John Lurie stands as a true avant-garde artist, defying easy categorization throughout his multifaceted career. While his recent years are largely dedicated to watercolor painting, as vividly showcased in his HBO series Painting With John, Lurie’s artistic journey spans across directing (Fishing With John), acting in acclaimed films by directors like Jarmusch and Scorsese, and most notably, music as the leader and saxophonist for the Lounge Lizards. With the release of his memoir, The History of Bones, now is the perfect moment to explore the expansive and genre-bending world of John Lurie. This article serves as an in-depth look into Lurie’s work, his perspectives, and the compelling insights offered in his first book.
The History of Bones is more than just a memoir; it’s a deep dive into the underbelly of the 1980s New York avant-garde art scene, particularly the vibrant Lower East Side. This scene was a melting pot of creativity, famously hosting figures like Jean-Michel Basquiat, who even lived in Lurie’s apartment for a year. However, the book transcends a simple historical account. It reads as a contemporary Portrait of the Artist as a Young Man, filtered through a Montaigne-esque lens, as John Lurie reflects on his life, seeking meaning, acknowledging meaninglessness, and uncovering universal truths applicable to us all.
In a recent exchange, John Lurie shared his thoughts on his creative process, the themes within The History of Bones, and his unique perspective on the art world.
Painting, Writing, and the Creative “Blast”
When asked about the influence of his painting on his writing process for The History of Bones, John Lurie noted a shared sense of compulsion across his artistic endeavors. He described a powerful “blast” that initiates creative projects, whether in painting, music, or writing. Interestingly, a significant portion of The History of Bones was initially written back in 2001. Lurie explained that he set the project aside due to the arduous nature of rewriting, a process he finds “painful and tedious.” When bogged down by writing, he would turn to painting as a form of creative respite.
While recognizing the similarities between painting, writing, and music, John Lurie highlighted a key difference. Painting, for him, is immediate and present, whereas writing, especially the editing process, demands a complex mental juggling act. He described the intricate process of re-editing, where moving a sentence in one chapter could have cascading effects on other parts of the book, requiring a holistic and sometimes overwhelming mental effort.
Unpacking the Title: The History of Bones
John Lurie’s response to the question about the significance of the title, The History of Bones, was characteristically wry: “Oh, it is supposed to have significance? Nobody told me that.” This playful deflection hints at Lurie’s aversion to pretension and overly intellectual interpretations, yet the title itself is undeniably evocative. It suggests a stripping away of superficial layers to reveal the fundamental structure, the essential framework of a life and perhaps an era. “Bones” can represent both fragility and resilience, the hidden architecture beneath the surface. The History of Bones then becomes an exploration of these underlying truths, the raw and unvarnished reality of experience.
The Conspiracy to Maintain Mediocrity and the Art World
A recurring theme in The History of Bones is John Lurie’s concept of a “Conspiracy to Maintain Mediocrity” within the art world, music, and film industries. He observes this phenomenon in various contexts, from uninspired gallery exhibitions to the posthumous treatment of Jean-Michel Basquiat’s work, and in the gatekeeping that obstructs genuine artistic appreciation.
John Lurie believes this “conspiracy” stems from a fundamental human drive for power. He argues that individuals who prioritize power often rise to positions of control, not necessarily due to merit or talent, but through “shrewd and amoral” tactics. This, he contends, is not limited to the arts but is prevalent in politics and other fields. He posits that true “healers,” in any profession, often lack the ego and manipulative skills required to navigate hierarchical systems and achieve top positions.
In the art world specifically, John Lurie suggests that true artists, those driven by genuine vision rather than power, are often deliberately sidelined. He believes that the art establishment recognizes the immense power that could accompany the recognition of a truly great artist during their lifetime. Therefore, they tend to promote more controllable, less challenging artists – “lap dogs,” as Lurie describes them. Furthermore, authentic artists often speak uncomfortable truths that those in power prefer to suppress.
The prospect of a genuinely great artist gaining recognition is perceived as threatening because it disrupts the established power dynamics of the art world. John Lurie marvels at the anomaly of Antoni Gaudí in Barcelona, a visionary artist whose work is celebrated throughout the city. He questions how such a phenomenon could occur, given the typical bureaucratic resistance to truly radical and unconventional art. He implies that the openness of Barcelona at that time, a potential hunger for genuine beauty, allowed Gaudí’s genius to flourish, contrasting with more restrictive and controlling environments.
Childlike Joy and the Essence of Art
John Lurie recounts a touching anecdote in The History of Bones about Jean-Michel Basquiat’s pure, childlike delight in hearing Lurie’s saxophone solos. This image of unadulterated joy resonates with Lurie’s broader view that a childlike quality is fundamental to creativity. He has often spoken about this inherent innocence and openness as the driving force behind artistic expression, notably in Painting with John.
When confronted with the common dismissive remark, “my kid could do that,” often directed at modern art, John Lurie remains unfazed. He likens it to negative YouTube comments on Fishing with John, where viewers miss the point entirely. For Lurie, true artistic appreciation goes beyond technical skill or easily definable talent; it’s about capturing a feeling, an essence, a unique perspective that resonates on a deeper level – much like a child’s unfiltered emotional response to art.
Beyond the “Cool People” to Authentic Connection
John Lurie reflects on a period in his life when he was drawn to “cool people,” admitting it was a phase, particularly in the early 1980s. However, he clarifies that his desire for connection is ultimately rooted in finding people with “heart.” He acknowledges that some “cool people” do possess genuine depth and empathy.
Sharing a poignant experience, John Lurie describes the disparity between superficial acquaintances and true friendships. In 2002, living in New York City, he estimates that hundreds might have claimed to be his close friends. However, when illness confined him to his home for years, only a handful of those connections proved to be genuine. These were the people he truly valued, highlighting the distinction between fleeting popularity and lasting, meaningful relationships. This experience underscores the book’s themes of authenticity and the search for genuine connection beyond superficial social circles.
Self-Consciousness and a Message for Younger Generations
John Lurie candidly reveals his past struggles with intense shyness and self-consciousness in his late teens and early twenties. He describes a period of relentless self-questioning and self-loathing, grappling with his purpose and place in the world. One of his motivations for writing The History of Bones was to offer solace and recognition to younger individuals experiencing similar feelings. He envisions the book as a kind of grown-up Holden Caulfield narrative, where the protagonist finds his voice and creative outlet in music.
John Lurie expresses a desire for young people to find benefit in his story, seeing them as a primary audience. He recognizes that his work, across music, film, and art, has resonated with younger generations, often discovered organically through Fishing with John, film appearances, or Lounge Lizards recordings. He recounts an anecdote about a recently rediscovered live Lounge Lizards performance, highlighting the enduring presence of his work, even pieces that were never officially recorded.
Ultimately, John Lurie expresses a desire to offer a message of solidarity to young people entering a world he perceives as increasingly filled with “bullshit.” He positions himself as someone offering an authentic “hello,” hoping to connect with and perhaps offer guidance through his experiences and artistic journey. The History of Bones becomes a vehicle for this connection, a way for John Lurie to share his hard-earned wisdom and unique perspective with a new generation.
