill bobble head.
Vicky Clark
Assistant Professor, Art History and Gallery Director at Clarion University, Pittsburgh
Bill Radawec, 1952 - 2011
Crack-Up (office, above window), 1998
latex, enamel Navajo paint, pencil, colored pencil, correction ink on paper
17 3/4 x 19 inches
A Study, 2009
wood, latex paint, HO scale figures
3 1/2 x 7 x 4 1/4 inches
Bird, 1996
latex paint on wood, acrylic and wood
dimensions variable
Out of the Blue, the Turn Around, 2008
acrylic on canvas
24 x 24 inches
Tinsel Town / Gallery, 1999
latex paint on canvas
72 x 24 inches
Soul Patch, c. 1999
fake grass, acrylic on wood and colored pencil on paper mounted on wood
dimensions variable
Wired, (Another Basket Case), 1996
steel, chain, hardware, epoxy chrom and wood
dimensions variable