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Archive for the ‘Favorite Things’ Category

GC Myers 2001One of my favorite songwriters is the late,  enigmatic Harry Nilsson, who passed away in 1994.  While he is somewhat still well known, it is probably not the same level of fame that his work deserves even though he achieved great fame and earned many accolades during his life.  He recorded and wrote many hits, earned Grammy Awards, and cavorted with the biggest names in music. Lennon and McCartney named him as their favorite songwriter  ( he also recorded an album and more with John Lennon) and Keith Moon and Mama Cass both died in his London flat.  Yet how many twenty or thirty year-olds even recognize the name?

But there is still a great deal of interest in his music and life and there are those out there trying to let the world about the talent of this flawed man.  This past month there was a release of a  large box set spanning his career at RCA as well as a biography, Nilsson: The Life of a Singer-Songwriter,  from author Alyn Shipton.  Not to mention, a celebrated documentary from several years back, Who is Harry Nilsson (And Why Is Everybody Talkin’ About Him)?  So, hopefully his work will stick around in the public eye a bit longer.

If you don’t know his name, you probably know the music.  It is used extensively by filmmakers including this song, Jump Into the Fire, that was used in a pivotal scene in Goodfellas by Martin Scorsese.  It’s a good song to pump up a dreary morning.

FYI, the painting at the top is an older piece of mine from back in 2001.

 

 

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breaking-bad-posterI am the danger. A guy opens his door and gets shot, and you think that of me? No! I am the one who knocks!

–Walter White

*********************

This was the response from Walter White, the geeky high school chemistry teacher turned drug lord, to his wife Skyler’s fears that he would someday answer the door and be shot down by the thugs with which he was now associated.  It was a hallmark moment in the AMC series Breaking Bad,  which returns tonight to begin an eight episode wrap-up to Walter’s  saga.

And what a staggering saga it has been.

Creator Vince Gilligan and actor Bryan Cranston have treated us over the last several years with one of the most fascinating heroes in television or film.  I use the term hero very loosely here.  Cranston’s Walter White at once gives you every reason to root for yet despise him.  He is highly intelligent which gives him  the ability to find rationale for the most deplorable moral decisions, each of which seems to send him into a deeper descent into the bowels of some evil hell.

He has went from the cowering weakling to the one who knocks, gun in hand.

Yet, we still somehow root for him to pull out of it, to find that moral root of rightness that appeared to be with him at the beginning of this journey.  I think that’s the brilliance of this show, taking a person who we easily relate to and putting him into situations that are so far from what we would normally face that it leaves us wondering if we are any different, any better  than Walter.    In Walter, we see the same fears and weaknesses that most of us possess, things that could easily lead us into bad situations given the right (or wrong) circumstances.  Do we have that same capacity for rationalizing our own poor moral decisions rather than seeing the obvious wrongness in them and doing what we know is right?  This show brings it into doubt.

It’s been a ride that leaves me cringing and gasping with every twist that Vince Gilligan throws into it.  I have come to expect the completely unexpected with this show.  I am sad  see it wrapping up for the pure wonder of its storytelling but relieved to see it end for the questions it raises about us all.

On a lighter note, for those who haven’t partaken of this particular treat, here’s a video that gives a very abridged rundown on what has happened thus far in the form of a Middle School Musical.

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David Maisel Oblivion 1382-52nI really don’t have the time to really get into the work of photographer David Maisel but wanted to at least pass on a few of his images as well as a link to his website.  Initially, I came across some of his black and white views of Los Angeles taken from great altitudes, transforming the landscape into an abstract form that feels darkly uneasy and machine-like, the urban sprawl constantly self-replicating.  I am drawn to aerial imagery and these pulled me in at once.

David Maisel  Terminal Mirage 22But going to his site, I was hit with a wide spectrum of images that knocked me out.  Color filled views of geometric beauty shot over the Great Salt Lake. Creepy shots of clear-cut forest zones in Maine with massive piles of logs splayed out like toothpicks.  Images that capture what he calls the apocalyptic sublime in the aftermath of Mount Saint Helens.  Images in black and white and in colors that come off as shocking of mining sites.  It was stunning work that captured the environmental impact of the continual push of humans into all spaces– beautiful and terrifying at once.

