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October

October.  The calendar turns once more and all thoughts of summer are put aside.  A time for preparing for the coming winter and enjoying the coolness of autumn with all the color of the changing leaves and the softer light.  A time for reflection on a year that has went by all too quickly.

The woodcut shown here is one made for the month of October in Edmund Spenser’s 1579 work, The Shepheardes Calender, which was a collection of 12 pastoral poems depicting the month-by-month life of a shepherd of that time.  I would include a few lines but, quite honestly, I struggle to get through any of Spenser’s archaic verse and don’t wish that on anyone on a Saturday morning.  I do like the woodcut, however.

Here’s a little easier to absorb interpretation of the month.  It’s hard to be;lieve it has been 30 years since the album October was released by U2.  Here’s the mood piece that serves as the title track for this album.

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Recently stumbled across a site that has become a new favorite.  It’s called Luminous Lint and is devoted to the art of fine photography from the earliest days of the medium up to the present time.  It is filled with an incredible archive of imagery from the work of the giants of photography such as Richard Avedon and Walker Evans to the most obscure photos from unknown photographers.  I have only scratched the surface with my own visits to this sight, at first drawn to it because I discovered they had a group of photos from Henry Beach, a photographer of the turn of the 20th century who chronicled life in the Adirondacks.  I was familar with some of his photos of the village of Forestport, a place I’ve mentioned several times here.  My great-grandfather was a prominent lumberman there in its heyday and it remains an area of fascination for me.

One of the oddities you can find on this site is a good sized collection of Post Mortem photography from the late 1800’s, such as the piece shown above.  It was not uncommon for families of that era to have photos taken of the recently deceased as a final memory of their family member.  It is a very different viewpoint of death than we have as a society today and perhaps stems from the relative nearness of death in their world as compared to ours.  I know from my genealogical research that many families losing several children to death was not uncommon and many households held extended families so that aged relatives passing was a normal course of everyday life.  Death was simply a part of life.  It still is even though we often try to deny and delay it. 

So, if you are attracted to imagery that is beautiful or odd or filled with history, this is a great site to spend a bit of time.  Unlike many sites, you won’t feel as thought your time was wasted.

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A place belongs forever to whoever claims it hardest, remembers it most obsessively, wrenches it from itself, shapes it, renders it, loves it so radically that he remakes it in his own image.

–Joan Didion

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My friend Linda from Texas one day in her blog  brought this quote from Joan Didion to my attention and it has stuck in my mind for some time.  It seems to especially apply itself to those places and memories from our past that have long passed from the sight of the general public, places that I often run across when doing genealogical research.  Towns that have vibrant stories and a rich , interesting past but are nearly vacant now, the memories of that place now resigned to an existence in a few aging minds and a few timeworn photos.

My nephew and his wife recently went up through the Adirondacks and I told him to look for the village of Forestport where my grandmother’s family had a large presence in the late 1800’s and early 20th century.  Her father, my great-grandfather was a prominent member of the logging industry there, employing hundreds of loggers who harvested the timber of the Adirondack and sent it on barges down the Black River Canal to the Erie Canal and onward to build the booming cities of the east.  After his trip, he said that he had been through Forestport and there wasn’t much there.

In my research, the town had taken on its own life.  There are many photos like the one above of the rail station where my grandmother used to come and go (she might even be in that crowd) give evidence of a bustling place full of life.  There are a few books that document the town at that time, talking about the many characters who built the village in the southern forest of the Adirondacks and rebuilt after it burned to the ground on several occasions.  Other books document its place on the Black River Canal, the barge builders who worked there and the men who kept the locks made the canal work.  All attest to a place full of life.

Yet now that is all nowhere to be seen.  That life is a mere reflection in a few minds who have any interest in such places.  Like me.

I wonder often how close the memory I have wrestled from reading and looking jibes with what actually was.  Have I added more life, more vibrancy than actually existed?  I suppose that’s where Didion’s words enter the equation.  Because I care for some reason, that past, that memory of place has become my possession somehow.  Remade in my image, as she said.

