Showing posts with label berlin. Show all posts
Showing posts with label berlin. Show all posts

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."



#art #paintingsofinstagram #painting  #hollywood #Art #Jan4 #AYearInArt #GreggChadwick 

#ContemporaryArt #ChristopherIsherwood #DonBachardy 

#TodayInArt 

Saturday, February 16, 2019

The Angel Falls to Earth: Bruno Ganz Dies

by Gregg Chadwick


Bruno Ganz as the angel Damiel in Wim Wender's Classic Film Wings of Desire


Bruno Ganz  has died at 77 leaving us with a rich legacy. The Swiss film actor played numerous iconic roles over the years from an angel longing for human love in Wings of Desire to Hitler facing imminent defeat in DownfallThe New York Times reports that Bruno died at his home in Zurich.

 Bruno Ganz  left his mark on Berlin in Wender's Wings of DesirePainters, writers, and filmmakers from Max Beckmann to Christopher Isherwood to Wim Wenders have created visions of Berlin that still guide us across the city's potent memoryscape. 



Gregg Chadwick
The Angel of History
29"x73" oil and sumi on Japanese screen

In honor of Bruno, I am posting my oil and ink on screen painting The Angel of History  inspired by the writings of Walter Benjamin. 


Benjamin wrote: "This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in his wings with such a violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward."
- Walter Benjamin, "Theses on the Philosophy of History," IX 



Solveig Dommartin and Bruno Ganz in Wim Wender's Classic Film Wings of Desire


Peter Falk in Wim Wender's Classic Film Wings of Desire

Look Closely: Are There Angels Hiding in the Ruins of the Kaiser Wilhelm Memorial Church?
photo by Gregg Chadwick (Berlin 2010)








Thursday, October 27, 2016

An Elegy for Lou Reed

by Gregg Chadwick

I wrote this when I heard of Lou Reed's death in 2013. Three years on the thoughts still stand. Reposted as an elegy to an inspirational figure for so many. 

"Lou Reed gave us the street and the landscape - and we peopled it."

 - David Bowie in the documentary "Rock 'n' Roll Heart - Lou Reed"

Well hey, man, that's just a lie

It's a lie she tells her friends
'Cause the real song, the real song
Where she won't even admit to herself
The beatin' in her heart
It's a song lots of people know
It's a painful song
A little sad truth
But life's full of sad songs
Penny for a wish
But wishin' won't make you a soldier.
With a pretty kiss for a pretty face
Can't have it's way

Y'know tramps like us, we were born to pay

 - From the beginning of the "Slipaway" section of Lou Reed's song Street Hassle.
    Uncredited spoken vocals by Bruce Springsteen.


Annie Leibovitz
Lou Reed and Laurie Anderson 
Coney Island, New York, 1995
Silver Print



When I found out about Lou Reed's death yesterday morning from Rolling Stone's twitter feed I turned to my Lou Reed playlist and put Reed's cover of Blind Lemon Jefferson's haunting blues number - See That My Grave is Kept Clean along with Antony and the Johnsons' song with Lou Reed - Fistful of Love, and Reed's elegiac urban hymn Berlinon repeat. 


For many of us who came of age and under the influence of the New York City of the 1970's and 1980's, Lou Reed was New York. While at NYU working on my grad degree in art, Reed's music provided an aural map for my explorations across the city. Reed's staccato talk/singing proved to be a gruff yet tender guided tour through my artistic and lovelorn ventures. Often while on the A train, Marty Fogel's Junior Walker fueled sax riff on Reed's Shooting Star would blare in my walkman's headphones. And Walk on the Wild Side always seemed to accompany me across Washington Square. 


Gregg Chadwick
Ghosts of New Amsterdam
24"x36" oil on linen 2013


Reed's urban suite New York kept me close to the city I loved even as I moved west to California. On a trip back to Manhattan a few years later, a friend who had opened a restaurant in the Village told me that she thought that she had been given a sign that she would make it, because Lou Reed was becoming a regular at her joint. 

Not long after, Reed and his song Why Can't I be Good rumbled across the screen in Wim Wenders' cinematic sequel to Wings of Desire - Far Away So CloseLou Reed's future wife, performance artist, composer and musician Laurie Anderson, also provided powerful music for the film. On a recent artistic excursion to Berlin, memories of these two films and Reed's album Berlin brought to light elements of the city that I had missed in the past. 




