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Archive for June, 2013

The Case of the 3-Legged Man

Posted in Influences, Neat Stuff, tagged , on June 17, 2013| 5 Comments »

Norman Rockwell- People Reading Stock ExchangePut this one in the “Even the great ones screw up every once in a while” file. This is a painting from Norman Rockwell  titled  People Reading Stock Exchange for one of his many Saturday Evening Post covers.  There appears to be nothing unique about it at first glance,  just a group of folks hunched around a wall chart that they all  find completely absorbing.  They all seem perfectly normal until you take a closer look and notice that the young man in the red shirt seems different.  You look a bit closer, maybe squint a little  until you realize you don’t need to do that to see his abnormality. Yes, he has three legs. Norman Rockwell- People Reading Stock Exchange detailRockwell apparently didn’t notice this until it was pointed out years later and it proved to be a embarrassing episode for him, especially given his reputation for capturing detail in his work.

Some people have tried to explain it away as some sort of subconscious phallic representation which seems like a stretch to me.  I think it was merely an oversight although an unusual one.   As a casual viewer, it it something that is easy to overlook but I am more amazed that in the process that it simply didn’t register for him that he was creating a most unusual young man. As an artist, it’s reassuring to see someone so meticulous make such an error.

Most artists have at least a handful of such things in their background, pieces with shadows that make no sense in nature or arms that are much too long for any living human.  Most go unnoticed.  The unfortunate thing is that once they are identified, they become the focal point of that painting forever– something once seen cannot be unseen.

I know that I have several paintings with such mistakes, pieces that, without these flaws being pointed out, are strong and full works. Few people, if any, notice these flaws but for me they are the first things my eyes rest upon in the picture. They don’t bother me as I am sure this bothered Rockwell.  I see them as symbols of our humanity, our inherent flawed nature.

We don’t need to point out our flaws.  They’re there for all to see.  We can only hope people accept us, three legs or two or one.  And the three-legged young man here is a refreshing reminder of Rockwell’s humanity.

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Smart/ Father’s Day Redux

Posted in Favorite Things, Influences, tagged , on June 16, 2013| 3 Comments »

criminals-with-forehead-tattoo-father-son

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

 

I ran this several years ago for Father’s Day but decided to run it again because I think my Dad appreciates the  humor more than the mush of most Father’s Day sentiments.  It was either this or A Boy Named Sue, a song I remember my Dad liking which is also written by 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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Benton’s “America Today”

Posted in Favorite Things, Influences, tagged , , , on June 14, 2013| 2 Comments »

Thomas_Hart-Benton-America_Today_ 2I had not heard until just this morning that one of my favorite pieces of public art had been removed from the walls of a NYC lobby and donated to the Metropolitan Museum of Art.  I am talking about Thomas Hart Benton‘s incredible 10 panel mural America Today which hung for nearly 30 years in the lobby of the AXA Equitable Building on 6th Avenue– the Avenue of the Americas, officially– in midtown NYC.

It’s a magnificent sweeping representation of the American epic, painted in 1930-31 for the boardroom of NY’s New School, just as the nation was entering the Great Depression. The color is deep and bold and Benton’s rhythmic linework and forms run through the various scenes of the nation at work and at play, binding it all into a piece of art that has the impact of a symphony at full crescendo. Just a great piece of work that reaches out and grabs you.

Thomas_Hart-Benton-America_Today_OilAt least that’s how it came across to Cheri and I many years ago, long before I had dreams of  painting for myself,  as we were wandering around Midtown one evening.  We found ourselves strolling up 6th Ave. in the evening darkness and through the windows of one of the large office buildings we suddenly both caught a glimpse of  bold colors that appeared to be some sort of mural running around three sides of the groundfloor lobby.  We scooted through the doors and stood in absolute awe.  It was long after the office workers had left the building so it was dead still except for a quiet conversation between the security detail at the front desk.  We stayed there for quite some time, amazed that this magnus opus was here for all to take in and see.

Thomas_Hart-Benton-America_Today_City_Activities_with_Subway It seemed appropriate.  Over the years we always made a point when we were in NYC to make a  stop and gawk with mouths open at Benton’s beautiful work.  It was always magical.

I am a bit torn about its removal to the Met although I know it is for the best, from a preservation standpoint,  and that probably more people will actually really appreciate it there.  But the idea of having it out in a public space where anyone can stumble from the street and take in its wonder really appealed to me and spoke to the democratic spirit of the work.  But it will be well cared for and hopefully always on view for those who wish to see Benton’s vision.

Below is a view of the mural installed in the Met.  This is not in HD  so its not a fantastic view but it gives you the idea of how well the work hangs together.

http://www.youtube.com/watch?v=1rnLfX_mSUI

Thomas_Hart-Benton-America_Today_Thomas-Hart-Benton-City-Activities-with-Dancehall-from-America-Today

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Dynamic Tension!

