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Run, Run, Run

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If you want to run, run a mile. If you want to experience a different life, run a marathon.

–Emil Zatopek

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The words above are from Emil Zatopek, the immortal Czech runner who was called the greatest runner of all time by Runner’s World Magazine.  Zatopek wowed the sports world at the 1952 Olympics in Helsinki by winning both the 5000M and 10000M races then entering at the last minute and winning the marathon. It was the first marathon he had ever competed in.

I think he must be correct in his quote. Running is one thing, something most of us can do for short intervals. But committing to and running marathons are a whole different thing. It takes real focus and dedication– a compulsion — to run marathons at a high level. It requires altering your diet to get the most from the least. It takes the willingness to sacrifice the time for training, putting in endless miles running alone. Mastering that solitude is a special skill in itself.

I know that it’s something I will never do which is perhaps why I admire those that take on this hard task.

One person I know who does this is my nephew, Greg. He’s been running most of his life in some form. A little cross country in high school. Running just to stay fit as he aged. Casual stuff for the most part. He trained for and ran his first NYC Marathon in 2005, I think it was. He was in his early thirties at the time and his time was respectable.  In the years since, with some time away from competitive running to be a great dad to three active sons, he has slowly become a committed marathoner, doing all the things I described above.

Fittingly, the work and time he has dedicated have shown up in his results. His times have consistently improved even as he has aged. At age 47, he is consistently in the top 2% of both all runners and his age group. In yesterday’s NYC Marathon, he established a personal best for that race coming in at 2:56:16.

It’s been fun watching Greg’s continuing progress as a runner. Seeing his dedication and hard work rewarded is a lesson that I hope his sons absorb and use in their own lives. I am pleased for Greg and proud of his hard fought efforts.

Great run, Greg. Keep up the good work and looking forward to you establishing a new personal best in Boston in 2020, if that’s in your plans.

Here’s a favorite of mine from the Velvet Underground in honor of your race. It’s, of course, Run, Run, Run.

 

Bamboozled

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“One of the saddest lessons of history is this: If we’ve been bamboozled long enough, we tend to reject any evidence of the bamboozle. We’re no longer interested in finding out the truth. The bamboozle has captured us. It’s simply too painful to acknowledge, even to ourselves, that we’ve been taken. Once you give a charlatan power over you, you almost never get it back.”

― Carl SaganThe Demon-Haunted World: Science as a Candle in the Dark, 1995

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Earlier this year, I used another passage from this same book by Carl Sagan that decried the dumbing down of America and the celebration of ignorance that he was witnessing at that time, in 1995. As most of us have noticed, if things have changed at all, this celebration of ignorance has only grown.

The passage at the top is an understandable explanation of those who still somehow, beyond all explanation, defend the behavior of trump- the unending lying, the blatant corruption, the sheer amorality, the rampant criminality and the traitorous disloyalty to the office and the nation.

They just don’t want to admit they were bamboozled.

They still believe there is some sort of redemption ahead, some move by trump that will miraculously explain the vast array of lies and corrupt actions that have rained down on us nearly every day for the past three years. Personally, I can’t point to any single moment, any words or actions, any evidence of any kind that has me asking myself if maybe this guy is being somehow unjustly persecuted.

No, he is getting what his actions warrant. That is, if the pillars of our democracy hold.

The bamboozle isn’t over yet. The charlatan is still at work.

For this Sunday morning music, I am presenting a different sort of bamboozlement. There are two videos below from Puddles, the 6′ 8′ clown with the Pagliacci manner and a beautiful baritone voice, and his Puddles Pity Party. He has taken two songs, Johnny Cash’s Folsom Prison Blues and the Who’s Pinball Wizard and mashed them together, switching the lyrics from one to the music from the other.

Both are terrific. It’s like two of  my favorite musical artists had weird but fun children. This should be the only sort of acceptable bamboozling.

Give a listen, hopefully enjoy and have a good Sunday.


Robert Henri- Irish Girl (Mary O’Donnel) -1913

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Because we are saturated with life, because we are human, our strongest motive is life, humanity; and the stronger the motive back of the line the stronger, and therefore more beautiful, the line will be.

–Robert Henri (1865-1929)

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I came across this quote from the highly influential painter/ teacher Robert Henri and it made me think of two separate incidents that influenced my work.

The first comes from the quote itself, about how a strong belief in humanity and life should manifest itself in one’s art, creating a stronger and bolder and more beautiful line. It brings to mind the only art training I ever received, a night course, Drawing 101, from a local community college. I was taking it because at the time I had an interest in pursuing architecture and needed a portfolio. All the drawing I had done up to that time was just, more or less, doodling on bits of paper, in journals, or in the margins of magazines and newspapers. I thought a course on drawing would get me to some work that might help in putting together a portfolio.

