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Some California Dreaming

Looking out the studio window this morning with the snow softly falling. It’s a cold wet out there in a setting of shades of gray and forest green. Looking at it now, all I can think is that I wish I could send all of it out to California so that it might extinguish the fires that have devastated so much of the state.

My home and studio are nestled in the forest and, while we generally have wetter weather, in dryer periods I often find myself worrying about what might happen if the woods caught fire. It’s a scary thought so I can only imagine the mindset of those who have lost everything or those who are still looking for friends or family possibly lost in the fire’s fury. The horror and hopeless desperation they must be experiencing is far beyond the bounds of my limited imagination.

 Unlike a certain person who serves as the titular leader of this country, I have a soft spot in my heart for the people of California, having met so many warm and caring people who call that place home. I have always been impressed by the friendly openness I have experienced there. The lack of empathy shown and the sheer buffoonery of this person’s comments about the cause of the fires or how they might be avoided with a little raking –as though the forests were no more than a patch of trees between the fairways on a golf course– is a distraction from the real world tragedy happening before our eyes, one that deserves our full attention and support.

For this Sunday morning, I thought I would share a couple of California themed paintings and play a couple of versions of California Dreaming, the classic song from The Mamas and the Papas. It’s a great song and has been covered, as most great songs are, by a huge variety of artists from all sorts of genres. Sia does a fine version. The first is my favorite from Jose Feliciano and the second gets the deep soul treatment from the late and little known Lee Moses who only recorded for a short time in the late 60’s and early 70’s.

Give a listen and think a bit about our fellow citizens in California. With Thanksgiving coming this week, be thankful for what you have and consider what you can do to help others who might be experiencing darker days.


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Practically all great artists accept the influence of others. But… the artist with vision… by integrating what he has learned with his own experiences… molds something distinctly personal.

-Romare Bearden

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This morning, I came across this quote from Romare Bearden, a favorite of mine. It reminded me of a conversation I had with another artist last night at the opening for the Masterpieces exhibit at the West End Gallery.

This artist, who has a formidable talent level that was obvious to see in their past work, is in the midst of breaking loose creatively in a way that is establishing a distinct voice. It’s exciting to see the work blossom, thrilling to see an artist take their toolbag of acquired skills and transform them into something unique and personal, something that moves them out and away from their teachers and influences.

It is interesting to witness this artist’s enthusiasm for the new work balloon in a way that creates even more enthusiasm. Each new piece pushes the next forward and forms more and more energy. And that personal voice becomes stronger.

It’s a rare thing to experience and a hard thing to describe. But it is certainly fun to watch when it does happen.

To go with the Bearden piece at the top, Jazz II, from 1980, I thought I’d share the Miles Davis classic So What. Seems like a good way to start yet another dark gray Saturday.

It’s a busy morning. Unfortunately, the busy part comes in clearing the 12+ inches of snow from my driveway that feel overnight. Thankfully, I did a preemptive plow last night on our quarter mile drive or my poor garden tractor would have been overmatched this morning. Oddly enough I came in this morning and stopped in front of a print that hangs on a studio wall. I hadn’t really looked at it closely for a while and it struck a chord this morning. I wrote about it back in 2010 and thought it might be good to run that post again. Hey, I have snow to move.

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This etching hangs on my studio wall, near my painting table. It’s titled The Devil and the Messenger and it’s from Grant Silverstein, an artist from rural northern Pennsylvania, not far from where I live. He is self-taught and has worked for many years now in intaglio etching, which is engraving the image on a copper plate with a sharp needle.

I’ve always liked the look and feel of etchings and have great admiration for those who can translate their vision through this medium. I don’t know if I would have the patience. Grant has his own look and feel, often dealing in the allegorical. Whenever I come across his work I have to stop and look with great pleasure.

My eye often drifts up to this piece and fills me with a lot of different questions and feelings, outside of the satisfaction of the viewing the composition itself. I am curious as to what the messenger is carrying and to who is he taking it. Is the Devil is taking the message or replacing it as the messenger sleeps. Is the messenger merely sleeping normally or is it the result of the Devil’s work?

