Tuesday, January 14, 2020

New Year, New Post


FIRST POST OF THE NEW YEAR

This post has nothing to do with art.

It’s been a very long time since I wrote any kind of post but one of my desires with this new year was to get some thoughts on paper again. Often, for me, it’s deciding what I want to say. I am best, I think, at writing in a stream of consciousness manner, so here goes!

Much has been written about 2019. We all know what a difficult year it was for the city of Dayton and its surrounding suburbs, as well as for places farther afield. We all hope that 2020 brings better, more hopeful events. That said, I experienced a strong feeling that I was unaware of until we were visited by undesirable organizations, weather events, and the actions of a mentally unstable individual.

That feeling was love. Love for my city. Love for my fellow citizens. Love for the response of so many who jumped into action to assist those who were hurt. I have lived in Dayton for almost 35 years. I grew up in the Miami Valley but not in Dayton. I lived in some other really wonderful places. Dayton, in my eyes, did not have the same cache as those other cities. We moved here to be closer to family, not because it was a “cool place” to be.

It took the events of 2019 for me to realize that I love this city. I am proud of this city. Nice people live here. Interesting people live here. Talented people live here. Caring people live here.

I am proud to live here. It’s home.


Monday, April 3, 2017

A MEDLEY OF THOUGHTS

The last few weeks I have started and discarded a number of topics for this blog. My thoughts have been scattered in so many directions: the current status of the public arts, the classes I am teaching, the collages I have been working on, new artists discovered and old favorites revealed to new viewers. It’s been a matter of which topic to address and when? What will my readers find most interesting?

So, I have decided to feed you a smorgasbord of thoughts going into this week, accompanied by some images.

FIRST, THE LIFE OF THE IMAGINATION


Recently I showed a work of art that I particularly enjoy to my art history classes at Wright State. The Garden of Earthly Delights (1515) by the Dutch artist Hieronymous Bosch is a singularly unique piece of work for that time period. It’s not singular to Bosch’s personal style, but when one first sees this remarkable triptych (a triptych is a three-part hinged altarpiece) it’s easy to think that the artist who made it must surely have been a contemporary of Salvador Dali. It looks so surrealistic. 2016 was the 500th year anniversary of Bosch’s death and celebrations and exhibits and special events took place in his hometown of den Bosch, Netherlands, and at the Prado Museum in Madrid, which is home to The Garden of Earthly Delights. 



My students were really intrigued by the strange imagery in the triptych, the interpretation of much of it, the unknown meaning of other parts, and the visual imagery of one’s journey from Adam and Eve’s paradise through a life lived without thought to moral character, and the hellish aftermath of living such a life. If you have never viewed The Garden of Earthly Delights, it’s worth your time. Check the following websites: https://www.bosch500.nl/en; https://www.youtube.com/watch?v=4zC3UuGxitU; www.npr.org/.../hieronymus-bosch-died-500-years-ago-but-his-art-will-still-creep-you-...

SECONDLY, WHAT WE STAND TO LOSE

The very soul of our cultural lives is threatened these days. I try to concentrate on art in these posts, and stay non-political. However, these are puzzling and frightening times for the arts and I am worried. Worried. Worried. Worried. It’s not just the arts that concern me, however, it’s a plethora of quality of life issues that affect our country. The list is long, so let’s approach it in alphabetical order. From the Washington Post, the LA Times and others, here is the list as I know it currently:  

African Development Foundation
Appalachian Regional Commission
Chemical Safety Board
Corporation for National and Community Service
Corporation for Public Broadcasting
Delta Regional Authority
Denali Commission
Institute of Museum and Library Services
Inter-American Foundation
U.S. Trade and Development Agency
Legal Services Corporation
National Endowment for the Arts
National Endowment for the Humanities
Neighborhood Reinvestment Corporation
Northern Border Regional Commission
Overseas Private Investment Corporation
United States Institute of Peace
United States Interagency Council on Homelessness
Woodrow Wilson International Center for Scholars

Ironically, I visited the LBJ Library and Museum this weekend in Austin. Guess who spearheaded many of these agencies and signed them into life? That’s right, Lyndon B. Johnson. Below is a photo I took of a Johnson quote:


I would note that today the first sentence may also apply to the scientists. They are in danger of losing the penthouse. We all may be headed for the basement. I hope not.  

