Face the Sun Forever




Top and Middle (detail)
Marsden Hartley (1877-1943)
American Indian Symbols, 1914
Ammon Carter Museum
Fort Worth, TX

Bottom:
Wil barnet (b. 1911)
Self Portrait, 1948-9
Ammon Carter Museum
Fort Worth, TX

From the descriptor panel:
Marden Hartley drew inspiration for this painting from several sources: mysticism,German folk art, and the avant-garde theories of Europe's most progressive artists. He emplyed abstracted motifs derived from American Indan culture: medicine wheels, tipis, shields, cheif's blankets, and warbonnets, fashioning them into schematic designs of bright, glowing colors. He wrote to his American dealer, Alfred Stieglitz: " I Find myself wanting to be an indian--to paint my face with the symbols of that race I adore, go to the West and face the sun forever--that would seem the true expression of human dignity."

These paintings are total kicks in the booty (along with Remington, the Grant Wood they have and totally from another planet, Stuart Davis).

musing


This painting is from photos taken of Muff and Real Musgrave's collection. The image is by Jim Christiansen, a celebrated fantasy illustrator who has been recognized as a “Utah Art Treasure,” one of Utah’sTop 100 Artists by the Springville Museum of Art and received the Governor’s Award for Art awarded by the Utah Arts Council recognizing the significance of Christensen’s artwork to Utah’s cultural communities. He was inducted intothe U.S. Art magazine’s Hall of Fame. Jim and his wife, Carole, co-chair theMormon Arts Foundation. Muff always got a painting from Christiansen for Christmas until he became fully recognized and collected--stopping that tradition.

I learned that there is a category of illustration called "Decorative Illustration". I think that is what I am....and I find it somehow reassuring that my work fits into a type--as SU promotes painters--and if you don't fit into the schema for painting, you are left hanging. I should google this to see if there is anything out there that speaks to this tradition. Hmm, let me see--Here's a nice link to a page that speaks broadly about illustration:

ILLUSTRATION. In a general sense, illustration (or the art of representing pictorially some idea which has been expressed in words) is as old as Art itself. There has never been a time since civilization began when artists were not prompted to pictorial themes from legendary, historical or literary sources. But the art of illustration, as now understood, is a comparatively modern product. The tendency of modern culture has been to make the interests of the different arts overlap. The theory of Wagner, as applied to opera, for making a combined appeal to the artistic emotions, has been also the underlying principle in the development of that great body of artistic production which in painting gives us the picture containing "literary" elements, and, in actual association with literature in its printed form, becomes what we call "illustration." The illustrator's work is the complement of expression in some other medium. A poem can hardly exist which does not awaken in the mind at some moment a suggestion either of p icture or music. The sensitive temperament of the artist or the musician is able to realize out of words some parallel idea which can only be conveyed, or can be best conveyed, through his own medium of music or painting. Similarly, music or painting may, and often does, suggest poetry. It is from this inter-relation of the emotions governing the different arts that illustration may be said to spring. The success of illustration lies, then, in the instinctive transference of an idea from one medium to another; the more spontaneous it be and the less laboured in application, the better. continue>>

I spoke to Murray and Doug Anderson about the dream project, the first project we have that could evolve into the thesis. Taking the idea of working on a series of illustrations that might be able to be used on a series of old time cds seemed to be okay as long as I didn't start working on it--the rules are to just think about it, do some reference work and (they didn't say it) relax. I figure this could evolve into a thesis. I do not want to find myself up against a thesis striking out with the topics without any shepherding like the SU thesis was. I would really like to be able to embrace it and drill into it... I just didnt have the chance to emotionally engage in the material from SU and would like to be able to do this. Murray pushed it a bit making it about the images--instead of looking at the end application, what is the imagery--and I think Americana might be the big rubberband that wraps this whole concept. Americana with a fresh look-- Time to start thinking. No sketching....maybe a thumbnail>?

Billy Bobs Texas: a Hub of Fort Worth's Stockyard






A requirement of the Texas trip is to go to the largest honky tonk, Billy Bobs. Billy Bobs Texas is the Disneyland of all that is Western-as their website sums it up:
With 127,000 square feet of space, which is nearly 3 acres inside and 20 acres of parking, for entertainment and events, Billy Bob's has 32 Max individual bar stations, country music's biggest stars, Live Pro Bull Riding and a Texas size dance floor for everyone to enjoy.