The course ended up being a travesty. The instructor had little interest in being there and gave only cursory instruction. He kept an eye fixed on the clock and often ended the sessions early so that he could get to the local pub a bit quicker. I didn’t get much out of the course and dropped my quest to go into architecture but I did get one bit of advice that I carried with me.

The instructor pointed out that he preferred strong, bold lines even if they were not completely accurate or correct in the context of the drawing. They exuded confidence and that was more important that accuracy, especially if the lines were weak and tentative. That really struck a chord with me and stuck with me through the years until I began painting.

I think his words line up well with Henri’s assertion above. That confidence the instructor referred to is much the same as Henri’s saturation with life and humanity.

The other incident that I was reminded of upon stumbling across Henri’s words is my encounter with the painting at the top of the page. It is titled Irish Girl ( Mary O’Donnel) and was painted by Henri in 1913 and is at the Boston Museum of Fine Art. When I first saw it, I was showing my work at several galleries and was about a year away from my first big solo show at the Principle Gallery.

I encountered this painting in a large gallery in the museum and was struck how people would immediately head to this painting, even though it was one of the smaller pieces in the large space. I couldn’t figure out why this was. I mean, it was a strong painting but the way people were attracted to it seemed out of line with what I was seeing. Looking at it dispassionately, I finally settled on the color of her sweater as being the reason. It was deep crimson that really popped off the wall.

It made me examine my own palette of colors. My colors at the time were more earth toned and red was certainly not a large part of it. When it did come into play, it was usually more subdued and washed out. Pale. To tell the truth, I was a bit afraid of it as a color. When I tried it in a bolder way, it often skewed to harsher, sharper tones that were not to my liking and usually didn’t align with the emotional context of the painting.

But seeing Henri’s use of it made me better appreciate the power of the color. I began to work with it more and soon was incorporating in my work on a regular basis. It became a vital part of my visual vocabulary. It showed itself in a big way with my first show at the Principle Gallery which was titled Red Tree. It has stuck with me and I have Henri’s Irish Girl to thank.

It’s interesting how sometimes failed attempts, like my college course, or confounding encounters, such as mine with Henri’s painting, have impacts on you that you could never foresee. You never truly know what will come from anything we stumble across. Inspiration comes in many forms.

Have a good Saturday.

 

GC Myers- Night Comes OnThe post below from a few years back is very popular, receiving quite a few views each day. As I prepare to lead my annual painting workshop next week, I thought it would be appropriate to replay it here today.

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Whenever I am asked to speak with students I usually tell them to try to find their own voice, to try to find that thing that expresses who they really are. I add that this is not something that comes easily, that it takes real effort and sacrifice. The great poet e e cummings (you most likely know him for his unusual punctuation) offered up a beautiful piece of similar advice for aspiring poets that I think can be applied to most any discipline.

Or to anyone who simply desires to feel deeply in this world.

I particularly like the line: To be nobody-but-yourself -in a world which is doing its best, night and day, to make you everybody else- means to fight the hardest battle which any human being can fight; and never stop fighting.  That line alone speaks volumes and no doubt resonates with anyone in a creative field.

Take a moment to read this short bit of advice, substituting words describing your chosen discipline wherever the word poet (or a word describing poetry) is used, and see what you think– or feel.

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A Poet’s Advice To Students

(e e cummings)

A poet is somebody who feels, and who expresses his feeling through words.

This may sound easy. It isn’t.

A lot of people think or believe or know they feel-but that’s thinking or believing or knowing; not feeling. And poetry is feeling-not knowing or believing or thinking.

Almost anybody can learn to think or believe or know, but not a single human being can be taught to feel. Why? Because whenever you think or you believe or you know, you’re a lot of other people: but the moment you feel, you’re nobody-but-yourself.

To be nobody-but-yourself -in a world which is doing its best, night and day, to make you everybody else- means to fight the hardest battle which any human being can fight; and never stop fighting.

As for expressing nobody-but-yourself in words, that means working just a little harder than anybody who isn’t a poet can possibly imagine. Why? Because nothing is quite as easy as using words like somebody else. We all of us do exactly this nearly all of the time-and whenever we do it, we’re not poets.

If, at the end of your first ten or fifteen years of fighting and working and feeling, you find you’ve written one line of one poem, you’ll be very lucky indeed.

And so my advice to all young people who wish to become poets is: do something easy, like learning how to blow up the world-unless you’re not only willing, but glad, to feel and work and fight till you die.

Does this sound dismal? It isn’t.

It’s the most wonderful life on earth.

Or so I feel.

