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Archive for the ‘Biographical’ Category

GC Myers- The Task Met smallIf a man is called to be a street sweeper, he should sweep streets even as Michelangelo painted, or Beethoven composed music, or Shakespeare wrote poetry. He should sweep streets so well that all the hosts of heaven and earth will pause to say, here lived a great street sweeper who did his job well.

–Martin Luther King, Jr.

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Another Labor Day is here.  On this blog in the past I have bemoaned how the general public has forgot how much it owes to the labor movement, how the middle class that was the pride of this country during the middle of the last century was a direct result of hard fought gains from workers who banded together and stood against social injustice.  But today I just want to speak briefly about taking pride in one’s job, the same sentiment reflected in the quote above from Martin Luther King, Jr.

When I was a waiter in a pancake house, even after I had started showing my work in several galleries, I was always a waiter first when I was at my job.  Never a painter-slash-waiter, a title which served no purpose.  Circumstances had put me in this place at this time and I had determined that if I had to be there I would give it my complete attention and effort.  I would make it my own.  If I disliked it so much that it made me miserable, I would do something about changing my job when my day there was done and the task before me was complete.

 But while I was there, I treated it as though it were my destiny because, who knew, maybe it was.  I took great pride in being good at that job and some other jobs that I’ve done that could be classified as menial.  What was the cost in doing this?  If I had to be there then I would rather be recognized for my excellence rather than my misery.

Simply put, take pride in the task before you, however menial you see it.  Treat it as your destiny because in that very moment, it is.

Have a great Labor Day and remember what the day stands for.

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Metrofocus GC Myers aug 2013I was notified this past week that the segment featuring a short interview and my work that aired earlier this year on Artist Cafe on WSKG-TV has been picked up by WNET ,out of NYC, for inclusion on their news magazine  show, MetroFocus.  This means that the segment will be available for the entire New York/ New Jersey region as it will air on WNET (or simply Thirteen) which covers the city and the surrounding suburbs (including the Lower Hudson Valley and parts of Connecticut) as well as on station WLIW, covering Long Island, and station NJTV, which broadcasts to all of New Jersey.

MetroFocus is, according to their website: … a multi-platform news magazine focusing on the New York region. The MetroFocus television program features news, smart conversations, in-depth reporting, content from many partners and solutions-oriented reports from the community. Major areas of coverage include sustainability, education, science and technology, the environment, transportation, poverty and underserved communities. MetroFocus.org amplifies that reporting with daily updates and original stories that also cover culture, government and politics, the economy, urban development and other news in the metropolitan region.

Glad to be on board!

It will air on MetroFocus as follows:

WLIW(@WLIW21)                 Wednesday   8/28        7:30  pm

Thirteen(@ThirteenNY)     Thursday       8/29        8:30 pm

NJTV (@NJTVonline)           Thursday       8/29       10:30 pm

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GC Myers-The Sky Doesn't Pity 1995smI was looking around my studio, taking in some of the work hanging on the walls throughout the house.  There are pieces from other artists, including some notables such as David Levine and Ogden Pleissner, but most of it is older work of my own.  There are a few orphans, paintings that showed extensively but never found a home.  In some I see flaws that probably kept someone from taking it home but most just didn’t find that right person with which to connect.  Most of the other hanging work is work that I won’t part with, work that somehow has deeper meaning for me.  Work that just stays close.

One of these paintings is the one shown here, The Sky Doesn’t Pity, a smallish watercolor that’s a little over 4″ square.  It was painted in 1995 after I had started publicly showing my work for the first time at the West End Gallery in Corning, NY, not too far from my home.  The gallery has been what I consider my home gallery for 18 years now, hosting an annual solo show of my work for the last eleven years.  This year’s show, Islander, ends next Friday.

But when this piece was done I was still new there, still trying to find a voice and a style that I could call my own.  I had sold a few paintings and had received a lot of encouragement from showing the work at the gallery but was still not sure that this would lead anywhere.  I entered this painting in a regional competition at the Gmeiner Art Center in Wellsboro , a lovely rural village in northern Pennsylvania with beautiful Victorian homes and gas lamps running down Main Street.

