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giphy falling leavesFirst frost of the season.  As I got out of bed and looked out the window, there was thin layer of silvery shine on the grass beyond the wood’s edge.  There is a real bite in the air as I walk to the studio understanding that autumn is truly upon us now.  A bit later,  as I look out of the studio window, this realization is reinforced as the sunlight filters through the oranges and yellows of the turning leaves, indicating with certainty that the summer is gone and the harsh beauty of winter will soon be here. This filtered light and thoughts of summer gone and winter ahead create a wistful feeling in the air.

It’s one of the rewards of the changing seasons here, a built-in reminder of time passing that serves as a metaphor for our own lives, our own mortality and the ephemeral gift which we are given.  And while simply watching a golden leaf lazily fall through the low angle of the sun to the frosted grass below might not seem like much of a gift, there are times when it feels priceless.

And that is how it feels this morning.

In that vein, the music I have selected for this Sunday morning is a wistful song from the late Warren Zevon.  It’s a song, Keep Me in Your Heart,  that he wrote while in the throes of the terminal cancer that took his life.  Zevon led an interesting, if sometimes crazy, life.  His father, a Jewish Russian immigrant, was a bookie and close friend of mobster Mickey Cohen.  When Warren was 13 he studied with Igor Stravinsky before quitting high school in the early 60’s to go to NYC to be a folksinger.  He knocked around for years before finding success both as a songwriter and performer.  This success came and went several times, often as result of his own self-destructive behavior.  He died in 2003 at age 56.  I’ve always thought it was shame that so many people only know him for Werewolves of London when he wrote so many other beautiful songs such as this.

Take in the day fully and enjoy.

 

 

 

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Detroit Performs Detroit Public Television WTVSThere are many ways our work spreads out once it has left us.  I’ve written in the past week about my work physically traveling to distant lands in American Embassies and with numerous collectors abroad as well as taking note of my imagery appearing in an art class across the country.  Another way it spreads is through the media, in interviews and articles that sometimes take on a life of their own and linger long after you have forgotten them.  These things are never perfect, never giving  full context of you as a person or an artist, but are useful despite their limitations, if only in making people aware of your work.

I have written here about the TV segment that our regional public television station, WSKG, did in my studio a couple of years ago.  Over that time this segment has been all around the country, appearing in numerous arts programs on other public television stations.  Periodically, I will get a rash of contacts from people in a certain area and will often find that this segment has recently shown on their public TV channel.  Usually, that is the only way I know that it has been shown in these areas.

But yesterday, I received a tweet that it was once again on the move, this time showing as part of a program called Detroit Performs, which appears this Tuesday, September 30 at 7:30 PM.  It is produced by Detroit Public Television, WTVS.  This episode features stories from artists who work in the aftermath of accidents or cancer, also featuring artists Darold Gholston and Kate Paul.

It is somehow still alive.

Here’s the promo from Detroit Public Television and a web extra released last year by WSKG that feature a part of the interview that didn’t make it into the final segment.


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Lazaretto

jack-white-lazaretto-youtube-music-video-shadow-2014It’s Sunday morning here in the studio and I am a little charged up, eager to get at some work on my painting table and on the easel that are near that point where they take off on their own.  So I am going to be brief with my music selection for this Sunday morning.  It’s Lazaretto from Jack White.  It has the kind of fiery energy that I want to carry with me this morning.

FYI, the word lazaretto refers to quarantine stations of all sorts– ships, islands, even leper colonies.  It derives from the name of of the biblical Lazarus and has been used around the globe as denoting those places where travelers– if in the case of slaves and refugees they can be described as travelers– are isolated until they are determined to be free of disease.  This song is White’s imagining of what might be going through the mind of such a traveler. Not sure if the imagery in the video has anything to do with this but it keeps you interested for the most part.

Anyway, time for me to charge onward.  Give a listen if you need a little boost this morning and have a great Sunday.

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GC Myers-FourShadowing ing Grouping

I recently painted the four  12″ by 12″ paintings, shown above, which is grouped as a set titled FourShadowing.  I wanted to have only the most subtle of differences between the pieces as far as subject and form so that there was a repetitive quality as your took them in, almost like the recurring chorus of a song.  The variations of colors acts as a sort of verse.

I try to not think to0 much about this, not wanting to contrive the outcome in a way that saps all of the energy from the work.  Just let the elements do their thing, let their voices be heard over the repeating imagery of the four pieces.