It’s an interesting concept and one that doesn’t necessarily just pertain to place alone.  It may work for all memory, all history– events and people, for instance.  History belongs to those who remake it in their own image, for better or worse.

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Mo

I am a big fan of baseball.  I classify myself as a Yankees fan currently but, though I revel in the rich history of the organization with names like Babe Ruth,Lou Gehrig, Joe Dimaggio, Yogi Berra, Mickey Mantle and on and on, it is the group of players that started their current run of success that made me fans of this team.  Bernie Williams, Jose Posada, Andy Pettitte and, of course, Derek Jeter were constants over the last 15 years. All played significant roles in the restroing the Yankees to the top of the baseball heap.

But any fan who cares a lick about baseball knows that much of their success is due to one player, a rail thin man from Panama with the name Mariano Rivera, known to fans simply as Mo.  Today he stands as the all-time leader in saves, meaning he is the pitcher who comes in at the ends of games when the outcome is in the balance and shuts down the threat from the other team. He is the closer, the most demanding position  in the game so far as absolute consistency is concerned.  He either preserves the win or loses the game.  No excuses accepted.

No one has been as consistent in protecting the lead for wins as Mo for the past 15 years, a remarkable time for a position where the strain and stress usually drains most closers after 7 or 8 years.  Yankee fans have long felt the welcome comfort that comes with seeing number 42 come jogging out of the outfield from the bullpen to enter the game.  Even his number is special.  Mariano will be the last player to wear the number since he is the last active player who was wearing number 42 when Major League Baseball retired the number to honor Jackie Robinson. 

It’s hard to explain to non-baseball fans what Mo has meant to the Yankees and to baseball in general.  He has carried himself for these years with great modesty and dignity, never showing up an opponent.  On the mound, he has the appearance of the old gunfighter in the movie westerns of years gone by– wary but calm and collected, knowing that he must control his emotions to do what he must do.   When the game is over, there are no histrionics, no throwing of his hands toward the heavens.  He expects his success and usually flashes a small grin, almost embarassed  sometimes, as the players congratulate him.

 It’s an attitude that has won him great respect around the game.  Yesterday, when he broke the record, the Minnesota Twins, who came up short against Mo in this game, stayed after the game and gathered on the dugout steps to join the Yankee faithful in applauding the embarassed star as he stood alone on the field.  Even diehard Red Sox fans, who boo Jeter like he killed their mother, often give Mo a hearty cheer when he is announced at post-season or All Star games.  He is a man of respect, both giving and receiving, a quality that hopefully will rub off on younger players.

Mo’s 41 years old  and when he takes off his cap his scalp is bald now.  He shows his age a bit but still performs at the highest level.  As a fan I know there will not be many more times when number 42 calms the anxious Yankee fans as he jogs acoss the outfield toward the mound.  I relish every appearance now, knowing that I am watching a legend, a player who will be talked about in the same breath with Ruth and Gehrig.

Deservedly so.

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I’ve been pretty busy as of late so there are some websites that I like to check out regularly that I haven’t visited recently.  One of my favorites is Candler Arts, a site out of the Atlanta area that features American folk art, oddities and eccentricities.  Along with their accompanying blog, they always have something that really is quite interesting and often quite beautiful as well.  I finally stopped in yesterday and found a couple of folk paintings that really clicked with me.

The one above is signed by a Laura Doyle, a name that I couldn’t find anything about with a quick check.  This piece really has a certain sense of rightness and rhythm, one that really captures my fancy.  I like the depth into the picture frame that the moon and horizon create here.  The bony trees and gray skies make it feel like a darker, colder version of the Peanuts comic strip’s world.  It really works.  Someone recognized this as it has sold.

The other painting is this piece from the 1890’s of a young man with a huge slice of watermelon.  It’s not a great painting but it has a certain flair in the way the boy’s grinning face is painted .  He reminds me a bit of Alfred E. Neuman, the mascot of Mad Magazine.  With the preoccupation of that big slab of melon I can imagine him uttering Neuman’s  “What? Me worry?” catchphrase with ease.  Just kind of a neat piece.  Still available for sale, too.