David Maisel Library of Dust 1165Even the parts of his body of work that seem to stray from his aerial assault on our perceptions were fascinating.  X-rays of antiquities.  A series called Library of Dust that shows the degradation of copper canisters containing the cremated remains of patients of an Oregon Insane Asylum who died there between the 1883 and the 1970’s, all unclaimed by family and forever resting anonymously in a decaying building.  Thousands of these sealed copper cans lining simple shelves while time works its magic.

It’s all remarkable and thought provoking work.  As I said, beautiful and terrifying.  I could see myself getting lost in any of his projects.  I encourage you to check out his site and see for yourself.

David Maisel  Terminal Mirage 19 David Maisel  Terminal Mirage 18 David Maisel  Terminal Mirage 8 David Maisel Oblivion 1381-41n David Maisel Oblivion 1380-45n David Maisel  Terminal Mirage 20 David Maisel Untitled [Library of Dust]

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GC Myers- The Eternal Gift At last week’s Gallery Talk at the West End Gallery, there was a question about the painting shown here, The Eternal Gift.  The questioner  wanted about the two different colors for the foliage in the trees, especially since I seldom use green in my central trees.  I explained that this how I chose to translate the story of Baucis and Philemon from Greek mythology, one of my favorite stories.  I gave a quick synopsis of the story explaining that I first used this imagery of two different trees entwining and growing together  to illustrate this tale a few years ago a when I was commissioned to do so by a couple celebrating their anniversary.

I thought I would take this opportunity to relate the story again here, as I wrote about it back in 2010:

I often get requests for commissioned work but usually am not excited by the prospect of being dictated to in the creation of my work, actually turning down many that get too specific in their requirements. I want my paintings to reflect my thought process and emotion as well as my craft. As a result, I have an informal set of rules that let me have free rein in the creation of the work so that the painting is allowed to form in an organic way. Not forced, which often takes away the vitality of many pieces, in my opinion. 

But this particular request is unlike many others that I receive. They want this piece to relate the story of the classic myth of Baucis and Philemon, which is the tale of a poor but happy couple who are unknowingly visited by Zeus and Hermes disguised as dusty travelers. Beggars, really. The two gods had went door to door among their neighbors seeking hospitality and were rebuffed in every attempt, often with harsh words. Zeus became angry as door after door was slammed in his face. Finally, they came to the door of the shack of Baucis and Philemon, the poorest looking home they had yet approached. 

Upon knocking, they were greeted warmly by an elderly couple who welcomed them in to their simple but cleanhome and treated them with what little they had in the way of food and drink. They were gracious and hospitable, seeking to give comfort to the strangers. As the night wore on, the couple, who had been serving their simple wine to the travelers from a pitcher, noticed that the pitcher stayed full even after many pours. They began to suspect that these were not mere beggars but were, in fact, gods. 

They apologized to the gods for not having much to put before them then offered to catch their prized goose, which was really a pet, and cook it for them. The old couple chased the goose around the shack until finally the frightened creature found sanctuary on the laps of the gods. Stroking the now safe goose, Zeus then informed them of their identities and, after complimenting on their hospitality and of the mean-spiritedness of their neighbors, told them to follow them. They climbed upon a rise and Zeus told them to look back. Where once their town had stood was nothing but water, from a deluge that had washed away everything, including all who had insulted Zeus. From where their poor home had been, a majestic golden-roofed temple with sparkling marble pillars rose from the receding waters. 

Zeus told the couple that this was their new home and asked what wish he could grant them. They asked that they be made priests, guardians of this temple and that they should always remain together until the ends of their lives. Seeing their obvious love for each other, Zeus readily agreed. The couple lived for many more years together, reaching a prodigious age. One day they stood together and all the past moments from their life and love together flooded over them. Baucis saw leaves and limbs sprouting from Philemon and realized that the same thing was happening to her. On the plain outside the temple, they transformed into two trees, an oak and a linden, that grew from the same trunk, their limbs intertwined, eternally together. 