Once again, it's big. Their gift shop sells all sorts of stuff from hats to cross bedecked teeshirts and bags, to anything with a cowboy boot on it. They have pool, gambling, dancing, bars,live bull riding, stuffed bull riding (for a picture)--"the photo bull" and much more...down to a music hall of fame and some terrific bios with pics of their favorite barrel riders or rodeo stars...(getting me much more excited about tomorrow night). The big fashion look beyond the boys in their hats and boots were these spangly belts (western style ) that the chickaritas cinched around the requisite jeans and low cut tops. Wow! I hope they don't pack that stuff when they come to Manhattan---It might not work so well out of context.

The Lone Star beers were cheap and it seems that one or two of them were being consumed. I cannot even begin to imagine the scene that goes on on the weekends there. A buck to get in. A beer for $1.75 and all the music you can consume...with gals in tight stuff with spangles and lots of lip gloss and plenty of handsome tall drinks of water--twirling and two stepping into the wee hours. Wowza.

It's late. Good night!

Day Four: at home with Real and Muff Musgrave


We were taken by bus through the beautiful golden landscape to a floridly named Flower Mound to visit Real and Muff Musgrave. They had invited us to see their house, see their work, and have a lovely lunch on a large deck overlooking all sorts of trees just ready to burst with blooms (albeit, the holly bushes were glossy and gorgeous). We were greeted at the driveway by both of our hosts and made immediately to feel at ease and welcome--by explaining what we were going to do and then eating lunch with us. It was so cute the way they had tablecloths on all sorts of different sized tables and brilliant parasols with little golden dangling charms around the edges just to make it even more a party. There were stacks of examples of their promotional print pieces, their newsletters and cookbooks all surrounding the promotion of the centerpiece of their success, the Pocket Dragon.

The Pocket Dragon evolved from Real's work in college which manifested itself in inflatables--18' dragons and large drawings of dragons that Real showed in galleries to great effect. When Real and Muff decided it was time to go to Europe, they parked their beloved small, brown dog, Flower with Real's parents and flew across the big pond with $800 with the plans that they would stay as long as the money lasted. While they were there, Real drew dragons, small dragons on paper that fit right in your pocket. A Pocket Dragon was born. The spirit of this little creature was as Real said, as if the world was viewed from the view point of their little dog, Flower, and how Flower would respond to or interpret situations. The dragons took on aspects of Flowers personna from gesture to the floppy ears. When they came back, the two Musgraves formed the team to bring Pocket Dragons to the world of collecting and collectables.


Real muses on his recent retirement from a life of creating thousands of these dragons, their whimsical packaging somehow linking books, candy and cookies to the creatures, print, and the care and feeding of their fans (who, I was intrigued to find out was a broad demographic from kids to parents to grandparents--here in the US and in Europe), 104 animated television shows, and the care, maintentance and strong guidance of their brand. This is where Real and Muff (Muff is a nickname derived from a childhood moniker spun from Little Miss Muffet) really, for me, stand out. They are totally true to their brand...saying no to big money, challenging and pushing back to make sure their dragons are of the right spirit, the right quality, the right design--not compromising or giving in to short term gains. Real said that he and Muff could not believe that they fell into a life where they were able to make these dragons and with their fans, have people who were actively interested in their lives, the lives of their pets and the simple doings that made up the Pocket Dragon myth and legend. But it did happen--down to fans sending them boxes of cookies in the mail, banana bread, muffins and afghans crocheted with Pocket Dragon imagery in a rainbow of colors...letter and notes to Real and Muff as if they were (I guess they are) family.

From rencentral.com:

The couple's first dog, Flower, with her loving, mischievous nature inspired Real during his life-size dragon period. Her expressions and antics later formed a basis for the persona of the Pocket Dragon. "Flower had an intense love of cookies and chocolate in general," Real states reflectively. "Whenever you see a Pocket Dragon hiding or sneaking a cookie, that's Flower. Every time she did something it sparked an idea for me. When Flower passed on, I thought my career was over because I couldn't imagine doing it without her. Little did I know then that she was secretly training a couple of cats to take over."