I see it as a reminder that one is always vulnerable in some way, that there is always the possibility of some Devil tinkering with you while you least suspect it. A little vigilance is required. I don’t mean that to sound paranoid. What I mean to say is that it’s best to view strangers you encounter in a dark wood a bit warily, particularly if they just happen to have horns.

And to be careful where you sleep.

To see more of the etchings of Grant Silverstein click here to go to his website.

Sendak’s Salvation

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Art has always been my salvation. And my gods are Herman Melville, Emily Dickinson, Mozart. I believe in them with all my heart. And when Mozart is playing in my room, I am in conjunction with something I can’t explain — I don’t need to. I know that if there’s a purpose for life, it was for me to hear Mozart. Or if I walk in the woods and I see an animal, the purpose of my life was to see that animal. I can recollect it, I can notice it. I’m here to take note of. And that is beyond my ego, beyond anything that belongs to me, an observer, an observer.

–Maurice Sendak

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Amen to these wise words from the late great Maurice Sendak.

Thought it might be nice to share some of his work beyond Where the Wild Things Are. It is equally as wonderful.

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The purpose of my work was never to destroy but always to create, to construct bridges, because we must live in the hope that humankind will draw together and that the better we understand each other the easier this will become.

Alphonse Mucha

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You most likely know the work of Czech painter Alphonse Mucha (1860-1939) for his extremely popular posters that set the style for and were the epitome of the Art Nouveau movement. It was beautiful and graceful work much like the piece shown here on the right.

That was definitely the extent of my knowledge about Mucha’s work. And that alone would be a worthy enough achievement for most artists. But his greatest work may well be his monumental Slav Epic series.

The Slav Epic is comprised of 20 large works that depict the history and the mythology of the Slavic people. It was painted over the course of 16 years with the aid of financial support of American industrialist/philanthropist Charles Crane. The works are all painted on a grand scale with some of them measuring 20 feet in height and 25 feet in width.

They somehow survived Czech occupations by both Nazis and Soviets who both saw the work as being counter to their ideologies. Mucha died soon after being interviewed by the Gestapo in 1939. The paintings are now in possession of the Czech government who are in the process of creating a museum to permanently display this magnificent work. I am sharing a number of images below that show them with viewers so as to give  an idea of the sheer scale of the works.

Pretty amazing. Good reason to get to Prague.

Alphonse Mucha- Slavs in Original Homeland

I have a new painting in a show that opens this Friday, November 16, at the the West End Gallery. The name of the show is “Masterpieces: A Collection of Kick*** Artwork” and it focuses on the process of the artist behind each piece. There are photos, studies and writings that document how each piece came to be.

From the work I have seen from the show thus far, it lives up to its name.

My contribution to the show is  48″ high by 24″ wide painting on canvas that I am calling And the Glimmer Comes... It is shown here on the right.

I decided for this show to do the painting for this show using studies and drawings, something I almost never use.

Normally, I start with a surface that is prepared with multiple layers of gesso and, more often than not recently, a top layer of black paint. Then I just begin with a block of color, usually the red oxide that I use for composing my underpainting and usually in the lower half of the composition.

Then I let the painting grow organically, the first block of color guiding me to the second and the second to the third and so on. After the piece is fully composed this way, I build out the colors from darker to lighter tones.

In the very simplest terms, that is my normal process.

Rough Sketch- GC Myers

But for this piece I decided to go with two studies. The first would be a rough sketch that would set out the basic composition of the painting. When I say rough, I mean rough, as you can see. I take only a minute or so to create it as I am only looking for a basic silhouette, a blocked out map to follow with little detail or nuance. It is not meant to be anything on its own, just a bit of shorthand to guide me in the next step.

The next step is the creation of a study, a smaller (24″ by 12″) version of the final larger painting. I followed the sketch with my underpainting and it was pretty much in line. But I have a small problem in making studies which are usually more loosely painted than the final version. My problem is that once I begin painting I treat that piece as a final version. I have spent many years treating every piece I paint as nothing less than a complete painting unto itself, something that is not less or subservient to any other painting in my body of work.

