Interviewsand Articles

 

Revisiting Alameda

by Richard Whittaker, Oct 23, 2014


 

 

Artist Jon Kerpel


I met Jon Kerpel at an opening in Alameda. Like countless openings, it was a modest affair. I’d arrived a few minutes early and, looking around, saw no familiar faces. Someone from the library had provided a nice spread. I’d guessed maybe ten people would show, but it looked more like twenty-five or thirty. Some were loading their paper plates at the food table while others were sitting about in folding chairs, glass of wine in hand, chatting amiably. No one was actually looking at the photos.
     None of these strangers were homeless, I guessed, but I suspected several were there for a free meal—retirees on fixed incomes, perhaps. The library hosts such openings on a regular basis. The exhibit space in their new building is large and quite nice. Lemony Snickett had been a guest there that very afternoon, I was told.
     The library person running the show hadn’t yet arrived, so I walked over to the food table and poured myself some water. According to the library’s announcement, the well-known photographer would give a little talk about his work. I presumed that would include an introduction, and I had to smile. For a change, it me who was being hyped. So I waited and counseled myself: remember, you agreed to this and now here it is.
    Thanks to years of art-related activities, I’ve found myself obliged to talk in front of people regularly and deal with the simple terror of it. The truth is, it’s gotten a little better. Still, that dragon hasn’t breathed its last. So as I sized up the situation, I gathered my resolve.
     Leading up to this opening, library staff had been very helpful and I was impressed by their exhibit program. It’s a real gift to the community. And being in Alameda hanging the show brought back many fond memories. It’s where I began publishing an art magazine (The Secret Alameda). I was reminded, for instance, of the moment I got my first subscription. It was from Peggy Williams, a local treasure, who deserves at least a civic monument. With full Peggyesque ceremony, she handed over $10. One learns, perhaps most often in retrospect, that joy can't be calibrated in terms of dollars.

First, Get Their Attention
I was pleased to be having the show, but was wondering how exactly the formal program would begin. When the man from the library who had been arranging it all walked in, I thought, “Okay. Now he’s going to bring this thing to order.” He did give it a try and then handed the evening over to me. For a moment, I was at a loss. At least half of the people in the room hadn’t noticed he was actually talking to them and had continued to chat.
     “Okay,” I thought. “This should be interesting.”
     “Good evening,” I said.
     A couple of heads turned my way.
     “Hello,” I said raising my voice a notch.
     A couple more heads turned.
     “Hello,” I said again a little louder and waited a couple of beats.  
     Now more than half of the people were at least looking my way.  
    “Thank you for coming tonight. Thank you.” I said, waiting as more heads began pointing in my direction.

     I was looking out at a crosscultural group of mixed ethnicities and ages. Among them was a young, tattooed Latino man, a middle-aged Asian woman and a very professorial-looking, silver-haired man probably in his eighties. And finally, I’d gotten everyone’s attention. But who were they? And what was I going to say to them?
     “How many of you are artists?”
     About half of the people raised their hands.
     Although I had some general points in mind, I was improvising. I spoke and then asked for questions. The beauty of it is that we all ended up having a real conversation, quite genuine. Afterwards some people stayed to chat with me and a couple of them, to my astonishment, remembered The Secret Alameda.
     The last person I talked with was Jon Kerpel, a man in his 60s, long-haired and sporting a walrus moustache. It was soon apparent that Jon was an arts old-timer and, I guessed, a veteran of the counter-culture of the 1960s. It was fun talking with Kerpel. He lived in Alameda and, swapping stories, we discovered we knew a few people in common. I asked him about his own art. He worked with found objects, he told me. As we parted, I handed him a few copies of works & conversations and, leaving that night, I was feeling quite pleased with it all. If nothing else came of the exhibit, the events of the evening would be enough.
     However, something more did come of it. When I heard from Kerpel several weeks later, I remembered him and I was curious to see his work.
     “It’s the gray bunker,” he told me, after giving me his street address. The tenor of the remark was characteristic, I’d already learned—a tendency to make light.
     When I pulled up at the address, I was surprised to find myself gazing at a perfectly tidy, two-story house. It was gray, yes, but no clue of bunkerness or counter-culturality was anywhere in evidence. Kerpel welcomed me warmly at the door. Walking in, I immediately recognized I’d entered an artist’s home. Sculptures and wall pieces had taken over much of the available space. Yet in spite of that, everything was quite neat and orderly. Many of the sculptures were carefully wrapped in plastic. The wall-to-wall carpet was perfectly vacuumed.
     Would I like some coffee? Yes. But first, could I look around? Camera in hand I began taking photos.
     “These are all yours?”
     “Most of them.”
     Kerpel took me around the house. Here and there the work of another artist was pointed out, but every room served as an art display and storage area. Kerpel’s assemblages—stand alone and wall-mounted—are carefully constructed. His prints, which date back to an earlier period, are meticulous. He’s a craftsman. Everything is in perfect order. I don’t know why I was surprised by that. One makes assumptions.
     Long ago I realized I feel at home with most artists. It was how I felt sitting with Kerpel at his kitchen table over coffee. I learned that Kerpel is a New Yorker, born in Queens. He graduated from New York’s School of Visual Arts in 1974. In those days his work was all figurative. After graduating, there were a few years of the high life, Studio 54 and the like. He stopped making art. And then Paolo Soleri’s utopian vision called him west. For two years, he was part of the community at Arcosanti. “It was around that time that I began making art again,” he told me—in 1980, give or take. And ever since, he’s been at it.

