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Posts Tagged ‘Willie Nelson’

The Call of Wonder– At Principle Gallery



Three Rules of Work:

Out of clutter find simplicity; From discord find harmony; In the middle of difficulty lies opportunity.

–Albert Einstein



This Einstein fellow is a pretty smart guy.

Simplification, harmony and opportunity could be ingredients for any recipe to success in any field, but I think they apply particularly well to the creative arts. I know that I can easily apply these three rules to my own work.

For me, its strength lies in its ability to transmit through simplification and harmony. The forms are often simplified versions of reality, shedding details that don’t factor into what it is trying to express.

There is often an underlying texture in the work that is chaotic and discordant. The harmonies in color and form painted over these create a tension, a feeling of wholeness in the work. A feeling of finding a pattern in the chaos that makes it all seem sensible.

And the final rule–opportunity lying in the midst of difficulty– is perhaps the easiest to apply. The best work always seems to rise from the greatest depths, those times when the mind has to move from its normal trench of thought. Times when one has to expand beyond the known ways of doing things and find new solutions and methods to move the message ahead.

The difficulties of life are often great but there is almost always an opportunity or lesson to be found within them if only we are able to take a deep breath and see them. These lessons always find their way into the work in some way.

Thanks for the thought, Mr. Einstein. I hear good things about the work you’re doing.



I run theses Three Rules from Einstein every couple of years and it felt like the right time since I think we are all looking for simplicity, harmony, and opportunity in our own lives. Plus, I am short on time this morning. I am going to embellish a bit with two other favorite quotes from Mr. Einstein and a newer version of the wizened wisdom of Oh What a Beautiful World from the ageless Willie Nelson and Rodney Crowell, who wrote and first recorded the song in 2014.

Here are those words from Einstein:

The world as we have created it is a process of our thinking. It cannot be changed without changing our thinking.

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“People like you and I, though mortal of course like everyone else, do not grow old no matter how long we live. What I mean is we never cease to stand like curious children before the great Mystery into which we were born.”

Albert Einstein, Letter to Otto Juliusburger, September 29, 1942

And what a mystery it is…



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Twilight Time–AT West End Gallery

And even if you were in some prison the walls of which let none of the sounds of the world come to your senses—would you not then still have your childhood, that precious, kingly possession, that treasure-house of memories? Turn your attention thither. Try to raise the submerged sensations of that ample past; your personality will grow more firm, your solitude will expand and become a place where you can live in the twilight, where the noise of other people passes, far in the distance.

–Rainer Maria Rilke, Letters to a Young Poet



Little time this morning as I have some maintenance issues around here that demand immediate attention. Before I get to those issues, I thought I would share a triad of image, word, and song to serve as a reminder that the annual Little Gems exhibit of small works is now hanging at the West End Gallery and that the opening reception takes place this Friday, February 7, from 5-7 PM.

Above is a new painting, Twilight Time, 6″ by 12″ on canvas, that is included in the show. The words at the top are from the always relevant Letters to a Young Poet from Rainer Maria Rilke.  This passage is from a letter where he was instructing a struggling young poet to stop trying to satisfy the critics or publishers and focus on creating an inner world where his work can grow and prosper.  It then takes on its own life based on the poet’s unique self, instead of an imagined criteria set by other people. It then takes on a reality that others will recognize.

For the music, I am selecting the obvious song, Twilight Time. I probably should share the old beautiful Platters hit that most will recognize but I am going with a version from Willie Nelson. I enjoy his takes on the American songbook of standards. It always gives the work a somewhat different dimension, an easiness that is comforting to my ears. 

Okay, got to run. There are things to do that cannot wait.



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Nations, like stars, are entitled to eclipse. All is well, provided the light returns and the eclipse does not become endless night. Dawn and resurrection are synonymous. The reappearance of the light is the same as the survival of the soul.

–Victor Hugo, Les Misérables (1862)



Eclipse– At West End Gallery

Perhaps all people sometimes live through periods of eclipse, times when the light on which we depend seems to go away. Science tells us now that the light will soon return but to those who lived in the earlier ages of man, the sudden departure of light must have felt apocalyptic. I can only imagine the fearful panic and worry that must have filled them, not knowing if the light would ever return. Wondering if their lives, their futures, would be forever changed. How would they survive?

