Gregg Chadwick
Portrait of Yareli Arizmendi
40"x30" oil on linen 2012
I recently completed a portrait of the immensely talented actress Yareli Arizmendi.
“The function of art is to renew our perceptions. The role of the artist is not to say or show what we can all speak or see, but that which we are unable to reveal” –Anais Nin
Born in Mexico, raised in the United States, Yareli Arizmendi coined a word, AmeXican to describe herself: "It is a declaration of identity for the 21st century; my own account on how I prepared to wage battle in a world spilling over its human-made borders," explains Yareli.
Gregg Chadwick Los Sueños del Río
38"x38" oil on linen 2011 (Triptych: Closed)
Please Join Me Tomorrow at My Studio for the Unveiling of New Work at the 7th Anniversary of the Santa Monica Art Studios
The Triptych Los Sueños del Río Will Be Opened At 7pm!
October 15, 2011 - Saturday Night 6-9pm
&
October 16, 2011- Sunday Afternoon 1-5pm
My studio- #15 - will be open
along with the other wonderful artists at the Santa Monica Art Studios.
Please stop in and say hello.
3026 Airport Ave, Santa Monica, CA 90405
cell 415 533 1165
email: greggchadwick@earthlink.net
Gregg Chadwick
A Gion Rain
22"x30" monotype on paper 2011
I came home from a memorial service for a great artist and a great friend, Sylvia Moss, on Sunday night. In times of loss and uncertainty, I tend to turn to the arts - books, music, film, theater and museums - for solace. But when an artist is severely ill or dies I find that I have to create. I have been in my studio for the past few weeks creating monotypes. A monotype is a singular impression made from an image which has been drawn or painted on to a printing plate.
My monotype process is technically straightforward but pushes my artistic subconscious in both image and mark. When I painted "A Gion Rain" onto a copper plate, thoughts of Sylvia fell like rain across my mind. Sylvia Moss died in Zurich, Switzerland on May 9, 2011. Sylvia had long suffered from the challenges of multiple sclerosis.
Sylvia Moss grew up in Piedmont, California and then moved east to a beckoning New York City to pursue her love of theater, fashion, and art. Over the years, Sylvia studied at The California College of Arts and Crafts, The Art Student’s League of New York, Columbia University, and The California Art Institute.
Sylvia eventually returned to California and was Professor of Costume Design at the University of California Los Angeles in the Theater Department where she taught from 1973 until 1994.
Sylvia authored numerous magazine articles as well as a groundbreaking book about alternative materials used in costume design, Costumes & Chemistry, published by Costumes and Fashion Press.
I had the fortune to meet Sylvia Moss when the Santa Monica Art Studios opened in an old hangar at the Santa Monica Airport in 2004. She was a continual inspiration as she determinedly fought the ravages of multiple sclerosis to create her visual art.
Sylvia's experimentation with alternative techniques in costume design fueled her explorations in the visual arts. Her paintings are as much archaeological digs as two dimensional creations. Layers of grit, gloss, glitter and color marked her artistic path as Sylvia's paintings seemed to grow of their own accord in her laboratory/altelier.
Sylvia Moss Meditation 8
22"x30" oil and mixed media on paper
As my fellow artists in the Santa Monica Art Studios will attest I approach brush cleaning as a form of meditation. Each day, I carefully clean the detritus of each brush's passing in a bath of cool water. Just before her final trip to Switzerland, Sylvia wheeled up to me in her motorized wheelchair as I bathed my brushes. She began to speak as if she wanted to tell me the meaning of life but then stopped and just smiled her remarkable, unforgettable grin. And with that smile, Sylvia said "Goodbye" to me. I will hold that smile in my heart each day as I create.
Winslow Homer The Veteran in a New Field 24 1/8" x 38 1/8" oil on canvas 1865 Metropolitan Museum of Art
Veterans Day is more than just a day off. Instead it is a time to reflect on duty, honor, service, and life. Winslow Homer's The Veteran in a New Field portrays a Union veteran of the American Civil War back at work on the farm. But the painting is not instantly celebratory. There are no angels and there is no parade. Instead a psychic weight seems to be guiding the veteran's scythe as it cuts the stand of grain, much like the volleys of shot and shell mowed down troops, on both sides of that brutal war.
There is hope though in the warm, life giving color of the wheat, a Northern crop, and the cerulean sky. All wars must eventually come to an end. Uniforms are cast off. Homer paints the ex-soldier's jacket and canteen tossed onto the newly cut field. Life does go on.
