This email from a student, when I taught remote, lives rent free in my head π pic.twitter.com/BYd7I7cKcB
— AndrΓ© K Isaacs (@drdre4000) September 22, 2022
Wednesday, September 21, 2022
Do You Remember the 21st Night of September?
Tuesday, June 28, 2022
Remembering Stonewall
#OTD in 1969 patrons of the Stonewall Inn in #NYC rebelled against police who entered the bar to harass patrons. Stonewall is considered a galvanizing event in the #LGBTQ #CivilRights movement. The Stonewall is National Historic Landmark.
— Santa Monica History Museum (@SMHistoryMuseum) June 28, 2022
We Are #SantaMonica #History #Pride pic.twitter.com/dZJ3h11gi3
Thursday, June 02, 2022
Darkness on the Edge of Town - 44 Years Down the Road
by Gregg Chadwick
44 years ago today, Bruce Springsteen's fourth album Darkness on the Edge of Town was released. The wide open romanticism of Born to Run was missing from this new album. Instead we were greeted with a powerful mix of Steinbeck, Hopper, Woody Guthrie, and Springsteen's unleashed guitar. Bruce's new guitar sound was both lyrical and powerful. I put that sound into my artistic toolbox and pull it out when I need to. In the opening track Badlands, Springsteen howls that "It ain't no sin to be glad your alive." I've held on to that line as a call to action ever since.
Love In Vain (Castro - San Francisco)
16"x20"oil on linen 2016
This Machine Kills Fascists - Woody Guthrie
14"x11"oil on linen 2012
Peter Himmelman Collection, Los Angeles
MarySue and Gregg at Their Wedding 7/7/07 photo by Sabine Pearlman |
Thursday, January 27, 2022
MAUS by Art Spiegelman (Read for Free)
1. The decision of a Tennessee county school board to ban Maus from the classroom is not an isolated incident
— Judd Legum (@JuddLegum) January 27, 2022
It is part of a much broader effort to censor history and literature being packaged under euphemisms like "parents rights"
Follow along if interested pic.twitter.com/Ciidqperrz
This is a really powerful thread about Maus. What it is, what it’s about and the fundamental and intrinsic Jewishness of the narrative. And why you don’t replace it. https://t.co/HMfKKbxaWz
— Neil Gaiman (@neilhimself) January 28, 2022
Friday, March 15, 2019
RIP W.S. Merwin
I learned tonight about the death of W.S. Merwin. I had a chance to chat briefly with W.S. Merwin after his wonderful reading at the Hammer Museum on October 29, 2009. We spoke of elephants and mystery and nature. Inspiring memories.
The poems of W. S. Merwin’s mature career were often Delphic, haunted, and bleak. They seemed to have been delivered unto him, and he transcribed them by lightning flash. https://t.co/Z4biUog5VT— The New Yorker (@NewYorker) March 17, 2019
More on W.S. Merwin:
W.S. Merwin Profile
Paul Holdengraber In Conversation with W.S. Merwin
Poem for Merwin
Wednesday, May 23, 2018
The Late Afternoon of Time - San Francisco
Gregg Chadwick The Late Afternoon of Time - San Francisco 24"x20" oil on linen 2018 |
Cities, like people, grow and change. In this spirit, San Francisco continues to inform my paintings. Last weekend, at a friend's birthday gathering in Culver City, I recounted how one morning, when I lived in San Francisco, I spotted the artist Richard Diebenkorn leaning up against a BART entrance watching the cable car turnaround across Market Street. Diebenkorn was captivated by the movement of the conductors as they spun the cars around on a giant wooden turntable. I stopped, leaned up against a wall, and flipped through art writer Robert Hughes' book Nothing If Not Critical until I reached his essay on Diebenkorn. I read slowly, pausing often to gaze up at Diebenkorn as he gazed towards Powell Street.
