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Archive for June, 2009

Smart

For Father's Day---
Smart

My dad gave me one dollar bill
'Cause I'm his smartest son,
And I swapped it for two shiny quarters
'Cause two is more than one!

And then I took the quarters
And traded them to Lou
For three dimes-i guess he don't know
that three is more than two!

Just then, along came old blind Bates
And just 'cause he can't see
He gave me four nickels for my three dimes,
And four is more than three!

And I took the nickels to Hiram Coombs
Down at the seed-feed store,
and the fool gave me five pennies for them,
And five is more than four!

And then I went and showed my dad,
and he got red in the cheeks
And closed his eyes and shook his head-
Too proud of me to speak!
--Shel Silverstein

If you want the rundown on the happy family above, 
just click on the picture.  Have a Happy Father's Day...

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Alfred E. NeumanOne of the great things about the internet  is being able to, with a few clicks, come across things and images that have been stored away in your memory for a very long time.  The characters that lived so vividly with you as kid come back to life the second you see them, taking you back to specific memories associated with them.  For me, many are cartoon characters and other highly visual creations, all influencing my eye.  I probably shouldn’t be admitting that. 

Maybe it’s simple nostalgia but there’s something kind of comforting in seeing these icons from your past for just a moment just to know they’re still there.  Many have never left, such as the eternally grinning Alfred E. Neuman from  Mad Magazine or the icon of all kid icons, Snoopy,whokid snoopy_cool holds a special place in my memory.  Snoopy was the first thing I really learned to draw well.  A kid on my school bus, Tom  Hillman, who was a couple of years older and a drawing whiz, showed me the basics of how Snoopy was put together with a few simple circles and ovals and a curved line here and there.  It seemed like magic and I was hooked.  I drew Snoopy everywhere.  I particularly liked drawing him when he was in the character of one of his alter egos such as the World War I pilot battling the Red Baron, or Joe Cool who was definitely the Big Man on Campus.

Spy Vs. SpyMad Magazine also provided a wide variety of other imagery from the their wonderful parodies of current TV shows and movies to their great back covers that you had to carefully fold to reveal it’s true content to the regular strips such as Spy Vs. Spy, with its Cold War characters trying to off one another in every issue.

Ed “Big Daddy” Roth was in his heyday in my youth and his Rat Fink kid ratfink_logo_smcharacter was the hero of young boys everywhere.  There was a sense of anarchy  and chaos in his drawings that really appealed to kids in the 60’s.  I think every kid wanted to sit in one of his crazy hot rods for just a minute and feel the tires screeching and the heat from the flames blowing out the side pipes.

There are so many more images I could show.  Great cartoon characters.  Great characters from kid books.  Advertising icons.  All littering my memory and still living somewhere on the web.  If you want to just look…

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little_walter_woodcutIt’s a slow Friday morning.  Rainy and dark.  Puddles in the driveway and in the shadows in the studio, colors fade to a kind of gray tone.  

Feeling kind of bluesy.

I’m reminded of an old album I stumbled across about 35 years ago in a used record bin at a shop in Corning. 

It was Hate To See You Go from Little Walter, the famed blues harmonicist.  I didn’t know who he was at the time but the album cover just drew me in.  It was a black and white close-up of the harp player’s face, showing the wear and tear of a life spent in the blues.  Every crease was evident and the rough scar above his eyes made you wonder how it came to be.  It was a great face.

little+walter.bmpThe album turned out to be great as well.  Classic blues playing and Little Walter’s raspy voice on great songs.  Listening to  the original bluesmen completely ruined my appreciation of those who covered their songs later. Even when I hear the early Rolling Stones that I so loved, I find myself cringing a little at their blues covers, even though I know these covers gave a lot of valuable exposure to the originals that they may not have found on their own.

I find myself singing this song below to myself at different times, completely unaware that I’m doing so.  One of those songs that you take to heart so much that it integrates itself into your thought patterns.

Anyway, here’s Key to the Highway from Little Walter…

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Omoni-AkujoYou see them everywhere these days.

Angry old men.

Kind of like this guy, Omoni Akujo, which translates as angry old man, which is a character from classic Japanese theatre representing the ghost of an old man filled with anger and resentment.

The guys I see and hear  are not ghosts.  They’re real.  Unfortunately.  I think ghosts would be far more interesting than these guys.

They complain about any and everything.  They see doom in every movement forward.  They live in their own pleasant recollections of their past, conveniently erasing the darker moments from their memories.  Only their concerns matter and if a problem doesn’t touch them, it doesn’t exist.  But when there is a problem that they see as touching their protected cocoons or even something that will require them to do or see anything differently, listen to their screeching.