 

Baseball and Karma

Game 7 of the World Series last night.

What was there not to like?

For me, the shocking victory by the underdog Washington Nationals over the Houston Astros seemed like the universe was setting things right in a karmic sense.

The Nationals, the oldest team in major league baseball with the youngest superstar in Juan Soto, made an improbable run through the later part of the regular season and into the playoffs, becoming the first team to win all of their World Series victories on their opponent’s home field. That in itself goes against all the odds.

Just like the odds in May from the bookmakers in Las Vegas that had the Nationals chances of winning the series as 1.5%.

Maybe it was a gift from karma for them getting rid of Bryce Harper?

Or maybe it was a nod from karma for the Nationals crowd loudly booing the president* both at his appearance in game 5 and at a viewing party at Nationals Park in the rain last night?

I believe that was just a case of the crowd adhering to the old baseball adage that says: I calls ’em like I sees ’em.

And they got that call right.

Or maybe the karma came in the fact that the pitcher who got the final three outs was the Nationals’ Daniel Hudson and not Robert Osuna, the controversial Astros closer.

Hudson missed an earlier playoff game so that he could be with his wife as she gave birth and Osuna was arrested last year for domestic violence for beating the mother of his child. He was passed over by a number of teams but the Astros picked him up.

But the karma payback might have come in response to the Astros’ earlier defense of one of their executives, Brandon Taubman, who, in the clubhouse after the Astros won the American League pennant, taunted some female reporters, one who had written about domestic violence in sports, with an expletive filled rant that invoked Osuna’s name. The Astros’ management at first defended Taubman and said that it was totally misrepresented in the public accounts. But the Astros were later forced, after several witnesses to the event came forward, that they had been wrong and fired Taubman.

That might have been too late for the Astros– karma was already in motion.

My faith in humanity might not be fully restored yet but my faith in baseball and karma certainly has returned. It makes me believe that karma is now ready to move on from baseball and clear up some other pressing matters.

And it’s coming with a heavy hammer…

GC Myers- A Small Serenity*******************************

We are not going to change the whole world, but we can change ourselves and feel free as birds. We can be serene even in the midst of calamities and, by our serenity, make others more tranquil. Serenity is contagious. If we smile at someone, he or she will smile back. And a smile costs nothing. We should plague everyone with joy. If we are to die in a minute, why not die happily, laughing? 

― Swami SatchidanandaThe Yoga Sutras

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The painting above, created a couple of years back, recently came back to me which was a surprise because it really spoke to and pacified me from the moment it was finished. It was painted as a reaction to the darker nature of the time in which it was painted and was meant to serve as a hopeful guide forward. Given that the darkness of that time has only deepened, I believe its message is even more necessary today. 

To give an example, during the drive to visit my father who is a resident in a nursing facility suffering from Alzheimer’s related dementia, I find myself more and more aggravated these days by the people I encounter on the road. Some days I arrive at the facility seething and tense. But walking in, I try to smile and say something, a simple “hello” or “how are you?,” to the folks I meet on the way. That simple act and the occasional return of a smile or greeting from the other person has a profoundly soothing effect on me. My mounting misanthropy fades away for those moments.

And maybe that’s what I hope for this piece.  I don’t know. Anyway, here’s what I wrote about this piece a few years back:

I call this tidy 6″ by 12″ painting A Small Serenity. It’s a small and simple piece but it has a lovely feeling of tranquility in it, one that far exceeds its humble size. If anything, its dimensions enhance its sense of serene quietness.

And perhaps that is how a contagion of serenity begins, as a small seed within ourselves. A tiny feeling of peaceful tranquility that grows then bursts from us, radiating outward to infect those around us and hopefully through them to others.

And on and on and on.

The cynical part of me knows that such a plague of placidity is improbable but looking at this little painting for a moment gives me the serenity to hope and ask,“Why not? What harm could be done in being kind and calm or in wearing a smile? As the late Swami Satchidananda says above, a smile costs nothing.

So, let’s start this plague today.

Shouldn’t we all feel free as birds?

Passing It On

I am prepping for my annual two day workshop next week in Penn Yan at the Arts Center of Yates County. Below is a post I wrote just before the first workshop. I have to say, after the first four years, they have been both a lot of fun and pretty stressful for me. Every year, I am not sure I can do another one. But I keep coming back, mainly because of the kindness of the folks that come, the many laughs we share, the fact that I think they are taking away some small bits of knowledge, and the hope that they getting more than they expected when they signed up for the workshop. So far, I think that has been the case.

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Why does one not hold on to what one has, like the doctors or engineers; once a thing is discovered or invented they retain the knowledge; in these wretched fine arts all is forgotten, and nothing is kept.