 


Much like an author will write about an event or a place to learn what they feel, I will create a series of artworks to understand what I have seen. I pushed my interaction with Berlin into a recent ongoing series of monotypes fueled partly by the visions of Lou Reed, Wim Wenders, Bertolt Brecht, and David Bowie




Gregg Chadwick
Brecht's Song
30"x22" monotype on paper 2011


As Gavin Edwards wrote in Rolling Stone,"While many musicians have made Berlin albums, Lou Reed's Berlin (1973) is the wrist-slashing standard against which they're all judged. When the record concluded with the epic ballad Sad Song, it felt like the whole world was shutting down." Berlin forces us to wrestle with the dead as we walk through its haunted and enchanted streets. After the fall of the wall, Berlin has come to embody the future while at the same time carrying the scars of the past. In the city of Berlin, the political and the personal merge, as evidenced in Lou Reed's Berlin album and David Bowie's recent song Where Are We Now?. In Berlin we are left with existential questions and are reminded that bodies age and die, marriages end, friendships dissolve and memories fade. 



Gregg Chadwick
Rauch Licht (Smoke Light)
30"x22" monotype on paper 2011


During the last years of his life, Lou Reed continued to work with and inspire younger musicians and artists. One of the most fruitful of these mentorship/collaborations was his work with Antony, of Antony and the Johnsons. John Hodgman in the New York Times recounts how the cover image of Antony's EP, I Fell in Love With a Dead Boy "caught the attention of the producer Hal Willner, who bought the EP and played it for Lou Reed, with whom he was working at the time:

'I said, 'Who is that?' Reed recalled. 'So we set out to find him, and he was a few blocks away as it turns out.' ''


Lou Reed invited Antony to tour with him throughout 2003, and every night Antony would sing Candy Says, Reed's haunting tribute to Candy Darling. Caught in the video below, Lou Reed, one of the most influential musicians of the rock era, looks across towards Antony with an expression of pride and wonder. Lou seems mesmerized by what he described as Antony's double tracking and unusual harmonies. Reed had said that he could listen to Antony sing all day. In this video we witness a legend passing on his wisdom and inspiration to another.




Antony and Lou Reed Perform Candy Says



More Videos Below:



Lou Reed & David Bowie Discuss Reed's Album Transformer

 in the documentary "Rock 'n' Roll Heart - Lou Reed"




In an interview with Rolling Stone in 1989, Lou Reed explained that he and Bruce Springsteen were both recording albums at the Record Plant in New York City when an engineer suggested inviting Bruce over to record the "Slipaway" vocals on Reed's song Street Hassle. The last line was Reed's, written with Springsteen's Born to Run in mind:

Y'know tramps like us, we were born to pay



More at:

Lou Reed: The Rolling Stone Interview
Antony Finds His Voice


  
Lou Reed greets Chuck Close in front of Close's 2012 tapestry Lou 
    published by Magnolia Editions; photo by Amanda Gordon/Bloomberg


August 2013

Monday, October 28, 2013

New York City Man - Lou Reed

by Gregg Chadwick

"Lou Reed gave us the street and the landscape - and we peopled it."

 - David Bowie in the documentary "Rock 'n' Roll Heart - Lou Reed"

Well hey, man, that's just a lie
It's a lie she tells her friends
'Cause the real song, the real song
Where she won't even admit to herself
The beatin' in her heart
It's a song lots of people know
It's a painful song
A little sad truth
But life's full of sad songs
Penny for a wish
But wishin' won't make you a soldier.
With a pretty kiss for a pretty face
Can't have it's way

Y'know tramps like us, we were born to pay
 - From the beginning of the "Slipaway" section of Lou Reed's song Street Hassle.
    Uncredited spoken vocals by Bruce Springsteen.


Annie Leibovitz
Lou Reed and Laurie Anderson 
Coney Island, New York, 1995
Silver Print



When I found out about Lou Reed's death yesterday morning from Rolling Stone's twitter feed I turned to my Lou Reed playlist and put Reed's cover of Blind Lemon Jefferson's haunting blues number - See That My Grave is Kept Clean along with Antony and the Johnsons' song with Lou Reed - Fistful of Love, and Reed's elegiac urban hymn Berlin, on repeat. 