Maybe I don’t have to imagine. Maybe we are now in the time of a great eclipse.

I don’t know. But those feelings that our distant ancestors must have felt when the last bit of light they saw was obscured seem closer to the surface now, not lost in the mire of our long dormant DNA memories.

I want to believe that like the natural type of eclipse, the darkness of this cultural eclipse will soon give way to a reappearance of light. And I think it will.

The question is how long will this eclipse linger? Will our desire to see the light once more hasten its return? Or will we learn to dwell in a state of constant darkness, forgetting all that the light once gave to us?

Again, I don’t know. Not sure than anyone out there has a credible answer, one way or the other. All we can do is bide our time, lighting candles and torches against the darkness. Keeping light alive somehow.

After I finished this small painting, Eclipse, I knew that I liked it on a surface level. I liked it simplicity, forms, and colors. It seemed to work, to have a life energy. But I also felt that it was offering a message beyond its surface appeal.

This symbolic idea of an eclipse was the first thing that entered my mind at that point. I often attach symbolic meanings to my work that might only apply to my own interpretation. You might not see it that way at all. After all, we all perceive the world around us in different ways with different preferences and prejudices.

You might think that an eclipse is just an eclipse, and a cigar is just a cigar. That’s okay. We all take what we want and need from art. In this case, I see the bigger symbolism of this little piece and find myself waiting for, as Hugo put it, dawn and resurrection.

For this week’s Sunday Morning Music, here’s a song that I have shared a few times over the years. It’s alive version of Darkness on the Face of the Earth from Willie Nelson with Emmylou Harris sitting in. He wrote the song in 1962 and it was originally released that year by Hawkshaw Hawkins, who was a big country star at the time. He died in the same plane crash in 1963 that killed Patsy Cline. Nelson released the version on which this performance is based on his 1998 album, Teatro. Great album.

Eclipse is a 2″ by 4″ piece on paper that is now at the West End Gallery for their annual Little Gems show, opening February 7.



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Other arms reach out to me
Other eyes smile tenderly
Still, in peaceful dreams, I see
The road leads back to you, to you, my beautiful Georgia
Georgia, no peace I find
Just an old sweet song keeps Georgia on my mind

Hoagy Carmichael, Georgia on My Mind



Nothing more this morning but a sigh of relief and a big “thank you” to the good people of the state of Georgia. Here’s a strong rendition of the song Georgia on My Mind performed by a collected group of Broadway stars. Lots of talent here.

I was going to play the seminal version from Ray Charles, by far the best known and most powerful single performance of the song which was written in 1930 by Hoagy Carmichael. Willie Nelson also had a sweet quieter version of the song that went to Number 1 on the charts in 1978.

But give a listen and, if you’re so inclined, send out some psychic thanks to our friends in Georgia. 

Have a good day and let an old sweet song keep Georgia on your mind…



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RBG


And the stars fell out of heaven and the moon could not be found
The sun was in a million pieces scattered all around
Why did you ever leave me, you knew how it would hurt
And now there’s darkness on the face of the earth

Willie Nelson, Darkness on the Face of the Earth


No words this morning.

Losing an authentic champion for the people and for truth does that, especially in a time when she is so needed.

Lots of concerns, worries, going forward.

RIP RBG.

And goddamn this year.

Here’s Willie’s song. See you tomorrow.

 

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Over the last couple of weeks, I watched the documentary series, Country Music, from documentary filmmaker Ken Burns. As is the case with most of Burns’ work, it is extremely well done and deeply researched. I can’t say I learned a lot of new info from it but it was fun to again see many of the old films from the early legends.

Every documentary takes a position and holds its own perspective on its subject in telling its story. This one certainly did and I imagine a lot of fans of the current country music scene, which to my ear is more akin to the pop/rock music of the 1970’s and 80’s, were disappointed that Burns didn’t focus on their contemporary heroes. But Burns showed the continuum of country music, which carries that expression of authenticity that marked country music in its truest earlier form, moving into the genre we today call Americana. As a fan of that raw expressive quality found in the real traditional country music of years ago, I was glad to see this observation from Burns.