Lightbreak–24″ x 12″ – GC Myers

Once I started working on this “study” I couldn’t help but continue smoothing off the piece, making it whole. It was not a study at all as it quickly evolved into an autonomous painting with its own voice, its own life.  I am showing it as such with the title Lightbreak.

My next step was to transfer this image to the larger canvas. My first move was to block in the house much as it was in the sketch and the smaller version, although I did add an addition and another small roof to it. At this point I  could see new potentials in the open space of the larger canvas as well in the unique texture it possessed. It just begged for and explicitly pointed me to something different from the other pieces.

I immediately changed the composition to add a couple of rolling knolls leading a body of water that would extend to a horizon between two tongues of land that would jut in from either side. It began to speak in its own voice at once and was telling me how to proceed with the sky.

The larger surface created more open space so I opted for an additional underlying layer of clouds that would have a darker tone to contrast with those in the forefront. Doing so created an interestingly shaped negative space comprised of the blue-green color of the sky in its middle, That form became a structural element in this piece.

Building out the colors brought changes as well. The piece of land in the forefront were richer in color and more vibrant, mainly because I felt that the larger space it occupied required a bolder and more pronounced treatment. It acts as a strong foundation in this painting.

The final touches come in creating the glimmer at the horizon. That simple step made the whole of the painting gather together, creating a wonderful geometry between the various elements of the painting. It felt to me like the high note of climax in a dramatic aria.

That is a very condensed version of how the final painting came to be. Whether it lives up to the title of the show is not for me to say. The most I can say is that I feel this painting fits well among what I consider my better work. So maybe in that aspect it lives up to the show’s title.

Come out to the West End Gallery and see for yourself.

 

The Ballad of Fat Jack

I came across this blogpost that first ran back in 2009. It’s about a fellow that was in my family’s orbit as teenager. He would probably be classified as marginal, someone who didn’t fit into most categories or social classes. Sadly, these marginal folks are most often quickly forgotten. But sometimes they leave a deep impression. Take Fat Jack, for example.

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I came across this old photo from the early 70’s and was instantly sent back in time. The two gents in the shot from a Christmas season long ago are my Uncle Joey (holding the Seagrams 7 bottle– I’m not sure that he was just mugging for the camera) and Jack Reynolds, who everyone called Fat Jack , Jackboy or, as my Dad would say, Jackeee.  You need to pronounce all three e’s to get the full effect.

In 1972, we moved from one edge of our county to the other, to a little remote brick house on a high hilltop plateau where the wind always swirled and the view south went for many dozens of miles, across a multitude of hilltops down across the border into northern Pennsylvania. It was exquisitely quiet there, often many hours passing before a car might appear on the narrow road.

My aunt Norma and her husband, Bob, ran a large dairy farm just over the ridge and Fat Jack would often be seen there tinkering with the equipment, his short, round body rolling around in the dirt under tractors in his ever present filthy bib overalls, crudely cut off at the cuffs to accommodate his short legs. On his feet were his ever present dime store canvas sneakers.

Jack and his dad lived at the bottom of the hill in a  home that his father had started building in the 50’s. When Jack’s mom died, they had only finished the basement and that is where they stopped. The father and son lived in the small walkout basement, that had a dark and dank appearance when you drove by.

At the time when I first met him, Jack was in his early 20’s and didn’t have a driver’s license. But he could seen chugging up the hills on an old Ford tractor pulling a wooden trailer with a large collection of his tools and paraphernalia. I can still vividly see him in my mind with his little rig of tools chugging along the cow pastures to my aunt’s farm.

Jack absolutely loved and was fascinated with tools. Any kind. Any spare money he earned went directly towards buying tools, the tool department at Sears being the primary recipient of his spending.

Jack couldn’t read or write very well, if at all. But while he couldn’t read the words, he could read diagrams and schematics like a first language. That was vital to his natural ability for figuring out how things worked. It was an ability made him a valuable asset to a farm where there are always things in need of repair. Bob, as well as several other local farmers, was always asking him to work on this or that at the farm.