Get a Life
What does having a life mean? The question comes up because it occurs to me that Kerpel is someone who has lived, who has a life.
     “What keeps you going?” I asked him.
     Unless an artist has achieved a level of acclaim, it’s a question I always wonder about. From the way he looked at me, for a moment I feared my question had been inflammatory. His first response was a kind of joke. But then he began looking for the words to describe it, finally culminating in, “I have a mission.”
     Jon is passionate. I asked him to talk about how his art and his concern for the environment went together. “Everything comes from the environment. And we’re trashing it. We need a new attitude about the environment. That’s why I call a lot of my pieces temples. If we don’t start waking up, we’re going down! I hope my work will make people think about that. If you can reach one person it’s worthwhile. But you never know.”
     He’d given a little talk at one of his openings, he told me, and a couple of years later he ran into a woman who came up and thanked him. She’d been there and told him he’d said something that had changed her life. It was a stunning affirmation. “And I had no idea.”
     There was a point there. I think the point was, you do the best you can for the right reasons.
     During a pause in our conversation as we sat together in his kitchen over coffee, he smiled and said, “This is a special day.”
I asked him why that was.
     “Well, it’s my birthday. I’m sixty-four.”
     That set our conversation off in a new direction. Just days earlier my wife had turned sixty-four. Mercifully, the mention of the Beatles and “When I’m Sixty-Four” came and went quickly. Family came up and, at one point, AA.
     “What’s your connection with AA? I asked.
     “I’ve been clean and sober for 27 years now,” he said.
     I congratulated him and we sat there for a few moments in silence. Kerpel must have been thinking about all those years and what keeping to the program meant. I’d had the good fortune to go to one AA meeting as an observer and I’d been astonished by the depth of sharing and the atmosphere. “This is what a church should be like,” I’d thought to myself.
     Kerpel told me another story, this one from his life in AA. A woman friend called him about her alcoholic ex-husband. He wouldn’t answer his phone. He hadn’t been leaving the house. It had been going on that way for too long. She was really worried. For Jon, her timing was inconvenient. But it was something more important than his convenience, so he drove over to the man’s house. He knocked on the door. Nothing.
     “Well, he was an alcoholic,” Kerpel said. “I knew that and I figured, it’s going to take more than a couple of knocks. So I just stood there and kept knocking. Finally, he came to the door. He didn’t open it, so we talked through the door. I was persistent and somehow it made a difference. It marked a turning point. He stopped drinking. He lived several more years and was very grateful for that.”
     He stopped for a moment and continued. “You know, later on, after he was back on his feet he told me something about that day. He asked me, ‘Did you know where I was when you came to the door?’ And of course, I didn’t. Do you know what he said?”
     “What did he say?” I asked Kerpel.
     “He told me he was sitting on his bed in the dark with a gun at his head.”
     “Oh, my God!” I said.
     “He told me he had a gun at his head and just before I knocked, he had asked God for a sign. That’s when I knocked on the door.”
Kerpel went on. “So you see, you really don’t know. I didn’t feel like I had anything to do with God. I was just doing what I thought was right.” 
             
 

About the Author

Richard Whittaker is the founding editor of works & conversations and West Coast editor of Parabola magazine.   

 

A Man Impossible to Classify One of my first experiences in San Francisco was of being flagged down by a ... Read More 711161 views


The Dumpster      “We can’t use these. They look like ... Read More 130215 views


Remember to Remember - Nicholas Hlobeczy I had the pleasure of getting to know the late Nicholas Hlobeczy over a ... Read More 87875 views


A Conversation with Silas Hagerty I met Silas, a young man in his twenties from New England, at a servicespace.org ... Read More 56337 views


A Conversation with Taya Doro Mitchell Taya Doro Mitchell July 3, 2007 Oakland CA I heard about Taya Doro Mitchell ... Read More 111031 views


READ MORE >> 

A Man Impossible to Classify One of my first experiences in San Francisco was of being flagged down by a ... Read More 711161 views


Interview with Bill Douglass—Jimbo's Bop City and Other Tales At the time I'd first gotten to know the widely respected jazz musician Bill ... Read More 359093 views


Greeting the Light It was thanks to artist Walter Gabrielson that I was able to get in touch with ... Read More 289622 views


Interview: Gail Needleman Gail Needleman teaches music at Holy Names University in Oakland, California. ... Read More 178966 views


Interview: Stephen De Staebler John Toki encouraged me to interview his old friend and mentor, sculptor Stephen ... Read More 148817 views


READ MORE >>