Muff and Real love their cats, who have become their muses since Flower. The cats have inspired thinking, dragons and their poses, and have on occasion, suggested things about the design of aspects of the dragons to Real by example and gesture. Real mentioned that he was struggling with the design of the original group of Pocket Dragons as their eyes were drawn and needed a great deal of skill to paint in the final production of the pieces. He was thinking about that when one of their ginger colored, male cats (Muff confirmed they were the cats they liked (as did their vet) as they are filled with antics and personality) brought Real a struggling mouse. The cat leapt up onto his drawing table and left the stunned mouse for Real to pick up and observe as if to say, "there..look at this mouse...the idea for the eyes are there". After Real thanked the mouse for it's assistance, he put it out of one door and the cat at another. Problem solved. The cats have their own protected outdoor space called the "Kitty Palace"--a contained outdoor room that would protect them from coyotes. The Musgraves have, in their retirement become involved in the local SPCA and were raising money with hard bound, self published (I think) books on their retirement plans and with little buttons. Real cited that he has had a career making money for himself and others. In this next chapter he would like to make money to benefit others--and I think the Flower Mound SPCA may be a beneficiary. And why not? Real and Muff's cats have been a source of humor, inspiration and central to driving their business. So why not give back? It seems very right.

In celebration of their retirement, Muff and Real invited 10,000. people to a party at Flower Mound. Here is what happened (from dragonsintheattic.com>>). My goodness, these guys do not do things by halves. I am exhausted thinking about it...the strangers, the pizzas, the cats, and so on.

I like Real's drawn work the best. His illustrations have a sweetness and an aspect that somehow reminds me of Maurice Sendak. With Real and Muff's beginnings at Renaissance Fairs, their interest in that slice peeks out of his work--but it's charming and not cloying nor does it feel like Dungeons and Dragons. I guess one might term it more fantasy.

The Musgraves are wonderful, kind people who have had great success pursuing their bliss--winding their love of books, cookies, chocolate, cats and the wonder of life into a world of imagination and whimsy. Bless them. They are an inspiration to seek out what you are good at and lean on it--making the most of it with integrity and common sense. They are illustrators, marketers, character developers who know who they are, and what represents them properly. They put their beliefs to the test and end up able to sleep at night after doing the right thing because, its right.

A tiny selection of the unbelievable work of HAS Students






Images shown:
Landscape: Ron Mazellan
Portrait of Lori Ann Levy-Holm: Chuck Primeau
Angel: Greg Newbold
Bear: Jacqueline Decker " my belly button broke into a smile" Murray T.
3D Postcard: Lori Ann Levy-Holm

There was a critique yesterday of the work completed to express the Pasadena area/ Pasadena trip that the Hartford students took last fall. Every single piece was wonderful--each showing each student's skill, his/her personaliity and helping them evolve. Many of the students tried new things, new media, new approaches and leaned into the assignment to terrific results. The critique was interesting for me--as I nervously scribbled notes about new techniques, new ideas, things to try, things to think about, turning ideas on its head. The bar is high (as you can see), the talent diverse, the work interesting. I cannot imagine doing everything to keep up with this pack. The larger class dynamic is going to be great.

an aside



I can't get over how almost barren even the populated areas are here in this town. Seems very stripped down, stark. Hollow... empty...However, because the weather protects the older buildings and they seem almost new...the bricks are still sharp, detail maintained. The Stockyard was a bit of the shockyard as I mused outloud to Gerry, asking dumbly "are these guys in costume?" referencing a pack of men in cowboy hats, boots, belts, vests...the rig...and Gerry's response was that " no, that's what we wear here". The Texan version of Trachten. If you are proud, you wear it. I love the range of hats and boots from the flat brims to the real live ten gallon hat. From white boots with turquoise trim, brown boots with kiwi trim, or elegant snakeskin ones with tips that could kill cockroaches in corners. You wear your pride--and I guess, this is the piece that gives some soul to this austere environment. Peacocks on the plains.

Day Three: Ray-Mel Cornelius, pride of Texas



Ray-Mel Cornelius is an illustrator who grew up on a ranch outside of Dallas. He was surrounded by a landscape that has influenced his life, his work and his vision. He was raised by a father who, with his friends, would "be strapped to a 500 pound animal to chase a 500 pound animal"--an environment he was more an observer versus a participant. However, the landscape called to him:" I was surrounded by this massive landscape...I could see from horizon to horizon...I spend most of my time surrounded by this landscape". His love for landscape has shown itself in his commercial work but has expanded into his gallery paintings, which I think is a mode that speaks to his love and joins it to a brilliant palette. Ray- Mel recognizes that illustration is a struggling business. Gallery painting became a necessity --but personally, I feel that the necessity is a place that he can expand his love of landscape, his love and pride in Texas, and those images that capture Texas such as livestock, and his cowboy paintings. I throughly enjoyed Ray-Mel Cornelius, his relaxed personna, his beautiful work and his love of where he lives and what he does.