The soldier will inevitably struggle to find his place in the mundane world of civilian work. And the civilian world struggles to understand these warriors bereft of armor and weapons plopped back into society. Wounds need time and care to heal.
Art can help bridge this gap.
Stories need to be told.
Today, at the National Veterans Art Museum in Chicago and on HBO in the film Wartorn 1861-2010, veterans of our current wars have been given a chance to tell their stories. Please see below for more details.
On this Veterans Day I want to thank my father Robert Chadwick for his service in the United States Marine Corps, my father in law Ralph Heilemann for his service in the United States Navy, my sister-in-law Heidi Bavlnka for her service in the United States Army, my uncle Jake Desch for his service in the United States Airforce, my cousin Michael Lowther for his service in the United States Marine Corps, my friend Paul Patchem for his service in the United States Navy, and my buddy Mark Stephens for his service in the United States Navy.
Opening today at the National Veteran's Art Museum in Chicago, Illinois is the exhibit Intrusive Thoughts: An exhibition of work by Veterans of the Iraq, Afghanistan, and Global War on Terror.
"Intrusive thoughts are unwelcome involuntary thoughts, images, or unpleasant ideas that may become obsessions are upsetting or distressing, and can be difficult to manage or eliminate. Although they are commonly unseen, there are silent signs of our current occupations in our local communities, households, and memories. This show will feature work by veterans of Iraq, Afghanistan, and the Global War on Terror that will bring these signs from the shadows to the forefront and give these traumas a voice in the political and cultural discussion of today."
The exhibition includes artwork by Jeremy Stainthorp Berggren, Erica Slone, Combat Paper Project, Peter Sullivan, Jacob Flom, Jon Turner, Ash Kyrie, Chris Vongsawat, Leonard Shelton, Joyce Wagner, and Warrior Writers Project.
Opens Tonight, November 11, 2010 7PM Artist Talks/Presentation 5-8 PM | National Veterans Art Museum 1801 S. Indiana Ave. 3rd Floor
Chicago, IL 60616
Screenshot from HBO Films Documentary Wartorn 1861-2010
And tonight on HBO, the documentary Wartorn 1861-2010 The film examines what we now call Post Traumatic Stress Disorder from the Civil War, through two World Wars and Vietnam, and recent cases from the current wars in Iraq and Afghanistan.
Using a technique often used by documentary filmmaker Ken Burns, soldiers stories are told through letters and journals as well as photographs, combat footage, and interviews with veterans and family members of soldiers with PTSD. Also included are insightful conversations between James Gandolfini and top U.S. military personnel, enlisted men in Iraq, and medical experts working at the Walter Reed Army Medical Center in Washington.
Directed By: Jon Alpert and Ellen Goosenberg Kent
Producers: Jon Alpert, Matthew O'Neill and Ellen Goosenberg Kent
Executive Producers: James Gandolfini and Sheila Nevins
Co-Producer Lori Shinseki
Co-Producer Archival Segments Caroline Waterlow
Edited by Geof Bartz A.C.E., Andrew Morreale and Jay Sterrenberg
Co-Executive Producer Alexandra Ryan
Associate Producers Trixie Flynn and Thomas Richardson
Supervising Producer Sara Bernstein
Wartorn 1861-2010 premieres on Veteran’s Day 2010 – Thursday, November 11 at 9/8c, on HBO.
Kelly Colbert Sings her new song 600 Acres inspired by Gregg Chadwick's painting Arlington. The song is a poignant tribute to those lost in the war in Iraq and in particular to the memory of the United States Marine Ahn Chanawongse.
A bit of Ahn's Story: "Cpl. Kemaphoom A. Chanawongse enlisted shortly after graduating from Waterford (Conn.) High School in 1999 over the objections of his mother, Tan Patchem. “He understood it was dangerous, and he was proud of doing it,” she said. Chanawongse died after his unit came under attack while attempting to secure a bridge. He had been listed as missing until April 16. Chanawongse, who came to the United States from Thailand at age 9, played youth soccer and planned from a young age to join the military. His grandfather is a veteran of the Thai air force. He was known to members of his unit as “Chuckles” for his sense of humor, and one friend said the avid snowboarder was talkative and outgoing: “Every time you turn around, he’s gone talking to somebody,” said Steve Cava, 22. But he also had a strong sense of duty, his parents said, and had a Marines tattoo on his arm: “U.S. Marine, made in Parris Island.” “He did it without fear and without delay, even one minute,” said his stepfather, Paul Patchem."
