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John Sloan Dust Storm Fifth AvenueI was going through a book of painting that focused on New York City and came across an image of the fabled Flatiron Building, its three sided structure which gives it the look of a ship’s prow making it one of the more iconic building in the city.  It has been photographed  and painted numerous times, enough so that there is probably a book of just Flatiron images floating around somewhere.  It’s a striking building and one that I always am intrigued by in images and in person.

But I hadn’t seen this painting by John Sloan, the American artist who was part of the Ashcan School that painted the reality of the urban experience in the early decades of the 20th century.  I am a fan of this loose-knit group of  painters that includes George Bellows, Edward Hopper and Robert Henri, among others.

The painting was titled Dust Storm, Fifth Avenue and was painted in 1906.  It was an image looking down Fifth Avenue to where the Flatiron’s prow stood proudly as a black cloud hovered above.  On the ground below, the people scurried about  in a panic as the wind blew up huge clouds of dust as it funneled down the canyons of the city.  There’s a tremendous amount of movement in the painting that gives it great impact.

It made me wonder how accurate the image was.  Were these dust storms a normal occurrence in old New York?  It turns out that the Flatiron was notorious for the winds that gathered around its base and buffeted the pedestrians who happened that way, taking hats and lifting women’s skirts, exposing their legs to leering young men who would gather on the corner of 23rd Street for just such a purpose. The police would regularly have to disperse the gawkers which is supposedly where  the term 23 Skidoo originated, it being the phrase they would shout to get the crowd moving.

It’s always interesting to see the story behind an interesting image like the one Sloan captured, to see the real history being portrayed.  It makes me appreciate this painting even more. Here’s a short film from 1903 that shows  the mischief that the wind played on the passing crowd.

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I’m so glad that I know more than I knew then

Gonna keep on trying

Till reach my highest ground

GC Myers-Higher Ground

I wrote that when I was visited  last week in my studio by a film crew from WSKG  that they had taped me working on a painting in its early stages.  The painting above is the final version of that piece.  It’s a 20″ by 40″ canvas that I am calling Higher Ground, a title somewhat borrowed from the Stevie Wonder song of the same name quoted above.

This piece has a couple of different elements than most of my work.  For instance, the rocky walls of the canal/river as well as the rocky outcropping of the rise on which the Red Tree stand.  There’s also an orchard in the lower right corner that I use sparingly in these pieces.  I have sometimes said that these paintings are often not really about the Red Tree at all but are more about the mood created by the combinations of color and form.  But the Red Tree is definitely center stage here, everything revolving around and focusing on it.

Higher ground could  represent the safety offered by it  in times of flood or in combat.  For me, I see it as attaining a higher plane of being, or at least aspiring to it as a goal.  Perhaps not the same highest ground that Stevie Wonder is seeking ,  which seems to represent  a  Raptured heaven.  No, I see it more as being free of the the everyday, represented in the anonymous houses below.  To a point that is above hate and anger.  Above envy.  Above spitefulness and deceit.

Above judgement.  I add that because I don’t see the Red Tree as looking down on those house below it here. Rather,  I see it looking upward and outward.  And higher ground affords that better view…

Here’s the song from Stevie Wonder.  Great groove to start a day.

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newgrange-spiral-stoneI was looking for something to use here on the blog as a symbol for Ireland or St. Patrick’s Day.  I didn’t want to go the typical shamrock and leprechaun route. We’ve all seen enough of those.  Instead, I began to focus on their triple spiral symbol, the triskele.  It first showed up on the stones at Newgrange in County Meath,  a large burial mound or temple which dates back over 5000 years, making it older than the pyramids of Egypt.

The elaborately carved stones featured three spirals which meld effortlessly into one another, as though it is a continuum without beginning or end.  Though its origins and meaning are still vague at best, this triple spiral has come down through the ages as being symbolic of the trinity of later Christian believers and even found its way into the form of the ubiquitous shamrock.  I think the mystery and symbology of the triple spiral is fascinating in the way it still resonates in some primal part of us.  It is an elemental symbol, a part of who we are as a people.  And by that, I don’t mean simply the Irish but all people.  Everyone can identify with this symbol of  the unity of time and constant rebirth.

Maybe this unifying aspect is why there is such great appeal of  this day for so many, Irish and non-Irish alike.  I know that while I drink a Guinness or two today, probably dressed in a Kelly green shirt  as I listen to Danny Boy or some other maudlin ballad for the umpteenth time, I will stop for a moment and think of this trinity of spirals and feel a unity with the past.  And the future and the present.

Maybe the song will be Carrickfergus.  Here’s a version from Loudon Wainwright III that I very much like.

