How Kenny Rivero Went From Night Doorman to Armory Art Fair Artist

Kenny Rivero in his studio. Photo: Elizabeth Brooks For all of the usual grabby pomp of the Armory Art Show, which returned this year wearing its social-justice good intentions very much on its made-to-measure sleeves, one of the more profound booths was a quieter one, and easy to miss: Kenny Rivero’s solo presentation of melancholic, dreamlike drawings, titled “Palm Oil, Rum, Honey, Yellow Flowers,” at the Charles Moffet Gallery.

But “I got kicked out my junior year and didn’t come back senior year,” he said. “I was having panic attacks” as a scholarship kid among the children of the very wealthy. “I didn’t understand how to insert myself into that space.” Back in New York, he and his friends hung out on the then-derelict High Line. He got the apartment-house gig thanks to a friend’s father, who was the building’s super.

It was while working there — first as a student at the Borough of Manhattan Community College and, later, as a student at Brooklyn College, where he majored in music, and then at SVA, from which he graduated — that he came upon a trove of old catalogues from Marlborough gallery that a tenant was throwing out. “Before that, I was into comic books and graffiti,” he said. “I was thinking of going the illustration route.

Put off by the competitive egos in the music scene, he transferred to art school at SVA. And, eventually, he left the Petersfield too. “The straw that broke the camel’s back was that I was sitting at the front door reading and someone came up and waited for me to open it. There was nothing in their hand; there was no need for me to help.” His boss “told me next time get up and open it quicker.”

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