Eventually, I closed the book, walked over and thanked Richard Diebenkorn for his art and inspiration. He smiled and tears seemed to well up in his eyes, as he said "Thank you. I am glad that my work inspires you. Is your studio nearby?" I nodded and tried to say something "about the interplay between figuration and abstraction in his work." Diebenkorn was frail at this point and seemed to know that he didn't have much longer to live. I didn't want to take him away from his moment alone in the morning light on Market Street. I thanked him again and moved on. Richard Diebenkorn died soon after in 1993.
The late morning light, when it cuts through the fog in downtown San Francisco, opens the city up like an epiphany. That morning was a revelation for me. Lawrence Ferlinghetti saw something similar in the City's light and wrote,"
"And then the halcyon late mornings after the fog burns off and the sun paints white houses with the sea light of Greece with sharp clean shadows making the town look like
it had just been painted."
I learned something profound that morning when I encountered Diebenkorn - my heroes were mortal. And in turn, my family and friends also had a short time on earth. Life is fragile. I looked at the streets anew. Around us and beneath us memories dwelt. A friend of mine who made his way from place to place along Market Street slid up to me one day at the corner of 6th and Market and showed me a horses skull in his battered shopping cart. "I was helping a man dig out his basement and I hit something hard", he said. "We found an entire skeleton buried there. Probably from the earthquake - from '07"
Later I read that the cable cars were built because the horses kept breaking down on the steep San Francisco hills. The horses legs would snap under the weight. Maybe my friend's horse pulled a burden up Jones Street until collapse?
An immigrant from Scotland devised a system to carry cars and passengers up the steep slopes without animal power. Gary Kamiya writes in The Chronicle:
"At a little before midnight on Aug. 2, 1873, the men in the power plant fired up the boilers. The engines turned over and the cables tightened. The rope began to hum in the street, the first occasion of a sound that would become as familiar to San Franciscans as Bow Bells to a London cockney.
At 5 a.m., the team gathered atop Clay at Jones. Andrew Hallidie’s gripman, reportedly an old locomotive engineer, looked down the 16 percent grade into the fog and chickened out. But Halide, who had been hurled off scaffolding, buried in a tunnel and gone for a real-life Logger’s Revenge on roiling rapids, had confidence in his invention. He jumped into the dummy, took the grip, picked up the cable below and began to descend Clay Street. When the car reached the bottom, it was spun around on a turntable and pulled back up to the summit."
The turntable. Diebenkorn's gaze. The Changing Light. The Late Afternoon of Time.
Gregg Chadwick The Changing Light - San Francisco 24"x18" oil on linen 2018 |
Gregg Chadwick's Palette (Colors Used for The Late Afternoon of Time and The Changing Light ) |
Wednesday, April 04, 2018
I Have a Dream
New York City Mayor Bill de Blasio says Martin Luther King Jr.'s "dream has not been realized" 50 years after King's assassination, but "we know it's now our responsibility to carry it on." #MLK50 https://t.co/vysLbhE5r8 pic.twitter.com/O9YmGXt5at— CBS News (@CBSNews) April 4, 2018
Sunday, October 16, 2016
Reading Jana Prikryl's "The After Party"
I have been carrying my copy of Jana Prikryl's engaging book of poems "The After Party" with me for a few months now. Before I go out the door, I almost always slip the collection into an open slot in my bag. On recent travels from Los Angeles, to San Francisco, to Carmel, to Milwaukee, to Memphis - Prikryl's book has been with me. Each destination flavors my reading of her poems, almost like memory itself. And in a sense that is what Prikryl does in "The After Party". In her book we travel with her through a series of moments, or times, or places, or memories. Unlike many books where the narrator disappears into the text only to reappear as an overbearing Disney-ride like explicator, in "The After Party" Prikryl joins us on a journey through time. Memory can be like an artist's drawing full of smudged marks, erasures, and fantasies. Prikryl acknowledges this in her poems and lets us glide through her veils of time. From the former Czechoslovakia to the "Thirty Thousand Islands" of the Georgian Bay in the Canadian realm of Lake Huron, Prikryl creates worlds of time-images. I urge you to carry "The After Party" with you. Read it on the train. Find a favorite passage while waiting in line at the pharmacy. Share it with your local barista. The book is that good. Prikryl reminds us that a life is made up of moments, upon moments, upon moments.