Fish do Fly





Flying Fish
2913 Montgomery St
Fort Worth, TX 76107
Menu>>
(817) 989-2277

Trust Carol to ask around at the hotel to see where the locals eat and end up finding a gem of a place. Flying Fish is one such place. Imagine a place that you can eat a MUD BUG? Ever eaten them? Imagine> ? a Bug>? I have, though not tonight. They are crayfish or as I was raised, crawdads. They really are more bugs. We all had great food with great ambience along with their wall of Basses--and a sort of friendly bunker interior. Just perfect. Way more perfect than any white table cloth place. The grilled food was beautiful. I had catfish which was perfect and M. contented himself with a lovely plate of crab legs. And, nothing was going to break the bank.

The Fort Worth Telegram in August, 2007 said:

This hopping seafood joint is already making a splash

BY JUNE NAYLOR
SPECIAL TO THE STAR-TELEGRAM

The minute you walk into Flying Fish, you know owner Shannon Wynne has spent a lifetime of weekends at the lake. The inside of this busy seafood joint carries the vibes of his favorite catfish shack and a well-loved lakeside cabin, as the walls are covered with bass and other fish trophies. There's even a marina element, with a big vintage Evinrude sign dominating one wall.

Wynne -- who grew up fishing at the lake on his family farm but now has his own place on Caddo Lake -- found plenty of Cowtown pals who share his fixation on relaxing waterside escapes: At eye level alongside the booths are photos of Fort Worth folk with their own fishing tales attached.

Apparently, everyone in town has caught the fish fever, too, judging from the crowds that spill out on the porch every day at noon and for the dinner hour. The only way my gang has been able to eat there in under an hour is to go either before the lunch rush or after the supper crush.
>>more>>
--see, can't Carol pick em>? Top drawer!

Day Two: Hartford in Dallas: Jose Cruz

Jose Cruz was, for me, the big surprise of the day. We were warned about possible antics, possibly stuff "going down" and we didn't get it. Last time he visited the SU group, it was with a gold luchado mask (what is not to love?)--so he, in a sassy repartee with Carol T was asked "What else can we get you, sir?" "hookers." "Without the mask, I cannot perform". But he did...opening with "I am going to bore you with some really bad slides>" They weren't bad. And they were of the images that speak to him--which, as we got further and further into where he is going now, I went from polite to paying attention. His inspirations range from George Hardy (need to dig on that one), Robert Williams (see below), George Powell's puppetoons, and the collection of wonders he discovers in antique/ flea markets which he cleverly opens his presentation by showing the object of inspiration and the image (s) derivative of it. Lots of crazy deco toys from Felix the cat to roboty-little guys to animals. Interestingly, a lot of the same type of inspirations, the divine Chris Spollen uses in his earlier pix with the hotrods etc. but colored and textured in the mid-late eighties memphis palette (def memphis--not as sweet as Michael Graves took the aesthetic).

This earlier work was very simple in pastel colors with a single layout (a square floating in a rectangle with a border that reflected the proportions of a polaroid picture). He used light, medium, dark> no shadows> because as he said," shadows make work and you can't work quickly. " The old time is money thing. He is friends with Danny Pelavin--and has learned a great deal from him--from Danny's style, composition and integration of type. He did this work for quite a while until he took a trip to Mexico. " The water looks so soft, you want to jump in." He said that he was told by a person that swimming was not a good idea despite the beauty of the water because of the sharks." Jose turned around and was confronted by this sign:

He was struck with the simplicity but the corroded//eroded aspect of this image that it was aesthetic changing. To Jose Cruz, it was monumental. And from that, he started seeing more signage and stencils and street art "someone was doing graffiti with the Jesus thing" (see below) Its interesting that it hit him--because the Date Farmers were struck by the same imagery which has bounced into their work--driving a crude, hand made quality that I think Jose Cruz is seeking. Different results--but very similar starting points. I don't think he knows about them--it would be cool if he did. Cruz sites Keith Harring's work which he has pulled inspiration relative to the use of patterns and texture as well as the creation of a personal symbol program (such as Harring's Radiant Baby) which Cruz has established--a sperm symbol signifying himself/ masculinity/testosterone and a one eyed creature. I couldnt really fathom the other symbols, but I am sure if you got into it with Jose, he would be able to talk to it. He also started cutting his canvas up (not literally, yet) in black and white--again symbolic of polarity, positive and negative. He started to really pare his work down and was inspired by old advertising art of the 40s(?). Keeping it simple. He would look for cuts "Small ads are small art. Blow it up really big." Keeps the detail to the minimum. He works in squares again, only 2'x2', 4'x4' or half 2'x4' on beautifully screwed together plywood panels with wood spacers. The slides dont show it, but he works his backgrounds with type, collage, drawings he sands away to expose what is there. He applies all sorts of stuff from Melagros to Barbie torsos (which all, to me, seems very predictable)--but the black and white stuff is sensational. Finally, he is letting his emotions surface on these canvases with funny, dirty captions that somehow seem a bit sweet given the boy we are allowed to see through his toys, his pain and the way his art is helping (I believe it helps him) him, giving him a visual diary, a mirror to his feelings. These black and white, "Insult Paintings" are a nice ending for our talk about Jose Cruz because through these images, I feel that he is letting go a bit--seeing the art, and perhaps channeling this energy and bottled anger to create finally, in a way that reflects his vision,up bringing and his place as an artist. He seems very happy in this world of art--answering his own visual problems--talking to us about his worries, sadness and negative energy. I appreciate his ability to get it all out, and use his art to see himself more clearly--and be able to talk about his world, his life, his lost loves, his daughter and the women who have scorned him. It would be nice if he liked himself a bit more...and know that we do...and he doesn't have to try so hard. His work, intelligence and humor is something to admire. He is on a journey that I hope leads him to a happier space. He sure is working to get there.




