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Thought I’d take it easy this morning and just share a song, as I do every Sunday morning. The painting here is a favorite of mine, Le Cirque from Georges Seurat, which is I believe is considered to be the last painting from the great French Pointillist.

I am not a big fan of circuses now but as child I had a slight fascination with them. I have distinct memories of watching lion tamers, acrobats and high wire walkers on a television show that used to be on Friday nights in the early and mid 1960’s. It was called International Showtime hosted by Don Ameche, featuring filmed performances from European circuses. I think my interest in the circus was mine alone in my family because I seem to remember watching this show alone.

It’s one of those things I moved past. I began to have a great dislike for animals (or children, for that matter) in cages and gained an understanding of the hardships and tragedies of the lives of many of the circus people. The glossy fascination of childhood dulled and the clowns that once made me smile now make me slightly sad.

But I still like this song very much. It has wonderful imagery that rekindles the lure of the circus a bit though it points out the seedier aspects that I didn’t notice as a 6 year old but which ultimately made the circus less appealing. This is a live performance of Wild Billy’s Circus Story from Bruce Springsteen from way back in 1973.

Sigh.

Have a good Sunday.

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I want to live alone in the desert
I want to be like Georgia O’Keeffe
I want to live on the Upper East Side
And never go down in the street

Splendid Isolation
I don’t need no one
Splendid Isolation

–Warren Zevon, Splendid Isolation

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Over the next several days I will be showing paintings from my upcoming show, Moments and Color, that opens Friday, July 12, at the West End Gallery. Today is a piece called Pondering Solitude, a 24″ by 24″ canvas, that was a favorite of mine during its time here in the studio.

Like much of my work, I can’t exactly put my finger on any one thing in this painting that makes it hit the mark for me. Maybe it’s something as simple as the color combinations or the way the light flows within the composition. Or just the simplicity of it as a whole. Or the feeling of warm solitude it emotes.

Again, I don’t know. That probably sounds strange to some of you. After all, I painted it so shouldn’t I know the entire what and why of a piece I have created? You would think so, wouldn’t you?

Oddly enough, in my best work–or at least what I feel is my best work– I have no answers. And that makes sense to me because the work is for me a way to get enough clarity to understand enough to be able to ask questions. Then, hopefully, answers emerge.

It’s hard to find answers when you don’t really know the questions.

And that is kind of the story of this piece. I see it as the Red Tree feeling a need for clarity and light, answers to questions that it can’t articulate, and finding solace in the light and warmth of its solitude.

There is more likely than not more to say here but I think I am leaving it at that for now.

I used some lyrics from the song Splendid Isolation from the late Warren Zevon above. Here is the song.

 

 

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Well, the season is upon us. I am, of course, talking about the annual appearance of multitudes of tiny toads around our property. Every year around this time, a new generation of toads emerges from our pond and begins a migration with an instinctual drive that drives in a radiating arc from the pond. These little guys, maybe about 1/4″ in size, are suddenly everywhere, thousands and thousands of them.

Maybe millions. All racing blindly to some unseen destination. I often wonder how they know when to finally stop to make a new home.

It’s really something to see, this frantic drive to survive come to life in the form of these little hopping creatures. There’s something joyful in the whole thing. On the flipside, it makes you appreciate what these toads have to endure to wind up living under a fallen tree in the woods. They are the target of a host of predators who see them as being shrimp in nature’s all you can eat buffet. There are spots where I can see several crows on the ground along our driveway next to the pond for most of the day, along with our resident flock of wild turkeys.

Plus, these tiny toads have to simply survive crossing the driveway. Going up and down our driveway becomes a long slow journey this time of the year as we creep along in our vehicles, hoping to give the little guys a chance to avoid the crush our tires. Walking to the studio starts to feel like I am walking through a minefield. As I begin to lower my foot, the ground beneath it suddenly comes alive with a bunch of these guys bouncing in all directions. The short walk through the woods becomes a halting slow slog.

I guess I could just look straight ahead and let the chips(or toads in this case) fall where they may. But I appreciate their journey, their will to survive and the benefits of the natural pest control they provide by eating so many insects. When I come across a large mature toad now, I have a lot of respect for it, knowing how much it has endured to get to this place.

