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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…

 

Rivera’s Voice

Diego Rivera- Zapatista Landscape 1915

 

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As an artist I have always tried to be faithful to my vision of life, and I have frequently been in conflict with those who wanted me to paint not what I saw but what they wished me to see.

–Diego Rivera

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Big fan of the work of Diego Rivera (1886-1957), the great Mexican painter/muralist and husband of Frida Kahlo. There is much I love in his work such as the way his colors harmonize and soar off the surfaces, the sheer brilliance of his compositions, the scale and breadth of his murals and the fact that his work was beautiful and powerful in whatever genre or style he chose at any given moment. He was also fearless in expressing his political and philosophical beliefs in his work, often becoming a strong element in his work.

I also admire his absolute devotion to his own voice in his work, as noted in the quote above. He painted his own vision, not what others desired him to see. That’s a big thing for any artist and not something easily done. Too often artists try to work for the approval of other eyes, for people who want their work to remain as they have always known it.

It’s understandable from the perspective of a viewer to want an artist to remain in that space that first attracted the viewer. They know and like the work as it is and perhaps can’t imagine it becoming more than it is if it somehow evolves or changes. Or they fear it will become less or something that doesn’t speak to them in the same way. As I said, it’s understandable.

But from the artist’s point of view this present a threat in that this may stop them from expanding their creative vision. They begin to be afraid to go off their own beaten path, to try new things, to move out of their comfort zone to challenge themselves, and to grow their self-created universe. They remain in a known space and may never know how expansive their vision might be if they only tried.

From what I know, Diego Rivera always moved to new creative spaces with his work. He painted with his own voice, even in his commissioned murals. I still stumble on pieces of his that surprise me.

A true inspiration.

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Diego Rivera’s Mural at the City College of San Francisco

Detroit Institute of Arts Mural Segment

Diego Rivera- Flower Seller

Diego Rivera- The Alarm Clock

Diego Rivera- Nocturnal Landscape 1947

Diego Rivera- Symbolic Landscape 1940

Diego Rivera- View of Toledo 1912

Detroit Institute of Arts Mural Segment

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Some Plus and Minus

Well, the election is somewhat over. A few races are still undecided with votes still being tabulated and some with perhaps recounts ahead.

All in all, I am satisfied. If you watched only the races that were in the headlines nationally, a Dem might be crestfallen that their rock star candidates — Beto in Texas, Stacy in Georgia and Andrew in Florida, for example– couldn’t break through. They were the emotional magnets for a lot of voters and to see them go down, even in an extremely close battle, hurts a bit.

But when I step back and look at the results and the repercussions of these elections, I am pleased.

First, the House of Reps moved blue with a Democratic majority now in place, providing a clear check on the president*. Committee leaderships move to the Dems now and they can set the agenda for how the president*’s actions are handled. They now have investigative and subpoena power as well as a check on the Senate.

This Blue move includes over 100 women being elected to the House last night. The class picture for the House Dems is a very diverse one that now includes more women, Native Americans, Muslims and people of color. That is fantastic and provides us with a voice that better reflects this nation’s multitudes.

Secondly, a large number of states’ governors switched to the Democratic side. This is a huge gain, especially in the fight against the gerrymandering of districts which is pertinent as the 2020 census looms with the redistricting that comes with it.

I am also pleased that overall, Dems outvoted the GOP by between 7 and 8% nationally. The voters came out. I hope those young voters who invested so much in races that may not have gone their way, such as the Parkland students in Florida, are not disheartened and turn their backs on future political involvement. They made a difference in our political discourse and are close to changing the face of our political class forever, if only they continue their fight.

In the Senate races, the Dems won by more than 12%– but still lost at least 3 seats. We are still strongly divided but the fact that the gaps in races in historically red states are closing gives me optimism.

On the downside, voter suppression remains a problem in many areas and is something that needs to be addressed on a national level. There are obviously systems available that would allow all eligible voters to easily register and cast their vote. Voting should not be set up as a series of hurdles to be overcome. Each citizen deserves to have their vote counted.

While I would loved to have seen a blue tsunami across the board, I believe overall it was a pretty good day for America. It moves us in a more positive direction, towards a government that represents all of our interests.

But to get that point, we have to stay aware and involved. Political change is sometimes slow and incremental. It is not always easy to keep up the energy needed to create change.

Do not be distracted. Keep your eyes and ears open. Stay involved and hold those in power accountable.

Our work is not over with one election.

Shock the World

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“I don’t look to the teachings of Jesus for what my political beliefs should be.”