Day Two: Hartford in Dallas: Don Punchatz, the Godfather of Texas Illustration

Don Punchaz studied cartooning at School for Visual Arts in NYC. He had a few animation/cartoon oriented jobs right after school to end up for four years in Pittsburgh as an Art Director for clients such as Westinghouse, Stouffers frozen foods, Iron City Beer (he directed the flip top program for the R-on). He did a few small paintings and posted them in his office. An agent saw the work and encouraged Don to put together a portfolio and get the work out. So, he added type and created book jacket covers which started to roll in. Not only did Don do the illustration, but he acted as the art director/type designer as well--and did much of that for his career. He is very inspired by art with primitive roots or primitive in general such as the Egyptians, Fra Angelico, Giotto, Rousseau etc. and their influence is more apparent in his earlier work.And from these book jackets, a career of work for science fiction/fantasy began (along with work in editorial inspired in style and touch from this sci/fi/fantasy work). Don got associated with Harlan Ellison and has done his book jacket covers and inevitably selling the artwork to the writer. he has a similar relationship with Philip Jose Farmer and of H.P. Lovecraft. He did a beautiful album cover for Tomita with images of mermaids and sea related creatures.

I was struck with how clean and interesting his work became when he broke with the comfortable world of aliens and space creatures like the images I am showing below. The Nicotine Monkey was purchased outright by a physician from Waco TX with a medical illustration/arts gallery. The client produced it as an edition of posters which have sold well--and the physician entrepeneur has shared some of the proceeds with Don. I love the tweaky, pointy, scarey quality of the little monkey--a monkey who might work for the wicked witch of the west, poised on the victims shoulder--really giving him little choice than to light up and draw in the nicotine. The calm blue background and palette suggest that there is no hysteria to this little occurence, but something that happens on a regular basis.


The next image was a limited edition poster Don illustrated for the Minneapolis Zoo "You are the Heart of the Family" with the only significant requirement being that he put at least as many animals in his image as Dick Hess did the year before. The horse was done for a Scholastic Books project that my seat mate, Greg Newboldquietly said that he too, was in this pub. I like this real Texas horse with all the accoutrements from the cherry red bridle studded with beautiful metals, the softness of its feathery mane, it's velvety muzzle and the quiet demeanor he sports. This is no carousel horse, but a magic horse out of a tale who might talk to you, or whisk you away to another magical place.

My favorite piece was a freebie that Don did for a printer for a calendar. He was assigned the astrological sign of taurus and produced the image below. According to Don, the printer called up with one request--and that request was that maybe he could do something about so many frankfurters. So, Don changed the image, getting rid of the offending hot dog...and away they went. This is the unadulterated image. A joker in the crowd wanted to know how the cow looked without a tail.

Don Punchatz is a gem. His quiet way about just making pictures, one after the next--capturing a niche, expanding into others and supporting a world of new guys coming up. He makes a bow in the Jose Cruz presentation--and our own fellow student, Michael Wimmer, did detail work on some of the images he showed us. Don is a giver--of his work and imagination forming an artistic link with the world at large by establishing a strong brand and image for his friends the writers while inspiring others to join him.

what if?


I was fiddling around prior to Jose Cruz and was taking bendy pictures of my sketch in my sketchbook. This is something worth thinking about as a way to change out an idea prior to taking to illustrator to cut the image. Hmmmmmmm!