Actually, on another subject, the term toady has been in the news lately as the G20 Summit is taking place in Tokyo. Our representative, the president*, has forsaken our normal role as the leader of free democracy in the world since WW II and taken a more subservient role to the autocrats and dictators he encounters. He jokes about interfering in our elections and getting rid of journalists with Vladimir Putin, a man who heads a regime known to be responsible for the deaths and disappearances of journalists as well as overt cyber warfare– an actual act of war– on our election system. He kowtows to the Saudi prince, defending him against the UN charges that he is responsible for the gruesome death of Washington Post journalist Jamal Khashoggi. And he tries to rekindle his sophomoric bromance with the North Korean leader Kim Jong Un by offering to meet him for a handshake with him at the DMZ between North and South Korea.

Maybe they should meet on top of the Empire State Building on Valentine’s Day?

So, you can see where toady might come up. It’s a term that comes from the 19th century when charlatans were traveling around the countryside peddling questionable tonics and remedies. The medicine man would first have an assistant eat a toad because they were widely believed to be poisonous. He would then drink the tonic to show it’s wondrous ability to stave off the toad’s poison.

Thus, the term toady was born.

Synonyms for the term include: sycophant, obsequious, creep, crawler, fawner, flatterer, flunkey, lackey, truckler, groveler, doormat, lickspittle, kowtower, minion, hanger-on, leech, puppet, stooge and spaniel.

They all seem to fit our fearless leader in Tokyo.

Sorry to editorialize this morning. Now, I am off to work. Or maybe I will go out and watch these tiny toads. Either way, it’s better than being a toady.

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I recently saw an article about classic album covers and it made me think of some of my favorites. Albums like Quadrophenia from The Who, the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band or Led Zeppelin’s first album with the burning Hindenburg all jump immediately to mind. While I was thinking about this my eyes settled on another album resting on a table in the studio, my own small contribution to album cover art.

It’s from a 2012 album, Lowe Country. It was a tribute album by various artists, mainly alt-country and Americana, covering the songs of Nick Lowe. It features a piece of mine from about 1998. As you can see, it is before the Red Tree emerged.

At the time, I didn’t realize my artwork was being used on the album and was alerted to it by the son of a gallery owner friend who lives on the west coast. He had seen it in a record store and immediately identified the album cover as my work. Turns out the painting used on the cover was purchased years ago by the owner of the record company, Fiesta Red. He properly credited me on the cover and sent me a few CDs and a vinyl version with what I believe to be a pretty nice cover.

Looking at it pleases me. I am also pleased in knowing that it is, more that likely, in Nick Lowe’s record collection as well. Big fan here.

Here’s a track from the album from Lori McKenna who is a singer/songwriter and a two time Grammy winner, most notably for her song Girl Crush. I don’t know much about contemporary country but even I have heard of that song. This is Nick Lowe’s What’s Shakin’ on the Hill.

Have a great day!

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And now the mystery masked man was smart
He got himself a Tonto
‘Cause Tonto did the dirty work for free
But Tonto he was smarter
And one day said, “Kemo sabe
Kiss my ass I bought a boat
I’m going out to sea”

Lyle Lovett, If I Had a Boat

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The painting at the top is a new one, a 12″ by 24″ canvas, that I am calling Breakout. It’s headed to the West End Gallery as part of my upcoming solo show, Moments and Color, that opens in a couple of weeks, on July 12.

These boat paintings might well be my favorites to paint. I think it’s the simplicity in the design that makes this so. There are so few elements that I have to really focus on subtleties of color and shape to create a sense of motion and emotion in the work. Everything has to be right, has to be properly harmonized with the whole.

That sounds kind of nebulous, I know. But a line straying here or there can make you question the credibility of the whole thing and keep you from allowing your mind to fully embrace the piece. For example, while I don’t know a thing about how waves  break on the sea, I feel that the curves of the wave have to make sense. They must have that sense of rightness that I often mention here, the one that allows your brain to easily absorb what is being communicated.

Wow, that sounds even more nebulous.

Let’s just leave it as this: I like these paintings and the exhilaration of freedom they possess. I am not a sailor but I certainly understand the primal appeal and romance of feeling yourself in harmony with the great forces of the wind and water.

Here’s a favorite song from so long ago. God, it’s hard to believe it is over thirty years old. It’s If I Had a Boat from Lyle Lovett‘s wonderful 1987 album, Pontiac. It’s a song that has always had a great calming effect for me and it pretty much fits the feeling I get in this painting.

