.jerrysaltz remembers Jason Polan: 'He emitted his own kind of beautiful psychic sunshine. Polan was an illustrator-drawer-artist of modern art and life.'
The artist with his tools. Photo: David La Spina/Esto Jason Polan’s powers of observation, which rose to almost idiot-savant levels, and his hand — so simple, quick, supple, fun, and visually intelligent — made him one of the consummate draftsmen of the 21st century. Thinking back, after hearing of his death on Monday at age 37, I realize I never saw him not drawing.
He was a kind of super-talented American genius. Just as early itinerant photographers set up studios in storefronts or on city streets to take pictures of passersby, Polan offered to make “an hour’s worth of drawings for $125” or posted where he’d be at a certain time if anyone wanted him to draw them. He published a book of drawings made outside the Bleeker Street studio of renowned street photographer Robert Frank.
His line is puckish, wonderful, kooky — akin to Alexander Calder’s — and almost impossible not to at least smile at. Polan’s craft arcs out of the art world and into the real world in the ways Keith Haring’s did. A street artist, Haring raced about, worked big, fast, and bold. He was there and gone. Polan isn’t street; he’s of and on the street, more a lurker, witness, reporter, appreciator of everything. He was a bit of a weirdo, too, like another watcher, Andy Warhol.
I knew Polan a little. Not long after he arrived in New York from Michigan in the early 2000s, he introduced himself to me on the street. He showed me the sketchbook he was carrying . I was instantly smitten. I loved running into him, looking at what he was working on, and giving him the wrong advice about what to do with his drawings — things like “Make them bigger and vary them more and draw the whole front of the Met.
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