A NEW ARTIST DISCOVERED

Lastly, and on a more upbeat note, I discovered a new artist this week: Friedensreich Regentag Dunkelbunt Hundertwasser (1928-2000), an Austrian born artist and architect who moved to New Zealand.  Take a look at his work!
Have a great week.


Monday, February 27, 2017

Necessary Essential Arts ...

First, a drawing a day for a year: I am sticking to the resolution. I continue to draw, every day. Like breathing, I draw. That’s as it should be.

Next: the NEA. National Endowment for the Arts. Necessary essential arts. Never enough art. Not eliminating arts (funding). All of that. Why am I writing about the NEA, again? It has to do with Wright State University and the re-installation of a great work of art, originally created in 1981, removed some years later, and now recreated, permanently, in the Robert and Elaine Stein Galleries at Wright State.

That work is a piece by the conceptual artist Sol Lewitt, and it was originally funded by a grant from the NEA. Students helped with its creation in 1981, and now in 2017, students and patrons get to enjoy it again. Were it not for the NEA grant, we would not have this very important work available to us. That’s what those grants are for, to allow artists the means and the time and the space and the place to create work, and to allow the public the time, the space, the place, and the opportunity to experience the work.

I am worried about the future of the NEA. It’s funding is always tenuous; it has often been a target of federal budget cutters who want to appear cost conscious. However, the NEA is a tiny, tiny part of the federal budget, and eliminating its funding would have little to no impact on the budget. And it is necessary for our government to support the arts; they should be leading the way.


Have you ever studied life under totalitarian regimes? Those worlds are, almost literally, gray. People dress in subdued clothing, work in drab buildings, stand in line for low quality goods. Art adds color and shape and texture and breath to the world. We need that. We need the NEA. 

Image result for sol lewitt wright state university  Students working on the original Sol Lewitt wall drawing, 1981.

Monday, February 20, 2017

Support your local arts…



With all the uncertainty surrounding the futures of the National Endowment for the Arts (NEA) and the National Endowment for the Humanities (NEH), I have been thinking quite a bit about support for the arts. (It should be noted that the NEA and NEH combined are only about 0.003 percent of the federal budget; each received $148 million last year which is not very much.) In fact, according to news sources I consulted, it’s kind of like this: if you make $50, 000 a year, spending the equivalent of what our government spends on the NEA, the NEH, and the Corporation for Public Broadcasting combined, it would be like spending less than $10. Holy cow, you say, our federal government spends that little on the arts? Yep.

So, that aside, let’s think locally. I have been thinking locally because I am involved with both the Dayton Visual Arts Center and the Dayton Society of Artists (as well as a few others …). I want both these organizations to be not only useful to artists and art lovers, but vibrant and growing. They serve different and very necessary purposes for the arts in our community.

Currently I have been working on growing sponsorships and memberships for Dayton Society of Artists. This art organization is entering its 79th year and the last few years have seen new growth with an infusion of younger artists and consequently new ideas. However, it is a non-profit and non-profits can be a little financially tenuous. Thus, we are always seeking additional support.  

New members bring in new members and new ideas and new art and new life. So, those of you – including me of course – who are already DSA members need to seek out other artists who could benefit from our great programs and opportunities to exhibit, in addition to the creative comradery.

For those of you who love the arts and understand how a vibrant bevy of creatives contributes to lively communities, think about becoming a Friend of the Gallery or sponsoring an exhibition award. I am including in this post the information you need if you wish to befriend our gallery at 48 High Street in the St. Anne Historic district. Isn’t it beautiful?

Image result for 48 high street gallery dayton

Monday, February 13, 2017

SICK LEAVE AND WHY ARE YOU MAKING THIS?


I didn’t post last week because I was slammed with the gastro illness everyone I know has had. I was too sick to write. Totally recovered now I am ready with some musings on a question I am often asked, and was most recently asked, today.

“Why are you making that? Who is it for?” In my experience it seems many non-artists assume artists only make work when there is a commission. Otherwise, why else would you do it? It is outside their experience to create simply because one is compelled to do so.


Creating is what artists do. Creators is what we are. Making art is so identified with self that we “make” no matter what. Maybe we have a commission, maybe we don’t. We still create. And we will always create, just as long as it is physically possible. 