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Dance me to your beauty with a burning violin
Dance me through the panic till I’m gathered safely in
Lift me like an olive branch and be my homeward dove
Dance me to the end of love
Dance me to the end of love

Leonard Cohen, Dance Me to the End of Love

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The painting above, 8″ by 16″ on canvas, is a smaller piece headed to my upcoming solo show at the West End Gallery. The intertwined trees in this piece refer back to my Baucis and Philemon paintings which are are symbolic representations of the Greek myth of the poor elderly couple who show the god Zeus unlimited kindness when he shows up in their village dressed as a beggar. He spares their lives alone when he destroys the village and rewards them with an eternity bound together as two trees on a hill.

This piece definitely reminds me of the tale. Maybe it’s the deep and dark threat that is posed from the clouds. Perhaps these clouds represent the wrath of Zeus while the clearing sky on the horizon represents eternity.

I don’t know for sure.

But it is a striking piece, one that is very simple to take in yet has the depth I want for it.

I am calling it Dance Me to the End of Love after the song chosen for this Sunday morning music. It is from Leonard Cohen from 1984. Interestingly, the song has Greek roots, its composition following that of a Greek folk dance performed through the centuries by members of the butcher’s guilds. It is often referred to as the Hasapiko, translating to the Butcher’s Dance.

So, give a listen. Have a good day, okay?

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Moments and Color, my annual solo exhibit at the West End Gallery in Corning, NY, opens on Friday, July 12 with an opening reception running from 5-7:30 PM. It is, as always, open to the public.

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Beauty should be shared for it enhances our joys.
To explore its mystery is to venture towards the sublime.

-Joseph Cornell
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Joseph Cornell (1903-1972) was a self taught assemblage artist known for his shadowbox pieces. I have always found his work fascinating. There’s a feeling of ultimate mystery in many of the pieces, one that makes me feel as though I am looking at something that is both familiar and alien. Like seeing a sentence in a foreign language where you can pick out a word or two but can’t grasp the meaning of the whole.
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And the sages of the subway sit just like the living dead
As the tracks clack out the rhythm, their eyes fixed straight ahead
They ride the line of balance and hold on by just a thread
But it’s too hot in these tunnels, you can get hit up by the heat
You get up to get out at your next stop, but they push you back in your seat
Your heart starts beatin’ faster as you struggle to your feet
Then you’re outta that hole and back up on the street…

–Bruce Springsteen, It’s Hard to Be a Saint in the City

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The other day, I was working on another of the Multitudes pieces, a 12″ square canvas that was featuring a halo or at least a gold orb hanging over one of the faces. The painting started with this central haloed character and the rest of the faces grew out from it. The faces other than the one with the halo were originally going to be many shades of blues and purples but while I was working, a song from Bruce Springsteen‘s first album in 1973, Greetings From Asbury Park NJ, came on.

I could lie here (as I have been known to do on occasion) and say that it was It’s Hard to Be a Saint in the City. That would make for a nice tidy little tale.

But it was actually Spirit in the Night. At first I thought that maybe I should use that title for this piece. It would work pretty well, especially with the dark blues and purples. But  instead I instantly saw in my head the title from another song from that album, It’s Hard to Be a Saint. It fit even better. The painting already had a saintly halo, for god’s sake. So I decided to go back at the surrounding faces and give them a green, jaundiced tone. Give them a uniformly alien appearance that would contrast against the lightness of the haloed one.

It works for me, at least. You may or may not like it and, again, that’s okay.

Anyway, here’s the song that gives this painting its title. It’s early Springsteen so its densely worded in its lyrics, the thing that really attracted me to his work at first. Many of the songs from his first albums felt more like short stories or novellas than songs. As his work evolved, his best work moved from this sense of literature with intimate, wordy description to one that felt more cinematic, with broader, sweeping vistas. I like both styles but this early work still appeals deeply to something in me.

Give a listen and have a good Sunday. And a good Father’s Day.

 

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“I have been prostrated these two or three days back by my first acquaintance with Tintoretto; but then I feel as if I had got introduced to a being from a planet a 1,000,000 miles nearer the sun, not a mere earthly painter”

–John Ruskin, letter to Joseph Severn, 1843

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While in Alexandria area for my opening, we shot over the Potomac into DC for a quick visit to the National Gallery of Art. It’s always a great pleasure to wander through the marvelous collection plus this year there was the first retrospective exhibition ever staged in America of the paintings of Tintoretto, the great Venetian Renaissance painter.