 

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WSKG Artist CafeI spent yesterday afternoon straightening up my studio a bit, something that I’ve been putting off for some time now.  It really needed tidying and I really did want to de-clutter the place just for the calming effect it normally has but it took the threat of  having a television camera coming in today to put me in action.  Our local PBS channel, WSKG, is showing up here this afternoon to shoot a segment for their Artist Cafe program.  It’s a weekly half hour program with three or four short stories featuring artists from a wide variety of fields.  Some stories are local and some feature folks of national prominence.

I am somewhat ambivalent about the whole thing, to be quite honest.  I am never too comfortable with anyone in my studio space, let alone a stranger with a video camera. Add to this the fact that  I am always wary of anything where I have no control over the final outcome, especially when it comes to my work, and I am made even more anxious.  I always like to set the narrative and while I may know what I will say today, I will not know how it will be presented.

But it will be good to get an idea of how my space looks to the outside world and I am to see how someone who is only slightly acquainted with my story and work will put together the segment.  So perhaps there is a positive spin to be put on this whole thing.  I have been impressed with the shows I have seen so far from this program that debuted late this past year.

Here’s a recent episode that features writer R.L. Stine, known for his Goosebumps  book series;   artist Allen Denny Smith, an Elmira artist whose recent forays into color abstractions has produced some really powerful work ; and  Lady Fiona Carnarvon , the real life resident  of the estate better known to the world as Downton Abbey– hey, it is PBS and that series has paid a lot of bills for them over the last few years!  I will let you know when my episode airs but for now enjoy.

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Alvin-Lee-III heard last night that guitarist Alvin Lee had died, at the age of 68, on Wednesday in Spain  from surgical complications.  I am sure the name doesn’t mean much to a lot of you but to those of you who grew up in the time of Woodstock, his name brings up memories of one of the more memorable  performances from that show.  Lee was the leader of the British band Ten Years After and their frantic version of  I’m Goin’ Home  took off when the documentary and soundtrack of that festival came out soon after.  It was electrifying stuff , then and now, and was one of the definitive moments of that landmark show.  I know that it really stood out for me even with all of the the many other incredible performances.

Unfortunately, he always felt that the attention that the Woodstock performance brought forced them in a different musical direction, more pop and away from the electric blues that he so loved and which their earlier success was built.  It’s one of those instances where success is a double-edged sword.

Lee’s biggest hit here, besides the Woodstock performance, was the 1971 song I’d Love to Change the World, which hit the Top 40 here.  It has a great sound and  in many ways expresses the chaos and uncertainty that marked the late 60’s and early 70’s.  Lee’s playing on this cut is memorable.  Here it is, in memory of Alvin Lee.

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Garrett-Mcnamara-100-Foot-Wave-Nazare-PortugalThere was a story on 60 Minutes Sports last night that featured surfer Garrett McNamara‘s ride in late January of a wave outside of a small fishing village in Portugal that may have been 100 feet tall, a world record when and if it is certified by the Guinness people.  McNamara already held the world record for riding the largest wave, a mere 78 footer.  But this is a one of a kind monster.  If you’ve never seen the ocean or seen much more than a small swell, it may be hard to imagine how big a wave we’re talking about here.  It is awe inspiring and to think that someone would look out at this moving mountain of mayhem that is breaking so close to the shore and think that they might want to put themselves out in it seems like madness.

And maybe it is.  But I have to admit to being envious of the guts and ability of the big wave riders, the guys who take on the challenge of these wave behemoths that other world class surfers would run from.  To put yourself at the mercy of nature’s fury  on such a grand scale is truly elemental.  I could sit and watch these guys all day, captivated by the way they dart across the waves.

Here’s a video that I showed about four years ago that feature the penultimate surf song, Pipeline, from the Chantays.  The setting for the video is a bit odd, however.  It’s hard to imagine this music that symbolizes the wildness of the surf culture on The Lawrence Welk Show but   here it is.  It adds to the kitsch factor.

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gc-myers-studio-march-2011I’m sitting in my studio looking at an empty canvas.  It wasn’t empty not too long ago.  No, I spent the better part of the afternoon yesterday working on this canvas, a 36″ square that was prepped beforehand with gesso and a first layer of black paint.  Several hours spent and not a minute of it felt smooth or in rhythm.  The paint didn’t come off the brush in the way that I expected or desired.  The composition seemed to just go nowhere ,leaving bland and lifeless  bits of nothing littered all over the canvas.  I never felt a flow, that quality I have described before where one mark leads to the next as though you are reading the lines and strokes on the canvas like they were revelatory tea leaves.

No tea leaves here yesterday.  Everything led to nothing.   After a few hours, I was exasperated and I knew deep down inside  that I had betrayed my own words and had tried to force the work rather than let it flow out organically.  That was the lesson and I knew what had to be done.  I  laid the canvas flat on the floor and broke out the black paint, covering the offensive marks that had been there moments before.

It felt good, actually.