I imagine that President Obama must see thousands of these Omoni-akujos each time  he addresses the country.  So many people so fearful of being moved forward, willing to hold onto the past and systems that had devolved over the years to points where they no longer served the vast majority of the populace.  People so afraid of change that they will hold onto and even endorse practices that only harmed their welfare.  Choosing the devil they know…

But I have faith that President Obama will look past these horrible masks and the din they raise and hold his course ahead.  I know he’s strong and smart enough to shrug off the fears these Omoni-akujos scream out.  I only hope that we, the people who wanted so much the changes he offered, are strong enough to not fall prey to the anger and the fear  produced by these angry old men.  Remember, they want what is only good for them.  They are ghosts trying to frighten us into leaving them alone to do as they please.  They are not screaming for the greater good of all men…

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Jules Breton "Le Soir"My first real exposure to genuine art came when I was a kid in the early 70’s, going to school at Ernie Davis Junior High on Elmira’s east side.  My father worked at the Sheriff’s Department which was just several blocks away so after school I would walk down there to ride home with him.  It beat the school bus ride which could be a real drag because I was the first kid picked up in the morning and one of the last dropped off at night, an hour or so each way.

So after school I would head downtown where I often ended up at the Newberry’s store that had an old pinball machine tucked away in the corner of it’s basement, hidden among the knick knacks and housewares.  Great machine.  Only a dime a play.  Spent too much time there.  More often though I ended up at the old Steele Memorial Library, a beautiful old Carnegie endowed structure that was like a treasure chest.  I spent hundreds of hours there, reading and exploring the stacks behind the reception desk that you entered by climbing a tight cast iron stairway.  What a great atmosphere.

But the other place downtown that caught my attention was the Arnot Art Museum.  It was located in an old mansion and was free to the public at the time.  They had ( and have) a wonderful permanent collection of paintings, a real surprise for a small city like Elmira, and I was mesmerized by the group in the main parlor.  The piece that caught me was the Jules Breton painting above, Le Soir.  It glowed on the wall there and the beauty of the surface and the sense of place and time were palpable.  For a 14 year old, it was heady stuff and often I would head into the Arnot to just spend a few minutes with the Breton and some of my other favorites there.  The Brueghel.  The Millet.  There was a great sense of calmness there and to this very day whenever I enter that place I am taken back to those days as a shaggy haired kid dragging my denim gym bag through the doors to see that Breton painting.

Below are a couple of other Bretons, not at my Arnot Museum…Breton song of the larkJules Breton the weeders

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AswirlIt’s Monday morning, back in the studio.  After a show, there’s always a period of settling back into my routine which is something that is really important for me as I’m a real creature of habit.  It takes a couple of days to digest the events of the past few days so these first days are kind of sluggish, just tying up loose ends to little projects and straightening up the studio.  Start focusing on the next goal which is my annual show at the West End Gallery in Corning at the end of July.  

There’s also always a slight melancholy, something I may have mentioned before.  I’ve heard about this from other artists as well.  I think there’s always a letdown after you finish a project, such as a show, that you’ve been so focused on for a period of time.  During the preparation the goal drives you on but suddenly the day arrives and the goal is no longer there.  So you float a bit, tread a little water, until you determine what the next goal will be.  Luckily, I have my next show so I can swing into that with only a slight case of funk.

So today is spent with errands and such but tomorrow I’m back in full swing.  But until then I will enjoy my quiet time and that small bit of melancholy.  Here’s a song in that spirit from Steve Earle (in his heavy phase) with a song written to his friend, Townes Van Zandt,  on his passing.  Enjoy Fort Worth Blues

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Written In the Cool Air Well, I’m back here, sitting in my studio after returning from Alexandria where I attended the opening of my show at the Principle Gallery.  I’ll try to sum up how I felt everything went there and some general impressions.

We had a wonderful turnout for the show and luckily, the weather was as cooperative as could be, especially for Northern Virginia in June.  Past shows have had stifling heat and humidity along with violent thunderstorms so this year’s relatively mild weather was greatly appreciated.  

As always, I immediately feel some regrets over not being able to spend the amount of time with each person there that I feel they deserve.  It’s hard to get into too deep a conversation when I can see folks out of the side of my eye who have been waiting patiently to ask their questions or simply comment.  But while I try to answer every question as best I can and get to every person who wants to talk, I know some are missed or are conversations are cut short and that always nags at me.  So, if you were there and didn’t get a chance to say hello or our conversation was interrupted, please accept my apologies.  The nice thing about doing this blog is that it gives a forum for questions and comments that might get lost in the hubbub of the show, so feel free to forward any questions or comments I might have missed.

It’s always good to see familiar faces that have been coming to the show for years as well as the many new faces. It’s an unusual relationship that develops between me and those who collect my work. Though we only meet for moments at a time, they often feel as though they know me well through my work and through things I’ve written such as my show statements and this blog.  So there’s a familiarity and warmth that one doesn’t often experience from folks about who I often know so little.  I’m honored that they feel this way.  It makes me feel as though the work is communicating in the way I hoped.  That is, touching on universal themes in a personal manner.

