Spaightwood Galleries, Inc.

Gérard Titus-Carmel is an artist of our generation. Born in 1942, he, like the others of our time, grew up in an international world, a world where national boundaries exist as memories of a world we can no longer afford, a world of national interests, rivalries, wars. Born during the second world war, we know it only through the nightmares of our parents, the memories of our elders. We are the children of the bomb, survivors of grade school civil-defense exercises in case of nuclear attack, the adolescents of the nervous and electric rhythms of hard-bop, voyagers with musicians like Thelonious Monk and Sonny Rollins, Eric Dolphy (with whom Titus, a drummer, played, for one set, once) and John Coltrane, explorers of the musical unknown. We have listened to the same music, read the same books, visited many of the same places, looked at much of the same art. Living in the same world, and trying to come to terms with the things that shaped it, we came of age during the Cuban Missile crisis with its threat of a holocaust greater than any that haunts the dreams of our parents' generation. We have lived almost our entire lives in a world held in uneasy peace only by the threat of "Mutual Assured Destruction." Yet we have also walked in the ruins of Monte Alban and stood in the ball court of the Olmecs; we have listened to ancient mariners as the surf laps the shores bordering the oceans of our dreams. For our generation, the problem has been one not so much of finding reality, but of finding a reality that will permit us to live not just within our world but within ourselves as well. For that effort, we need more than the "superrealism" or the theatrical "neoexpressionism" of the '80s, more than an art that commercially derides "the system" for being too commercial; we need an art that can take us beyond the surfaces, that remembers its past and our past, that can teach us what to remember and how to forget what we do not need to remember to go on with life.

Jacques Henric's essay in presentation of the Suite Chancay (Repères, 1985) suggests that Titus' wrapped sticks reminded him of the expression, "You might as well bandage a wooden leg," and concludes that such may well be the job of the artist today, "a sort of Mister First Aid in white, kit in hand, running from one end of the planet to the other (at times without leaving his studio) to repair all the damage, but the damage he has the feeling he himself caused." Far more than bandaging the broken objects of our lives, Titus-Carmel’s art bandages our broken lives themselves. His images have a dramatic quality that denies their factual existence as two-dimensional objects. His work is for us a necessary restorative. Like Shakespeare's King Lear in search of remedy, we need artists like Titus-Carmel to "sweeten" our imagination so that we may continue to discern and to live out the miracle of our lives.

Titus-Carmel is one of the most written-about contemporary French artists, having been the subject of studies by Jacques Derrida, Alain Robbe-Grillet, Gilbert Lascault, Werner Spies, Jean Pierre Faye, Denis Roche, Jean Louis Schefer, and many others. He is also one of the most widely shown artists of his generation (b. 1942), having received over 90 one–person shows at museums and galleries including The Museum of Modern Art of the City of Paris (1971), the 1972 and 1984 Venice Biennales, the Royal College of Art in London (1972), the Stedelijk Museum in Amsterdam (1973), the Palais des Beaux Arts, Brussels (1975), the Centre Georges Pompidou / Musée National d'Art Moderne (1978), the Museums of Dusseldorf (1979), Bielefeld (1980), Kassel (1980), Nuremberg (1981), Oslo (1981), Lubceck (1981), Les Sables d'Olonne (1981), Luxemburg, Calais, (1984), Nice, Carcassonne, and Lille (1985), Quebec (1986), Budapest, and Châteauroux (1987), Caen (1989), Montaubon and Avignon (1990), and Tokyo (1991). In addition, the French Cultural Ministry also organized touring exhibits at the Instituts Français of Stuttgart, Hamburg, Munich, and Bonn (1985), Damascus, Aleppo, Alexandria, Cairo (1990-1991), and Palermo, Naples, and Rome (1991). His works are in the permanent collections of over 90 public institutions including the Guggenheim Museum (New York), the Museum of Modern Art (N.Y. and Paris), the Chicago Art Institute, the Bibliotheque National and the Centre Georges Pompidou (Paris), the Victoria and Albert Museum (London), and many others. Museums have twice organized complete retrospectives of his prints (in 1979 and 1991), each time publishing catalogues raisonnés. He has been the subject of seven films, including one produced by the Musée National d'Art Moderne, Centre Georges Pompidou and RTL Télévision, Luxembourg, and innumerable books, essays, exhibition catalogues, and reviews. Among his awards are first prize at the 2nd International Exposition of Original Drawings at Rijeka (1970), the Grand Prize at the 6th International Print Biennial at Krakow (1976), and the Jurors’ Special Award of Honor at the 1977 World Print Competition in San Francisco. Titus-Carmel is deservedly one of the best-regarded painters, draftsmen, and printmakers in the world today.