Day Two: Hartford in Dallas: James Tennison

Today we had James Tennison, Don Ivan Punchaz and Jose Cruz. Everyone is settling into a rhythm. I guess the universality of being drenched by the rain--leveled everyone. It is cool...my guess, cold for Texans (55˚). So we northerners pulled out the layers of wool and scarves. And so, we began with James Tennison.

James Tennison
James is a very skilled, elegant man who is well suited to his profession and will continue to grow and achieve as his work and his personality are so perfectly joined. He has a gentle spirit with a nice sense of humor and an ability to clearly sum up his work, impressions and ideas in a way that is not artsy or scarey--but appropriate and right. He is inspired by some of the best, yesterdays Bart Forbes and Joe Bowler in his work. He has a fairy godfather, Tom Beard, who has made opportunities happen and has coached and encouraged James in his work. But James is also very salient in his saying "Mothers talk" referencing the strength of the personal commendation in his portraiture. I think that goes beyond the portraits and may pertain to all of his work. He gives everyone their due, but it is his work and his sheer pleasure in the entire process around the development of the image, meeting of his subjects and the actual putting paint on canvas--it is a delight to him, and it shows.

A Face the Launched A Thousand Portraits
Joe Bowler told James Tennison that he "needed a picture of a little girl in a white dress"...."that would keep him busy". Tennison credits this picture as the picture that launched his portrait career. He has done lots of little girls in white dresses, their moms in black dresses, curates in ecclesiastical robes, important men and one woman governor, Ann Richards(see below). James was very funny in talking about the fun working with Ann Richards saying " with Ann Richards...in Austin...its like you are with Elvis". Richards sat for his portrait and photographs as well as for a color study (which Tennison does both with portraits but also landscapes as he feels it allows him to more genuinely feel/ know the image which I can understand...it personalizes it and to me, gives it more heart). The former governor offhandly said that now that George Bush had won the election, she had plenty of time to sit for the artist.

Every opportunity for James Tennison is a chance to make a contact, a friend and connect with the next painting. He completed a wonderful job from a picture of a young man in an airplane hanger with a fighter plane (jet/stinger maybe(?) with lots of grit and dust realizing that the requestor was connected to a strong and wealthy family that could create more opportunities for paintings, people and relationships. He is very smart with these connections and seems to have a great deal of discretion relative to privacy etc. He also has a "tipping point" contact in Tom Beard--someone who knows a range of people and connects people with opportunities. "Vinnie" as Beard calls Tennison (after Vincent Van Goph) is being connected with people here and Europe. Beard has hired him for personal portraits of his family and his delightfully painted bulldog (see below)--How supremely english is this picture?! I love it.

James Tennison balances his portrait work with subjects that speak to his pleasure in architecture and landscapes. "I love white". "If I can capture sunlight, I am perfectly happy with that."

I think that James Tennison is a kind and lovely man and his work reflects his clearsighted ability to visualize his subjects with integrity, honesty and for the good.

talking with M.

"It is possible that illustration and art may one day merge, at some vanishing point in history, but for the moment their aims and purposes are quite different. It seems to be the function of the artist to produce art. The illustrator may use the ideas of the contemporary painter; but it is communication that is his ultimate goal."
Robert Weaver

Leif Peng's blog, Today's Inspiration mentioned of Murray as a change agent while he was at Cooper Studios--inspiring his fellow illustrators to think a bit differently (which he continues to do today)--in a series of articles on art and the avant guard as it relates to illustration.

"I kind of credit Murray with ruining the Cooper Studio, because he got those guys dissatisfied with what they were doing... they just weren't happy doing illustrations any more. They all wanted to be fine artists."Don Crowley

Murray told us about that period of time. He had joined the Cooper Studio as a decorative illustrator, not a boy/girl, romantic painter. He was also taking classes with the man who taught him everything about teaching, about critiquing--the man that formed the younger Murray into the tiger we know today. His friends, compatriots and beyond peers, people who, as Murray gestured, were a lot like what's going on here (the great converging of students where we all grow from each other--energy that is consuming)--came to visit Murray in his studio. These are guys that could make the beautiful illustrations of luscious women, or the "here's a very handsome young man (show him), who surprised the light his life (show her) etc. These were the guys who made romance even more romantic...and there was Murray, in his off time, making abstract expressionist paintings that were being shown at major galleries in NYC. And so it began. Then they all started taking classes with Murray's teacher. They started talking the talk. Hanging out at certain bars looking to bump into the real thing, the real abstract expressionists--like DeKooning.They started painting with broader, more energetic (not tight and controlled) brush strokes. Those beautiful lips that these skilled men painted, the lips of angels, became a slash of red. At that same time, there was a migration of illustrators from San Francisco and the midwest. The Cooper Studio style of telling the story literally with illustration changed with the advent of these new adds to the NYC community. What became hip at that time was more conceptual, less literal illustration-- Robert Weaver being one of these new illustrators.