Have to add one last thing: these images of a bikepath created by Dutch artist Dan Roosegaarde. Located in Eindhoven, the Netherlands, Van Gogh's birthplace, 600 meters of LED lights allude to his most famous painting, Starry Night. Can you see something like this in Dayton? 


Image result for van gogh bike path



Monday, January 30, 2017

THE IMPORTANCE OF BEING THERE…


Watching and reading the news these days I see large numbers of people coming together to express concern about immigration, ACA, climate change and the arts. If something is to change or grow, it’s important to show up. There is significance in participating. It’s important to “be there”.

That’s my thought for this week: being there. And this “being there” is local, it’s not controversial, and it takes us back to the topic of supporting, creating and participating in the arts.

I am a board member of the Dayton Society of Artists, formerly known as the Dayton Society of Painters and Sculptors. This group was founded by artists who realized the need for a supportive artistic community. It’s Dayton’s oldest art organization at 75+ years.

I joined the organization when I first moved to Dayton more than 30 years ago. As I moved away from painting to collage and mixed media I felt the group was no longer relevant for me. I dropped my membership.

During the 75th anniversary celebration of the society, I rejoined. Not only that, I became a member of its board. Why, after all this time, did I reconsider?

The world has changed. The art world has changed. The boundaries between media are less strict and there is more crossover from one type of media to the next. Therefore, it no longer made sense for this particular organization to restrict its membership to painters and sculptors only. This is also the reason for the name change to Dayton Society of Artists.  

By inviting artists who work in all media we are also inviting fresh ideas, the possibility of collaboration, and contributing to a renewed excitement in the organization. If you have not experienced Dayton Society of Artists, you should, and I am extending that invitation. Join us. The more members of DSA the more good things, and if you are not already a member you should be!

COME TOGETHER FOR THE GOOD OF THE ARTS IN DAYTON. JOIN DSA.


FOR MORE INFORMATION GO TO: http://daytondsps.org/ or visit us on Facebook. 

Monday, January 23, 2017

AN EXERCISE IN HOPE … AND DETERMINATION



Well, it’s been quite the week. We ushered in a new administration on Friday, we rallied for rights on Saturday, and we prayed for friendship on Sunday. I admit I am concerned about our country’s future. Public discourse is worrisome, facts appear to be on the endangered list, and arts and culture support is being threatened. Unlike the line from Hamilton, there seems to be   “one MORE thing to worry about”.

Friendship and faith were Sunday’s topics, and in my mind, they are arts. So today I want to talk less about visual art and more about the arts of friendship and compassion, the art of faith, and the art of taking action. I want to encourage my readers to practice friendship and compassion to others, especially to those who may not be easy to treat in a caring manner. The last few months have been replete with frightening rhetoric, uncaring remarks, and truly disturbing language.

I know from my own experience how damaging words can be; I understand that cruel talk can lead to cruel actions. It is absolutely NOT TRUE that words don’t hurt. They do. And this is why I am pleading to all creative people to practice the behavioral arts of friendship, kindness, compassion and understanding. Let it seep into your art, your words, your actions. We need these behavioral arts desperately. Be creative in showing the platinum content of your character in the face of negativity.


These are exercises in hope and determination. 

Monday, January 16, 2017

A DRAWING A DAY FOR A YEAR, WEEK THREE


Today is Martin Luther King Day so I am thinking about the man and all he stands for. And I am thinking as well about Congressman John Lewis, who worked by King’s side and is still working today on behalf of all of us. I was fortunate to see him speak earlier in the fall; it was unspeakably moving to listen to him tell of his walk across the Edmund Pettis bridge. He is a true Civil Rights Hero and icon.

These thoughts lead me to thoughts about the Harlem Renaissance and my favorite African-American artists of that era. I love Romare Bearden’s work and Jacob Lawrence and Benny Andrews. Such originality, great color, and wonderful storytelling. Their work continues to speak to us today, reminding us that we still have a lot to learn about each other.


Meanwhile, still drawing – every day –still working on the new projects – still thinking up new ideas!  

Image result for romare bearden famous art  Romare Bearden, The Block, 1971 (a favorite of mine)

Image result for jacob lawrence paintings  Jacob Lawrence, Brownstones, 1958

Image result for benny andrews paintings   Benny Andrews, Singing the Blues, Year?

