Theft Charges Reverberate in Connecticut Art World
Jasper Johns in his studio in northwestern Connecticut in 1999. Unlike some artists, who employ many assistants, Mr. Johns is said to work with a small staff.
By PETER APPLEBOME and GRAHAM BOWLEY
Published: August 18, 2013
For 16 years, William Morrison has watched the passing parade at his airy, contemporary Morrison Gallery in Kent, in northwestern Connecticut, where luminaries like Meryl Streep, Sam Waterston, Kevin Bacon and Kate Winslet, and far-flung artists great and small live the understated good life of the Litchfield Hills.
Last week he was pondering something less genteel — federal charges that James Meyer, a familiar local artist and longtime assistant to the modern master Jasper Johns, had stolen 22 works from Mr. Johns and had sold them through an unidentified New York gallery for $6.5 million.
“I never would have imagined this,” Mr. Morrison said. “He was always very nice to me, and I thought he was loyal to Jasper. If it’s true, I’m shocked about it and disgusted. It’s crazy. Isn’t being Jasper Johns’s assistant enough?”
Mr. Meyer’s arrest last week rocked the New England reserve of the area, where Mr. Johns is a revered but largely invisible presence and Mr. Meyer a midlevel figure in the local art scene whose stature was elevated by his relationship with a celebrated master. And it highlighted a dynamic as old as fame itself, the often-fraught relationship between an established star and a younger hopeful working on his behalf.
While an artist like Jeff Koons is famous for hiring dozens of assistants to help produce his paintings and sculptures, Mr. Johns, who did not respond to requests for an interview, works with only a small number of assistants at his compound; they are said to be loyal and tight-lipped, even after leaving his employ, which made the news even more surprising.
Chris Mao, founder and director of Chambers Fine Art, a Chelsea gallery, who said he had known Mr. Johns well for several years, had the impression that his assistants were few in number. “It is mostly him,” Mr. Mao said. “He is working hard even at this stage.”
One person who worked for years as an assistant to an internationally known artist — who spoke anonymously because he did not want this instance to reflect on his experience and who had no knowledge of the Johns-Meyer relationship — noted that most artists’ assistants are artists on their own who can risk losing their own artistic identities and identifying to a dangerous degree with someone else’s success.
He said: “I’m sure that many, many years ago, there were a few guys running around the Sistine Chapel trying to pick up girls or impress a potential patron by saying things like: This thing would be a mess if it weren’t for me. You see the way those hands are almost touching? Mike wanted them further apart.”
The relationship between Mr. Johns and Mr. Meyer was long-lived and extraordinarily important for Mr. Meyer, whose Web site says he was “born of Mexican heritage and adopted in Lynwood, California, in 1962,” grew up on Long Island, attended the School of Visual Arts in New York and became the studio assistant for Mr. Johns in 1985.
The indictment charges that Mr. Meyer, 51, carried out the thefts from September 2006 to February 2012. He was arrested on Wednesday and appeared in court in Hartford, where he was released on an unsecured $250,000 bond. The indictment accuses Mr. Meyer of having falsely told an unidentified New York gallery that Mr. Johns, who is 83, had given him the pieces as gifts. According to a federal official, Mr. Johns’s lawyer was the one who contacted the authorities. Mr. Meyer has pleaded not guilty. Neither Mr. Meyer nor his lawyer, Donna Recant, responded to requests for comment.
Around the end of the period cited in the indictment, some friends of Mr. Meyer were surprised to learn he was no longer employed by Mr. Johns. Soon stories began to circulate in Connecticut and New York that the split involved allegations of theft. There were other signs that not all was normal. On March 5, 2012, less than a month after the split, Mr. Meyer transferred ownership of the house he and his wife, Amy Jenkins, had owned together to her name alone.
In an interview from the 1990s with Matthew Rose, an artist and writer, Mr. Meyer described himself as a total naïf who barely knew Mr. Johns’s work or how art studios functioned when he was looking for a job and was given a list of some of the most important artists in New York. He stumbled into a position with Mr. Johns that lasted 27 years. During that time, he also tried to make his own name as an artist with works whose influences included suburbia and Dostoyevsky filtered through the techniques and sensibilities of Mr. Johns.
“While 1960s suburban American remains my primary source of inspiration,” Mr. Meyer wrote on his Web site, “rethinking the linkage of image, shadow and subsequent images, sets off a conceptual clock of instantly recognizable pieces to a more complex puzzle. It’s my way of generating psychological power.”
During the last three decades Mr. Johns rose to almost unimaginable heights in the art world and marketplace. His painting “Flag” from the collection of the best-selling author Michael Crichton, who died in 2008, sold for $28.6 million at a New York City auction in 2010. Koji Inoue, a Christie’s specialist and contemporary art expert, said Mr. Johns’s works can change hands in private sales for significantly higher prices — sometimes above $100 million.
Mr. Meyer has regularly exhibited his art, including at galleries in New York like the Gering & López on Fifth Avenue, where he had a show this spring. According to Mr. Meyer’s Web site, his work has been acquired by some prestigious collectors and institutions including the National Gallery of Art in Washington.
But he appears to have had only modest success at public auction. Artnet, which tracks auction sales, lists only five instances when his works were put up for auction. Four times his works were “bought in,” or failed to sell, including a 1995 watercolor with an estimate of $2,500 to $3,000. In 2011, however, a mixed media collage sold at auction in Stockholm for $788.
The indictment alleges that Mr. Meyer deposited $3.4 million of the $6.5 million in illegal sales in a Connecticut bank. Records show that Mr. Meyer owns four cars: a 2005 Subaru, 1971 Volkswagen bus, 2008 Mini Cooper and 2006 Toyota pickup; two motorcycles, including a 2007 BMW; and three trailers. In recent years, he has owned several boats including a 42-foot fiberglass sailboat that is now registered in his wife’s name.
But the house, now in his wife’s name, is a modest one in Lakeville, Conn., and was purchased in 1996 for $185,000, records show. Over the years, he took out six mortgages on the property, which is now assessed at $361,428. Mr. Meyer lists as his residence a slightly frayed house in Salisbury about 15 minutes on two-lane country roads from Mr. Johns’s 102-acre gated estate in Sharon.
A few people in Mr. Meyer’s circle were familiar with the allegations, but more common was concern for Mr. Meyer and Ms. Jenkins, an admired art teacher and artist, and their two children, who attended local schools.
Mr. Meyer is lauded by friends as a public spirited part of the community who helped found the popular artgarage in Falls Village, Conn., an after-school art studio at a local high school. Others describe him as overbearing and too quick to traffic on his association with Mr. Johns.
“Everyone is shocked, because they know him to be someone of integrity,” said one friend, who did not want to be quoted by name because of the sensitivity of the situation. He added: “It’s got to be a complicated psychological thing, working with an artist for so long. Who knows, maybe Jim felt entitled.”