For many of us who came of age and under the influence of the New York City of the 1970's and 1980's, Lou Reed was New York. While at NYU working on my grad degree in art, Reed's music provided an aural map for my explorations across the city. Reed's staccato talk/singing proved to be a gruff yet tender guided tour through my artistic and lovelorn ventures. Often while on the A train, Marty Fogel's Junior Walker fueled sax riff on Reed's Shooting Star would blare in my walkman's headphones. And Walk on the Wild Side always seemed to accompany me across Washington Square. 


Gregg Chadwick
Ghosts of New Amsterdam
24"x36" oil on linen 2013


Reed's urban suite New York kept me close to the city I loved even as I moved west to California. On a trip back to Manhattan a few years later, a friend who had opened a restaurant in the Village told me that she thought that she had been given a sign that she would make it, because Lou Reed was becoming a regular at her joint. 

Not long after, Reed and his song Why Can't I be Good rumbled across the screen in Wim Wenders' cinematic sequel to Wings of Desire - Far Away So Close. Lou Reed's future wife, performance artist, composer and musician Laurie Anderson, also provided powerful music for the film. On a recent artistic excursion to Berlin, memories of these two films and Reed's album Berlin brought to light elements of the city that I had missed in the past. 





 


Much like an author will write about an event or a place to learn what they feel, I will create a series of artworks to understand what I have seen. I pushed my interaction with Berlin into a recent ongoing series of monotypes fueled partly by the visions of Lou Reed, Wim Wenders, Bertolt Brecht, and David Bowie



Gregg Chadwick
Brecht's Song
30"x22" monotype on paper 2011


As Gavin Edwards wrote in Rolling Stone,"While many musicians have made Berlin albums, Lou Reed's Berlin (1973) is the wrist-slashing standard against which they're all judged. When the record concluded with the epic ballad Sad Song, it felt like the whole world was shutting down." Berlin forces us to wrestle with the dead as we walk through its haunted and enchanted streets. After the fall of the wall, Berlin has come to embody the future while at the same time carrying the scars of the past. In the city of Berlin, the political and the personal merge, as evidenced in Lou Reed's Berlin album and David Bowie's recent song Where Are We Now?. In Berlin we are left with existential questions and are reminded that bodies age and die, marriages end, friendships dissolve and memories fade. 



Gregg Chadwick
Rauch Licht (Smoke Light)
30"x22" monotype on paper 2011


During the last years of his life, Lou Reed continued to work with and inspire younger musicians and artists. One of the most fruitful of these mentorship/collaborations was his work with Antony, of Antony and the Johnsons. John Hodgman in the New York Times recounts how the cover image of Antony's EP, I Fell in Love With a Dead Boy "caught the attention of the producer Hal Willner, who bought the EP and played it for Lou Reed, with whom he was working at the time:

'I said, 'Who is that?' Reed recalled. 'So we set out to find him, and he was a few blocks away as it turns out.' ''


Lou Reed invited Antony to tour with him throughout 2003, and every night Antony would sing Candy Says, Reed's haunting tribute to Candy Darling. Caught in the video below, Lou Reed, one of the most influential musicians of the rock era, looks across towards Antony with an expression of pride and wonder. Lou seems mesmerized by what he described as Antony's double tracking and unusual harmonies. Reed had said that he could listen to Antony sing all day. In this video we witness a legend passing on his wisdom and inspiration to another.




Antony and Lou Reed Perform Candy Says



More Videos Below:




Lou Reed & David Bowie Discuss Reed's Album Transformer

 in the documentary "Rock 'n' Roll Heart - Lou Reed"




In an interview with Rolling Stone in 1989, Lou Reed explained that he and Bruce Springsteen were both recording albums at the Record Plant in New York City when an engineer suggested inviting Bruce over to record the "Slipaway" vocals on Reed's song Street Hassle. The last line was Reed's, written with Springsteen's Born to Run in mind:

Y'know tramps like us, we were born to pay


More at:

Lou Reed: The Rolling Stone Interview
Antony Finds His Voice


  
Lou Reed greets Chuck Close in front of Close's 2012 tapestry Lou 
    published by Magnolia Editions; photo by Amanda Gordon/Bloomberg


August 2013

Tuesday, January 08, 2013

David Bowie's New Berlin Elegy: Where Are We Now?




Early this morning David Bowie celebrated his 66th Birthday with the release of his first single in a decade. This song Where Are We Now?, taken from Bowie's forthcoming album The Next Day, is accompanied by an artful video directed by the contemporary artist Tony Oursler. Set in a black and white Berlin of memory and dream, Oursler's video combines with Bowie's voice and lyrics to question the themes of human bondage, release, freedom,  doubt, ageing, and death. 