Leonardo da Vinci is an artist whose name is instantly recognizable but whose artwork can seem so familiar to 21st century eyes that the actual paintings feel lost behind a veil of cultural expectations. Paul Strathern's new book, The Artist, the Philosopher, and the Warrior: The Intersecting Lives of da Vinci, Machiavelli, and Borgia and the World They Shaped, allows us to see Leonardo as a living man and artist shaped by his time, friendships and experiences.
Strathern's book opens with an epigraph spoken by Orson Welles' character, Harry Lime, in The Third Man.
From the vantage point of a ferris wheel high above Vienna, Orson Welles surveys the battered post-war city beneath him and says. "In Italy, for thirty years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace—and what did that produce? The cuckoo clock."
A Brief Convergence
Paul Strathern who has a background in philosophy, and writes often on the subject, approaches the brief convergence of Leonardo, Borgia and Machiavelli as a sort of biographical/philosophical thought experiment. Like a good professor, Strathern asks questions:
"What was it precisely that made Leonardo agree to work for Borgia?" What were Leonardo's "real intentions"? How did Leonardo "become involved with Machiavelli?"
Paul Strathern defines his terms with background and analysis of the three major characters. Like Orson Welles, Paul Strathern uses a keen eye and a sense of humor to survey the events surrounding Machiavelli's Florentine diplomatic mission in 1502 which put Leonardo in the service of Cesare Borgia. Strathern vividly describes Renaissance Italy in the 1500's, which was not a unified country under the banner of Italy but instead a collection of constantly battling city states and principalities dominated by Milan, Venice, Naples, Florence and the pope in Rome. The book's narrative introduces us to da Vinci, Machiavelli and Borgia and then weaves, in a Rashomon view, their lives and the events surrounding them from three different vantage points. Strathern helps us see the vibrance and struggle of Renaissance Italy from the viewpoints of the artist, the philosopher, and the warrior.
A Visual Realm of Ideas
In a way that I find new to biographies of Leonardo, Paul Strathern concerns himself not only with the events in da Vinci's life, but especially in how Leonardo learned to think, ponder and dream. Leonardo da Vinci was born as the illegitimate son of Piero da Vinci. Because of the circumstances around his birth, Leonardo was not allowed to receive a classical education and so did not learn Latin as a youth. How did the young da Vinci grow into such a deep thinker?
Strathern clearly shows that Leonardo's artistic and scientific investigations were prompted by his own curiosity and massive intelligence. Even without Latin, Leonardo was able to read the classics in translation. Through his study of the Roman author Lucretius, whose epic poem De Rerum Natura (On the Nature of Things) sought to explain the world in scientific terms, Leonardo learned that accurate understanding derives from investigation and experience.
"Reflect that the most wicked act of all is to take the life of a man. For if his external form appears to be a marvelously subtle construction, realize that this is nothing compared with the soul which dwells within this structure." - Leonardo da Vinci, from his notebooks
Leonardo cherished life so much that he became a vegetarian but at the same time he devised weapons and instruments of war. This conflict runs throughout Leonardo's adult life and Paul Strathern addresses this paradox throughout the book: Leonardo "served with no apparent show of unwillingness (even in the privacy of his notebooks), as military engineer to the ruthless murderer Cesare Borgia, a monster whose name would enter history as a byword for infamy."
Perhaps an answer can be found in the zeitgeist of the era. As Strathern explains, the Renaissance prompted a more rational humanist outlook in the worlds of art and literature, but medieval fears and prejuidices remained strong. In troubled times, a collective mania could take hold. A similar, collective mania, took hold in the United States after the terrible events of September 11, 2001.
This collective mania was hidden in the richly nuanced shadows in Leonardo's paintings. Caught in the sfumato in "The Adoration of the Magi", now in the Uffizi Gallery in Florence, warriors on horseback battle. Lost to time, but remembered in Peter Paul Rubens' restoration and reworking of an Italian 16th-century drawing, horses lock forelegs and armored soldiers scream as they battle for the standard in Leonardo's Battle of Anghiari.
Legacies
Like a figure from da Vinci's Battle of Anghiari, Cesare Borgia died on a battlefield.