Monday, January 9, 2017

A DRAWING A DAY FOR A YEAR, WEEK TWO


So far, so good. I have made drawings every day since January 1. Somehow making the pledge in public cyberspace seems to be cementing the promise to myself and I am enjoying the discipline. I hope anyone reading is also giving this a try. To draw something is to show your understanding and there simply is not enough drawing done in the course of a traditional education. One does not need to be a great artist to draw; one simply needs to draw.

Drawing is a way of thinking, it’s visual note taking; it helps us to remember. Drawing is communication. Drawing is emoting. Drawing is necessary and essential.

Let’s keep drawing.

“Drawing” on other subjects, my holiday break is ending. I return to teaching this week with a drawing and painting class at Kettering College, followed by a new semester of art history at Wright State. Time off is wonderful but routine is pretty good too and it’s time to fall back into the rhythm. I am also returning to work on some of my collage series: a new tapestry is underway, another in the Redefining Wall series is on my easel in its beginning stages, and I think I finally have a handle on how to create the new series called Half the Sky. And right now I am sitting here watching the ice flows on the river and flocks of birds enjoying the sunshine…

Hope your sun shines bright as well. 

Sunday, January 1, 2017

A DRAWING A DAY FOR A YEAR


Lots to catch up on and apologies for my absence. Due to a very busy fall and winter I dropped out of the blogosphere. My husband and I downsized from our home of 31 years to an apartment on the Great Miami River, we delighted in sharing our lives with our first grandchild, the most delightful baby in the world, and we were both absorbed with our work. And I am not even going to mention the election…. no I am not! 2016 held both good and bad, but honestly, I am ready to see it go.

In thinking about my creative life I have been considering something I don’t do often enough, and that is drawing. I confess that I do not draw every day; I am consumed with collage making for commissions, rfps, series and exhibitions, but I do not draw like I should. SO, this year I intend to make at least one drawing a day for the entire year. I don’t care if it’s just a line on a napkin, I pledge to do it. Now that I have made my public vow, you readers are my witnesses, my subtle nags, my feet to the fire art loving friends. Here is the pledge:

FOR 365 DAYS IN THE YEAR 2017 I WILL MAKE AT LEAST ONE DRAWING A DAY.

I ask that you check in with me from time to time to keep me honest, and I will post drawings as I go along. I may need your gentle reminders that I have made this promise to myself.

NEXT: AN INVITATION, OR CHALLENGE IF YOU WANT TO CALL IT THAT, TO YOU: JOIN ME IN THIS ENDEAVOR! START YOUR OWN DRAWING A DAY FOR A YEAR AND LET ME KNOW HOW YOU ARE DOING.

Let’s become a community of communicators in the visual world. Draw!


Heartfelt wishes to all for your best year ever!

Tuesday, May 17, 2016

HUNGRY ARTISTS


No, this is not a typo; I am not channeling Kafka. I am referring to an upcoming one night pop-up show with an artistic and political theme. This exhibition, called “Feed the Adjuncts”, has been organized by artist and adjunct professor Colleen Kelsey, who is fast becoming known in the Dayton area for her organizational expertise putting together pop-up exhibits, as well as her advocacy for those of us who maintain not only a full-time art studio but teach as well.

“Feed the Adjuncts” was conceived to call attention to all those hard-working part time instructors who devote countless hours and endless energy to their teaching duties, while most of the time receiving what can often feel like “negative” compensation, at least in terms of dollars and might I add, respect. Now I know that this is not always the case, but there are numerous studies that reveal the often large percentage of adjunct instructors many universities and specialty schools employ, as well as their pay and lack of benefits. The thing is, not only is this unfair to those worker bees, it is also a disservice to the students they teach, many of whom have no idea that many of their teachers are not full faculty members.

I teach because I enjoy doing so and have never been in the position of having to teach at multiple schools just to support myself (although I do teach at multiple schools). That said, I also realize that I am not being paid what I am worth, especially given the number of hours I devote to my teaching practice. I don’t resent the time itself, and I totally love converting students from arts unaware to devotees. However, in practical terms, because of my part-time status and pay, I should be paying close attention to the amount of time I spend on teaching duties. Hard to do I admit.