It was the first competition I had ever entered and, having no expectations, was amazed when I was notified that this piece had taken one of the top prizes.  I believe it was a third but that didn’t matter to me.  Just the fact that the judges had seen something in it, had recognized the life in it, meant so much to me.  It gave me a tremendous sense of validation and confidence in moving ahead.  Just a fantastic boost that opened new avenues of possibility in my mind.

I still get that same sense even when I look at this little piece today, a feeling that would never let me get rid of this little guy.  I can’t tell you how many times I have glimpsed over at this painting and smiled a bit, knowing what it had given me all those years ago.

 

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GC Myers- Dawn Serenade smIn the aftermath of this latest show at the West End Gallery, I have been taking a small break from painting, instead trying to get some things done around my home and studio that have been put off while I was working.  I have a real knack for putting off things that need to be done and there is a real backlog now of small projects waiting to be faced.  Nothing big and nothing too testing, just normal maintenance things like cleaning up fallen trees around the property and the such.

I thought, while I was finishing up the show work, that puttering around with this maintenance work would be a relaxing break but I forget how ingrained my painting routine has become in me.  Instead of relaxing, I find myself gathering anxiety about not having a brush in my hand, not working towards something.   I don’t know how to feel about this and find myself conflicted.

In one moment, I view this inability to find relaxation beyond my work as a flaw, a symptom of a shallow or hollow nature.  But in the next moment I am thankful for having found the ultimate soother in my work, to spend the greater part of my time doing that thing that gives me peace and brings me a sense of deep relaxation.  Not to mention the meaning and joy  it brings.  I guess it comes down to me working to relax where most folks must leave work behind to feel at ease.  This inversion of the norm is obviously the conflict, one that I am still struggling to reconcile even after fifteen years of doing this on a full-time basis.  Maybe I will have it straightened out in my head in fifteen more.

Okay, enough of that.  Here’s a little music, from around 1990, by one of my favorites, John Prine, singing his Speed of the Sound of Loneliness with Nanci Griffith.

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GC Myers-The Understanding Silence sm

The Understanding Silence– GC Myers

Well, just another few days until another show at the West End Gallery in nearby Corning.  I feel that this show,  which is called Islander and hangs at the gallery from this Friday, July 26, until August 30, is a very strong group of work and represents my work at its best.  I just think that this is a very good show.  Maybe that is not for me to say but I am proud to deliver a show that lives up to my own expectations, especially to a gallery that I consider my home gallery, one that has been responsible for me even considering painting as a career path.  Without their unexpected invitation to show my work there eighteen years ago who knows where I would be right now or what I would be doing.  I very much doubt that I would be writing this at this moment.  I even have a doubt that I would even be painting.

As much as I want to deliver a good show because of this gratitude  there is also  the desire  to simply do well in your home area, to show the home crowd, especially those folks who first supported the work,  that their support was well-founded.  I feel a tremendous sense of debt to those people for giving me the incentive and inspiration to keep pushing ahead, to keep creating solid work  that continues to expand.

There is also the desire to show young artists from the area that in doing consistently good work there is the possibility to  make their living as an artist.  Our area is not the most affluent and there are not a lot of examples of successful working artists for them to follow but I hope that they get some inspiration from a home grown artist who, while basically uneducated and without many advantages, makes a decent living.  A matter of  if he can do it,so can I.

I suppose there is also the desire to show those people who may have doubted the validity of my work from the beginning that it does have worth, does have meaning.  That has become less and less of a motivator as I have grown into my work.  I find now that  I would rather focus on those people who see something in my work rather than trying to sway people who are naturally averse to my work.  You can never satisfy everyone and wasting time trying to do so takes away from your core work.

So, as you can see, I put a lot of pressure on myself with these shows, probably more than I should.  Probably more than is healthy for myself.  I have written here before about the anxiety I feel before a show and it’s always even more intense before these home shows, especially a summer show such as this.  You hope for a great turnout but being the summer many people are away on vacation or at the nearby lakes so attendance naturally suffers a bit.  You want to put out a great group so that people don’t regret making the choice to come to the show and will tell their friends who couldn’t make it so that they will eventually stop in to see it.

But, in the end, I reconcile it all with the knowledge that I have given a total effort and produced a show of which I can be proud.  Hope you can come see it.

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The painting at the top is from the show and is titled The Understanding Silence.  It is a 16″ by 20″ canvas.

