Shots taken by Todd Selby of Robert Longo in his studio. For me it’s the smudgy texture of everything surrounding his deep, velvety drawings. Especially evocative are the shots of his supplies – more like mechanics gear, overlaid with an archipelago of black smears. Everything here suggests a great physicality behind the smooth rich sheen and stark contrast of his finished work. Longo has compared his drawing style to sculpture, saying “when I draw with graphite I smudge it with my fingers, move it around physically, it’s like clay. Painting is painting on the surface, covering up, where drawing is putting the picture into the paper like a photograph.”
It’s a blogament to their power that they retain a so much of this muscularity, materiality, and weight when hung in the hermetic space of a gallery. However, they seem especially at home in the studio. It’s like seeing a big ship being assembled in dry-dock from far overhead, and seeing the complex mechanics behind something that will later glide with such heavy grace on the water.
(Below for your pleasure, are a few selections from his iconic 80’s series Men in the Cities. They have, I think, aged particularly well, and seem, now, emblematic of their era rather than beholden to it. Longo also maintains an excellent, comprehensive website with generous galleries spanning his entire career. Also, Selby’s ongoing, long running series of arty glitterati in their homes is amazing and worth checking out frequently)