That’s a simple re-telling of the tale but I think you can see why this couple might want a symbol of this story to mark their time together…

[The painting shown here, The Eternal Gift, is part of my current show and is available at the West End Gallery.  It is a 10″ by 18″ image on paper.]

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Crazy Rockers- Indorock Band circa 1962One of my favorite movies is The Third Man, which was filmed in post-World War II Vienna and stars Joseph Cotten, Orson Welles and Trevor Howard— three of my favorite actors.  With a screenplay by Graham Greene and great black and white cinematography, it’s just a great film.  But the thing that holds it all together and makes it memorable is the theme song that runs through the whole film, a haunting yet lively tune played on a zither by Anton Karas, who wrote and performed the song.  It was so catchy that it topped music charts around the world in 1950.

A number of people have recorded the song over the years but one of my favorites was from a group called the The Crazy Rockers from the early 60’s.  They were part of the Indorock scene in Holland at the time which was guitar-driven rock music played by Indonesians who were living in Holland.  It’s not a genre that many of us here in the states are familiar with but it was pretty big in that part of the world.   Still is from what I understand– the Crazy Rockers and the Tielman Brothers, who are the best known Indorock band, are still performing with over 50 years in the business.

I loved their version of The Third Man Theme with their choreographed movements and gyrations and matching sparkly costumes.  It was sort of kitschy but in a very authentic way.  I featured it here in a post back in 2008 but unfortunately can  no longer locate that version online.  So I will show a song from the same time frame, Carioca.  I’m also showing the original The Third Man credits  with the theme from Anton Karas playing over it  just to give those who aren’t familiar with it a chance to hear it.  If you get a chance, definitely catch the whole film.

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GC Myers- The Prodigal SightI OD’d yesterday.

No, not on drugs.

Talk.  Straight, pure, unadulterated talking.

I gave my Gallery Talk yesterday at the West End Gallery to a group  people who just let me keep going on and on, sometimes egging me on with questions and comments that opened up new veins of info.  Enablers, that’s what they were.  By the time I was home, I was physically wiped out from all of the talking.   Seriously.

But, all kidding aside, I think it was worth it.  The talk went very well thanks to a wonderful group of folks who chose to spend an hour or two with me at the gallery.  They were attentive and inquisitive, asking questions that allowed us to cover a lot of material.  If it was a successful talk, it was all due to their good graces.  I send out a hearty thank you to everyone who attended.  You certainly made my task easier and for that I am truly appreciative.

We also had a drawing and awarded the painting above, The Prodigal Sight, to Steve M. from Corning, someone who I have known through the gallery for many years but did not yet have a painting of mine.  This was a painting that had only shown once a few years back and had remained with me in the studio since, along with a mere handful of pieces from each year that had returned to stay with me, their qualities yet to be discovered and enjoyed by someone willing to take them in.

Orphans, of a sort.

I commented that these pieces that stay around for a bit become so familiar and fond to me, more so sometimes than the more wildly successful pieces that quickly leave the studio and galleries never to be seen again.  I noticed that the frame on this piece had a slightly darkened edge where I had picked it up in the same spot many times over the past few years.  Seeing this made me realize how often I do gaze at these few pieces in the studio that haven’t yet found homes, wondering why the things I see in them haven’t become obvious to others.  I imagine that is how a parent sometimes feels about their child, seeing their better qualities above their flaws.

Anyway,I am glad that this piece has found a home, one in which I am sure it will be highly regarded.

Again, thank you to everyone who came to the West End Gallery yesterday.  I truly enjoyed my binge but now I am off to rehab in the quiet of my studio.  It’s a strictly”no talk” zone today.

 

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Van Gogh The Bedroom detail from Google ArtAs though I have been searching for more ways to kill time, I have spent well over an hour already this morning just clicking on images on what might be my new favorite website, the Art Project at the  Google Cultural Institute.  It’s a collection of great paintings and objects of art from around the world, all photographed in stunning detail that allows you to get closer, in many cases, than you could ever get at any museum.  Some are photographed in a Gigapixel  mode that allows you to be almost part of the surface.

