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Draft:Vincent A Lynch

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Vincent Lynch (b. April 4, 1946) is an American multidisciplinary artist whose career has spanned painting, printmaking, publishing, music production, and documentary filmmaking. His work has been noted for its integration of process-based art, philosophical inquiry, and cross-disciplinary practices.

Early Life and Education

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Vincent Lynch was born in Jersey City, New Jersey, on April 4, 1946, the youngest of four children, to Mary and Thomas E. Lynch, Esq., of "Lynch, Lora and Milstein." Thomas E. Lynch graduated from law school and became law clerk to New Jersey Governor A. Harry Moore, then head of Hudson County's WPA under Roosevelt, and later the attorney for major unions, the Trust Company of New Jersey, and Vice President of Yonkers Raceway.[1]

Lynch was raised in a household where law and politics were dominant, but he diverged from this path, drawn instead to creative pursuits. He attended Christian Brothers Academy and later Phillips Exeter Academy. He briefly studied at the University of North Carolina at Chapel Hill before transferring to the University of California, Berkeley, against his father's wishes.[2]

Artistic Training and Philosophy

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Lynch applied to the San Francisco Art Institute (SFAI) with a portfolio of poetry and was admitted. At SFAI, he explored installation and process art, producing an immersive vinyl maze installation in 1971.[3]

Beginning in 1970, Lynch developed a philosophical framework that he described as a "passive, destructive/constructive process," grounded in a Möbius strip-like concept of infinite time, folding life, death, and rebirth into a continuum. He viewed art as the interaction of sentient ideation and the natural, non-directional force of nature. Bay Area critics later adopted this concept to describe Lynch's approach.[4]

Lynch's orientation toward process art placed him within a larger movement in the Bay Area art scene of the 1970s, which emphasized ephemeral materials, conceptual frameworks, and natural decay. As art historian Susan Landauer observed, San Francisco artists in this period "often rejected commercialism and permanence in favor of experimentation and material vulnerability."[5][6]

His work was included in group exhibitions such as the 1975 South of Market Artists (SOMA) show, which highlighted Bay Area artists engaged in process-based and conceptual practices.[7][8]

The process document by Vincent Lynch for the SOMA project 1975

Career in Visual Art

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In 1973, his paintings were featured in a group show at SFAI, curated by Phil Linhares. Linhares described Lynch's work as influenced by primitive ritual and spiritual development:[9]

" Vincent Lynch’s paintings are probably the most seldom seen and definitely the most experimental of this group. The paintings derive from Lynch’s interest in primitive ritual, architecture and spiritual development. He describes the process of his work as being a 'passive, destructive/constructive process'…. The resulting works contain the duality common to many other works in the exhibition—the blend of formal, painterly devices with a human and spiritual concern which carry these paintings beyond a purely commercial and decorative concern..."[10]

Alfred Frankenstein senior art critic for the San Francisco Chronicle, praised Lynch’s work in the San Francisco Chronicle:

"The theme of man and the earth and the powers of nature is very strong throughout this show, but nowhere with such power and originality as in Lynch’s work. …Michael Heizer digs up half a county to get where he is going, abstractly speaking. Lynch achieves a similar grandeur at a thickness of half an inch on a wall."[11]

Judith L. Dunham, writing in Artweek, noted:

"The effects he achieves from this formal manipulation—a sense of age, the obvious construction of the work over time and a juxtaposition of natural process with a manmade ordering of elements—tie in closely with their subjective content. Titled after and referring to Stonehenge, these self-contained rondos are analogues for ritual, history and the emergence of human will and intelligence in an effort to systematize natural forces. The compositional orientation of each painting is circumspectly regulated, even to the existence of the tabular protrusions, which indicate a kind of ritualistic axis, and reasoning to which the whole is geared. In his paintings, Lynch's process, which renders the specific nature of the materials enigmatic, is an ingenious use of non-art substances for an esthetic end.”[12]

Composite image showing nine installations by Vincent Lynch, including Stonehenge Series, Serpent Series, Hopewell 126, Quezacoatl, and the S.O.M.A. Installation.