So, Colleen has conceived of this exhibit to highlight the hungry months of the adjunct artist – summer- when most are not teaching and not receiving a paycheck. The hope is that some of you might visit this show and perhaps make a purchase. I want to emphasize that the artists participating are skilled in a variety of media and that if you come you will experience a visual feast.

“Feed the Adjuncts” will take place on Friday, May 20 from 6-10 pm at Divisible Studios in the Front Street complex, 1001 E 2nd Street, Building 100, 2nd floor, downtown Dayton. Enter through the door marked B-C.

Participating Artists: Nicholaus Arnold, Wesley Berg, Matthew Burgy, Clara Coleman, Leesa Haapapuro, Sara Janowski, Ashley Jude Jonas, Colleen Kelsey, Jean Koeller, James Luckett, Edmund Merricle, Marsha Pippenger, Francis Schanberger, Frank Travers

“Feed the Adjuncts” is planned in collaboration with Wesley Berg Studios. This pop-up exhibition space is donated by artist and Divisible Gallery Director Jeff Cortland Jones.

If you want more information visit: https://www.facebook.com/events/1028202993918647/


HOPE TO SEE YOU THERE!


DETAIL, THE LIGHT OVERCOMES, PAPIER COLLE ON CANVAS


Monday, May 2, 2016

SERVING THE WORK


While reading the editorial page of the Friday, April 29 issue of The Dayton Daily News, the headline of David Brooks’ column caught my eye. It referenced Ernest Hemingway. I started reading.

The Hemingway references accurately captured the man as I understand him but what really struck me was Mr. Brooks’ reference to a comment he credited to Dorothy Sayers. She once wrote that while it might be politically correct to state that one does one’s work to serve the community (I am paraphrasing), that is actually a falsehood. Her argument is that if you do any type of work to serve the community, that work becomes untrue, because in essence you are doing it to seek approval. Sayers notes that if you concentrate on serving the work rather than the community, you end up serving the community even more.

The self-consciousness disappears when you do this. Concentrate on the work fully and completely and to the best of your ability, and by doing so, you are serving the larger community. It becomes truly, honest work. Don’t make work simply to accumulate accolades.

Thank you Mr. Brooks for bringing this to my attention, and thank you Ms. Sayers for your perceptive observation.


I plan to keep this in mind as I go to the studio. I will dispense with “how am I doing” and simply get on, serving the work. 

Monday, April 25, 2016

Libraries and Art

Taking a shortcut today on my Monday post. I recently installed a piece of art  in the new branch of the Dayton Metro Libraries. It is one of four original pieces commissioned for the new library. Other artists involved are Amy Anderson and Francis Schanberger of Dayton and Virginia Kistler of Columbus. All of the pieces are imaginative and wonderful additions to a truly inspiring library space!  Below is the article from the Dayton Daily News, written by Meredith Moss. 