I saw the video below, a simple explanation of how we are affected by musical repetition based on the work and book, On Repeat: How Music Plays the Mind , of cognitive scientist Elizabeth Hellmuth Margulis, and it instantly made me wonder if repetition played the same part in visual art.  I believe that the  personal style of an artist is a form of repetition, that the more familiar a viewer is with the work of an artist, the easier they find themselves able to engage with it.  The repeating nature of their style and the body of work reinforces and reassures.

Of course, I am talking off the top of my head right now and I might read this later and ask myself what the hell I was talking about.  It’s a grain of a thought at the moment.

Anyway, take a few minutes to watch the video and think about it on your own:

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GC Myers- Larger Than Life

GC Myers- Larger Than Life

I’ve often write about change, lately in the form of fighting against my own selfishness through acts of generosity, somehow hoping that this reinvention of the self makes me a better person and affects change in others.  I spent a few hours yesterday with John and Ron, a couple currently from Iowa and Illinois, each side of the Mississippi, who ad come to the West End Gallery specifically to see my work.   I had a great time getting to know them a little better and learning more about their lives.  Listening to them over lunch,  I found that their own lives were stories of reinvention, of finding new identities.

It really struck a chord with me, making me appreciate how creative and adaptive we are as people.  Sometimes it’s a practical matter, out of the need to meet the demands of our basic needs, and sometimes it is a matter of changing behaviors that we realize are negatively affecting our lives.  Either way, the result is a new self of some sort, hopefully one that brings us more happiness and satisfaction with ourselves.

It reminded me of a post from several years ago, in 2009, where I wrote a short bit about reinvention, using Loretta Lynn as my subject.

Thanks to John and Ron for the inspiration for this morning.  It was great meeting you and I hope the rest  your trip goes smoothly.

Here’s what I wrote back in 2009:

Reinvention.

What I was is not what I am and what I am is not necessarily what I will be.

We’re fortunate to have such an opportunity, to be able to change and evolve over our lives.  To be able to show the world other and new facets in our prisms.  The only question is why do some people take this opportunity to reinvent themselves and other do not?

I thought about this the other day when I was in the studio, prepping work for my next show. I was listening to Van Lear Rose, an album from a couple of years back from Loretta Lynn, the Queen of Country Music.   It’s a great album with Jack White of  White Stripes fame  producing and playing.  The songs have Loretta’s unmistakeable signature voice and songwriting but have a new feel.  A little more edge and a little less twang.  A new side to Loretta.  She took the opportunity, when it presented itself,  to step forward and change.

But what about those who don’t?  Why don’t they continue to evolve?   Are they simply satisfied with where they are?  In music this is pretty common, guys playing the Oldies circuit, performing the same songs that they made popular when they were 18 years old.  Perhaps the opportunity to change never showed up.  Maybe they felt safe in staying in their tried and true routine of rehashing the past.   No risk there.

Who know?  I surely don’t but I do know that this chance to change our skin, chameleon-like, is an opportunity  that the truly creative should not simply push aside because for them to remain static is death.  Take the risk.

Here’s  a little Loretta from Van Lear Rose:

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GC Myers- Septemebr SongIt’s hard to believe that September is upon us already.  September always has a contemplative feel, a pause after the hustle and bustle of the summer months before making the transformation into the cooler, grayer months.  The leaves begin to turn.  The days get shorter. The air takes on a cool hardness that is a keen reminder of the coming coldness of the winter.

One of my favorite songs is the classic tune from Kurt Weill, September Song.  It’s been recorded by literally hundreds of artists through the years from many genres, from Jimmy Durante to James Brown to Lou Reed.  Willie Nelson does a rendition that is very delicate, maintaining the tenuous nature of the tune.  Just a lovely version.  I’ve included it at the bottom.

The image here is a new piece, a 6″ by 10″ painting on paper that I am calling September Song.  It is part of a group that will be accompanying me for the trip to the Principle Gallery on September 13th, when I will be giving a gallery talk there.  More info on that later. This painting has a wistful feel, as though the tiny figure is pausing on the path to reflect on where he has been, what he has seen and done.  The sun above and the churning rays of light emanating from it represent the inevitability of time, of change.   I wasn’t sure what to title this painting but when I realized that we were into September, the tune immediately came to mind and the narrative of the scene filled out for me.

Now, I am going to give a listen to Willie as he sings September Song:

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GC Myers- Shadowsong smWell, it is Sunday morning and time for some music once again.  I thought I’d take this opportunity to show how it is not always the what but the how that is important.  Take for instance the song Oops!… I Did It Again, perhaps one of the best known pop songs of the last fifteen or twenty years, performed by Britney Spears.  Like her or not, you probably have found yourself at some point with that tune in your head.