After the Medici returned to power in Florence in 1510, Machiavelli was stripped of his Florentine citizenship, kicked out of his political office, fined 1,000 florins which left him almost penniless, banned from the city of Florence, and cast into an early forced retirement at his tiny family farm seven miles outside the city walls. At 43, Machiavelli had lost his career and his wealth. But he still could write:
"For four hours, I forget all my worries and boredom. I am afraid neither of poverty nor death. I am utterly absorbed in this world of my mind. And because Dante says that no one understands anything unless he remembers what he has understood, I have noted down what I have learned from these conversations. The result is a short book, called The Prince, in which I delve as deeply as I can into the subject of how to rule."
Leonardo da Vinci left a legacy of unpublished volumes, uncast sculptures, unrealized engineering projects, and unfinished paintings. Strathern theorizes that Leonardo's time with Cesare Borgia was brutish and caused Leonardo to doubt that humans were essentially good. Among diagrams and plans for weapons and machines, Leonardo wrote, "I will not publish or divulge such things." Leonardo saw the evil nature in men and did not trust humanity with his genius. A weapon, elegantly realized with a quill pen on a sheet of costly paper, becomes horrible when realized in the physical world and used to tear flesh and bone. Ultimately, Leonardo's discoveries lay hidden for centuries.
Leonardo's inability to finish his projects had aesthetic reasons as well. Since the classical age, unfinished artworks were cherished because they seemed to reveal the living thoughts of the artist. Leonardo da Vinci saw that an initial sketch captured the very instant of inspiration. Inspiration was valued as being more urgent and vital than a finished work of art itself. The initial idea or conception is what truly mattered to da Vinci. Once Leonardo had grasped the artistic idea, a finished work of art already existed in his mind.
Strathern's The Artist, the Philosopher, and the Warrior: The Intersecting Lives of da Vinci, Machiavelli, and Borgia and the World They Shaped lights a darkened era. From the smoky depths of sfumato glazes we peer into da Vinci's world of nuance and suggestion. In Leonardo's artistic legacy and Strathern's satisfying book we are left with existential questions, mere hints about our time on earth and the threads of history and influence that link us to the past.
Gregg Chadwick Kyoto: March (for Gary Snyder) 36"x48" oil on linen 2010
Kyoto: March
BY GARY SNYDER
A few light flakes of snow Fall in the feeble sun; Birds sing in the cold, A warbler by the wall. The plum Buds tight and chill soon bloom. The moon begins first Fourth, a faint slice west At nightfall. Jupiter half-way High at the end of night- Meditation. The dove cry Twangs like a bow. At dawn Mt. Hiei dusted white On top; in the clear air Folds of all the gullied green Hills around the town are sharp, Breath stings. Beneath the roofs Of frosty houses Lovers part, from tangle warm Of gentle bodies under quilt And crack the icy water to the face And wake and feed the children And grandchildren that they love.
"Food is our common ground, a universal experience" -MFK Fisher
This week three of my greatest enjoyments come together in a rich mix: painting, food and film.
Opening this week in New York State is a brand new restaurant headed by Executive Chef Chris Brandt, and Sushi Chef Satoshi Yamaguchi. My painting Silk was commissioned for the space. Also this week, the film La Cucina, in which a number of my paintings are featured, is being shown on Showtime. The Blu Ray is on pre sale at Amazon and the Dvd is available at Turner Classic Movies. The film stars Christina Hendricks (Mad Men), Joaquim de Almeida (24), Leisha Hailey (The L Word), Rachel Hunter (Supermodel), Clare Carey (Crash), Oz Perkins (Star Trek), Michael Cornacchia (Hannah Montana), Kala Savage (8 Simple Rules), Cinematography by Alan Caudillo (Day Without a Mexican), and Ian Ball (Gomez) scores the film.
Gregg Chadwick Silk 7'x5' oil on linen 2009 Executive Chef Chris Brandt, and Sushi Chef Satoshi Yamaguchi open Next Door Bar & Grill in Pittsford (near Rochester), New York on December 11, 2009. My painting Silk graces the walls.
“We set out to create a restaurant that would be very approachable, comfortable, easy to love, and would inspire guests to relax and have fun,” says Stency Wegman, the restaurant’s interior designer. “It’s the kind of restaurant where you’ll fit right in whether you’re in a pair of jeans or a business suit.”
Executive Chef Chris Brandt agrees: “I like to describe it as a fun place with great food. We will serve amazing food in a relaxed way that puts everyone at ease.”
Still From La Cucina Christina Hendricks (Mad Men) and Joaquim de Almeida (24) discuss life over a bottle of wine. My painting, for the opera Saint of Bleecker Street, hangs on the rear wall.