Tintoretto–Self Portrait ca 1588

Now, to be honest here, I went in not knowing a lot about Tintoretto so I wasn’t overly excited. Oh, I like a number of paintings from many Renaissance painters– particularly Titian, Raphael and my favorite, Bellini. But sometimes the repetitive nature of the religious subjects of much of the work from that era overwhelms my sorrowfully short attention span. I sometimes find myself becoming bored in a gallery full of exquisitely painted panels.

But as I walked into the first gallery for this extensive exhibit, the painting at the top of this post, Spring, was the first thing to greet my eye from a distance as I stood in the doorway. I was instantly captivated. It felt out of time, as though it could be a piece from any point in known art history, its composition seeming so bold and modern. Just spectacular.

A wonderful intro to a great exhibition.

Walking through the galleries as they progressed through the stages of Tintoretto’s remarkable career, I was struck by both the size and scale along with the changes in the progression of his work. In may pieces you could see influences that would be carried forward by the generations of artists that followed him. For example, looking at the first painting below, The Creation of the Animals,I can’t help but think that William Blake references Tintoretto in some of his best known paintings.

Most of the work was very large, best suited for spaces in huge churches or palaces. The second image below, The Virgin Mary Reading, is probably anywhere from 15 to 20 feet in height and was installed opposing another piece of the same size. It had a real wow factor walking into the space. They also did a fantastic job in hanging the whole show, with long views through the many entrances framing large eye-catching works in the next gallery that pulled you along. Each gallery had its own unique feel and strength. Each gallery in itself would be a great show in many museums.

The way I often judge a museum exhibit is how small I feel as an artist coming out of it. By that standard, this was a magnificent exhibit. I understand a bit more how John Ruskin must have felt when he wrote the lines at the top of this post. But conversely, as small as it made me feel, it also made me want to be better, to strive further, to make the most of my own meager talents.

And that also makes it a great show.

If you’re in DC before July 7th, when the exhibit ends, try to make it into the National Gallery to see for yourself. It’s just plain good stuff that you may not see again here in the Americas in your lifetime.

Tintoretto- The Creation of the Animals

Tintoretto–The Virgin Mary Reading

Tintoretto- Paradiso

Tintoretto- The Conversion of St. Paul

 

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THE EVERLASTING SELF

Comes in from a downpour
Shaking water in every direction —
A collaborative condition:
Gathered, shed, spread, then
Forgotten, reabsorbed. Like love
From a lifetime ago, and mud
A dog has tracked across the floor.

–Tracy K. Smith

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Wasn’t going to write anything this morning but I stumbled across this video and poem and felt like sharing it. It’s The Everlasting Self from Tracy K. Smith, the current United States Poet Laureate. In this video, filmed just a few weeks ago, Smith reads her poem with the backing of Sō Percussion at National Sawdust, a center for the arts in Brooklyn.

The poem is a simple one at a glance. But in this performance Smith takes the few words of the verse and realigns them time and time again, constantly reconstructing the poem. It uses the same elements but each feels slightly different. It creates a meditative loop, something close to what I described in a recent post, Mantra, that was coincidentally from the same date as Smith’s performance.

This performance struck me because it reminds me of how I often see my work. They are often comprised of fragments of memory– repeated, realigned and reconstructed. They are seldom derived from groundshaking moments in my past but rather from tiny bits of small observations from distinct memories.

The way the light looked at a certain moment. A color seen decades ago. A tree I passed on a solitary walk.

Small things that make up a life.

I sometimes stop on my walk to or from the studio and look carefully around. I think to myself that if I were to die moments from now, could this be the one memory of this life I carry with me? Would I go through whatever incarnation there may be in future lives with the memory of the cool wind rustling the maple trees and and the filtered sunlight on the tall green grass beneath the trees? The richness of the color in the rhododendron flowers? The rhythmic thunk of the pileated woodpecker’s beak against a tree deeper into the forest? The rich earthy fragrance of the mud on my trail?

Would these images and sound and smells be constantly rumbling around my mind in different iterations for eternity?

This would all be okay with me.

And that’s what I feel from this lovely meditation from Tracy K. Smith. Made me feel good this morning.

Take a look and give a listen. Maybe it will do the same for you.

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