The Diasporist (Portrait of R.B. Kitaj)
30”x22” monotype on paper 2011
"Vincent van Gogh lived in Auvers-sur-Oise from 20 May 1890 until his death on 29 July of the same year. He was tremendously productive in these months and made several of his most renowned masterpieces, including 'Wheatfield with Crows' and 'Tree Roots'. In the anniversary year of 2023, the Van Gogh Museum and Musée d’Orsay are organizing a major exhibition about the final months of Vincent van Gogh’s life, which he spent in the French village of Auvers-sur-Oise. The exhibition 'Van Gogh in Auvers. His Final Months' is on view from 12 May until 3 September 2023." Find out more: https://www.vangoghmuseum.com/vangogh...
✨ A "Starry Night" ending to our 50th-anniversary celebration on the Museumplein. @StudioDrift brought Vincent's works to life against the evening sky.
— Van Gogh Museum (@vangoghmuseum) June 3, 2023
Watch the full drone performance here: https://t.co/EkHwol0P80 pic.twitter.com/SqQGJMUW0u
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.
by Gregg Chadwick
When in high school, I would often visit the Phillips Collection in Washington DC. I felt at home in DC. We were in NOVA because my dad was stationed at Headquarters Marine Corps in Arlington, Virginia.
During World War II, artist Richard Diebenkorn also served in the Marine Corps. From 1943 until 1945, he was stationed at Marine Corps Base Quantico in Virginia. During that time, Diebenkorn often visited the Phillips Collection in Washington DC.
I went to art school at UCLA as an undergraduate, searching for the spirit of Diebenkorn who had taught there in the 1960s. I didn’t meet Diebenkorn at UCLA, but I did eventually move to San Francisco after graduate school at NYU — perhaps in an artistic search for clues left by the Bay Area Figurative movement that Diebenkorn helped engender. As his health failed, Diebenkorn painted less but continued to create etchings at Crown Point Press in San Francisco. One morning on a walk from my Market Street loft where I lived and painted in the 1990s, I spotted Richard Diebenkorn leaning up against a BART entrance watching the cable car turnaround across Market Street. He was captivated by the movement of the conductors as they spun the car 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 at the forms moving across 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 didn’t mention the USMC connection to Diebenkorn that day in 1992, but I remembered the Evening Parade at the Marine Corps Barracks in Washington DC. I remembered the rich light of dusk on the green lawns at the barracks. The same light that was also falling on the White House in my painting. Dusk and green. Obama and Diebenkorn.
"The Kunstmuseum Luzern is currently showing the first comprehensive exhibition of David Hockney's works in Switzerland. The retrospective presents works from 1954 to 2018. Titled Moving Focus, the show includes his experimental early works, his famous pool paintings and double portraits, photographic works, and his more recent landscapes both in acrylic and as digital animation. One of the highlights is the monumental landscape painting Bigger Trees Near Warter or / Ou Peinture Sur Le Motif Pour Le Nouvel Age Post-Photographique (2007). The work consists of 50 canvases and measures more than 12 meters."
#theotherartfair #theotherartfairla #art #artshow #la #losangeles #laartshow #laart #collectart #artcollector #artfair #santamonica #buddhism #buddha #saffron #light #SanFrancisco #AsianArtMuseum #CityOfLove #Korea #KoreanArt
Gregg Chadwick Still I Rise 40"x30" oil on linen 2017 |
Michelangelo Buonarroti (Italian, 1475–1564)
The Torment of Saint Anthony (after Schongauer)
c. 1487–88. Oil and tempera on panel, 18 1/2 x 13 1/4 in.
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Martin Schongauer
St. Anthony
engraving printed on paper 15th-century - German
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Michelangelo Buonarroti (Italian, 1475–1564)
37" x 13 1/4" x 14" marble sculpture ca. 1490
Lent by the French State, Ministry of Foreign and European Affairs
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Michelangelo Buonarroti (Italian, 1475–1564)
Study of Adam and Eve after Masaccio
1504 red chalk, 12 13/16" x 7 3/8 "
Musée du Louvre
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The Beatles travel to Shea Stadium via helicopter 1965 |
Richard Diebenkorn in his official United States Marine Corps portrait, San Francisco, Calif., 1943 © Richard Diebenkorn Foundation |
Henri Matisse, Studio, Quai Saint-Michel, 1916. Oil on canvas, 58 1/4 x 46 in. The Phillips Collection, Washington, D.C. Acquired 1940 |
Richard Diebenkorn Ocean Park #79, 1975 Philadelphia Museum of Art |
"A favorite topic was Henri Matisse. He had a large poster of Matisse’s View of Notre Dame positioned on the wall near the huge windows looking out toward the beach and Pacific Ocean a few blocks away. When I recall his studio I remember thinking that he would see the poster and the atmospheric light of the ocean at the same time.
We also looked at Matisse reproductions of French Window at Collioure, Goldfish and Palette, and The Piano Lesson, and Diebenkorn spoke about the difficulty of making a gray painting—how hard it is to make something meaningful and able to connect when one of the fundamental elements of painting—color—is not present or is reduced.
I’m afraid given my youth and inexperience at the time I didn’t get all the substance of what he was sharing, but what impressed me even then were his intensity, focus, and seriousness. Painting meant everything. Work meant everything."
"Ocean Park itself is a community in Santa Monica, where Diebenkorn traced a daily path between home and studio, but whether or not these works make the topical references to local landscape with which they are credited, they clearly are something more than abstractions with recurrent compositional motifs, cadences, pastel tonalities, scumbled fields and tapelike forms, and stunning juxtapositions of color swept on with masterful brushwork. Each of them, for example, displays the submerged record of its own realization, and so distinctive are the pentimenti in Diebenkorn's art that each painting carries within itself the visible history of the artist's search. The nearest parallel, perhaps, would be the great drawings of Rembrandt, in which certain crowded lines converge on the sought-after contour so that the drawing and its draw-ing are one, process and fulfillment inseparable. In my view, Diebenkorn's paintings are less about the bright skies and long horizons of Ocean Park than about the act of painting."
Gregg Chadwick Arlington 48"x36" oil on linen 2004 Collection: National Museum of the Marine Corps |
"Seven monks swathed in saffron robes padded onto the moist grounds of Arlington National Cemetery yesterday, followed by six uniformed Marines in crisper pace bearing the coffin of a fallen comrade. Even in death, Kemaphoom Chanawongse, 22, straddled two worlds -- the Thailand he left when he was 9 and the America he ultimately gave his life for. The corporal died in Iraq March 23, 2003, in an ambush outside Nasiriyah. Friends and family called him "Ahn." His fellow Marines called him "Chuckles," for his sense of humor and love of laughter. Chanawongse's last letter home still brings a smile to his elder brother's face, albeit through tears. In a letter dated March 13 from Kuwait, where Chanawongse served with the 1st Marine Division, he joked about the art of playing baseball with a stick. He said his camp reminded him of the sitcom "M*A*S*H," although he preferred MAHTSF, for "Marines Are Here to Stay Forever."As he stroked his brother's coffin yesterday, Kemapasse Chanawongse spoke directly to him for what he said would be the last time: 'Ahn, I love you. I am proud of you.'"
Diebenkorn's painting July was carried from the exhibition at the 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture (Now the Carnegie International) and photographed by Ben Spiegel for the article Art Spectacle in Pittsburgh published in LIFE Magazine in December 1961. Even now as an observer 50+ years later, I fear for the painting. A gust of wind could blow the artwork into the pond. And furthermore, who in that Mad Men world decided that contemporary art was just a prop?
Catalog from the 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture (Now the Carnegie International) |
Happy Fourth of July!