Chalk: The Art and Erasure of Cy Twombly

by Joshua Rivkin

**A New York Times Editors Choice**

"The most substantive biography of the artist to date...propulsive, positive and persuasive."—Holland Cotter, New York Times Book Review

**PEN / Jacqueline Bograd Weld Award for Biography Finalist**

**A Marfield Prize Finalist**

Cy Twombly was a man obsessed with myth and history—including his own. Shuttling between stunning homes in Italy and the United States where he perfected his room-size canvases, he managed his public image carefully and rarely gave interviews. 

Upon first seeing Twombly’s remarkable paintings, writer Joshua Rivkin became obsessed himself with the mysterious artist, and began chasing every lead, big or small—anything that might illuminate those works, or who Twombly really was. 

Now, after unprecedented archival research and years of interviews, Rivkin has reconstructed Twombly’s life, from his time at the legendary Black Mountain College to his canonization in a 1994 MoMA retrospective; from his heady explorations of Rome in the 1950s with Robert Rauschenberg to the ongoing efforts to shape his legacy after his death.

Including previously unpublished photographs, Chalk presents a more personal and searching type of biography than we’ve ever encountered, and brings to life a more complex Twombly than we’ve ever known.

Genres: Art, Biography, Nonfiction, Art History, History

496 pages, Hardcover

First published October 16, 2018

Reviews

[Mike Scalise · Rating 5 out of 5]

*Very* quick, compelling read for its length, mostly because CHALK is in no way your normal biography. It bounces around time, dwells in uncertainty, and features an intriguing, necessary dose of the emotionally-attuned, lump-in-the-throat lyricism Rivkin's poems are known for. Think more INTO THE WILD in its mode--part profile, part memoir, part detective story, part appreciation of one of America's most important modern painters. I'm 100% not a biography person, and not even really a Twombly person (until now), but still I felt pulled into CHALK so easily. Such an important, moving book about the mystery of identity, and about why we hide, and what happens to those we hide from. Loved this book.

[Dariko · Rating 2 out of 5]

I personally found Joshua Rivkin's writing as confusing as Cy Twombly's paintings.

[Caroline · Rating 5 out of 5]

"'A day or two after you see the Twombly show, what you may recall is all the careful looking that you did, rather than anything that you actually saw.' The critic who wrote that meant that as a kind of disparagement, when in fact it is one of Twombly's gifts. To offer an experience of looking, really looking. You walk away with an idea instead of an image, a feeling that refuses to let go."
This passage from Joshua Rivkin's spectacular book has really stayed with me, not least because I think it describes well what he's doing in this project: making you really think about the construction of a life, by the person living it, while they're living it, and then too by the people -- friends, family, writers -- who participate during and after that life to shape it themselves. I learned a lot about Twombly and his art from this book, but also it's made me think, in a really satisfying and productive way, about writing and memoir and art making.

[Mike Zickar · Rating 5 out of 5]

Just a completely beautiful book. This is and isn't a biography of the artist Cy Twombly. It's really a story of the author, himself a poet, and his obsessive quest to understand Twombly and to chase as much knowledge as is possible. This book is a discursive description of that journey, one that marginally parallels Twombly's journeys, as best we understand them.

There is a lot of beauty in this book, beautiful passages, beautiful insights into Twombly's art, art in general, and human nature in general. Reading this book, you realize the author threw his life into this book and into this pursuit. It is a real joy to read.

[Tia · Rating 4 out of 5]

This took me an age—the longest it has taken me to read anything in quite some time. This is largely a symptom of how busy and distracted I have been, though Rivkin’s book does drag through the middle and becomes a repetitive circulation of epiphanies about the mystery and allure of Twombly’s work and life for a while. Ultimately though this is a really special “biography”: the prose is so alive and Rivkin manages to pin down what makes Twombly’s art so intoxicating, and this is no small feat. It’s best when imagining or rendering actual scenes, as in the opening gambit with Rauschenberg at Black Mountain College (I could see a movie here). As the book goes on, the sections get shorter and more loose in a way that feels unfinished rather than thoughtful. But it comes together again later… just might have benefited from further concision.

[Terry Pitts · Rating 4 out of 5]

Seeing Cy Twombly's 1994 retrospective at the Museum of Modern Art was an important moment for me. Twombley's work is so complex, with it's mix of drawing and painting, it's classical references, its sexual references, it's stunning colors and occasional hints of violence, the vast white spaces and the often off-balance canvases. Few artists make me stop so long.

