David Anfam, scholar, gentleman, wordsmith, epicurean, died final Wednesday (21 August) in London. So long-standing and wide-reaching have his achievements within the area of artwork historical past been that it’s exhausting to grasp that he was nonetheless solely 69 on the time of his passing.
Definitely I personally can’t recall a time after I wasn’t conscious of his work. His ebook on Summary Expressionism for the Thames and Hudson World of Artwork collection turned a staple from its first publication in 1990. Then, over the next years, his continued explorations of Twentieth-century American artwork, from his catalogue raisonnée of Mark Rothko (1998)—nearly a decade within the writing—to his essential work on the Clyfford Nonetheless Museum, each previous to and after its opening in 2011, cemented his popularity as a necessary determine within the area.
An alumnus of the Courtauld Institute (his PhD dissertation underneath John Golding was on the work of Nonetheless), he was very a lot an old-school scholar, rigorous and thought of, with a love and respect for the written phrase that was all the time evident in his personal in depth and diversified manufacturing, in addition to throughout has stint as a commissioning editor at Phaidon. He labored over the course of his life with any variety of main establishments and galleries, curating exhibits such because the vastly bold survey of Summary Expressionism held on the Royal Academy in London in 2016. He was from the earliest days a relentless and dependable supporter and pal of the Rothko Museum in Daugavpils, Latvia. He additionally taught and spoke often.
David labored intently with artists, writing and curating for contemporaries equivalent to Lynda Benglis and Invoice Viola, and most not too long ago Piero Dorazio. He was vastly supportive of a youthful era of painters, myself included. Always and thoroughly trying, he would attain out on-line when an artist’s work caught his consideration. Equally he by no means hesitated to point out up in help of these artists he championed when it mattered, and he travelled extensively to that finish to the final.
I used to be privileged to lastly meet David simply earlier than the pandemic—one final studio go to earlier than lockdown for each of us—and we stayed in contact over the unusual yr or in order that adopted, bonding over portray, in fact, but additionally a shared love of T. S. Eliot, after which, much less fortunately, our concurrent most cancers diagnoses throughout these remoted months.
Within the studio, David introduced a sartorially inconceivable however instantly affable determine, and his care in response to my work was each beneficiant and thought of. The textual content he subsequently wrote for my exhibition at Vigo Gallery final yr, was, when it got here, traditional David—an erudite and exact pulling collectively of myriad cultural threads, the footnotes nearly so long as the textual content, and every delightfully private in tone.
David had grow to be an avid texter lately—he appeared to benefit from the immediacy of this written dialogue, significantly as he turned extra exhausting of listening to. In between our occasional dinners I’d obtain temporary updates on his journeys—to his beloved Italy, to New York, Mexico and naturally Daugavpils. He appeared at instances perplexed by each the present artwork market and gallery scene, however took as a lot delight as ever in individuals, in good meals, in very particular white wines, and in an obsessive re-organising of his ebook assortment.
He had a peculiar love of valuable stone, and portray on valuable stone, and an nearly child-like pleasure in all issues James Bond. But regardless of his many pursuits, and his very many buddies, David clearly profoundly, and each day, missed his life-partner Fred, whose reminiscence and help he usually evoked.
I dined with David one final time initially of summer season—he was simply again from Venice, in good humour, filled with tasks, and usually avidly inquisitive about his fellow friends and all elements of their lives. His vibrant thoughts was continually in search of connections by and throughout disciplines.
It’s this curiosity and attentiveness, gentleness and generosity of spirit, that, past the extraordinary physique of scholarship and writing that David leaves, I’ll keep in mind.
David Anfam; born London, United Kingdom, 12 Could 1955; died London 21 August 2024Erin Lawlor is an artist based mostly in London, represented by Vigo Gallery