Time reveals many things and after tens of thousands of hours spent in the studio I have learned that  failure is no big deal.  It’s like the weather– temporary.  It comes and goes.  A failure like yesterday doesn’t make me happy but knowing that sometimes things just don’t work out makes me take such  a temporary failure  with a philosophical shrug.  And instead of struggling ahead with this horror show that was unfurling before me, trying to somehow cobble it back to life, my experience has taught me that it would be best to retreat and start anew.

Tabula rasa, so to speak.told

So here I sit this morning, a new day,  with a fresh canvas waiting for me and there is a new air of anticipation around it.  Yesterday is but a lesson and there’s no telling what the time spent today will reveal.  Can’t wait.

Here’s one of my all-time favorites which sort of ties in with today’s post.  It’s Time (The Revelator) from Gillian Welch.

 

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Steven Wilson- The Raven That Refused to SingMy friend Scott Allen from the Cleveland area sent me a link to a video the other day.  It was an animation of a song from Steven Wilson, a British progressive rock musician who is the lead singer for Porcupine Tree.  The song is titled The Raven That Refused to Sing and Scott said that he felt reminded by it of my Exiles/Outlaw series, both in tone and imagery.

It’s a dark and sad storyline that runs through the video as an old man deals with the grief of loss and memory.  But I could definitely see the parallels that Scott hadGC Myers- Followed observed , especially in certain scenes.  For example, the scene where the old man sits in his bed in front of the windows  ( shown above) instantly reminded me of my characters as they peer out their own windows with that same haunted look.  Perhaps their fear is much like this old man’s grievous fears.

The video was made by British animators Jess Cope and Simon Cartwright who have a real knack for incorporating this type of dark and mysterious subject matter in their works.  Their The Astronomer’s Sun is a much celebrated short in the same poignant vein. It’s definitely worth a look, as is this video.  Thanks, Scott.

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Eric Burdon- 'Til Your River Runs DryGrowing up,  I was always kind of fascinated by Eric Burdon, then lead singer for the Animals, the British rock band who always seemed just in the shadow of the Beatles and the Stones.  But they were different than the other bands of that early British Invasion.  They seemed rougher, more closely connected to American blues.  Their songs were not mere love ditties.  They were angrier, more defiant and fatalistic.

And it was all captured in the face of Eric Burdon.  He was not a pretty boy, not the smiling cute one that even moms found charming.  He was sleepy eyed with  pock marked skin and an almost surly demeanor that never broke into a toothy smile.  I might be mistaken, but I think he even had a broken tooth.   But he sang those songs that still resonate today–House of the Rising Sun, Boom Boom, Please Don’t Let Me Be Misunderstood, Don’t Bring Me Down, Sky Pilot,  We Gotta Get Out of this Place.  

It’s my life and I’ll do what I want…

He has had a long career, starting the band War, best known for Spill the Wine, Cisco Kid and Low Rider.  Today. he lives in the desert of Southern California and, at age 71, has a new CD, ‘Til Your River Runs Dry,  out on the market.  I am including a song from it today, Water, that deals with the ever growing problem with maintaining the availability of  safe and potable water now and in the future.   Water is that thing that we all need– more than oil, more than gas, more than any precious metals.  Water is the cause of the current battle over hydro-fracking and might be the thing that nations battle over  in the future.  Give a listen…

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GC Myers- Passing Clouds

Optimism is the faith that leads to achievement. Nothing can be done without hope and confidence.
-Helen Keller

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Who can speak more about optimism than Helen Keller?

I still struggle to get my mind around how she persevered to overcome blindness and deafness.  Such a remarkable thing.  It makes me question my own strength of character, makes me wonder how I would respond if similar circumstances.  I wonder how well known her life’s story is to the younger generation, outside of the tale of her early years with the woman, Anne Sullivan,  who taught her how to join the world as portrayed in the play and movie, The Miracle Worker?  That drama, while marvelous, doesn’t tell of the great influence that Helen Keller had through her life as an activist and inspirational speaker.  She is a pretty amazing case, to say the least.

That brings me to this  little piece, a new 12″ by 12″ canvas that I call Passing Clouds.  There’s a lot of joy, a lot of bright-eyed optimism in this painting, both in the process of painting it and in the final product.  It’s one of those pieces that I truly enjoyed every moment that I worked on it and never felt a twinge of doubt about the strength or validity of it.  It felt in rhythm with the first brushstroke and every subsequent move was made with complete confidence.  That’s a rare thing.  Usually there is a struggle at some point.  But occasionally things come together and a painting like this flows out with complete ease.

No, there are no clouds over this one.

I wanted to include a version of Irving Berlin‘s classic song  Blue Skies, one of my favorites.  But as I searched  I came across this different song  with the same title from Tom Waits.  I had forgotten this song that I hadn’t heard in many years but it immediately came back to me.  Just a lovely small song, perfect for a lovely small painting.

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