More later>>


Reuben Tam
"Off Lobster Cove"
(cassein on paper, 8.5" x 11.25", signed lower right and dated '57—1957 Downtown Gallery label verso)

4:30 p.m Aside:
Murray clarified that his teacher was Reuben Tam (1916-1911)--who taught at the Brooklyn Museum of Art. Mr. Tam was kind of in the middle of the spectrum of painters at the time with his landscape work. He really did not gain much recognition for his work. However, he taught and influenced as we learn--a wide stripe of people who did gain recognition as artists and illustrators. The River Gallery recognizes him this way:

Reuben Tam, a native of Hawaii, has been called a "man of two islands." He trained originally in Hawii, but lived in Manhattan and summered fro many years on Monhegan Island. He exhibited quite extensively throughout the U.S. at major museums and galleries, including VMFA, CI, Corcoran Gallery, LACMA, AIC, MMA, and the Downtown Gallery. He won numerous awards, and his work has been acquired by institutions such as MOMA, MMA, BM, and the NYPL.

Wikipedia says>>

More (I hope)..

Day One: Fort Worth/Dallas: Hartford

And so it begins...this week of illustration and illustrators. I had coffee with my mentor and was introduced to a very interesting and smart folks (but of course!) who made me feel very welcome to the group. They all couldn't have been kinder. It's great to see team Tinkleman up front and in control. We had a nice intro from Carol and Murray, a lead in/reminder session from the thesis advisor, Doug Anderson. Thesis for this year's graduates is due June 1st--paper and work. The paper, according to the ladies I had lunch with, had to be 50 pps or so (including reference, all references etc.). The students hang their own show (unlike SU) so i should consider that as I go and keep my eyes open for the options (and take notes this summer). Some of the up and coming graduates (2008) have readjusted their thesis and/or may not even be clear now about what they are doing which is of great relief to me as this isn't the centerpiece of the program but more an outflow of the work completed. So, relative to what I need to worry about is doing the work, changing and evolving and the thesis work will come. So try it all...and keep it fluid for a while. No need to rush anything. Only thing to do is to get to work...any work...and try a lot of stuff.

Phew!

Dorit Rabinovitch, Canadian born illustrator who spent at least 20 years in Israel and then moved to the US in 1989--Dallas specifically, was our first speaker. She is a self supporting illustrator who will do what she can to continue making her living as an illustrator from doing pencil portraits at resorts in Israel to storyboards, sketch concepts and full blown illustrations for advertising agencies. She found as Corel Painter came on--that she had an intuition with this program and took to it--dropping her work in traditional media to shifting her entire work to digital. She admitted (quite honestly) that her initial digital work was not so good (and she was blind to it)--losing her customers. But her skills and abilities have improved and she seemed to have a real ability to deliver a quality illustration electronically. She is currently teaching herself Flash and feels there are opportunities to grow her work through this program.

I had a lovely lunch with a crowd of women (imagine!--not SU) who were all interesting, outspoken and very steady. It was great hearing about the Hartford program from their lens...with their focus on many of the details that I would normally being concerned about which they are all over. I cannot say enough about how wonderful it is to have this program organized, really organized with a schedule, a place and a person who actively is concerned about the fluidity of the program. I have no complaints. From what my lunchmates have mentioned...it all sounds pretty divine. I am psyched.

Bart Forbes was our next speaker. Bart Forbes was trained in art at the University of North Carolina and proceeded post military service, at Art Center for illustration classes. He left Art Center--not finishing, and moved to Dallas (in place of NYC) to polish his work. And he stayed. Bart's work is extrordinary--media aside (using watercolor and morphing to oil paints/ and oil washes) His work is clear as a bell, beautifully designed and blocked using light, shape and shadow to do the heavy lifting. I was thrilled to hear that he did not lay down a midtone and work lighter and darker but instead, after his pencil work, he puts in the darkest darks and works his way up. His work is very graphic--allowing shapes to build the image.



Mr Entrepeneur:
When Forbes saw that the phone stopped ringing during a financial downturn (much like now), he took a long look at opportunities that might pay well and appreciate the work he does. Editorial just doesnt pay. He cited that editorial work today pays a percentage of what it paid during his prime. He focused on golf. He contacted the PGA and got a list of all the tournaments they had. He got to work and starting chipping at these tournaments to see if they wanted him to cover their annual events. And so, the golf niche became his niche.However, a golf painting could make him upwards to $10,000--but he would sell out the rights as well. And he has done a lot of it.