I want to thank everyone who came out to make this a successful show, with special thanks to  Noah and Erin Ristau (and family) and my favorite blogger, David Terrenoire, for making the journey from points south.  I also want to extend my extreme gratitude for those who wished me well and related what the work meant to them during a toast that took me completely by surprise, leaving me standing there sort of shellshocked.  I’ve never been the subject of such a thing nor did I ever expect to be but I was very moved by the whole thing and wish I could’ve said  something more eloquent at the moment.  I wanted to yell “Timeout!” so I could gather my thoughts to properly express my sincere thanks for such a warm outpouring from everyone there.  I will remember it always.

Of course, I owe a special measure of gratitude to Michele, Sue,  Amy and Ali at the Principle.  We have been together for about thirteen years now and we both grown over  the years yet still mesh very well together.  Without their encouragement and efforts over the years, my life and work might be very much different than it is at this point.  That alone is worthy of all the thanks I can muster.  I mean, how do you thank someone for giving you the means to live the life you dreamt of as a child?

To everyone there, many, many thanks…

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Rock of Ages

  The Way of the Brave Well, the show was last night but I won’t report on it until tomorrow since I’m actually back on the road home.  I never carry my computer when I travel so it will have to wait.

But I wanted to leave something here today so I’ll leave a painting from the show, The Way of the Brave, and a video from one of my favorites, Gillian Welch, with a song called Rock of Ages.  Her songs are always like a rhythmic mantra to me, a kind of harmonic drone that I feel very comfortable hearing at this point in my life.  I think this painting fits in well with the song.

Anyway, enjoy your weekends and check back in…

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 Vox Spiritus I’m on the road today, heading down to the DC area for tonight’s opening of my show at the Principle Gallery.  The opening begins at 6:30 and, unlike many gallery shows that take a while for the crowds to filter in, usually hits it stride pretty quickly.  I normally am fully engagedin conversation  within moments of coming into the gallery which is kind of nice.  Takes away that awkward time that you have at some shows when you’re standing there waiting for crowd to come in, twiddling your thumbs and hoping that indeed they will come.

 Luckily, the crowds at the Principle are always robust and many of the faces are now familiar even with a mere once a year meeting.  Most of the night is spent circulating through the gallery, explaining what I see in a particular piece or how it came to be.  I talk a little about technique but only if whoever I’m speaking with expresses an interest.  I’ve been to openings where the artist only talks in terms of the type of brush and paint he used and it can be pretty dry.  So I steer clear of technical gibberish when possible.  I try to fill in some of the areas that may appear vague to the viewer, explaining why I feel strongly about the piece in which they’ve taken an interest.  And make no mistake, if I feel confident enough to show the work in such a public venue then I have strong feelings for it.  To show work without the confidence or belief that there is something of value in or something to be said by the work is a big mistake.  I learned that from experience long ago and will only show that which strikes a chord in me. 

I enjoy this conversation and especially enjoy learning more about those who like my work.  It’s always interesting to see the diversity among those who attend and to hear a bit about their lives, which are often far more interesting to me than I could imagine my own being to them.

Anyway, I’m on the road by now and if you’re in the DC/ Alexandria area, please stop in tonight and say hello.

The show is at the Principle Gallery at 208 King Street in Alexandria, VA, beginning at 6:30.  The gallery phone number is 703-739-9326.

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End of the Rainbow Well, it’s the day before the Principle Gallery show that begins tomorrow with an opening that starts at 6:30 and I’m spending the day puttering around in the studio, doing a little painting and getting the studio back in some sort of order as it looks like a twister came through after finishing preparations for a show.  It’s pretty much the same every year.  I try not to get too involved in a painting since I won’t be back at it for a couple of days and I don’t like starting the momentum of a piece then suspending it.  Sometimes just a few short days will change the whole feel I have for a piece in progress, as far as how it’s coming together and where it’s going.

So, I putter.

This is, as I’ve said, my tenth show at the Principle Gallery.  I usually title the show and write a statement that explains the general theme of the main body of work in it.  For this show, we decided to leave the show untitled except to say it was the tenth annual show and I have decided not to write a statement instead letting the work say everything this year.  Besides, after plugging away at this blog, I sometimes feel at a loss for words.

I suppose, looking at the group, that this show could be called Redtree Redux, after the name of my first show there and the first showing of that ubiquitous tree.  There is, by design, an abundance of the Redtree pieces.  I felt that for a show that marked ten years that the overlying theme should be that which has become my signature – the red tree.  

Probably the underlying theme would be that of the journey in the form of the path that runs into and through many of the pieces.  This again is a significant element in my work and seemed fitting to denote a show that represents a milestone of sorts, my tenth show there, on my own journey.   Believe me, fifteen years ago I could have never imagined that my path would wind through forests of red trees to this point.  I couldn’t even see a path back then.  

So this show, for me, is about expressing a certain degree of gratitude to those images that have helped me find a road on which to move ahead as well as to those who have seen something personal in the work that helps them on their own journeys.  

The piece above is titled, fittingly End of the Rainbow.  I think this post says all that has to be said about this piece…

The show starts tomorrow, Friday, June 12th, at the Principle Gallery at 208 King Street in Alexandria, Virginia .

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