Posted in Biographical, Favorite Things, Influences, tagged , , on June 13, 2013| 1 Comment »

Charles Atlas AdI don’t know why this caught my eye this morning.  If you are of a certain age you will immediately recognize this ad that ran regularly in magazines for decades, touting the benefits of following the fitness regimen of Charles Atlas.  It was one of the longest running ad campaigns of all time and made the term 97-pound weakling  a regular part of our language.

I am instantly taken back in time by this ad, one that I read dozens– maybe hundreds of times– over the years, each time feeling Mac’s pain and anger at being pushed around and reveling in his revenge over the Bully of the Beach as a result of his simply following the way of “Dynamic Tension,” Atlas’ method of using opposing forces to create strength.

Never ordered the course, never acquired the sculpted body of Atlas or mastered Dynamic Tension, although that term has always stuck with me.  There is something in it that rings true and speaks to the polarity that I often describe when talking about my work, that energy created by contrasting forces.  For instance, the area of contrast between light and dark  is often the strongest part in a picture .

Perhaps there is something to this idea of tension and the creation of energy. Charles Atlas was trying to tell me that all those many years ago but I didn’t realize it could apply to things other than biceps, pecs or abs.  Funny how seeing something like this innocuous ad brings back memories and associations…

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Images of Artists

Posted in Favorite Things, Influences, Photography, tagged , , , , , on June 11, 2013| 2 Comments »

Artist Charles Felu Photo by J. MaesThis is sort a continuation of yesterday’s post where I was going back through images of my older work  in the aftermath of a show, something I often find necessary in order to find some balance and assurance that I am still connected to my true self .  I think the idea of connection is probably the important part here as sometimes I often feel a bit disconnected after a show, which I know sounds counter-intuitive. You would think the feeling of connection would be at its highest degree.

Besides scanning my old work, another thing I do to find connection is to go through other images as well, either of other artist’s work  or the artists themselves and their environments.  In their work I am  looking for a voice or expression in their work that is similar to my own, as though finding this common ground will somehow bind me to the greater continuum of  artists.  The same holds true for seeing artists in their studios or at work.  The common experience of creating provides a connection that makes me feel less out of the loop.

In doing so, I often come across interesting images that provoke thought and,occasionally, new directions.  For example, one image that caught my eye is the one above of Belgian painter Charles Felu, who was born without arms and painted with his feet, working in the last half of the 19th century.  Seeing this connects me to that need to express oneself, that driving  force  that has kept me pushing ahead for most of my life.  So many people have overcome  great obstacles to have their voices heard that it makes me grateful that my own obstacles are relatively small and easily overcome.

Artist Georges Braques in Paris studio 1948Sometimes, there is inspiration for new work in these photos.  For instance, when I saw this photo of Georges Braques, the Cubist innovator whose quote– There is only one valuable thing in art: the thing you cannot explain— was a rallying cry in my first efforts as a painter, I was taken not so much by the man or his studio but by the smaller framed piece to the left of his feet and the shield-like piece on the wall to his right.  Just a glimpse at both had my wheels instantly turning, the shapes and flow of these pieces translating into my own vocabulary. Instant inspiration.

Artist in Japan by T. Enami ca 1915-1928Another was this colorized image of a Japanese artist at work in the early part of the last century.  There is a great serenity in the space,  in his pose and even in the elegant manner in which his work tools and materials are arranged.  The beautiful cooper pot of water feels like a meditative pool here instead of merely a place to clean your brush.   It has an immediate calming effect on me, something that is often needed in the days after a show as I struggle to regain my footing.

Even as I am writing this, I am feeling the effects of these images, beginning to feel a connection once again.  I feel a bit of inspiration and calm, both greatly needed for me to create.  This is already turning into a good morning.

Got to go…

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Regression Therapy

Posted in Early Paintings, Influences, tagged , on June 10, 2013| 6 Comments »

GC Myers Early Work 1994As I’ve pointed out in the past, I almost always feel a bit out of sorts in the aftermath of  a show.  It doesn’t matter  how the show itself fared.  There is always an awkward, nervous lull that takes place in the days afterward, a feeling of uncertainty marked by a questioning of my direction and my purpose.  The certainty and confidence that builds in the weeks leading up to a show fades quickly away as the “What next?” questions jump to the forefront.   The relative emptiness of the studio which felt so liberating and filled with potential after the show was delivered now seems like a cold void and sends me scurrying, looking for something familiar that will fill this void.