Myself, I have tried to avoid it in any way possible.

But back in 2003, one of my favorites, Richard Thompson,  did a live album called 1000 Years of Popular Music, where he attempts to summarize the last millennium through musical selections from different eras through that time.  He begins  with Sumer Is Icumen In from the 11th century (this debatable with some saying it is later but for the sake of making the album title work let’s go along with the 11th century) and moves through all forms of traditional and popular music all arranged for his single guitar and  percussion, when needed.  It ends with 2000’s Oops!… I Did It Again.

In Thompson’s hands, the song becomes something quite different.  In painting terms, it would be like two vastly different painters doing the same scene.  Let’s say a simple country cottage painted by Thomas Kinkade and Vincent Van Gogh.  They might be the same whats but the resulting hows would be worlds apart.

Give a listen and see for yourself.  And have a great Sunday…

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I recently came across the work of Japanese digital artist Nobumichi Asai, who is a master of the art of projected illusion.  Much of his work is done on a grand scale, seemingly transforming a location  through time and space such as the Yokohama Odyssey , which can be seen in the bottom video here.  In it he takes an audience seated in an the basin of an old dockyard and takes them through time to old Yokohama and much more.  Even on film it is quite stunning.  I can’t imagine what the effect must be in person.

But just as stunning is his work on  a much smaller scale.  In the top video below, he transforms a models face with a sort of digital makeup, all just a projected illusion.  The model is free to move her head as the projectors compensate seamlessly through a process called Omote Real Time Tracking.  It’s a pretty stunning transformation and I can see this expanding onto the stage to allow for incredible effects on live performers.  It’s an art that is technologically and aesthetically in polar opposition to what I do but it is remarkable and potentially beautiful nonetheless.

Take a look below or go to the site of Nobumichi Asai to see more of his work.

OMOTE / REAL-TIME FACE TRACKING & PROJECTION MAPPING. from something wonderful on Vimeo.

DOCKYARD 3D PROJECTION MAPPING / YOKOHAMA ODYSSEY from something wonderful on Vimeo.

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sly-stoneIt seems hard to believe that it was 45 years ago that the legendary rock festival Woodstock was taking place.  On this date back in 1969, Sly and the Family Stone played a late night set that was one of the standouts of Woodstock,  destined to become stellar among a number of other legendary performances at the event.

Sly has become less visible in recent years and I am sure he is unknown to many in the younger generations but he and his band were huge in their time, bringing a high-powered multi-genre, multi-racial blend of funk, soul and rock music to a wider audience.  I will go for a while without hearing a Sly song and when one comes on I wonder why I am not listening to this all of the time.  It engages you with a message and some heavy rhythm.  I can imagine some young kids stumbling across his music and feeling like they’ve discovered El Dorado.  It just glows.

I thought it would be fitting to kickstart this Sunday with a little bit of that performance at Woodstock from Sly.  The Youtube video below  is the shorter version of  I Want to Take You Higher and the link below  it is the full version.  Either way, a rocking start to a Sunday morning.  Have a great day.

Sly & The Family Stone – Woodstock 1969 by docfromcpt

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GC Myers- All We Cannot Know smHad a really nice Gallery Talk yesterday at the West End Gallery.  A wonderful crowd of folks turned out, a mix of  many new faces and those who I have seen before.  Made for a very comfortable setting and their warmth and interest made me feel at home.

Sort of the theme of the talk.

I had two different people, both from my hometown of  Horseheads,  remark afterward how proud they were that I was from and creating this work there.  It caught me off guard.  I had never looked at my work from that perspective, as being a source of civic pride.  I had never seen it as being of one place but it is, being from where I live.  My home.  There’s a power in that phrase that can’t be underestimated.

Many, many thank you’s to everyone who took time from a summer day with perfect weather to spend an hour with me, especially to those who traveled distances to do so.  I cannot fully express my gratitude for your warmth, your attention and your participation.  And, as always, many thanks to Linda and Jesse Gardner at the gallery.  Sticking to the theme, the West End is my home gallery and they have always made me feel at home there.  Thanks so much for the opportunity you gave me nearly twenty years ago.  My life is much changed as a result.

So, since I usually have some music on a Sunday morning, let’s stick with the theme of home.  Here’s 25 Miles , performed by the late Edwin Starr, the Motown artist who is best known for his 1970 #1 hit, War .  You know the song– War– good god y’all– what is it good for, absolutely nothing.  25 Miles was from a couple of years earlier, in 1968, and reached #6 on the pop charts.  It’s an indicator of what was to come with War.

Enjoy and have great Sunday.

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