Joshua Rivkin has long been obsessed with Twombly and his work and finally set his mind to doing a book on Twombly. Midway through his research, however, Nicola Del Roscio, the man who had been Twombly's lover for decades and who now runs the Cy Twombly Foundation, suddenly sicced the Foundation's lawyers on Rivkin for no obvious reason (other than, perhaps, Rivkin is not a trained art historian but a poet). The upshot is that Rivkin had to finish his book without viewing the archival materials at the Foundation and without using any reproductions of Twombly's work. But, as Rivkin says, this was "a gift I didn't choose" but one that forced him to think more clearly about book. I rather liked Rivkin's descriptions of the paintings and their details, which is something he might not have had to do if he could have simply said "See illustration 27."

Chalk blends the search, the searcher, and the object of the search into a very satisfying book, in part because Rivkin is good at explaining his own obsession so well. And we watch what is to me the ever fascinating methodology of research itself. This is not art history, this is the story of a deeply informed and observant person in pursuit of one the our most intriguing artists.

[Michael Chance · Rating 3 out of 5]

Somewhat like Cy’s paintings, there are moments of beautiful insight, some prickly combative energy, interesting references to poetry and history, but also a fair amount of self-indulgent repetition and an airy vagueness which disguises the distinction between profundity and its impersonation.
With the exception of the verbal and legal sparring with Del Roscio, I found the ‘meta’ aspect of the book became quite tedious. Ok, we get it, you can never really know someone (that you didn’t know) and sifting through the traces left by a life is like an unrequited, teasing and cruel imaginary romance. I’m not sure that reading *another* passage of Rifkin mooning over an old photograph of Cy like a teenage fanboy really gives us much more insight into the artist in question, or the art of biography.
I would have liked more detail (even if speculative) on the early periods, since - aside from a quick childhood sum up - Rifkin more or less starts off with Cy at Black Mountain, already making abstract expressionist work which is recognisably Twombly. As a painter, I’m always keen to follow the development of artists; how they arrive at making great work, rather than gushing over the greatness which by that point has become obvious.

[Rob Sassor · Rating 5 out of 5]

The impressive reconstruction of a life, once guarded, and now guarded greater still.

[Shaun · Rating 4 out of 5]

"Chalk" is a deeply poetic, albeit long-winded, journey of discovery. Throughout the book, the reader is presented with the life and times of the artist Cy Twombly as recounted by the research of the author, Joshua Rivkin. As the reader soon discovers, however, this research contains many pleasures, but also some great challenges, which Mr. Rivkin is not shy to discuss. This is not your typical "biography," if one would even call it that— it can't be, as we learn that Rivkin had his permission from the Cy Twombly Foundation revoked prior to the book being published. This results in much of the prose weaving in and out, blurring the lines between biographical information and the author's own interpretations, never quite landing on exact facts, or "the truth." One of the most common speculations is Twombly's sexuality, particularly the artist's relationship with Robert Rauschenberg and Twombly's assistant Nicola Del Roscio. It's clear that Mr. Rivkin was eager to find the clues he needed to open a deeper understanding of Twombly's "secret gay life," however, this research is stopped far too soon by Mr. Del Roscio, the president of the Cy Twombly Foundation, resulting in many unanswered questions and some uncomfortable legal action. While I enjoyed Mr. Rivkin's curvilinear poetic verses, often times mirroring Twombly's own brushstrokes, I found myself siding on behalf of Mr. Del Roscio in the end. While beautifully written, Chalk is ultimately a "book of gossip." With that being said, I highly doubt Mr. Rivkin intended it to be so. This was likely just an innocent interest of the author to his subject; but in the end, perhaps some memories are better left to those who lived them.

[Hollie Sikes · Rating 3 out of 5]

Nice but largely speculative. Could have and should have been about 100 pages shorter

[Jonathan Dunkle · Rating 4 out of 5]

I purchased this book in, of all places, a bookstore at Tampa International Airport in February while waiting out bad weather for my flight. Why a biography from 2020 about an Abstract Expressionist artist, published by Melville House, was sitting in a place typically reserved for the latest thrillers or celebrities of the minute is beyond me. I snapped it up as if I was going to have to swat away dozens of other delayed passengers suddenly looking for it and then proceeded to take the last six months to read it.

It's not like it wasn't good. It was very good. It's just that Rivkin, a poet, writes so flowery and uses so much metaphor and simile, I had to take the book in small doses. It's like any poetry; you can read a book of poetry fairly quickly. It takes much longer to absorb and understand it. Such was the case with this. Read five pages, mull over it, ponder, maybe look back over those pages. It was a task, albeit a pleasurable one.

Rivkin does a nice job of writing about Twombly's life, especially given the challenges presented to Rivkin by Twombly's estate. We, of course, only get Rivkin's side of the story but from what is shared, it is a little surprising that Rivkin continued on despite the challenges and impressive that he put together such a fine assessment of Twombly and his art.