But if Jack didn’t want to do something for whatever reason, he would just say “Nope” with his stained and gapped with missing teeth grin and pick up his tools. But he’d stick around for the conversation and maybe a meal.

When we moved up on the hill, Jack started coming to our house to do a few repairs there. He took an instant attachment to my dad and my dad took to him as well. He became a regular fixture at our house, fixing things around the place and more often than not eating dinner with us or drinking a beer with Dad. He had an appropriately large appetite for both food and drink. Bob called him my father’s third son.

Jack was not big on hygiene.  That’s actually a gross understatement. His overalls were always dirty and oil-stained from working on machines and engines. His hair was a greasy mat under the stocking cap that seemed permanently attached to his head and there was often a pungent odor that was a mix of used motor oil, fried food and sweat.

Night after night he would plop himself in one of my mother’s upholstered chairs in our living room to the point that there was a dark, greasy line on the arms of the chair where his ample belly would rest. My mother kept a pristine house so it drove Mom crazy to the point she would bellow at him–she wasn’t shy about yelling at anyone in her house. Jack would just grin.

And though she might have been mad but she would never think of not letting him sit there or at our dinner table. She had a soft spot for marginal people as well.

Eventually, after his own father died, Jack parked his tractor and started driving an old yellowish Ford Econoline— the kind with the flat front sort of like the one the gang drove on the Scooby Doo cartoons!– van packed with his tools. He didn’t have a license but that didn’t stop him from buzzing around the hills around us, being well known to most of the farms in the area. Dad, who was with the Sheriff’s Department, turned a blind eye. Dad would eventually help Jack get a driver’s license and as well as helping him find work as a maintenance man at a local nursing home.

For a while, Fat Jack seemed to be thriving.

Fat Jack passed away sometime in the 1980’s when his Econoline slid off the road not too far from his basement home and hit a viaduct. In the impact, his tools were thrown forward against him, killing him. He probably would have appreciated the irony of it. His funeral was a large affair at Mt. Saviour Monastery which was a short ways from his home. He had also did a lot of work over the years for them.

His basement home is no longer there, long ago bulldozed over and there remains no trace of Fat Jack anywhere but in the memories of a handful of people who got to know this strange little character.  I know I haven’t fully captured the man here but I just felt that he deserved a few moments of recollection.

Everybody does, don’t you think?

Green Fields of France

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The suffering, the sorrow, the glory, the shame,

The killing, the dying, it was all done in vain,

For Willie McBride, it all happened again,

And again, and again, and again, and again!

Eric Bogle,

 No Man’s Land (Green Fields of France)

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Another Armistice Day. We observe the day now as Veteran’s Day  or Remembrance Day in some other countries, recognizing with it the service of all veterans, living and dead. But originally it was observed to commemorate the end of combat in World War I, 100 years ago on this date in 1918.

The Great War.

The War to End All Wars.

If only.

Unfortunately, we humans have short memories and a poor grasp of history. The Great War was but a prelude to a another World War and in the years since, there have been a multitude of other wars, invasions,genocides and ethnic cleansings.

They seem to always begin with an act of aggression based on greed, ego, or some kind of racial, religious, or ethnic hatred. One nation envies what another nation possesses. One leader desires more power and self enrichment. People, spurred on by manipulative leaders, feel threatened by the existence of others, those who don’t share their race or religion or social beliefs.

It seems so long as we live in a world ruled by the greed, envy and fear of those who lead the nations of this world, war will always be near at hand.

It will remain a necessary evil until men stop exploiting other men.

And as such, the continued service and sacrifice of young men and women will be required.

Today is a day to honor those who serve and or have served their duty to this and other countries.

It is a day to remember how much has been given to us the living and how much has been taken from those who sacrificed their futures for the living.

A day to remind us all how fragile this world is and how each new war dishonors the veterans of the past and makes their sacrifice seem to have been made in vain.

Take a moment from your day and give it some thought. It is the least we can do.

