BBC4: The Art of America - parts 2 & 3

Jeff Koons, Puppy, 1992 (at Bilbao) - isn't he cute?!

More great telly from Andrew Graham-Dixon, who must have had a blast barreling along the Nevada and California highways in his convertible. Having managed to keep a straight face for most of the first two parts, he finally broke down in the third, when he was shown standing on the hilltop above the Hollywood sign, chuckling at the hilarity of it all. Here he was, an art critic known for his subtle, serious, passionate analysis of paintings, in Tinseltown!

There was an irony here, one of several that added a fascinating undercurrent to the show. If there is an Art of America it probably isn't the painted canvas but the motion picture, yet Hollywood was presented as one of the more amusing components of the incomprehensible, unserious sprawl of Los Angeles - a city in which (as AGD rightly pointed out) the buildings themselves are works of art. They are also, he might have added, covered in art, as LA's vast expanses of cement have attracted mural painters for decades.

Edward Hopper, Night Hawks, 1942

But what was the man supposed to do? Given three hours and whatever budget the cash-strapped BBC has for this sort of programming, he set himself the task of weaving the story of American art into the broader history of a huge, diverse country.

In general he proved adept at combining the broad sweep - The Depression, The Sixties - with detailed examination of particular artworks. I was absolutely gripped by his discussion of 'White Flag', Jasper Johns' painting of 1955, which was nicely set in the context of the McCarthy Era. Similarly, his detailed examination of Edward Hopper's legendary 'Night Hawks' allowed us to contemplate the picture as we might in a gallery, with an intelligent guide. We were introduced to Norman Rockwell, one of the most genuinely popular American painters of the last century, and given new insight into the political pressures that influenced the way he painted African-Americans.

Jasper Johns, White Flag, 1955

Most of the greats had their moment in the spotlight: Rothko & Pollock, Johns & Warhol. Factory acolyte Billy Name had an entertaining walk-on part, sporting a marvellous ZZ Top beard. Curious that in AGD's anxiety-ridden, urban America, most of his interviewees lived in leafy suburbia!

Inevitably, given the scale of the operation, there were artists who perhaps should have been included but weren't. Having spent a lot of time in New Mexico, I was hoping for a glimpse of Georgia O'Keeffe, who was both brilliantly original AND popular. The lack of any detailed examination of her work was part of a wider problem: although the series talked a lot about the diversity of American culture, the artists featured were not especially diverse. With the odd exception (eg Nan Goldin), most were white men. Was the Harlem Renaissance discussed (I would double-check but Part 2 no longer available)? Were we introduced to Jackson Pollock's wife, the talented Lee Krasner? Did we see work by Dorothea Lange or Diane Arbus?

Andy Warhol - anyone for soup?

I was reminded of the brilliantly eccentric BBC4 series 'British Masters', which featured (if I remember correctly) no women artists at all. I'm not waving the flag of political correctness, just noting an anomaly.

Anyway, we at least had the treat of Mr Graham-Dixon interviewing one of my favourite artistic mavericks, Jeff Koons. I was a big fan of the King of Kitsch back when his giant floral Westie seemed a wonderful riposte to the solemnity of the Josef Beuys school. Like Ed Burra, Koons is a very dangerous artist to take seriously and AGD was wonderfully circumspect, allowing Koons to chirp cheerfully about the knick-knacks and mass-produced pictures of his childhood while a gang of workers put the finishing touches to a series of massive paintings.

Georgia on my mind...

Ever articulate, Koons talked winningly about 'acceptance': it's OK, he said, to love the ornaments of your childhood; it's OK to adore Michael & Bubbles; making love with Ilona Staller is OK too - though he must look at those pictures of his younger self enjoying intercourse with the legendary Italian porn star & MP (who was his wife at the time), and wonder what on earth he'd been thinking...

A curious journey then, from the first drawings of Native Americans to billboard-sized paintings of inflatable dolphins. Great fun to watch, and extremely informative, although I would add a proviso: this was (for the most part) liberal, secular, urban America - intellectual, doubting & ironic. Much of the country is, by contrast, conservative and devout; while the sculptor at the end was busy making a clever piece depicting man's evolution, untold numbers of schoolchildren are being taught Creationism - not as religious doctrine but as science.

Richter's Skater: Paintings Lost and Found

Found: Gerhard Richter, 'Eisläuferin' (Skater) - detail

Why should the discovery of a lost painting be so exciting? I've been a fan of Gerhard Richter's figurative paintings ever since I bought a Sonic Youth record with his candle on the cover twenty-five years ago, but I'd never heard of his 'Eisläuferin' (Skater) until this morning. I suppose the fact that the picture is potentially worth £3 million makes this newsworthy, but there's something compelling about stories of paintings lost and found.

Lost: Georgia O'Keeffe, 'Special No.21' 1916

I was in Santa Fe, New Mexico, when Georgia O'Keeffe's painting 'Special No.21' was stolen from the Museum of Fine Arts. By all accounts someone simply walked in and pocketed the picture, which isn't very big, and it was gone. At the time I was selling art at a local gallery, so I was used to the constant coming and going of artworks, but this was different. Here was a painting that had been part of the public realm - a shared pleasure - and someone had taken it from US.

One might argue that the same happens when a less enlightened collector buys a painting at auction and then squirrels it away for their own personal enjoyment (or, worse, stores it in the hope that it will appreciate in value).

Found: Munch, 'The Scream'

The FBI may have wished that O'Keeffe was still alive, as she herself tracked down three paintings stolen from Alfred Stieglitz's New York gallery in the 1940s. It took her thirty years, but in 1975 she spotted them at the Princeton Gallery of Fine Arts and sued successfully for their return. When a painting is stolen there is always a chance that it will be recovered, as happened most famously with 'Mona Lisa'. Two versions of Edvard Munch's 'The Scream' have been seized from museums, and both have been recovered.

Gerhard Richter, 'Eisläuferin' (Skater) early 60s

In the case of Richter's 'Skater', it was believed for years that the painting had been destroyed, leaving the world with only a black and white reproduction, so this discovery is more akin to a return from the dead. Every artist's catalogue has some gaps like this, where pictures have been destroyed or have simply vanished. I posted last year about Churchill's refusal to send the National Gallery's collection to Canada during World War II, and an incident later in the war confirmed that he had made the right decision.

Lost: Eric Ravilious, 'Light Vessel & Duty Boat' 1940

In August 1942 a merchant vessel carrying works of art from Britain to South America was sunk by a U-boat. In all, 96 paintings were lost, including three by Paul Nash, and one each by Graham Sutherland, Eric Ravilious and John Piper. They are unlikely to reappear.