Rivkin's style is so unusual, though, I'm a bit surprised that this found a publisher and even more surprised that is was Melville House. The publisher's website is a tad lacking in functionality but if you look at their biographies, there are none listed. If you look at their books on poetry, there are none listed. If you look at their books on art, there have been two published since Chalk; a novel about Modigliani and Jenny Odell's book on the attention economy. If you search on Rivkin, the novel The Talented Ribkins is the only result. It's just weird; not as weird as finding this book in an airport bookstore but still weird.

But hey, I am extremely glad Rivkin pushed on and wrote it and I am extremely glad that Melville House, for whatever reasons, chose to publish it, and I am extremely glad that the procurer of books for that store purchased this. I'm not glad I had to sit in an airport for hours but I am glad it gave me the opportunity to buy and start this unique book.

[Philip Clark · Rating 5 out of 5]

Cy Twombly was an enigma; solicitous of his personal life, and his sexuality, he created a world for his art and his life that enabled him to keep him to keep publicity at a distance, while needing very much to be recognized. Though he married and had a son, his life-long love was his friend, partner and assistant, Nicola del Roscio. A former lover of both Robert Rauschenberg and Jasper Johns, his artworks contained both eroticism and a codification of his homosexual and heterosexual relationships -- in huge, stunning canvases that because some of the most recognized (and highly paid-for) works on the art market. Joshua Rivkin's 'contemplation' of the artist -- it is not formally a biography --is a deeply considered exploration of the artist's life and work. Compelled to tell the life from interviews and research with those closest to Twombly, and also from his own love of Twombly as an artist, Rivkin gives us a life in fragment that ultimately becomes a whole. Beautifully written (Rivkin is also the author of the superb poetry collection, 'Suitors'), 'Chalk' gives a refreshing new idea of what a biography can be. From its haunting opening chapter, to its last, Rivkin keeps us completely involved.

[E. V. Gross · Rating 4 out of 5]

What I liked about this book was how thoroughly transparent Rivkin was about his own motivations and obsessions in taking on this project. I feel the best biographies are also small portraits of the people who write them, as much as they are of their subjects.

My complaints, I suppose, are that at times this felt unnecessarily long and pretty repetitive. And, given the struggles he had with the Foundation, I wasn't surprised that there were so few reproductions of the work but it did make some of Rivkin's lush descriptions hard to take--there are only so many times you can be truly moved by descriptions of the vividness, the energy, and magnetism of paint without seeing it.

I appreciate how much of this book was about reinscribing Twombly's sexuality into his legacy and the readings of his work. Rivkin really gets going on this in the last few chapters but, I really feel its important to revisit figures of this era (specifically the post-war 50s-60s era) and understand how much silence and secrecy really shaped the artistic and cultural landscape. Within all of these gaps and silences, a much richer story exists and I'm so thankful that scholars and critics are mining them.

[Rick · Rating 5 out of 5]

Why am I reading a book on Cy Twombly? He's an Absractionist. It doesn't figure. But I've always been intrigued by this guy since I first heard of him years ago, doing gibberish art but yet fabulously successful, living in a villa in Rome for gods sake. So I'd been watching youtube viddys about him on my nightly sprees, and I began to get a glimmering of understanding. This guy has big balls, and total devotion to his themes, and his ability to give less than a flying fuck about anything other than his art. And on his own, not part of any gang or movement. And he got thoroughly bashed at the beginning, as you can imagine. But he persisted in his vision. And I've seen a few of his actual paintings in person, and they do have a certain power. But what an accomplishment, to do some of the gargantuan things he's done, nothing like I've seen from anyone else. Most impressive. I admit I needed to have these things explained to me. Rivkin is a huge fan, and his exceptionally beautifully written book goes a long way to explain the Cy phenom. I don't recall ever finding such glimmering, handsome prose in a biography before. But I very much enjoyed it.

[Ella R · Rating 2 out of 5]

This is less biography and more blind infatuation.

Dear Rivkin, writing paragraph upon paragraph about how you endlessly fawn over every handsome photo ever taken of Twombly doesn’t make for a good biography. We get it, you’re obsessed with the guy. So are we - which is why we wanted to read your book.

I was under the impression I’d learn more about the work and where it comes from along with how Twombly’s life informed his art. But in the end, all you gave us were tales of your rather embarrassing encounters with those who knew Twombly. I can see why they didn’t really want to talk to you.

Yes, you explained (on almost every page) that he’s a bit of a mystery. Anyone who decides to read this book already knows that.

Yes, you explained (on almost every page) that he makes references to ancient literature and mythology in his work. We already know that.

You tell us how desperately you want to know more about him. That’s funny, so do I.

Rivkin, I suggest you write some love poems to Twombly and then erase those. I’ll certainly erase this book from my memory.