–Jerry Falwell, Jr., NY Times Interview

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I think the quote above from Jerry Falwell, Jr. pretty much sums up the importance of this election. If a man who has based his whole life and persona on the teachings of Jesus is willing to set them aside for political expediency, there is a lot at stake. Not being able to adhere to those teachings– concepts like compassion, charity and truth– to uphold his political preferences says even more about what we are facing.

Today’s election is, above all else, a referendum on whether we continue to follow our worst inclinations into the ditch of history or whether we can steer ourselves back to the road we have long followed, one that marks us as a generous, compassionate and welcoming people.

We cannot survive long as a nation that is based on policies that reward greed, hate, fear, corruption, victimization, and deceit.

A lot of people say, “Sure, all of these bad things are taking place but look at the economy, look at the numbers!”

Myself, I knew that when this president* came into office that he would be able to ride the strength of the then percolating economy for maybe two  more years before it began cycling downward. The GOP made a calculated risk in enacting a massive tax break that was designed solely for the wealthiest among us, believing that supercharging the economy for the short term would blow them past this election before the consequences of such an irresponsible action would begin to appear.

But the bill will soon come due. The economic signs are appearing now. Tax revenues are down. Deficits are ballooning. Job growth, while still fairly strong, has lessened in the past two years and will continue to do so, partly because with decreased immigration, there is not the available population to sustain continued job growth.

To think that an economy at the apex of its cycle is enough to overlook the damage being done to our nation’s citizens along with its reputation and honor is a massive mistake.

Today is an opportunity to begin to set things right. It is a chance to shock the world and forcefully tell the other strongman autocrats out there that we reject their worldview.

To show that we deserve to be the beacon of hope once again.

To say that we can be better than this.

Vote.

Vote blue.

Shock the world awake.

Waves

Hokusai- First Cargo Boat Battling the Wave

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You must live in the present, launch yourself on every wave, find your eternity in each moment.

—-Henry David Thoreau

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Really felt like looking at some of my favorite Japanese prints from the 19th century this morning, mainly from Hokusai and Hiroshige. There are a couple here, including the one above, that led to the iconic Great Wave from Hokusai, shown just below.

With their great rhythm, harmony, and force, I could look at these pieces continuously and never feel like I’ve looked enough.

As for the symbolism of the wave today, you can plug in whatever meaning pleases you.

I know what it means for me today. And, with a bit of hope, tomorrow.

Hokusai- The Great Wave

Hokusai- Feminine/Male Wave Kammachi Festival Float Ceiling Panels

Feminine Wave – From Float Panel Hokusai

Hokusai

Hokusai

Hiroshige- Navaro Rapids

Hiroshige- Sea Off Satta Point

HiroshigeThe Wave 1859

Hokusai- View of Honmoku off Kanagawa

19th Century Japaneses Woodblock -Artist Not Indicated

 

Bedford

Feels like we’re kind of in the calm before a storm. There’s a sense of pent up energy just waiting to be unleashed and the only question is how it will all unfold in two days, what kind of damage will be done.

Or undone.

It’s a schizophrenic time filled with high moments of excited hopefulness followed by lows that are comprised of doom and gloom. I dislike both the highs and lows of this time. The highs because I fear I am just kidding myself in thinking that the best thing might happen and the lows because of the future the worst case scenario presents.

All in all, it leaves me, and I think a great many others, exhausted from walking this ragged edge of social/political schizophrenia.

So finding this video this morning was just what the doctor ordered for me. I don’t exactly know how I got to it. I started with watching Lola from the Kinks, moved to a Spanish group named Cafe Quijano doing a song called La Lolagreat song, kind of sexist video–then took a couple of turns and there was this.

It’s from a group called Too Many Zooz. It’s three guys– Matt “Doe” Muirhead on trumpet, Leo P on baritone sax and DavidKing of Sludge” Parks on percussion– who started performing as subway buskers in NYC. Their call their genre of music brass house, a mix of house music, Afro-Cuban, and jazz. I think we can dispense with labels and just say that it is high energy.

They have taken off in recent years as a result from a video that went viral that was shot by someone watching them perform on the Union Square platform in NYC. They have performed around the country and in Europe and Leo P, now widely known for his frantic dance moves, even did a performance on the BBC Proms with a full orchestra. They are currently on a European tour but will be back in the states next month. I see they are appearing not too far from me at The Haunt in Ithaca in December.

This video is called Bedford and was shot on the Bedford subway platform in Brooklyn at 3:33 AM. If anyone was thinking about going to bed at that point, this most likely woke them up.

So, if you find yourself in need of a pick-me-up, take a look at this.

As John Lee Hooker once said, “If you can’t dig this, you got a hole in your soul– and that ain’t good.”

Then take that energy and get out there and vote. Vote. Vote. VOTE.