Art enhances new Dayton Metro Library Northwest Branch



Posted: 12:00 a.m. Saturday, April 23, 2016


There’s no way the community can begin to thank all those responsible for the amazing art that’s in the process of being created and installed in the new — and renovated — Dayton Metro Libraries.
The “ReImagining Works” project, in collaboration with the Dayton Art Institute, is encouraging talented local artists to dream up artwork that reflects each of the libraries and its particular neighborhood. You can see the latest additions at the new Northwest Branch that opened Friday at the corner of Philadelphia Drive and Hillcrest Avenue.
While this particular library was created to serve patrons of the consolidated Dayton View, Ft. McKinley and Northtown-Shiloh branches, we’re certain that library-lovers throughout the Miami Valley will enjoy seeing and and experiencing this state-of-the-art facility. At 30,000 square feet, it will be the largest branch in the system and is the first totally new library to be built in Montgomery County since 2000.
The artwork that enhances the space could never have been commissioned without the generosity of an anonymous donor’s unrestricted gift of $1 million. It’s thanks to the library’s executive director, Tim Kambitsch, and his board of directors that the decision was made to use the funds for new artwork by local artists.
Typically, Kambitsch said, the library works with donors to determine how their donations can best serve both the donor’s and library’s interests.
“Unfortunately, we were not able to consult the donor as the person is no longer living,” Kambitsch explained. “Because it was a significant bequest, the library’s board didn’t want the funds to be used for routine expenses. This donor’s attorney, a family friend, helped us to honor the donor with exceptional enhancements of our new facilities. The result is a perfect gift to both the community and local artists.”
How it works
The idea for “ReImagining Works” is to use art from the Dayton Art Institute’s permanent collection as inspiration for local artists. The Dayton Art Institute’s Susan Anable is the project manager.
“It was very forward-thinking to incorporate art from the ground up, instead of having it just be an afterthought,” notes Anable, who said artists within a 250-mile radius were welcome to submit proposals. “Art gives a building life. It makes it warm and inviting. And it makes that building unique.”
For the Northwest Branch, Anable explained, the library’s art committee chose six works from the DAI collection. Then the community voted to select the final two pieces. Those chosen were a Kuosi Elephant Mask Costume — made of fabric, fur, hair, beads, ivory, feathers and twine — and a carved gray stone Persian Relief Fragment from Persepolis that dates from 518-465 BCE. Stone relief carvings were also prominently featured at Fairview High School, which stood on the site of the new library.
Artists were also asked to research each library’s neighborhood and to incorporate the ambiance of that neighborhood into their proposed artwork. For the Northwest branch, the total art budget was $45,000. Commissions ranged from $5,000 to $20,000.
A tour of the Northwest Library artists
Virginia Kistler’s intricate sculpture is suspended above the library’s cafe and looks like a circular chandelier. It’s 10 feet in diameter and is made of of rubber, stainless steel and wood.
“My work is a contemporary take on the traditional craft of textiles, inspired by the Relief Fragment from Persepolis and the Kuosi Society Costume,” Kistler explained. “Like many Persian and Bamileke textiles, I employed the use of radial symmetry. If you look closely at the work, you will see textile patterns that are inspired by both cultures.”
Kistler, who is from Columbus, employs the use of two-dimensional imagery that serves as the inspiration or starting point for her three-dimensional sculpture. She designs her work using CADD and modeling software and utilizes contemporary fabrication techniques, such as laser cutting and 3D printing.
The kids will love the playful and colorful elephant painting located near the children’s room. Created byAmy Kollar Anderson of Dayton, it’s titled, “Marketplace of the Mind,” which is also the library’s motto. The piece is acrylic and copper foil on linen.
Anderson, who often paints in a surrrealistic style and uses metallic paint and glitter, said her artwork pays homage both to the history of Fairview High School and the DAI’s elephant mask and costume. A mother elephant and her calves — carrying baskets of fruit — frolic in front of a structure inspired by the front entrance of the old high school. Ask your children if they can find the four Bulldogs on the piece — the Bulldog was the Fairview High School mascot. The decorative border and patterning are drawn from the Kuosi Elephant Costume.
One of the welcoming features of the library is a cozy reading room complete with fireplace. Marsha Monroe Pippenger of Dayton created “Spaces Between Stones,” two paper collage-on-canvas triptychs that flank the fireplace and represent the three small library branches that merged to become the Northwest Branch.
“Like the stone Relief Fragment from Persepolis, the viewer sees fragments of wall and ‘spaces between stones’ in my work,” Pippenger explained. ” I see walls as positive rather than negative symbols of community, and just as the leaders of Persepolis united their empire, the double triptych design and architectural composition allude to the union of three unique neighborhoods — Northtown Shiloh, Dayton View/Salem and Ft. McKinley — into one library branch.”
Her collages, which often incorporate natural materials and earthenware fragments, are created through a process of building and layering, of adding and taking away.
On the day I got a sneak peak at the new library, artist Francis Schanbergerof Dayton was installing his work, “Scatter Hoard,” on the walls of the Quiet Reading Area. His photographic quilt, printed on handmade Japanese paper called “washi,” was created using historic photographic methods and features images of nature.
“I was drawn to the textile designs in the central part of the Kuosi Society Costume,” Schanberger said. “There are diamond shapes set within other diamond shapes with alternating cool and warm hues. I decided to employ photographic methods that produce very different colors to echo this effect. “
He said the cyanotype process produces the cool blue hue and the Vandyke process produces the warm chocolate brown hue. “My photographs of maple seeds and burr oak acorns are assembled in a quilt like pattern of these alternating colors.”
Schanberger, who has been photographing since fourth grade when he presented a homemade, long focal length pinhole camera as his science project, is especially interested in historical photographic processes and the intersections between science and art.
Other artwork
As you stroll through the new library, you’ll see other artwork as well:
  • The colorful entrance to the children’s area and its meadow theme was designed by Englewood artist Terry Rasor of TER Designs. Rasor, a teacher at St. Christopher’s, has made exhibit pieces for other area organizations including the Boonshoft Museum of Discovery. The fabric on the four chairs in front of Rosor’s meadow-themed portal is by popular Cincinnati wild-life artist Charlie Harper.
  • Those who had a difficult time watching the old Fairview High School be torn down will be glad to know that the new library now houses the beautiful Rookwood fountain dedicated to principals Don D. Longnecker and Theresa Folger. In this case, the appreciation goes to Robert Mousaian, class of ‘64, who offered to salvage and restore the fountain before he realized how heavy it was. “Along with Al Donaldson, we cut through concrete block and brick to remove it,” Mousaian said. ” I rented a forklift to remove it from the building and felt guilty driving an industrial forklift down the halls of my alma mater where it used to be a sin to even scuff a wall!”
  • In addition, the library’s first long-term Opportunity Space partner is the Funk Music Hall of Fame and Exhibition Center. The Funk Center will host rotating displays and programs related to Dayton’s funk legacy and the history of funk music through the fall.