One of the lessons I learned from this series is that if a majority of people in the country music industry tell you to not do something, you must really be on to something big. Two of the primary artists they focused on, Johnny Cash and Willie Nelson, both fell into this category. I’ve talked about my affection for Cash many times here, including his amazing late in life work that was the result of working with Rick Rubin, a rap/hard rock producer who encouraged Cash to be true to his authentic self in these late recordings. Cash’s family and many in the country music field warned him not to work with Rubin but Cash went ahead and made several successful, both commercially and artistically, albums. I believe they are as close to real art as you will find in country music and they remain an incredible final testament to his life.

A great songwriter with an unusual vocal delivery, Willie Nelson was always a poor fit with the country music industry in Nashville. In the 50’s and 60’s, he tried to conform but it just never came out right. He was the perfect round peg in square hole world. He wrote a number of songs that became hits for others but he himself released a series of mediocre, standard country albums that did not sell well or open any eyes anywhere.

So he retreated to Texas and just began to be Willie, recording and performing in a completely natural manner without any thought as to how he should look or sound compared to others. His work from that time on had that authentic feel that’s the defining quality of real country music.

I’ve been a fan since The Red Headed Stranger, sparse concept album that, with its cinematic feel, tells the story of a cowboy who kills his wife and her lover then goes on the run in a search for redemption. It came out in 1975 and there wasn’t anything that was like it in any way. His songwriting and choice of material was pitch perfect and he harnessed that unusual voice in a way that perfectly captured feeling and emotion of the songs.

Since that time he has continued to make great music, even now in his mid 80’s. He’s worked with a wide variety of artists from many different genres of music and has released a number of great albums including one of my favorites, Teatro, from 1998.

This is really just a long excuse for me to play one of my faves from that album, Darkness On the Face of the Earth. Oh, what the heck, let me throw in Can I Sleep In Your Arms from The Red Headed Stranger. I can just shut up now and, if you like, you can give a listen. If you get a chance, take a look at Ken Burns’ documentary on the PBS site. Have a great day.

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Oh, it’s a long, long while from May to December
But the days grow short when you reach September
When the autumn weather turns the leaves to flame
One hasn’t got time for the waiting game

— September Song, Kurt Weill/ Maxwell Anderson

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Ah, the beginning of September. As the songs says, the days grow short and the weather turns the leaves to flame. There’s a refreshing coolness in the air and the busy rhythm of summer eases away and in comes a slower, more relaxed cadence. Recognizing this dwindling of days brings a retrospective air to things, one that makes you realize that you can’t waste moments or wait for them to come to you. I always felt that I was in the September of life and now, being truly there in terms of years, I believe I was right.

Maybe that’s why this song has appealed to me for so many years now. It’s a song I play here every year at the beginning of this month and one that I often find myself humming without thought to myself. It is a gorgeous blend of melody and lyric that communicates on multiple levels.

I’ve played many versions over the years, including some absolutely beautiful versions from Ella Fitzgerald and Sarah Vaughan. I have never played the original version from actor Walter Huston in the 1938 Broadway production of Knickerbocker Holiday or a great instrumental version from Chet Baker. I’ll get to them at some point. My favorite is this one from Willie Nelson which seems to have the perfect blend of weariness and age in his voice to transmit the feeling of the song. At least, the feeling that I get from it.

The painting above is a favorite of mine from 2011 called Dissolve. It’s included in my show Icons & Exiles hanging until September 20 at the Octagon Gallery in Westfield, NY. This piece is what I would call a September painting.

Have a good day and, hopefully, a good September.

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We have become a nation of expediency.

Virtue, benevolence, and doing what is right has been set aside in favor of choosing to do what is easiest in the short term, even if that very thing is known to be harmful in the long run.

Theft. Corruption. Lying. Intolerance. Ignorance. Injustice. Inequality. Cruelty. Selfishness.