In subsequent years, Lynch participated in exhibitions at LAICA and the Berkeley Art Museum. Thomas Albright, writing in Art in the San Francisco Bay Area: 1945–1980, described Lynch’s work as "an extreme form of process-and-materials abstraction," citing his use of materials like yogurt and ketchup.[13][14]

In the 2000s, Lynch returned to his "mound" series using digital tools, producing over 75 works organized into nine portfolios. These works continued his exploration of art as a dynamic interplay between natural processes and human intervention.[15]

In 1975, Lynch began a related series of 19 paintings that emphasized the unmediated impact of time and nature on artistic materials. In 2025, he re-engaged with the series to intentionally respond to the natural transformations that had occurred over the previous decades. This re-engagement represents a final iteration of his "passive, destructive/constructive process," culminating in a planned public presentation in 2027.[16]

Music and Publishing

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In 1976, Lynch joined David Rubinson & Friends, where he served in various capacities, becoming Vice President in 1980. He managed production operations and worked as road manager for artists including Herbie Hancock. He is credited as road manager on Hancock’s V.S.O.P. live album.[17]

Lynch’s role at Rubinson & Friends was hands-on. Following Rubinson’s heart attack in 1982, Lynch stepped in to assist in managing operations and artist relationships while Rubinson recovered.

Lynch also developed and managed Judith Jukes, a jukebox restoration subsidiary of Rubinson’s company. He authored two pictorial books:

The Jukebox – The Golden Age 1937–1948, published by Putnam in 1981.[18]

American Jukebox – The Classic Years, published by Chronicle Books in 1990.[19]

The KBC Band

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In 1985, Lynch left David Rubinson to begin managing his own talent. His first independent project was with Jefferson Airplane co-founder Paul Kantner to launch the KBC Band. He orchestrated a multimedia showcase at the Fillmore where six record companies were invited to witness a performance. "Hold Me" was introduced with a mock sermon by Robin Williams as preacher; "Planes" reunited Grace Slick and Kantner; and Marty Balin sang "Sayonara" alongside a traditional Japanese dancer. Four companies expressed interest. Ultimately, it was Clive Davis of Arista Records—who had originally signed Jefferson Airplane—who closed the deal.

The band released one self-titled album in 1986. Lynch is credited as production manager for the album. He was also credited as co-designer, along with Paul Kantner, of Kantner’s 1986 book Paul Kantner's Nicaragua Diary; the cover art was created by Gareth Kantner.[20]

Event Production

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In 1984, San Francisco was hosting the Democratic Convention, and Assembly Speaker Willie Brown asked Lynch to produce Oh What A Night, a four-hour event during the Democratic National Convention in San Francisco.[21]

Brown gave Lynch only four days to man the stages with talent. Lynch assembled a team including Michelle Zarin (Automatt Studios), Don Miley and John Geraldo (record promotion), and Beverley Summerfield (NARAS).. The event featured 48 acts over four stages and included Robin Williams, Whoopi Goldberg, Santana, and Jefferson Starship.

A Party With 10,000 Guests in The New York Times described:

"Any of tonight’s parties would have had to go far to be as extravagant as Monday’s ‘Oh What a Night!’ at Pier 45, near Fisherman’s Wharf. That attracted 10,000 partygoers, and an equal number who stood outside behind barricades hoping to get a glimpse of celebrities. The only ones they saw were professional look-alikes of Michael Jackson, Marilyn Monroe, Clark Gable and President and Nancy Reagan. The real Senator Kennedy, the real Jimmy and Rosalynn Carter and San Francisco’s real Mayor, Dianne Feinstein, were whisked by in limousines.”[22]

Documentary Filmmaking and Martial Arts

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In 1985, Lynch was invited by the US Mixed Martial Arts Team to travel with them and film their performance at the International Invitational Wushu Championships in Xi’an, China and at the subsequent events held at martial arts schools throughout China. [23] Kung Fu Diplomacy, [24] won awards at the Philadelphia Film and Video Festival and the San Mateo County Film Festival.

He also filmed at the Shaolin Temple, obtaining footage later used in China’s Living Treasures, a 52-title instructional and documentary series.[25]

Producer/Director

- Bud Howser: America’s Oldest Living Olympian – documentary

- Kung Fu Diplomacy – award-winning documentary

- China’s Living Treasures – instructional series

Literary Work and Tea Practice

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Lynch has authored several books, including:

- Treasure of the Secret Island (children’s fiction)

- Crash The Crow (illustrated story)[26]

- A Year in the Marsh Lands (haiku)[27]

- Forgotten Satoris Don’t Count (memoir)[28]

Accoutrement made by Vincent Lynch for use in Japanese Tea Ceremony

The haiku book, written under the name Rojin Shoshinsha ("Old Man Beginner"), was inspired by a year spent walking the Marshlands Conservancy. Retaining the 5-7-5 structure, the book draws on chirashi-gaki (scattered writing) and vertical typesetting.