If I were to make an analogy, it would be that I am driving along and have suddenly knocked the gearshift into the neutral position.  The engine races and the momentum going forward begins to decrease quickly.  Or maybe I have even knocked the shifter into reverse because at these points I often turn to going through my old files, taking in images of older work, much of it done before I was showing publicly.

A lot of it is rough but some shows the hints of possibility that I know fed my appetite at the time.   I find it very comforting to revisit this work, marveling at both how far and how I little I have come in the years since.  The things that excited me in the work then  do the same for me now.   We evolve but  basically remain the same at the core.

The piece at the top always catches my eye and makes me pause over it.  I remember the struggle at that time to find a voice and the searching that went with it.  I thought that this might be the direction of my work at the time.  It was liquid and loose and the face emerged from a puddle of pigments almost on its own.  It was one of the first times I felt as though I were divining rather than painting, letting the paint dictate the direction.  I felt like I was only along for the ride, helping facilitate the whole thing.  It’s a difficult thing to describe but it was a vivid moment, one that is right there when I look at this image now.

Maybe that is why I revisit these piece at these times, trying to recapture that sense of wonder that was always at the surface in that early work.  The excitement I feel in the studio now is as powerful but it is a different type of excitement.  Those early moments were giddy with the  possibility of entering an unknown realm whereas now I am simply excited to be tapped into a vein that I realize is there.

As I say, it’s hard to describe.  But it has become part of my process, a way of moving from stage to stage.

Okay, back to my therapy.  I can’t move on until I go back a little more…

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Show Notes 2013

Posted in Favorite Things, tagged , , , , , on June 9, 2013| 7 Comments »

Principle Gallery 2013 pre-showMy annual show, this year titled Observers,  opened Friday evening at the Principle Gallery in lovely and historic Old Town Alexandria, Virginia.  For those of you who don’t know much about Alexandria, it’s just a few miles from DC, resting along the opposite bank of the Potomac River.  From our hotel room we could look up the river and see the dome of the Capitol Building, always an inspiring sight.

Well, I should say, we could see it when it wasn’t raining.

The tropical storm that swept up the east coast brought a couple of days of solid rain to the area, slicking the roads and causing a few accidents which had traffic snarled on the always crowded beltways around the Capitol.  When I went out from my hotel on Friday morning to take a long stroll and was greeted with a steady downpour, I knew immediately from experience that this could  cut down on the show’s attendance.  My experience has been recent as  my prior two shows had terrific rains on the days of the show which had, in each case, kept the attendance down a bit.

But despite the rain of the day, people did turn out Friday evening.  It was busy and I spoke with numbers of folks and missed speaking with others who made it there but didn’t get a chance to talk with me for a bit.  I always feel bad about not getting to speak with everyone who wants to comment or ask a question, especially when they come out on a wet night.  Hopefully,  just seeing the work together in the gallery is enough.

Kai and the "Mechanical Soil"

Kai and the “Mechanical Soil”

It was great catching up with some old friends that I have met through my time there at the gallery.  Some of my favorite moments are seeing kids who I have had the pleasure of seeing grow up in these yearly glimpses, some from their earliest childhood.  Here on the right is one of these young ones, Kai, who I have known since he was a wee one. Kai coined the phrase Mechanical Soil when he told me that his favorite piece was this Archaeology painting.

Another was Mikey Mattice who I wrote about here a few years ago.  Mikey is certainly not a kid anymore –the Mikey has fallen away to Michael and he is out in the world now, displaying  his immense musical talents.  It was great getting to see him again and see how he has evolved from a gangly kid into a confident man with much to give.  From the first meeting, I have always sensed big things in  his future and it’s such a pleasure to see that feeling come to fruition.  Can’t wait to see what the future holds for him.

So, all in all and weather aside, it was a great night.  My appreciation and thanks go out to Michele, Clint , Jessica and everyone at the Principle Gallery for doing, as always, a bang up job and for making us feel so welcome and at home.  And many, many thanks for all of you who could make it and apologies to those who didn’t get a chance to talk with me for a while or who had our conversations cut off too quickly.  For those who couldn’t make it, hopefully I will see you soon, either at my Gallery Talk in September or at next year’s show.

At least, I think there will be one next year…

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“Observers” Opening Tonight

Posted in Recent Paintings, tagged , on June 7, 2013| 8 Comments »

I am in Virginia today for tonight’s opening at the Principle Gallery.  I thought for today that I would just show a few of the images from this show that have shown here over the last few months.  They look much better in person so, if you can make it, definitely stop in and take a look.  Hope to see you there!