I think most of us agree that all of these things are bad. Except when it serves our expediency.

We are normalizing these things, accepting them because they somehow address some short term concerns. But once accepted, these things are hard to shake off. They become part of who we are, become identifying markers by which we are known to the rest of the world.

We are soon– if not already– going to be widely known for our cruelty, our selfishness, our injustice and intolerance. We soon shall be seen as a nation of corruption, where our promises no longer hold any weight and we are not to be trusted. Soon to be known as the nation that ignores facts and science. A nation that turns it back on the suffering of our neighbors and mistreats those who seek our help.

And all this lost for mere expedience. We have known what is right through the years and have generally moved forward with the promise of a more perfect union, as our Constitution describes it, as a goal.

But we stand at the crossroads now. We can either move straight ahead as a nation of virtues or continue on our current detour that is leading us to corruption, ignorance and intolerance. That path may look rosy now but the final destination may very well break our souls.

The current ruling party has become the party of expedience. They are displaying that they only care for what is right for them for the next election cycle. Every day, they normalize behavior that chips away at our national identity and show that they are willing to sacrifice all virtue for their own selfish, short term purposes.

We still have an opportunity to get back on that higher road on which we once traveled but only if we all band together and demand a return to virtues like truth, equality and justice. Like education, the rule of law, benevolence and righteousness.

But it will take a mighty effort. No expedience here, folks. No excuses. You can’t take a pass this time unless you are willing to admit your complicity when the whole thing burns down. And if history teaches anything, that is the where the current road leads.

So, just vote. And like Willie says: Vote ’em Out.

 

 

 

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Woke up late this morning, at least by my standards. I bolted awake directly coming out one of those weird dreams that seem like something out of a dystopian novel like 1984 or Brave New World.

Or taken from any recent newspaper.

I wanted to go back to sleep just to try again, maybe come out this sleep with something better. Second times a charm, you know.

But I couldn’t so I headed over to the studio for my morning rituals. But that feeling from my dreams lingered, like a foreboding prophetic omen that is always at the edge of my thoughts and my vision.

I have a floater in my right eye that sometimes, when I am looking straight ahead, will dart across the far right periphery of my field of vision. It’s been there a while now but I often still finding myself jerking my head reflexively to see what is there. Of course, there is never anything there yet its continued presence gives me an unsettling feeling as though something could be there when I look the next time.

Uncomfortable dream or terrible omen? I’m rooting for uncomfortable dream but who knows what our subconscious is up to these days.  So much of the info, the indicators, the patterns it selects to process from the outside world enter without our knowledge.

It all reminds me of the image at the top, a painting from back in 1996 or thereabouts. I can’t locate a slide of this piece but came across an old photocopy yesterday and was really taken with it. It’s called Strange Victory II designed as a kind of companion to Strange Victory which was an early painting that I showed here and was based on a favorite poem of mine with that title from Sara Teasdale.

There is a lot that I like in this painting– the subtlety of the colors, the textures and the contrast of the figure and the tree against the backdrop. It is so simply constructed but has a fullness that is often elusive to me as an artist.

I think it’s a great companion piece for this week’s Sunday Morning Music. This week I chose Don’t Give Up, the Peter Gabriel song from back in the 1980’s. This version is from Willie Nelson accompanied by Sinead O’Connor, from his 1996 album, Across the Borderline. I think it’s a first rate cover of the song and I can envision the image of this painting when I listen to it.

Take a listen and have good day and better dreams.

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Another Sunday morning and I am ready for a little music. I was looking at some of the Nocturne paintings of James McNeill Whistler that I so much admire, like the one shown above from  1877, and thought I’d use that as the theme for this week’s music.

There are a lot of songs that use night as a theme but I settled on the classic Night Life written by Willie Nelson back in the late 1950’s. It has been covered by a lot of folks over the years, some good and some not so much. But  for me  while Willie’s version remains the truest and best of the bunch, I am partial to this performance by the great Marvin Gaye. He inserts his own special feeling into the song and the night life he creates is indeed his life. Good stuff.

Give a listen. Enjoy. Have a great day…

 

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