 The video opens with a shot of a crystal skull on a table. Reminiscent of Gerhard Richter's evocative paintings of human skulls, this visual entrance to Bowie's musical memento mori reminds us that in Berlin we wrestle with the dead as we walk through a haunted and enchanted city. After the fall of the wall, Berlin has come to embody the future while at the same time carrying the scars of the past. 




Bowie sings:


Had to get the train
From Potsdamer Platz
You never knew
That I could do that
Just walking the dead



Gerhard Richter
 
Skull (Schadel) (1983)


Where Are We Now? is as much a painting in soft greys as it is a song. A quiet rhythm of drums and synth warp and weft with minor key 
piano chords and Bowie's plaintiveelegiac voice. 





Bowie lived in West Berlin between 1976 and 1979 in the Schöneberg district in a house with Iggy Pop while Brian Eno and Tony Visconti were helping record Bowie's Berlin trilogy of albums Low, Heroes, and Lodger in the now legendary Hansa Studios.
In an interview on a French radio program, Bowie said, “Berlin has the strange ability to make you write only the important things. Anything else you don’t mention.” 

In Where Are We Now?Bowie guides us through his former haunts:

Sitting in the Dschungel
On Nürnberger Straße
A man lost in time
Near KaDeWe
Just walking the dead


The Dschungel was a Schöneberg club frequented by Bowie, Iggy Pop, Frank Zappa, and  Nina Hagen. KaDaWe is a historical Berlin department store that originally opened in 1907. In a divided city, from its reopening in 1950 until 1989, KaDaWe was a beacon for the East and drew massive crowds after the fall of the Berlin Wall.  







In an informative piece on the creation of the cover for the upcoming album The Next Day, designer Johnathan Barnbrook writes that "the song Where Are We Now? is a comparison between Berlin when the wall fell and Berlin today. Most people know of Bowie’s heritage in Berlin and we want people to think about the time when the original album was produced and now."

Twenty thousand people
Cross Bösebrücke
Fingers are crossed
Just in case
Walking the dead


 The Bösebrücke was the bridge on which the first border crossing was opened to Eastern Berliners in November 1989 as the Berlin Wall began to fall. In Berlin, David Bowie challenged societal bondages in his art and his life. Later, the city itself broke free from the bondage of the wall. Now, years later, Bowie looks back and wonders if all the chains have been broken.


Gregg Chadwick
Berlin Noir
30"x22" monotype on paper 2011
There are hints of personal loss in Where Are We Now? as well. Does the mysterious woman who appears with David throughout the video refer to Bowie's incredibly brave and influential first wife Angela? Or is she a reference to the classical muses? Or perhaps an angel briefly freed from the the towering Siegessäule which flickers in the video behind Bowie and his partner. The political and the personal merge in Where Are We Now?. We are left with existential questions and are reminded that bodies age, marriages end, friendships dissolve and memories fade. But Bowie's quietly defiant voice does not give in to any dying of the light:



As long as there’s sun
As long as there’s sun
As long as there’s rain
As long as there’s rain
As long as there’s fire
As long as there’s fire
As long as there’s me
As long as there’s you








 Where Are We Now?
 by David Bowie
 produced by Tony Visconti 

Had to get the train
From Potsdamer Platz
You never knew
That I could do that
Just walking the dead
Sitting in the Dschungel
On Nürnberger Straße
A man lost in time
Near KaDeWe
Just walking the dead

Where are we now?
Where are we now?
The moment you know
You know you know

Twenty thousand people
Cross Bösebrücke
Fingers are crossed
Just in case
Walking the dead

Where are we now?
Where are we now?
The moment you know
You know you know

As long as there’s sun
As long as there’s sun
As long as there’s rain
As long as there’s rain
As long as there’s fire
As long as there’s fire
As long as there’s me
As long as there’s you







In March, David Bowie will release The Next Day, an album of his first new music in a decade and a reunion with longtime producer Tony Visconti. Where Are We Now? was released today on Bowie's 66th birthday. A note from his label Columbia explained this was "a timely moment for such a treasure to appear as if out of nowhere." 


Available from iTunes



More at:
Die Zeit: Nächste Abfahrt Potsdamer Platz
David Bowie: The Next Day. That album cover design


It is a new font that we are working on called Doctrine – this is the first major use of it. Doctrine will be released in the coming weeks at VirusFonts.