GC Myers-Higher Ground GC Myers- Not Quite an Island GC Myers- Larger Than Life GC Myers- Guiding Lights GC Myers- Island of Souls GC Myers- Destiny Awaits GC Myers- Strands

GC Myers- Part of the Pattern

GC Myers- Part of the Pattern

GC Myers 2013 Ascent of Man GC Myers Life Spiral 2013 sm Diamond sm GC Myers- The Bridge GC Myers- Observers frm sm GC Myers- A Solemn Understanding sm gc-myers-internal-landscape-2012

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Show Nights, Now and Then

Posted in Biographical, tagged , , , , , on June 6, 2013| 4 Comments »

GC Myers- Boundless smWell, tomorrow’s the day of another show at the Principle Gallery in Alexandria, this one called Observers.  Opening tomorrow evening ( the opening reception begins at 6:30 PM ) and running through the first week of July, it is, as I’ve noted here a number of times, my fourteenth consecutive annual show at the gallery, dating back to 2000.  My first show was called, fittingly, Redtree  and featured the premiere of that tree that has long since populated my work.  At that point I couldn’t imagine that I’d be fortunate enough to still be having solo shows there all these years later.

But even though this show has become a part of my life and it seems as natural as breathing to be preparing for this show in the first half of every year, I still feel the same nerves as I did with that first show, a distinct mix of anxiety and fear that somehow never fails to show up in the days and hours before a show.  But it’s a fear that I expect and even relish at times, knowing that it is this fear that often spurs me on in trying to push the work in new directions.  Maybe it’s superstition but if I think that if I were too confident and without this fear the show might be a total disaster.

I can’t tell you how appreciative I am as an artist to have the inspiration that galleries like the Principle and the wonderful people  who come to these shows there provide.  Michele and her staff have always encouraged me in letting the work expand and grow through the years and the many people I have met over the years have provided me with a reassuring presence in the studio on those days when I am struggling and less than confident.  It is often like they are looking over my shoulder, wanting to see what is brewing.  I’ve said this before but I feel an obligation to really extend myself for these shows for these people.

I think  that this show meets that obligation and is a really strong group of work, one that I am proud of.  But I can’t judge it objectively.  Hopefully, others will let me know.  Hope you can make it to the show and  have a few minutes to talk.

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The painting at the top is part of this show and is titled Boundless.  It is a 20″ by 60″ canvas.

 

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The Question

Posted in Biographical, Influences, tagged , , , , on June 5, 2013| 1 Comment »

GC Myers- Link to the Past smThere is but one success– to be able to spend your life in your own way.

— Christopher Morley, 1922

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I was contacted a week or two back by a man who had early on given me a great opportunity as an artist, a large commission that gave me the confidence to make the leap to painting on a full-time basis.  We had not seen one another in many years but  he had seen some of the recent publicity about my work and he reached out to me, wanting to congratulate me and see how things were going in general.  For me, it was an opportunity to offer him the gratitude I felt he deserved even though it had been fifteen years since he had worked with me.  The years had clarified how large his decision to use my work meant to my career.

So we talked for a bit, me thanking him and him telling me how proud he was of my work and of his ability to have seen something in it in those early days.  It was a nice talk and , after agreeing to get together soon, he put a  final question before me that gave me pause.

“Are you successful, Gary?”  he asked.

I wasn’t sure what he meant by successful and the possibilities ran through my mind.  Was he talking about being a financial success?  A critical success, one based on notoriety?  Or was he asking if I was simply happy, satisfied by my life?  It suddenly seemed that success was such a relative term, that one person’s definition of success might not even begin to satisfy the next person’s requirements for it.

But my own?  In the flash of that moment, I tried to put this all together  and determine what success was for myself.  I thought for a split-second of success being determined by money and fame but settled quickly on my own self-satisfaction as being the determinant of what I might define as success.  I knew in that moment that there would always be those who will make more money, gain more fame and influence than me.  But I also knew that even with more of these things I would be no more  satisfied with the life I was leading–  I do what I want  and I am able to do it on my own terms.  The image came to me then of those times when I am walking through the woods between my house and my studio and I stop and look around, thinking that I am more fortunate in this way than I ever dreamed of in my early years.

I knew in that flash that this  feeling of that satisfied moment in the woods was success for me.  I told him that yes, I was successful, more than I had hoped for.

I have thought about this conversation a number of times.  I still have fears and anxieties, still aspire for more in my career.  But it’s those moments of feeling truly fortunate to do what I do, feeling that warm glow of satisfaction in my life if only for a few seconds here and there each day, that define success for me.

 I think back to a few weeks ago when I spoke with a group of high school students and I hope that I gave them  some idea that this is what success is– that if they can set their own  expectations and find satisfaction in these, they will be successful.

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The painting at the top of this page is titled Link to the Past  and is 5″ by 21″ on paper.  It is part of Observers, my annual solo exhibit at the Principle Gallery that opens Friday.

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