Blog: Life is What Happens Before We Die
April 8, 2020 - Joy Reed Belt
Never in our lifetime, have we seen or heard so much news of illness and death. To me, the most startling realization is that thousands of people are dying without the comfort of their families and without their lives being properly honored.
This world health crises has not only made me reflect about the meaning and purpose of my own life, but it has made me think about the people in my life that I loved and cherished who are gone: my brother, my mother and father, and my husband. And, I have been thinking of Gallery artists who have died over the years without receiving the recognition they deserved in their lifetimes.
Three artists in particular that I have known and worked with, who are no longer with us, should be mentioned: D.J. Lafon (1929-2011), Nick Irza (1940-2003) and Ford Beckman (1952-2014). Most of you are familiar with Lafon as I chronicled his life in a previous blog. Lafon had great talent and used it well.
Nick Irza was born in Connecticut and moved to Oklahoma City from Topeka, Kansas when his partner was transferred to Oklahoma City to work for Fleming Foods. Nick earned his living by making fantastic floral arrangements. He was very involved with his church and loved to make paintings and build large, ornate birdhouses. Very early in my Gallery career I had an exhibition of his bird paintings which were created in pointillism style. It may have been my first “Sold Out” show. When I moved the Gallery to our current space, The Elms, the first painting I sold was a Nick Irza painting. The late Carolyn Hill, then Director of the Oklahoma City Art Museum, purchased three of his paintings at the same time for her personal collection. I do not know who was more thrilled, me, Nick or Carolyn.
One day in 2011, I was sitting in my office pondering our next exhibit when I was told that there was an artist, Ford Beckman, on the phone asking for an appointment to show me his work. We often receive such calls. Typically, we ask that the artist send images of their work and if it looks like the work is a good fit for our Gallery we will schedule a meeting. Ford was not so easily maneuvered. He was insistent that it was essential, to keep order in the universe, that I see him right away. I picked up the phone and gave him an appointment. The day of our meeting, he pulled up in a vintage Mercedes that had the biggest trunk I have ever seen in an automobile. He got out of the car, opened the trunk, reordered the paintings, shut the trunk, grabbed some books and papers and came in with the most cherubic smile. After joyfully telling me who had referred him to me, he began relaying his life story. He punctuated his narrative with actual photographs, articles and books. It was an amazing story. It is such an interesting story, on so many levels, that I am including a link below to an article written about him in the Tulsa publication “This Land Press,” entitled “The Disappearance of Ford Beckman,” which I encourage all of you to read.
After listening to Ford for about 45 minutes, I started asking to see the work. He kept talking until finally he asked me to set up an easel so he could bring in his work. I was astonished at the paintings he displayed. Then he began to talk with me about representation. One of his terms was that I buy two of his “Target” paintings on the spot.
The price he quoted was more than I had in my checking account. I tried to negotiate, but ultimately wrote him a hot check for the amount he requested. Ford, very pleased, insisted on going with me to my framer, to whom he gave very detailed instructions. That evening over dinner I told my late husband, John Belt, about my afternoon. He, of course, was astonished that I would deliberately write a hot check for artwork. Needless to say, I was on the phone with my bank the next morning politely but insistently requesting that they transfer funds to my checking account. The two Ford Beckman paintings that I bought that day are still hanging in my office and are treasured items in my personal collection. I am so glad I bought them while he was still alive.
Image - D.J. Lafon, "Not Spot," 1994, Collage on Paper, 13 x 22 in., $1,500
Image - N.J. "Nick" Irza, "Adams Gate," Acrylic, 16 1/2 x 18 1/2 in., $3,200
Image - N.J. "Nick" Irza, "Roosters Urn," Acrylic, 23 x 29 in., $4,300
Image - Ford Beckman, "Rhythm of Grace No. 31, 2010," Enamel on Paper, 19 x 24 in., $4,800
Imgae - Ford Beckman, "Rhythm of Grace No. 59, 2010," Enamel on Paper, 19 x 24 in., $4,500
Image - Ford Beckman, "Modern Thoughts - Pink/Yellow Study," Paper Construction, 24 x 19 in., $4,500
Image - Ford Beckman, "Pop Target No. 6," Paper Construction, Hand Painted, Mixed Media, 40 x 32 in., $15,000
Imgae - Ford Beckman, “Modern Thoughts – Pink/Yellow Study,” Paper Construction, Mixed Media, 24 x 19 in., $4,500
Image - Ford Beckman, “Pop Target No. 6,” Paper Construction, Hand Painted, Mixed Media, 40 x 32 in., $15,000
Link to article: https://thislandpress.com/2014/12/18/the-disappearance-of-ford-beckman/
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