Vincent Van Gogh, Letter to his brother Theo 1888

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When I read this quote from Van Gogh, I flashed back to a conversation I had several years back with an artist friend who was urging me to begin filming my painting process. He said that a deer could jump in front of my car going home from the gallery that night and nobody would ever know how my  paintings came about. He thought would be a loss.

That made me think but I still didn’t follow his advice and protected my process, except for small glimpses here and there, for years like an alchemist greedily withholding their found knowledge. It was one of several reasons for my lack of enthusiasm for teaching.

But time normally changes all things. I began to realize that it was a fool’s mission in keeping my process to myself. The  process was simply a tool for expression– it was not the expression.

An artist often has individual expression that transcends subject, material and technique. For example, an artist painting exactly like me– same trees and process– would produce work that would be different than my own. It would have a different soul, if it had one at all. If this artist’s purpose was mere copying, it would not. I can say this because I’ve seen this before.

So, after a bit, I came to understand that showing or teaching my process would not diminish my work in any way. In fact, I began painting the way that I do because I initially wanted to see paintings that I wasn’t seeing anywhere else. Wouldn’t it be great to spur that same thing in others?

To that end, as I announced earlier, I am teaching my first two day workshop,  September 17 & 18 [2015],  at the Arts Center of Yates County in Penn Yan, NY.  It’s a lovely town sitting at the end of scenic Keuka Lake, one of the Finger Lakes, famed for their beautiful vistas and multitude of wineries.

I am pretty excited about this and am starting to put together just how I want to teach this. I don’t want to spend any more energy hiding my process and I plan to fill each of the two days with as much info as I can get across while still making it entertaining and educational. So if you want to spend a couple of late summer days in a beautiful setting learning a form of expression that might spur other good things for you, contact the Arts Center of Yates County.

Hope to see you there.

Paradise

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“The dead can survive as part of the lives of those that still live.”

Kenzaburō ŌeHiroshima Notes

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I didn’t post anything yesterday. That’s kind of unusual because I have been posting a song every Sunday for the past decade without missing a week that I can remember. But I spent yesterday with two of my cousins in a local nursing facility at the bedside of our Aunt Norma. She had been battling a rare esophageal melanoma that blocked her airway and didn’t allow her to eat solid foods for the past several months.

A few day ago she went, at her request so as not to be a burden on her extended family, into a nursing facility for the end of her life. Her journey ended last night around 6 PM.

I am not going into a long story here about Norma. She had seen a lot of life, both good and bad. You have a lot of ups and downs in 93 years. She had outlived most of her siblings, longtime friends, two husbands and a single son who died many years ago, drowning in the Chemung River at the age of seven. The last decade of her life was spent in a an apartment building primarily for the elderly and she thrived in that environment, making tons of new friends with her warmth and sharp mind and wit.

For our family, Norma served a lot of purposes. For some, she was a surrogate mother. For others she was a doting aunt who was always willing to sit and talk, giving you her whole attention which, for that short time, made you feel special, like you were really being heard. It’s a small but precious thing, a gift that you hate to lose.

She was a touchstone to the past, both my own and the family as a whole. She linked to and had memories of ancestors that passed away long before my time. She had a great memory and provided a lot of insight and context to family events from the past. She had sharp memories of the funeral her grandmother, my  great-grandmother, who had drowned in an Allentown, PA canal in the days shortly after my father was born.  She sometimes described the farm in St. Regis Falls of my great-grandfather who was a pioneer in the early logging of the Adirondacks.

And so much more.

She was warm of heart, funny, self-effacing, and generous and gentle of spirit. There was no cruelty in her at all. Everything you would want in an aunt. She was loved and will be missed by many. She leaves a big hole in our little world.

Been great knowing you, Nornie. Say hi to everyone for me.

Here’s a belated bit of Sunday morning music. It’s Paradise from Bruce Springsteen.

Obstacles

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Joy is of the will which labours,

which overcomes obstacles, which knows triumph.

William Butler Yeats

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Klee/Art as Memory

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All art is a memory of age-old things, dark things, whose fragments live on in the artist.

Paul Klee

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When I need something to get me through periods of stress, something that engages me and makes me question myself while at the same time inspiring me, nothing serves me better than a dose of Paul Klee.

In his work I definitely feel like I am looking at the age-old memories of the artist. In fact, the attraction comes in the fact that I see his age-old memories and dark things as being my own.

A sense of familiarity.

Like being in an alien world and hearing a familiar language from some distance away. Words and phrases, bits of meaning, gleaned from a cacophony of unintelligible garble. It makes you alert and hopeful that there is a possibility of connection, of communication.

I can use a little Klee this morning.