A practitioner of the Japanese tea ceremony, Lynch crafted many of his own ceremonial tools. These works have been cataloged and loaned to the Urasenke Tea Center Lynch’s original tea ceremonial tools are part of Hounsai Genshitsu, the fifteenth generation and now Former Grand Tea Master of Urasanke private collection.[29]

Selected Works

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’‘’Visual Art’’’

  • 1971: Vinyl maze installation at SFAI
  • 1973–1979: Group exhibitions at SFAI, LAICA, and Berkeley Art Museum
  • 1975- 1976: SOMA

’‘’Music & Publishing’’’

  • VP, David Rubinson & Friends
  • Road Manager: Herbie Hancock and others
  • President, Judith Jukes
  • Author of jukebox history books

’‘’Film & Martial Arts’’’

  • ‘’Kung Fu Diplomacy’’ (1987)
  • ‘’China’s Living Treasures’’ (1990s)
  • ‘’Bud Howser: America’s Oldest Living Olympian’’ (year unknown)

’‘’Selected Exhibitions’’’

  • Los Angeles Institute of Contemporary Art
  • University of California Berkeley Museum
  • San Francisco Art Institute
  • S.O.M.A. (South Of Market Artists)

References

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  1. ^ "News clipping referencing Thomas E. Lynch".
  2. ^ Lynch, Vincent (2014). Forgotten Satoris Don't Count. Nightshade Press. ISBN 0991361253.
  3. ^ "SFAI Archive Item: Vinyl Maze".
  4. ^ Linhares, Phil (October 1973). "Exhibition notes". San Francisco Art Institute. {{cite web}}: Missing or empty |url= (help)
  5. ^ Landauer, Susan (2003). The Not-So-Still Life: A Century of California Painting and Sculpture. University of California Press.
  6. ^ https://www.google.com/books/edition/_/E_AW4IYLq3AC?hl=en
  7. ^ Exhibition program, South of Market Artists, 1975. San Francisco Art Institute Archive.
  8. ^ "SOMA Installation photograph". Wikimedia Commons.
  9. ^ https://richmondartcenter.org/announcements/an-interview-with-phil-linhares-small-works-juror
  10. ^ Linhares, Phil (October 1973). "Exhibition notes". San Francisco Art Institute. {{cite web}}: Missing or empty |url= (help)
  11. ^ Frankenstein, Alfred (October 1973). "Bay Area Artists". San Francisco Chronicle.
  12. ^ Dunham, Judith L. (November 3, 1973). "18 Bay Area Artists: Part II". Artweek. 4 (37).
  13. ^ Albright, Thomas (1985). Art in the San Francisco Bay Area: 1945–1980. University of California Press.
  14. ^ https://www.google.com/books/edition/Art_in_the_San_Francisco_Bay_Area_1945_1/j5vgEAAAQBAJ?hl=en&gbpv=0
  15. ^ "Vincent Lynch Digital Mound Series Archive".
  16. ^ "Vincent Lynch Process Return Series Announcement".
  17. ^ "Herbie Hancock – V.S.O.P."
  18. ^ Lynch, Vincent (1981). The Jukebox: The Golden Age, 1937–1948. Putnam. ISBN 0895810352.
  19. ^ Lynch, Vincent (1990). American Jukebox: The Classic Years. Chronicle Books. ISBN 0877017220.
  20. ^ "Paul Kantner's Nicaragua Diary".
  21. ^ https://publishing.cdlib.org/ucpressebooks/view?docId=ft0m3nb07q;chunk.id=d0e8441;doc.view=print
  22. ^ "A Party With 10,000 Guests". The New York Times. July 18, 1984.
  23. ^ "Kung Fu Diplomacy".
  24. ^ "Kung Fu Diplomacy (full film) on YouTube".
  25. ^ Pitman, Randy (May 1, 1990). "China's Living Treasures: Kung Fu Diplomacy". Video Librarian.
  26. ^ Lynch, Vincent (2013). Crash the Crow. Nightshade Press. ISBN 0991361245.
  27. ^ Lynch, Vincent (2013). A Year in the Marshlands. CreateSpace. ISBN 1494219484.
  28. ^ Lynch, Vincent (2014). Forgotten Satoris Don't Count. Nightshade Press. ISBN 0991361253.
  29. ^ "About Urasenke Tea Center".

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