Van Gogh The Bedroom  from Google ArtFor example, one of the first images I came across was The Bedroom  from Vincent Van Gogh, a favorite of mine shown here on the left in its entirety.  Whenever I see a Van Gogh in person I always want to get as close as I can to  see the fervid brushstrokes that give the pieces so much life and energy.  I have been asked to step away from the paintings in the past but with this site can now zoom in to a level that my eyes (and security guards) would never allow in a museum.

Van Gogh The Bedroom mid-level detail from Google ArtThe images here to the  right  and at the top are of one of the rungs of yellow chair’s back in the center of the painting.  The top image is magnified to a high level but there is still another level beyond this to which it can be magnified.  I can see the canvas under the strokes, the varnish’s darkened surface in the crevices and the craquelure (cracking) of the oil paints.  I feel like I am seeing Van Gogh working on the painting, can see how his mind is forming the image on the canvas.  It deepens the whole sensation of the painting for me.

What a great site!  On a local level,  this site features over 1000 items from our own Corning Museum of Glass.  There are incredible views of glass objects from antiquity up to modern art pieces.

Well, I have just a little more time to spend this morning so I better get back to looking at some super details of great art.  Check it out!

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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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GCMyers 2013- The Song We Carry smWe all carry a lot of baggage with us on our journey through this life.  It’s a rare moment when we find ourselves free from all the  traces from the past that we lug along– all the snippets of conversations, faces, song melodies and lyrics, pictures, smells, film clips and everything else we have input into the hard drive of our mind is always whirring around.  I know that I will sometimes pull up some fragment from the past and wonder how I was still holding on to this piece of information.  It might be the name of someone that I barely knew forty or fifty years before.  Somehow it hangs on and occasionally pops out, confounding me with the idea that this seemingly useless bit of data is taking up space that could be occupied by truly meaningful information.

Like old Popeye cartoons. ( The one with Olive Oyl singing  What We All Need is Brotherly Love runs on a loop in my head)

Or the year that Humphrey Bogart died.(1957)

Or the name of the book that influenced the original Superman comic. ( It was Philip Wylie‘s Gladiator— an interesting read, by the way.)

But somehow,  despite and because of all this detritus, we  emerge in some individual form.

A single distilled version of everything that we take in.

A single voice.  One song.

I guess that is how I would characterize the thought behind the painting at the top, The Song We Carry.  It’s 7″ by 11″  on paper and is going to the West End Gallery for my upcoming show.

Now here’s a little Popeye along with Wilco.  It’s a video for Wilco’s  Dawned on Me from last year and it features the first hand-drawn Popeye cartoon in over 30 years.  I can’t remember if Olive Oyl danced like this in my memory but now I will.  The data has been entered.

 

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Chet BakerMaybe it’s the morning here.  Dark and somber sky with an unyielding flatness in its gray.  Very quiet morning as though nothing really wants to stir and begin this sultry summer week.  A fans hums, trying to move a little cooler air through the studio and I am sitting with my coffee.  Chet Baker‘s Every Time We Say Goodbye is  playing above it all, accentuating the gray mood with its deeply spaced tones.  I’m not the biggest jazz guy but there I do like what I like and for certain moods, like this morning’s, nothing fills the bill like Chet Baker.

I think it’s one of those instances of pure expression, where the art and the individual meld.  It’s not put on, not contrived.  It’s real and felt deeply, his own truth– all that you can ask from any artist.  I think we all aspire to a true expression of ourselves, to create something that we can say genuinely represents who we really were during our time here.

I know that has been a driving force for me.  Sometimes, it seems close to telling my truth and sometimes it feels just a bit shaded or slanted away from reality.  Maybe it’s a case of hoping that the motivation, the goal,  becomes the reality.

I don’t know.  Maybe, that’s just a bit too much thinking for any Monday morning, especially a sleepy gray July one.  Here’s Chet.

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