Monday, September 19, 2016
Hop On Pop
Dad (General Robert J. Chadwick USMC) circa 1978 photo courtesy USMC |
Growing up as the kid of a USMC officer during the Vietnam era inspired me in unique ways. Please have a read and let me know what you think. Also spend some time on Peter's site. Masami Teraoka 's piece is timeless and magical and Michael Provart 's writing is funny and poignant. Peter Clothier also adds his own childhood memories into the mix. Every story Peter has received is rich in memory.
Here's another "absent father" piece, this one with the added leitmotif, perhaps, of a creative vocation discovered as a child! The Dad in question is caught in the black and white photograph, below. Gregg Chadwick is today a Santa Monica-based painter whose work is widely exhibited and acclaimed. His blog is titled Speed of Life. His boyhood memory skirts subtly around the pain of separation, deflecting it first, jokingly, onto a prank played on his mother with his toys; then on a treasured book, a parting gift from Dad. But by the end, we're left in no doubt that the pain is there..."
Monday, March 30, 2015
Visual Talismans from the Past
Wednesday, November 12, 2014
Springsteen at The Concert for Valor
Wednesday, August 06, 2014
A Memory Museum
Holland Cotter has a wonderful new piece in the New York Times entitled A Memory Museum.
Cotter writes," I’m also a curator of my memory, which carries traces of art encounters from over the years. A few of those encounters — with certain objects, books, buildings — have altered the atmosphere, changed how I see and joined a permanent collection that I regularly revisit."
He then challenges us to describe experiences with art that has changed our lives and to post them in the comment section in his article. I find this to be an enlightening question:
Which works of art have changed the way you look at the world?
I answered Mr. Cotter with the following:
The place of memory in the arts is so revealing. One of my first experiences with an artwork happened in Amsterdam when I was a six year old and the experience changed me forever. My father had finished his tour in Vietnam as a USMC JAG and we reunited as a family in Europe. During that trip we visited the Rijksmuseum in Amsterdam. There I found myself slack jawed in front of Rembrandt’s iconic group portrait "The Sampling Officials of the Amsterdam Drapers Guild." I recognized it as the same image on the Dutch Masters’ cigar box, my father’s go-to brand. The connection was phenomenal; I was hooked and I knew that someday I would become an artist.
Sunday, May 25, 2014
Santa Barbara Elegy
Gregg Chadwick Buddha of the Adriatic 24"x18" oil on linen 2014 |
Thursday, May 08, 2014
President Obama Speaks From the Heart About the Holocaust
“Memory has become a sacred duty of all people of goodwill.”
-Elie Wiesel
Last night in Los Angeles, President Obama gave a beautiful and powerful speech after accepting the Shoah Foundation’s Ambassador of Humanity Award from Steven Spielberg during a ceremony at the Hyatt Regency Century Plaza.
I want to thank the President, Steven Spielberg and all those involved with the Shoah Foundation for recognizing the importance of remembering. The Shoah Foundation gathers and preserves the stories of those who experienced the Holocaust and other atrocities across the globe. Over the past two decades, the Shoah Foundation has recorded tens of thousands of interviews. Researchers and documentarians have traveled to dozens of countries, interviewing survivors of the Holocaust, and documenting historical evidence of the Armenian Genocide, and other atrocities. The first person accounts that have been gathered are an invaluable resource for future students and scholars.
I remember vividly the moment I first stepped foot in one of the holocaust death camps. That day at Dachau, I was struck by the emptiness and silence of that cruel space. I could feel the absence and longed for humanity instead of barbarism. The Shoah Foundation, through its tireless efforts, gives voice to those whose voices were stolen.
Full Transcript of President Obama's Remarks Below:
Gregg Chadwick Dachau 60"x49" oil and encaustic on linen 1987 |
Gregg Chadwick Sins of Our Fathers 72"x72" oil on linen 1990 |