Monday, April 18, 2016

PAUL REVERE, LONGFELLOW AND ANNE LAMOTT

PAUL REVERE’S RIDE….

Listen my children and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-five;
Hardly a man is now alive
Who remembers that famous day and year.

Henry Wadsworth Longfellow


This is only the first stanza, but when April 18 pops up on the calendar I think of this poem. So, I had to put at least this bit on my commentary for today. Besides, Revere wasn’t just a Revolutionary, he was a silversmith by trade. So, art fits the picture, as it always does!


I guess today’s post really is about writers because I have been wanting to comment on the words and thoughts of another writer, Anne Lamott. Last fall my book club read her book Bird by Bird: Some Instructions on Writing and Life, which I highly recommend. She is a thoughtful and very funny writer and I gleaned much wisdom from her thoughts. In fact, I enjoyed the book so much I ordered a copy for my son, who is a professional writer.

In the book’s introduction Lamott relates her experiences teaching writing workshops to students who love to read, who love good writing, and who are eager to see their words in print. She begins by telling them what it is like to sit down to work with “a few ideas and a lot of blank paper”. She tells them they will want to be really good straight off, and that they may not be, but they might be good someday if they just keep at it. She tells them that their heads will be filled with their stories, even when they are not writing, that everything will be fodder for the page. She also tells them that they will have days of frustration, low self-esteem and self-doubt. They will want to give up, and forget this ridiculous belief that they can actually write, much less write something someone else wants to read.

Does that not sound like the life of a visual artist as well? I think so. So, to keep this post from being too long, I will just urge you to keep at it, because as Lamott goes on to say, there will also be days when it feels like you “have caught and are riding a wave.”


Ride on my friends. It’s absolutely worth it.



With many thanks to Anne Lamott for her beautiful writing and to Longfellow for his poetry.


Tuesday, April 12, 2016

THE DAO OF DRAWING


So I have been listening to The Great Courses while in my car and am currently learning about the Daodejing, subtitled The Dao of Life and Spontaneity. The book is generally credited to a person known as “old master” though most scholars believe it comes from a variety of sources. The Daodejing, interestingly enough, is the most frequently translated book in the world!

The meaning of the word dao is usually translated as “way” although it is sometimes translated as discourse or discussion and there are other meanings as well. Mostly though it seems that “way” is the most common understanding.

As I listened to my audio teacher, I thought of drawing, and the phrase “dao of drawing” came to mind. What is the way of drawing? In Daoist thought one pays attention to the empty spaces, the background before the foreground, to what is not there. From that negative space the positive emerges.

Now admittedly this is just a tiny tiny piece of Daoism; the philosophy as a whole is much more complex. As I consider the idea of drawing as dao, a way, a discourse, the thought of approaching one’s drawing practice as first noting the empty spaces then allowing the forms to emerge from those spaces intrigues me. After all, it is a common drawing exercise to set up a series of forms and instruct students to draw the negative space rather than the objects themselves. This certainly points to a “Dao of drawing”.


Perhaps if one followed that practice more often when making marks one might see new and enlightening things. Who knows?