Leo Castelli - Summary of a Three - Act Comedy that took place in New York between December 1995 and March 1996

Dear Leo:

I am leaving New York for a while and I’m on my way to Europe.

ACT I : I have enjoyed your several previous visits to my studio at 140 Thompson where you were always accompanied by my son Carlo, with whom you spoke in French. While sitting lazy on a particular Swedish leather chair, you asked my son, for the address, so that you could purchase one like that.

On your last visit, as per your suggestion you wanted to select some of my work to be included in the 1996 program of your gallery. I am quoting you: “In January of 1996 I will be making the schedule for the year.”

You added that you had seen and liked my Plaza in Mougins, also you would have liked for my exhibit to be followed by an installation in the project room at MOMA.

Therefore, there was no point in speaking to Antonio at Sonnabend.

ACT II : I was quite happy about all this and came back from Europe “full wind” for our meeting in mid-January. From France, I had sent you a card to remind you of our appointment for January 16th. Upon arrival in New York I called you to confirm our meeting, but you were here and there, being honored in California (Gagosian etc.). Then it snowed; then your wife had the secretary reschedule because you were tired.

To make a long story short, much to everyone’s embarrassment (including your secretaries) our appointment was rescheduled 9 or 10 times (I lost count).

In the meantime, I wrote you a couple of letters, as I wanted for our project to remain a pleasure, and not become a persecution ! I decided to stop calling you, as I really was no longer interested in a next appointment. At this point, you called me on two occasions and particularly one afternoon twice within a thirty-minute period to express regrets. After all, you are a gentleman.

Pat Brandage , however , had to cancel our meeting once more and

I was asked to call you at home (212 - 472 - xxxx) at 10 a.m. the following day. I called, and the new appointment was made for March 14th.

Meanwhile, I was warned by the usual people, who know everything, that Leo Castelli’s wife was going to make it impossible for you to come to my studio.

Indeed, when I arrived at your gallery to pick you up and was waiting for you, I had a chance to observe her strategy. She started caressing you on the face, she ran her hands all over your cheeks and fussed with you like you would do to a child: “Darling, you look so tired !” and whispering to your ears in Italian “Andiamo alla nostra casina”, she finally smacked a kiss on your forehead. This time, however, you were determined to come and resorted to invite her to join us. It was a disaster ! I will never forget her behavior that had been anticipated by Pat Brandage.

We walked around the corner to 140 Thompson (my studio). Your eyes, curiosity and feelings, as ever roamed all over each piece of sculpture, even discovering the most minute writing on my woodline :

“Sono qui dentro, trovami.” (I am in here, find me)

In the meantime, Leo Castelli’s wife had been standing in a corner, taking no pleasure in looking at anything, expressing no generosity of spirit, just disgust. But when it came time for you to select your favorite work, for my solo-exhibit in your gallery, she dropped her sour grin of disapproval and burst out: “the Leo Castelli Gallery does not buy any work.”

I immediately, courteously, and patiently reassured her that our project did not involve money: I had absolutely nothing to sell to Leo.

“It is really a pity that one has to have exhibitions,” I said “because my work is about dreams, not power and money”. She caught her breath and went on to add: “that’s what they all say. The Gallery schedule for 1996 is complete, anyway”.

“I am not all”, I replied.

Leo Castelli’s wife must have your blessings and approval to break so many eggs in one shot. Youth is sometimes ignorant. She obviously understands very little about our world and New York ; money is on her mind and she has no modesty or love for Art.

She owes me an apology for such ornery and uncalled for behavior.

She has reputedly behaved in this same way toward so many other people that apparently a book is being written about her. She really isn’t worth so much attention , but being always so visual, I could magine a tarantula biting her, so that she could continue to pour out so much poison.

My heart has survived greater disappointments, and I refuse to continue to be sick over the unpleasantness of this issue, which has caused me two-and-a-half months of anguish and a very severe case of shingles.

My work is my greatest love, together with my son Carlo and my dear husband Roberto. Carlo is an electrical engineer-inventor, with a Master’s degree from Stanford University in California, several patents to his name. My dear husband, Roberto Vallone, who was a Formula I Ferrari champion of Italy, 1949 - 50, is now retired to his vineyards, making wonderful wine.

We are not beggars, and do not leech off people. I earn my living, working very hard and have a very distinguished list of achievements.

At 67 I am not prepared to take uncalled lack of manners, and disrespect.

Leo Castelli’s wife has a lot to learn about being gracious, silent at the right time, but also showing true love and care for the artists you represent and may wish to work with. She does not have to like my work, but that does not allow her to interfere with programs that she is not aware of, or to boss everyone around as if they were puppets.

Life is not all about money.

ACT III : If you are still allowed to see Beatrice and her husband or Giuliano Gori in Tuscany, their places are not far from my stoneyard, and you are welcome to visit my Working Place•Scultpure Garden Museum, where you would enjoy seeing “in the flesh” the work that you so much admired in photographs and at my New York studio, and which prompted your wish to show it.

We would all welcome your visit and consider it a privilege.

I always thought that you were a great dealer, not only for recognizing the best work of Art, but because you understand human beings.

I feel that your real greatness lies in your humanity.

Now that I have deposited on your doorstep the pain I was caused, I am turning the page to beautiful thoughts, springtime, and constructive work. I know that Leo Castelli’s wife , as she had said , hates Castellaras in Moins Sartoux, where you have a home, and wants you to sell it.

Nonetheless, I hope that when you are in Mougins, you might happen to sit in my plaza, where you will find a moment of my life.

I wish you good health. If we can laugh, we can live ! I am here to live !

Cordially,

Cala Lavatelli

No one should ever again be allowed to do anything like this to another human being.

I am advised by my lawyer to sue for “breach of contract”. Meanwhile, all your employees have left you. They were requested to sign an “undisclosed agreement”. New York, all the friends and employees will never forget what happened, nor will I.

Rob Storr known at this time, as a terrible painter, in charge of the project room at MOMA, being a climber, was obviously more interested in the name of Leo Castelli than in my work. Therefore, this part of the project that Leo had envisioned to follow my exhibit at his gallery, fell through as well. Letters of Rob Storr were posted on the wall of my studio in New York, so that people could be aware of what was going on at MoMA and who was in charge of some of the Art choices of that period.

I now read, in December 2005 that he is trying to get himself in a position at the Biennale. That would mean DESTRUCTION for the Biennale.