Check out Candler Art or their blog sometime.  There’s always something to pique your interest.

Now, back to work.

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I’ve written here before about how we follow the Tour de France each year and normally that is the extent of our cycle racing for the year.  Cheri tries to keep up with the tours around the world but news reports are few and far between outside of the Tour de France and its extensive coverage.  Well, starting today there is a new race bringing many of the world’s top racers and their teams here to the USA for a gruelling trek through the Colorado Rockies.

Called the USA Pro Cycling Challenge, this event covers 7 days of racing over some of the highest mountain terrains.  All of the racing is at elevations over 6000 ft and several of the peaks they are scaling reach well over 12000 ft, more than 2000 ft above the the summits they faced in the Tour de France.  It will be an exciting race that should be a real test of endurance over extremely high altitudes. 

Tour champion Cadel Evans and runners-up Andy and Frank Schleck are among the elite cyclists that will hopefully make this into an even more anticipated event in the future.  It would be great to have a showcase here in the states that gets the type of coverage that allows casual viewers to see  the excitement  and drama of the racing combined with spectacular scenery that makes cycle racing a compelling sporting event.  Hopefully, the organizers of this race have set up a course that showcases these strengths.

The race begins today with a short time-trial held in Colorado Springs before heading to the high peaks.  It is being covered by NBC and shown on its Versus network, beginning at 4 PM EST.

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I came across a song yesterday, an old surf guitar instrumental from the Ventures called The Creeper, that reminded me of this painting of mine of the same title.  I had written about this painting before here a couple of years back but had not mentioned how it was one of the paintings that I regret selling.  This was part of the Exiles series that I painted in the mid 90’s, mostly grieving figures painted with segmented features. 

 It was the first real series I had painted and was the basis for my first solo show.  I think I only sold three of those pieces and regret having taken any of them from that group of work.  I think because those pieces were so much the product of a specific emotional state at a certain time, I will not be able to capture that exact feel again.  I have periodically painted figures in that style over the years since and  while they have certain charms, they lack the impact of these earlier pieces.

These few pieces are gone but at least I have images to take a look at when their memories start to creep in, much like that fellow above.

Here’s the song that reminded me of this painting, The Creeper from the Ventures.  This piece is very reminiscent of Wipeout ( with maybe a little Peter Gunn thrown in) but is really distinguished by some super organ work  from the great Leon Russell in an early appearance in 1964.  Give a listen– it’ll rev up your Sunday.

 

 

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There was an opening round game last night at the Little League World Series in Williamsport, PA.  I know that doesn’t sound too interesting at face value.  I mean, c’mon, it’s a couple dozen 11 and 12 year olds playing ball. And it’s only an opening round game  in a double elimination tournament.  So if they lose it doesn’t rule them out from potentially winning eveything.  In other words, it’s not now or never.

But this game was not your typical game.  It matched a team from LaGrange , Kentucky with a team from Clinton County, Pennsylvania, a rural Central Pennsylvania county only twenty minutes down the road from Williamsport.

Local boys.  Local fever. 

The crowd started amassing before the 5 PM  game prior to the Clinton County game which started at 8 PM.  Convoys of buses from Clinton County swarmed into Williamsport.  By the time the first pitch was thrown the stands and hillsides of the landscaped bowl in which the field sits was packed in a way that it had never been in the 64 years of its existence. 

41,848 fans to be exact. 

To put that in perspective, the first place New York Yankees were playing the Twins in Minnesota and drew a sell-out crowd of 41, 328– 500 less  fans.  And the Boston Red Sox were in Kansas City  playing before a crowd of 21,262– almost half the size of the crowd smushed together on a Pennsylvania hillside, most rooting for a Clinton County victory.