[Christa · Rating 4 out of 5]

As it is the only extant biography, in the sense that it covers what we know about Cy Twombly’s life, from start to finish, it was helpful to understand the man. But for understanding his work, less helpful. You need to read it with books of Twombly’s art or a computer at hand to look for the progression of his work and life - not an easy task. The book has an excellent bibliography, making it easy to track down more about Twombly. As a poet, Rivkin draws on his own poetic sensibility to make sense of Twombly, whose art hovers between poetry and painting. And his language is often poetic. His obsession with Twombly is sometimes a bit hard to take, although I understand it. If only Nicola or Tatiana would tell their own tales of the great man. I recommend Sally Mann’s Remembered Light: Cy Twombly in Lexington (studio photographs) and recollections about him in her memoir, Hold Still.

[Lauren · Rating 5 out of 5]

Highly recommend for anyone who wants to read an intriguing and beautiful book! Honestly, the cover is what drew me in initially...but the words and the story kept me totally engaged. I found the book extremely compelling and very readable. The author does a fantastic job of drawing you in with his beautiful and thoughtful words, and it’s clear this was a passion project. I mostly loved the story within a story; and enjoyed the glimpses into the author’s own life along his detailed and determined journey to write this book.

[Michael Esson · Rating 4 out of 5]

This was quite a brave undertaking by Joshua Rivkin as many of us painters have had troubles getting our heads around Cy Twombly's work...until one day when suddenly one can't get enough of those huge canvases and eccentric marks. This book is a toughie though where you have to be living and breathing Twombly and not using him as a novice's intoduction to modern painting. Great references which would be devoured more by thesis students than those of us looking for something lighthearted with more family escapades and life antics than academia.

[Melissa · Rating 3 out of 5]

I don’t usually include “art history books” on here, but since this book isn’t quite art history yet not quite a biography...here it is. As Rivkin points out, there’s little of much substantial work on Twombly and he does well here to address it—and to do so well. Rivkin’s writing style, too much of the author’s viewpoints (more so earlier, his later tangles with the Twombly estate do well by him to include), diminished the book for me.

[Tandra Jorgensen · Rating 3 out of 5]

The first half of this book was all that I hoped for: Twombly’s artistic development slowly unfolding and his persistence in developing his artistic ideas. His personal life becomes the Achilles heel for the author. The book slowly turns into the author whining because he is not given much of the personal information on Twombly that he wants. No wonder.

[Harriet · Rating 5 out of 5]

The book Chalk: The Art and Erasure of Cy Twombly by Joshua Rivkin is really engaging. I knew nothing about Twombly before this and have been swept up by the writing.

[Michael Plotkin · Rating 5 out of 5]

Amazing read. I highly recommend this book about the life and art of Cy Twombly. The depth and breadth of the author's investigative research across the globe (Italy- Rome, Gaeta, etc.), Houston, TX, and even Lexington, VA) makes this work truly incredible to read. By no means am I an art expert, but this book won me over with its honest imagery, relevance to modern life, vivid detail, and journey into the meaning of modern art. By the way, the Foundation refused permission to allow reprinting of the artist's work, which only adds to this book's allure on myriad levels.

[Jeffrey Bumiller · Rating 4 out of 5]

A great biography. I didn't know much about Twombly's life going into this and I emerged from it well informed. This is what a biography is supposed to do, right? This is worth your time.

[Davindek · Rating 4 out of 5]

Not a quick read as it is so beautifully written you want to linger over many passages.

[Abby · Rating 4 out of 5]

tedious and pretentious at times — not unlike cy twombly himself it seems — but thoughtful and interesting.

[Chris Hall · Rating 4 out of 5]

Good, but I think there should have been more about Twombly's childhood.

[Kristen Fu · Rating 4 out of 5]

great book on "understanding" artist. definitely not the typical biography you would expect.

[sevdah]

Liked it quite a lot. Something indeed stranger and more personal than a biography. You can definitely trace the way Twombly paints, leaves marks, crosses over, in the style of Rivkin.

[Dale Boyer]

An Excellent Study of a very important figure. I will be reviewing this in full in an upcoming issue of The Gay & Lesbian Review Worldwide.

[Robert Walkley · Rating 3 out of 5]

Strange person. The biographer, I mean. He is sort of like the reporter in Citizen Kane who goes in search of the meaning of Rosebud. The meaning of Cy Twombly’s life appears just as elusive. Still, there are many beautiful landscapes and houses to wander through, paintings to discuss, and behind every closed door, if opened, usually an interesting person who knew Twombly emerges to be interviewed. Usually the person can’t or won’t say much about Twombly. In other words, Twombly practiced the technique of erasure on his own life, not just in his art. And the biographer has a fall back position: If no one will talk to him about Twombly, then the biographer is fine with talking about himself and his Don Quixote like quest. In fact, my favorite part of the book is when Rivkin tells the story of being sued by one of the people (he interviewed. Despite the paucity of facts, and that the subject of the bio (I think it’s Twombly) was so hidden in life, I found this book a worthwhile read. No matter what, we’ll always have Twombly’s artwork. Cy!