Gregg Chadwick Ghost of New Orleans 48"x36" oil on linen 2006 featured in the film La Cucina
I send my holiday thoughts out to all of my collaborators in these projects: Alan Caudillo, Allison Wilke, Zed Starkovich, Stency Wegman, chef Chris Brandt, chef Satoshi Yamaguchi, and to my Market Street neighbors chef and sommelier Nicole Christensen, Danny Massingale and chef Stephen Gibbs who have taught me so much about food and life. Hope all of you have great meals with friends and family as we move into the New Year.
Andrew Wyeth (1917-2009) Above the Narrows
48" x 32¼" tempera on panel 1960
Andrew Wyeth's Painting "Above the Narrows" sold for $6,914,500 at Christie's.
Wyeth's painting is an evocative portrait of his son that captures the mysterious journey from boy to man.
20 years ago today as images of the fall of the Berlin Wall streamed across televisions around the world, I played Little Steven's poignant song Checkpoint Charlie. Little Steven's 1984 song openly dreamed of a free and united Berlin. On November 9, 1989 that dream began to come true. Today as we celebrate the fall of the Berlin Wall, I also dream of Freedom in Iran and the fall of the Iran Curtain.
The Berliner Zeitung has a nice series of images and articles about the history and fall of the Berlin Wall: 20. Jahre Mauerfall
John F Kennedy in Berlin: "Ich bin ein Berliner."
"This film shows video footage taken in April 1990 plus still image photographs taken in December 1989 and July 2005. There is footage on both sides of the wall, although for reasons of personal security the footage of the Eastern side of the crossing point is somewhat minimal. Nevertheless it is possible to see the arrangement of frosted glass screens which made it virtually impossible to see the crossing point from the East."
Photographer Anthony Suau talks about his iconic image of the fall of the Berlin Wall.
Gregg Chadwick Sea of Spring 春の海 (Haru no umi) 36"x48" oil on linen 2009
Japan has been a continual theme in my life and artwork. At age 10, I began my artistic dialogue with Japan before I even exited our arriving plane in Okinawa. On that journey I sketched the new world around me and have continued to do so over the years. My latest body of work was inspired by an artistic pilgrimage to Tokyo and Kyoto in March and April 2009. At that time, I was privileged to be in Kyoto at the height of the cherry blossom season. Young geisha in training (maiko) and full geisha brought their own color and timeless beauty to the city. The word geisha in Japanese means arts - person ( gei - sha). The flower and willow world of these caretakers of Japan's traditional arts seems to be as fragile and impermanent as the cherry blossoms that bloom so quickly then fall each year.
Gregg Chadwick Gion Night 85"x37" oil on linen 2009
Gregg Chadwick Karyūkai ( 花柳界) 85"x54" oil on linen 2009
Gregg Chadwick Maiko's Night 36"x18" oil on linen 2009
Portrait of A Man (Self Portrait?) Velázquez oil on canvas circa 1634-35 Metropolitan Museum of Art, New York photo by Angel Franco/ New York Times
Portrait of A Man (Self Portrait?) detail Velázquez oil on canvas circa 1634-35 Metropolitan Museum of Art, New York photo: Metropolitan Museum of Art, New York
Years of discolored varnish and overpainting have a revealed a fresh new face in the Metropolitan Museum of Art's 17th Century Spanish Collection. Carol Vogel has an informative article in today's New York Times: An Old Master Emerges From Grime Vogel interviewed Keith Christiansen, the Met’s newly appointed chairman of European paintings:“It’s bugged me for 25 years. The quality has always been there. And I had a hard time believing that a work of quality was the product of a generic workshop.”
Keith Christiansen had Velázquez expert Jonathan Brown look at the restored painting. Vogel reports his response: "“One glance was all it took,” Mr. Brown said, adding later, “The picture had been under my nose all my life. It’s a fantastic discovery. It suddenly emerges Cinderella-like.”
Velázquez The Surrender of Breda (Las Lanzas) detail 1634-35 Oil on canvas, 307 x 367 cm Museo del Prado, Madrid
Velázquez Las Meninas or The Family of Philip IV (detail) 1656-57 Oil on canvas, 318 x 276 cm Museo del Prado, Madrid From the Prado's site:"On the left in the painting, dark and calm, the painter himself can be seen standing with brush and palette in front of a tall canvas."
The Metropolitan Displays Restorers Tools photo: Metropolitan Museum of Art, New York
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Gregg Chadwick's Studio with Karyūkai ( Flower and Willow World ~ 花柳界)