But, alas, fortune was not smiling on the youngsters from Clinton County.  They lost 1-0 in a tense, action filled game that featured the LaGrange ace striking out 12 Pennsylvanians as well as scoring the only run of the game on a first inning home run.  Clinton County had several opportunities but just couldn’t push a run across the plate. But both teams played extraordinarily well and didn’t seem at all phased by the huge crowd around them.  I am always amzed at the composure these kids maintain in what seem to be pressure packed scenarios.  I think of the people who talk about having thrown out the ceremonial first pitch at  major league games and how they say the pressure is just remarkable.  And that’s just to throw a lob in the general direction of the plate.  Myself,  I would have  a hard time just swinging a bat before such a crowd, let alone trying to hit a fastball.

But these kids seem oblivious and perform in a cool manner with skills that seem out of line with their typically small bodies.  Amazing. I’m hoping Clinton County can bounce back.  If they can somehow fight their way to the final game, I think they might have to close down Williamsport.

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There was a John Mellencamp album from 1990, Big Daddy, that had a song with the line ” Henry sent a postcard from a better place…”  There’s something in that line that has stuck in my memory far more than the original song and always comes to mind when I receive a postcard from friends or family.  I thought of it yesterday when I received this postcard from a friend I know through my paintings who now lives in Slovakia.

It’s an image of the painting Vier Baume ( Four Trees)  from the great Austrian painter Egon Schiele  whose work has always captivated me.  He saw it while visiting the Belvedere Museum in Vienna and it reminded him of my paintings, joking that this Schiele guy must have been influenced by GC Myers.  His mother, a lovely woman who I know and who was visiting with him there, added the line, “If only he’d thought to put a red chair in the tree!”  Gave me a chuckle.

One of the little perks of doing this is having my work connect with people and have them tell me of  how they are reminded  of this at different times in their travels.  I posted a photo here last year that was given to me at a gallery talk by a man who saw this tiny, tiny island off the coast of Venezuela with a single twisted tree atop it.  It reminded him of one of my paintings and he was kind enough to snap a photo of it for me. 

These little gestures mean an awful lot to me as small validations of the strength and voice of the work.  When I’m painting in the solitude of my studio I can only hope that the piece I’m at work on will have such an impact to make someone far removed think of it beyond the moment when they actually see it.  There’s something comforting to me in this thought. 

Perhaps the postcards sent are because these folks view my painting as a sort of postcard from a better place. 

Who knows?

 

 

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Doppelganger

A month or so back in a post, I wrote about the late Modernist painter Oscar Bluemner and the odd feeling of connection I felt to his work.  There was something in it that seemed beyond familiar and that really intrigued me, making me want to find out more about this little known painter.  I found one book, Oscar Bluemner: A Passion for Color, written by Barbara Haskell , the curator for a Bluemner retrospective of the same title at the Whitney Museum of Modern Art in 2005.

When it arrived yesterday I opened the package and flipped through it quickly, taking in the images that all seemed so right to me.  Stopping on a page of print, the first sentence I read surprised me and made this feeling of connection with Bluemner seem even more palpable.

Bluemner considered subject matter irrelevant except as a conduit through which to convey his moods and inner consciousness, yet he also believed that art must be based on the real world in order for it to communicate with viewers.

That sentence succinctly captures much of what I try to convey about my work when I stumble through my writtten explanations.  Looking further I came across pieces of his that so meshed with my own work, particularly in my earlier phases, that it was eerie.  The colors and forms and even the sense of rhythm seemed so close.   Even the words he chose when writing about his work seemed to mirror my own.  He spoke of that same rhythm to which I often refer.  The words continuum and polarity seem to pop up frequently as well as I glimpsed through, both words that draw my antennae. 

I begin to wonder about he connection.   Perhaps it is inevitable in this wide world of ours that two widely separated minds would view thie world in the same spatial way and would emply the same colors and forms and rhythms, would try to communicate may of the same emotions and perceptions.  Perhaps we all have these creative doubles, our artistic doppelgangers, and the only exceptional thing is that I may have come across such a person and recognize it. 

I don’t know.  I have yet to read deeper into this treatise and may come across something that will make me deeply regret connecting my work in any way with his.  Judging from his life and death, he was obviously deeply flawed.  I hope that my own many flaws do not match too well with those of Bluemner.

We’ll see.

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