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Before playing this week’s Sunday music, I have to note that our current president* cancelled his attendance at a ceremony yesterday because of rainy weather. It was an observance to honor  the US Marines of WWI who died at Belleau Wood in France. Yesterday was also was the 243rd anniversary of the formation of the Marines by the Continental Congress in 1775.

I am not a veteran so maybe you might think I have no standing to criticize. But looking back at the many relatives who served and sacrificed through the past near 400 years in this land, I am ashamed as an American and consider his absence in honoring these fallen soldiers a great dishonor to this country and those who have served it.

Thank god a little rain didn’t dissuade those soldiers from the duty they felt to this nation. I am sure that the weather will not prevent him from his cordial meeting with Putin today in Paris, on the 100th observance of Armistice Day.

The song today is from 1976 and was written by the Scottish Australian singer Eric Bogle. It is titled No Man’s Land and is also known as Green Fields of France. It tells the story of young soldier named Willie McBride who died in World War I. It was inspired by Bogle’s visits to the battlefield graveyards in Flanders and Northern France. It is a song that has been recorded by numerous artists but I chose this version from the Dropkick Murphys. It’s a well done version and the video is a moving document and tribute to those who died in that war.

A word of warning: This video contains graphic images from that war.

Have a good day…

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Moanin’

Up early listening to old jazz. It puts an image of high contrast black and white films in my mind. Rainy night street scenes from a 1950’s NYC. Neon lights reflecting on dirty puddles. Brakes lights from rows of cabs glowing and steam rising. A rich stew of smells, alternating from sweet aroma to stench. People with their heads down, scurrying through the bustle of light and dark, roars and rhythms.

Lots of raw energy buoyed by the possibility of self-invention. Images that create an odd sense of romance.

Here’s an example. The classic Moanin’ from jazz legend Charles Mingus. Keep up the energy and have a good Saturday.

Borderline

Yesterday, I watched a man painfully talk about his son being shot down in the massacre at the Borderline dance club in Thousand Oaks, California. It was painful to witness the form of pure and primal grief he was expressing with his cries and his heaven-sent moans.

It was a moment that most of us hope with all our souls we would never have to share on a national platform.

He wasn’t alone. 12 died, mostly young people along with a 29-year police veteran who quickly responded to the shooting. All of their families were forced to go through that same gut wrenching agony and sense of loss.

It was the deadliest shooting in–wait for it– 12 days. 

It had been only 12 days since the Pittsburgh synagogue shooting that killed 11.

I am hoping the death total from this latest shooting stands as the most for the rest of our lives. But this America so I am not confident in saying that it will even last another 12 days. I may not be exact in this figure but I believe it is reported that there have been 307 mass shootings here in the 314 days of this calendar year.

American exceptionalism, my ass.

Then I wake up this morning to see the tweet from the NRA where they tell doctors to “stay in their lane” and stop talking about gun control.

Yeah, the doctors who are often wrist deep in the blood and gore of gunshot wounds should shut their yaps and do their jobs

Patch’em up or sign the death certificates.

Perhaps they should thank the NRA for job security they provide in the form of the multitude of victims coming their way?

American exceptionalism, my ass.

I can’t offer any answers. I am just angry and tired of the carnage. And especially tired of those who say more guns are the answer and that grade school teachers and rabbis and bartenders and dishwashers and cabbies and every other person in this goddamn country should be packing sidearms.

I just know we can do better. When I think of American exceptionalism I am saying that we have that ability to rise up and do better.

That is, if we want to. And maybe we won’t have the desire and will to do something truly tangible until this scourge touches every family, every school, every church, and every public place.

Until we all experience the sheer and awful agony of that father yesterday.

Maybe then we will be better, will do what is right and necessary. Then we might be able to see ourselves as exceptional.

Until then, I say American exceptionalism, my ass.

Here’s the title song from the 1993 album Across the Borderline from Willie Nelson. I chose it because it’s a beautiful song but mainly because it contains Borderline to honor those folks who died in that club. The song was written by Ry Cooder and has a message and tone that is so pertinent for these times. The phrase broken promised land just jumps out at me.

Give a listen. Maybe tomorrow we can get back to art…