 

 

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GC Myers 2013- Moment Sublime smI delivered my work yesterday to the West End Gallery for this year’s solo exhibit, Islander.  The show, which hangs in the Corning gallery from July 26th until August 30, is something like my 37th or 38th solo show at different galleries around the country so there are common experiences with each that you begin to notice.  One is definitely the sense of relief that comes with delivering the show.

The work is done, everything framed and photographed, and in the gallery.  Seemingly , my job is done.  That’s not exactly true as there is always an aspect of the job that lingers after the work leaves the studio such as writing this and doing other promotional things that are required in order to spread the word about my work.  But for the most part, my work is done and I can step back to take a deep breath.

I generally notice a sense of exhaustion that sets in immediately after delivery, as though the tension of meeting a deadline has been a distraction from the tiredness that has been creeping in.  It’s a good exhaustion though, one that comes with knowing that I am totally satisfied with the work that I have done and have put in it as much as I could.

It’s a feeling much like the one I see in the painting featured above, Moment Sublime, a 9″ by 14″ painting on paper that is part of the show.  I suppose that is why I chose it for today’s post.  There is that same real sense of satisfaction in this image, a peaceful feeling of being only in the moment.  For me, after delivering the show, this means having no regrets about the work I have done and not concerning myself in that moment about the future results of the show or what comes next.

The task is done.  I am very happy with what I have done, feeling that it truthfully represents who I am at this moment.  All that I could ask.  In that instant, I am that Red Tree and the moment is indeed sublime…

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Lately I have been thinking about how people find their individual creative voices, how it evolves and is influenced by what others think.  We all too often heed advice that fits in a one-size-fits-all world when we need direction that takes in account the singularity of our talents and our aims.  Many of us also dismiss the creative expressions of our emotional selves as somehow inferior to those from known creative talents as though they had a monopoly on the feeling and expression of emotion.  I think the individual voice grows when they transcend this feeling and realize that their point of view is as valid as that of any other person, including the greatest artists working in their field.

There is a lot more than can be said on this subject but it brings me to a post that I wrote here back in February of 2009 that describes how I came to this realization of my own validity.  I wonder how many artists, writers, musicians and other creative people have experienced this same sense of  inner intimidation and have succumbed to it, putting aside their quest for their own voice?

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GC Myers- The AngstWhen I used to enter a gallery or museum, even up until several years ago, I would be filled with a severe sense of dread and anxiety. Angst. The knot in the stomach. The racing pulse. The whole thing. 

I would go from painting to painting and would feel lessened because in each piece I would see something that I could not do, some technique that was not in my toolbag. There were colors and forms that I could not replicate and all I could think was that I was somehow inferior. 

I didn’t belong. 

The resulting feelings would leave me reeling and sometimes angry, making me even more determined to create something that would validate my work. 

While this was a motivating force for many years, helping me actually find my voice, it gradually subsided over the years as I became more and more aware that I had been focusing on things I could not control and on being something I was not. 

I began to see what I was. I had an individual voice and vocabulary that was mine and mine alone. I began to see that other artists felt about my work as I had felt about their work. I saw that while they were doing things that I could not, the reverse was true as well. I recognized that my voice, my technique and style, was finally mine and mine alone. I saw that my form of expression was every bit as valid as any other artist hanging in any gallery or museum. 

This was a liberating feeling. It allowed me to go into galleries and museums and , instead of seeing what I was not, recognize the beauty of expression that was there and be excited and inspired by things other artists were doing. Instead of coming out saying ” I’ll show them ” I was saying “I can use that”. 

It was merely a matter of trusting that what I saw in my own work was a true and real expression and would be visible to others. I think this a lesson from which any viewer of art can benefit. They must learn to trust their own instincts and reactions when looking at art. Like my self-expression, their reaction to a work is theirs and theirs alone. Their reaction is as valid as anyone else and no critic or gallery-owner can make a person like a piece that doesn’t move them. When the viewer realizes that there is no right or wrong, that their own opinion is truly valid, their viewing pleasure will increase dramatically. 

By the way, the piece at the top is an old experiment from around 1994. I always enjoy pulling it out even though it doesn’t fit neatly into my normal body of work. No more angst. 

Well, a different kind of angst…

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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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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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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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