Sports Illustrated was a magazine he wanted to be seen in--not necessarily for covering the sports, but for the exposure he would get, and the work evolved from there. He has covered the Olympics for the Olympic committee. He has done sports in stamps. He has done baseball work for Sports Illustration, for Boys Life and even in the Atlanta Braves' Clubhouse (2-4 paintings annually for their Hall of Fame). So, Bart has made it work for him.


His colors glow. His work is dignified in it's simplicity and confidence. There is an american-ness of his style, his imagery, and after 40 years at it--fresh as the moment the paint has dried. He does not lament that the world of illustration has changed with the advent of the digital media and digital delivery.He doesn't shake his head and long for the good old days of lots of editorial work that many of his peers are like to do, waxing on about this publication and that publication (many that are defunct). Bart Forbes controlled his paint with skill and understanding in the same way he approached his career and business--with a calm, steady intelligence that surrounds him. If the world turned on it's end, I know that Bart Forbes would take his skill and business intuition and spin another opportunity to work, live and grow. He is a man that looks for opportunities and not bemoans what was.

So, he knows what he knows...and to me, that is just fine because his work and thinking are timeless--a true inspiration.

" I still love what I do....I look forward to the next painting".

More later>>

Listen to the Mockingbird




The bridge above this is right outside the hotel--with a long flat expanse of water. Quite pretty. I decided to take a stroll to see what was about, and what was to eat. I saw a bazillion mockingbirds with their loud song, somehow amplified and quite caustic. I think they were courting because the brown and black girls were elsewhere and there was lots of preening and odd body contortions. Its funny, but I saw an audubon of these birds in a thorny bush with yellow blossoms tangling with, yes, a rather fabulous rattlesnake with his jaws open so wide they actually formed a vertical line. And now, here is one of the snaps I took of the same. I have to collect more. Further down the street was a swanky shopping plaza with an Origins store, Talbots, Ann Taylor,  Williams Sonoma and so on. I love the skulls which ornamented capitals and there was of course, the lone star being celebrated in stone.

I have a salad and the pillow is looking very tempting. I did lose an hour in the time change.

Fort Worth in all it's flatness






Never count your chickens before they are hatched. Remember the bouncing between gates? That spoke to what happened next. The "equipment" was in, but he crew was still in D.C. so we were delayed an hour and a half--with my chair partners being a grumpy grampa and granny who bitched and moaned about the state of the world and where it was going. We inevitably got on and off on our way. Packed flight. They were offering coupons for people to get off--however, the next flight was 4 hours later...and who knew if it was booked or not. I was slightly tempted...but not enough to drive me to it. The flight was long. I sat next to a very interesting person who does consulting in the banking industry, but his heart is in his work with the Cooperative Fund of New England and his work with affordable housing. The Cooperative Fund provides loans to any type of coop--from food, to day care, to businesses or galleries (he cited Handwork). There are lobster coops, fishing coops, cheese and dairy coops-- you get the idea. Pretty cool. And it was yack yack yack until we got into Dallas Fort Worth. It was pretty chop chop with the bags and getting the cab...but wow. This place is flat, beige and Christian!. I am still gnashing my teeth over not having my camera out and poised when we drove by this supersized white flag with the word J E S U S emblazoned in red on it. Fabulous times ten. Lots of "baobab-bby " types of trees a la Le Petit Prince. Tons of supersized churches, chain restaurants, plazas. Lots of cars. Lots of train cars. Everything has a definite beginning and end. No blurred edges here. Everything is big big big just like my hunger! I think I need to run out and see if there is something I can gnaw on.

>>more later

Philadephia--waiting for flight 3223

The Ithaca flight took off early. The flight attendant as an aside, told us that they were transporting something for an eye transplant. I would assume that was an eye. A flying eye. An airborn eye. How do you pack it to keep it steady? So, a packed flight and an eye landed early getting us into the gate earlier which gave me time to pickup a cord that will patch my phone to my computer for charging. After my flight changed gates 3 times in 15 minutes we now have an illuminated sign to prove that its for real. Phillie and the tedious B10 shuttle program can always be improved with the bus driver politely indicating your new gates (terminals ABC) as "awlgates" which none of us understood. I asked for clarification...and got it...the same. But, I am here.. and on my way.

got some coffee and after one sip, I had to toss it. Man, am I spoiled with the local brew.