Showing posts with label A Year In Art. Show all posts
Showing posts with label A Year In Art. Show all posts

Tuesday, January 10, 2023

Late Light


Gregg Chadwick
Jordaan Window (Coffee in Amsterdam)
25cm x 25cm oil on wood 2010


Late Light 

by Philip Levine

(January 10, 1928 - 2015)


Rain filled the streets

once a year, rising almost

to door and window sills,

battering walls and roofs

until it cleaned away the mess

we'd made. My father told

me this, he told me it ran

downtown and spilled into

the river, which in turn

emptied finally into the sea.

He said this only once

while I sat on the arm

of his chair and stared out

at the banks of gray snow

melting as the March rain

streaked past. All the rest

of that day passed on

into childhood, into nothing,

or perhaps some portion hung

on in a tiny corner of thought.

Perhaps a clot of cinders

that peppered the front yard

clung to a spar of old weed

or the concrete lip of the curb

and worked its way back under

the new growth spring brought

and is a part of that yard

still. Perhaps light falling

on distant houses becomes

those houses, hunching them

down at dusk like sheep

browsing on a far hillside,

or at daybreak gilds

the roofs until they groan

under the new weight, or

after rain lifts haloes

of steam from the rinsed,

white aluminum siding,

and those houses and all

they contain live that day

in the sight of heaven.


II


In the blue, winking light

of the International Institute

of Social Revolution

I fell asleep one afternoon

over a book of memoirs

of a Spanish priest who'd

served his own private faith

in a long forgotten war.

An Anarchist and a Catholic,

his remembrances moved

inexplicably from Castilian

to Catalan, a language I

couldn't follow. That dust,

fine and gray, peculiar

to libraries, slipped

between the glossy pages

and my sight, a slow darkness

calmed me, and I forgot

the agony of those men

I'd come to love, forgot

the battles lost and won,

forgot the final trek

over hopeless mountain roads,

defeat, surrender, the vows

to live on. I slept until

the lights came on and off.

A girl was prodding my arm,

for the place was closing.

A slender Indonesian girl

in sweater and American jeans,

her black hair falling

almost to my eyes, she told

me in perfect English

that I could come back,

and she swept up into a folder

the yellowing newspaper stories

and photos spilled out before

me on the desk, the little

chronicles of death themselves

curling and blurring

into death, and took away

the book still unfinished

of a man more confused

even than I, and switched off

the light, and left me alone.


III


In June of 1975 I wakened

one late afternoon in Amsterdam

in a dim corner of a library.

I had fallen asleep over a book

and was roused by a young girl

whose hand lay on my hand.

I turned my head up and stared

into her brown eyes, deep

and gleaming. She was crying.

For a second I was confused

and started to speak, to offer

some comfort or aid, but I

kept still, for she was crying

for me, for the knowledge

that I had wakened to a life

in which loss was final.

I closed my eyes a moment.

When I opened them she'd gone,

the place was dark. I went

out into the golden sunlight;

the cobbled streets gleamed

as after rain, the street cafes

crowded and alive. Not

far off the great bell

of the Westerkirk tolled

in the early evening. I thought

of my oldest son, who years

before had sailed from here

into an unknown life in Sweden,

a life which failed, of how

he'd gone alone to Copenhagen,

Bremen, where he'd loaded trains,

Hamburg, Munich, and finally

-- sick and weary -- he'd returned

to us. He slept in a corner

of the living room for days,

and woke gaunt and quiet,

still only seventeen, his face

in its own shadows. I thought

of my father on the run

from an older war, and wondered

had he passed through Amsterdam,

had he stood, as I did now,

gazing up at the pale sky,

distant and opaque, for the sign

that never comes. Had he drifted

in the same winds of doubt

and change to another continent,

another life, a family, some

years of peace, an early death.

I walked on by myself for miles

and still the light hung on

as though the day would

never end. The gray canals

darkened slowly, the sky

above the high, narrow houses

deepened into blue, and one

by one the stars began

their singular voyages.


  


Wednesday, January 04, 2023

Homage to Isherwood - Berlin Diary

 by Gregg Chadwick



Gregg Chadwick
Berlin Diary
30”x22” ink on paper 2018

Painted as an homage to Christopher Isherwood, "Berlin Diary" depicts a fleeting moment in a city of dreams. As I created this artwork, I listened to the haunting soundtrack from the film "A Single Man" based on an Isherwood novel set in Los Angeles. Painted in ink and gouache over a monotype substrate, "Berlin Diary" combines vibrant color and movement to create a scene of mystery and possibility. Isherwood's life in Berlin from 1929 to 1933 inspired his "The Berlin Stories" which was adapted into a play, a film, and the musical Cabaret. In 1939 he moved to the United States as war loomed in Europe and settled in Los Angeles. Isherwood's life and work helped spur on the gay rights movement. Isherwood's books include the novel "A Single Man" and his autobiography, "Christopher and His Kind." Isherwood died of cancer on January 4, 1986. Isherwood and his lifelong partner artist Don Bachardy were fixtures for years in the Los Angeles artistic community. Author Peter Clothier recently wrote this on his admiration for Isherwood: 

"Isherwood’s early stories and poems were the first I read that spoke directly and personally to a teenage boy who was struggling to find his own voice, his own individuality as a writer as well as his own place in the world. I gobbled up his “Goodbye to Berlin” and “Mr. Norris Changes Trains” as though I had written them myself. Later combined as “The Berlin Stories”, they were clearly fiction only in name, novels that so intimately described personal experience that their main character was called, frankly, Christopher. As a writer, Isherwood saw himself as the hub of everything that happened around him and his work invited this young admirer, gave him permission to do the same."


Isherwood and Bachardy in front of Hockney's portrait 
Photo by Calvin Brodie
via The Metropolitan Museum of Art  

Like Peter Clothier, I began reading Isherwood when I was in my late teens. I was at UCLA and became intrigued by Isherwood and Bachardy while looking at reproductions of David Hockney's 1968 portrait of the two of them. 

On the occasion of a brilliant reading of Isherwood and Bachardy's letters at the Metropolitan Museum of Art's MetLiveArts, actor Simon Callow said this about the portrait:

"When David first painted it, he and Christopher were beacons as gay men who were comfortably and unapologetically out at a time when that was very uncommon. It was the apparent effortlessness of it that made it so striking: their relationship was no big deal, they seemed to be saying. So this wonderful double portrait of a gay couple was, in its cool and unaggressive way, an affirmation of the normality of homosexuality, which was somehow even more radical than the already gathering voices of the militants. In a sense, Hockney and Isherwood and Bachardy were saying: 'Some people are gay. Get over it.' Like its 18th-century models, the portrait celebrates the quotidian: being gay doesn't have to be a drama."



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Tuesday, January 03, 2023

Happy Birthday Anna May Wong!

 by Gregg Chadwick


36"x48"oil on linen
painting by Gregg Chadwick
Ailsa Chang Collection 

The groundbreaking Chinese American actress Anna May Wong was born on this day in 1905. My painting ”Anna May Wong” is part of a series of historically inspired artworks on the history of the movie business and Los Angeles,. "Anna May Wong" evokes cinema dreams and societal memories. Anna May Wong was the first Chinese American film star, and the first Asian American actress to gain international recognition. Her acting career went from silent films to talkies, to stage, to radio, and to television. Born in Los Angeles, a few blocks from Chinatown, Anna May Wong's career has been an inspiration for many. My painting was created as an homage to Anna, sourced from numerous photo stills and film clips. I am honored that my painting of Anna May Wong is in the collection of NPR reporter Ailsa Chang. Ailsa's recent report on Anna is a must listen.