Max and the wild things hanging out at the Denver Art Museum bridge way billboard along 13th avenue in downtown Denver.
I learned through a good friend from the other side of the world that there's currently an art exhibit of his body of work at the Denver Art Museum.
Was this another calling (like creative clues per Rick Rubin in The Creative Act) to remind me of my most fabulously productive, past illustration and art career decade of my life? Or did the memories of my most revered mentor, illustrator, and the real father of Philippine children's literature, the late Ruben De Jesus nudged me to move forward and stay active on this calling? Just like the moth that followed me in the bus all the way at home when he passed away, always reminding me of what I could become and of being...at home.
Bought my ticket and looked forward to having an wholesome date with my artiste-cultured self, after a very long time. I bared any expectations, thoughts and feelings, and distracted myself of full busy work after a holiday that day in preparation of this love-myself-making ritual and pro-creative endeavor.
Fantabulous exhibit opener, gotta give credit.
One of the unexpected things I saw in the exhibit is that most of Sendak's works were so tiny for my adult, transitioning-to-senior years eye vision. I think the artwork sizes were economically efficient for an author-illustrator who was very productive in his entire six decades career, something to consider in my economical state of studio-work-bed small space.
Final art for A Hole Is to Dig, Maurice Sendak's first successful book, photo above for scale.
I adore his one-page fantasy scene drawings, like wild AF! (see photo above)
And the very considerate ticket reservation Museum attendant who transferred me to an earlier slot.
My favorite part of the show: photo reference (top) for the book, Higglety Pigglety Pop! and final artwork (above).
I found the exhibit to be undecided to what its audience really is for: is the exhibit for kids of now or is it for his kid fans (who even ate his mail!) who loved the book or Sendak and have grown up but remained kids at heart? Capturing a broader audience is a problem. I came...to this observation because most of the eye level of the artworks were considered for adults' sizes-ehem-heights, although the encased actual books and some of the artworks were lower than my eye view which were meant for kids (but why encased-a reproduction would supplement-so kids could freely browse and see the connection with the artworks), which became even harder to view and enjoy with the poor lighting as adult (I know it's to protect the works but the place is really dark at night). But then a surprise, *spoiler alert* a nude male photograph (by another artist, as reference) in its full artistic glory!
Case in point (photo above): I doubt if the top artworks can be easily viewed by kids, they're above my eye level; the encased books below are too low to see by an average height adult like me (5'8). Also take note of the dark pathway on the left, it's like finding your way into a dark alley in a cinema.
Although Sendak's works and books didn't really shy away from nudity and controversy, as some of his most controversial children's books contained nudity and double meanings. I precisely understood nudity as innocence in his works. In the wake of Christo-conservatives taking over the U. S., it's a brave move to openly invite discussions on body issues and sexuality. From a gay children's book author-illustrator's body of work exhibition. In a blue majority state where half is still conservative. But in the bed of propagandas where the dirtiest wins, whose side really are the Wild Things?
"To ban or not to ban:" final art (above) for In the Night Kitchen, watercolor on paper with ink on Mylar overlay.
Studies for Penthesilea, watercolor and pencil on paper. His consistent illustration style prevailed even in illustrating books for adults. He mentioned in an interview that he wasn't really fond of one consistent style, as having more styles can provide more exciting creative opportunities.
Was the inclusion of a nude photograph a ploy to create provocation around the exhibit and perhaps invite more intrigued patrons? Literally like what this blog and wannabe influencers like me are doing? The ticket availability when I booked seem to be just the ordinary day average group size, surprisingly, for a major celebrated artist exhibit like Sendak and it was even a Free Day (almost, still had to pay $15), compared to Frida Kahlo's blockbuster reservation (for months!) when I visited. When I shared this exhibit experience with creative colleagues, they don't seem to be familiar with Maurice Sendak's name until I mentioned "Where the Wild Things Are" title of his book. Maybe he isn't that popular with today's generation anymore, easily forgotten or drowned with so much internet hate and noise.
Maurice Sendak, his dog, and studio, memorialized.
The exhibit will be filed as my aspirational reminder to also have my own body...of work to be positively remembered as a household name, ambitiously it may worldwide, even in the small world of children's literature. That would be happy endings, memorialized.
