Alone With Vermeer

Spent the morning alone in a room with Vermeer at the Rijksmuseum in Amsterdam -first one in the door - glorious!


Rijkswidget - A Masterpiece a Day

Much more when I return ...

Stranded Norwegian Prime Minister Runs Government Via iPad

Statsministeren jobber på flyplassen, originally uploaded by Statsministerens kontor.

Stranded by the volcanic cloud over Northern Europe, Norwegian Prime Minister Jens Stoltenberg conducts governmental business on his iPad.
Is there an app for running a nation?

Catching Words and Images With Phil Cousineau and Gregg Chadwick

Gregg Chadwick
Gorgonize (Medusa)
from Wordcatcher

Just hitting bookstores is my latest collaborative work with Phil Cousineau, Wordcatcher. Phil and I share a love of art and language and this latest book combines Phil's marvelous word histories with my artworks inspired by the word tales. Phil Cousineau and I often work collaboratively. For Wordcatcher I created 25 images inspired by Phil's intriguing descriptions. I spent much of the Fall in my drawing studio with my hands and clothing covered in chalk dust with the smell of wood shavings and sepia inks in the air. The resulting artworks are mainly rendered in ink washes with black and sanguine chalks heightened with white chalk on paper.


Gregg Chadwick
Duende (Federico Garcia Lorca in Havana)
from Wordcatcher

Wordcatcher is already garnering praise:

“Stake out a claim next to the standard dictionary you use for this less pedantic companion. It contains fewer words but sends up Fourth of July skyrockets on all of them. But caveat emptor, readers beware! Cousineau’s love affair with words is contagious and you are likely to end up lovesick with words yourself.”

—Huston Smith, author of The World’s Religions and Tales of Wonder

"A book that allows us to remember the genius of language-- to see, feel and, it seems, even "taste" the living-ness and poetry hidden within these many common and uncommon words. A delicious book."
----Jacob Needleman, author of What Is God?


Gregg Chadwick
Labyrinth
from Wordcatcher

On May 5, 2010 Phil Cousineau and I will be together at 7 pm at Booksoup on Sunset Boulevard in Hollywood celebrating our collaboration. Also on May 6, 2010 we will be hosting a gathering at my studio in Santa Monica to celebrate the publication of Wordcatcher and to feature other collaborative projects that Phil Cousineau and I have worked on. Both evenings will start at 7 pm. Hope to see you there!


Gregg Chadwick
Murmur (Grow, Grow)
from Wordcatcher

May 6th, 2010
Please Join Phil Cousineau and Gregg Chadwick for a Celebration of Collaboration
Phil will read from Wordcatcher and The Oldest Story in the World and books will be available for purchase and signing.
7PM-9:30PM
Gregg Chadwick
Studio #15
Santa Monica Art Studios
3026 Airport Avenue
Santa Monica, CA 90405


Gregg Chadwick
Encyclopedia (Diderot)
from Wordcatcher

Soseki's Light

Buddha of the Setting Sun (Amida)
Gregg Chadwick
40"x32" oil on linen 2010
Private Collection Marina del Rey

One in an ongoing series of artworks inspired by the life and poetry of
the Japanese Zen monk, poet, scholar and garden designer Muso Soseki. I am indebted to the American poet W.S. Merwin for his masterful versions from the Japanese translations and for his kind words of inspiration to me at the Hammer Museum.

Temple of Eternal Light
by Muso Soseki
(1275 - 1351)

English version by
W. S. Merwin
Original Language
Japanese

Buddhist : Zen / Chan
14th Century

The mountain range
the stones in the water
all are strange and rare
The beautiful landscape
as we know
belongs to those who are like it
The upper worlds
the lower worlds
originally are one thing
There is not a bit of dust
there is only this still and full
perfect enlightenment


Portrait of Zen priest, poet and garden designer Musō Soseki

Tomorrow Night : The Buddha on PBS

The Buddha on PBS
Narrated by Richard Gere
Premiering April 7, 2010 at 8 p.m. (check local listings)

Buddhaspotting

"Buddha doesn’t look any different from anybody else…Buddhism is not about being special…It is about walking a normal human life with normal human beings, doing normal human things. And this reminds you that you yourself might be a Buddha. At this moment, the person you’re looking at might be one. It’s an interesting practice. Just each person you see as you walk down the street; ‘Buddha? Buddha? Buddha? Buddha? Buddha?’"

— Jane Hirshfield, poet

PBS The Buddha on Facebook
Buddha Spotting on PBS
The Buddha on PBS

The Buddha Thanks to artist Gregg Chadwick for sharing this photo of one of his paintings in the Buddhaspotting photostream!

Studio View Of Fire Sermon

www.flickr.com

80"x80" oil on linen 2004

April 4, 1968 : A Certain Kind of Fire

 Martin Luther King Jr.'s Last Speech 

"But I know, somehow, that only when it is dark enough can you see the stars." Martin Luther King, Jr I've Been to the Mountaintop Spoken on April 3rd 1968, Mason Temple (Church of God in Christ Headquarters), Memphis,Tennessee Thank you very kindly, my friends. As I listened to Ralph Abernathy and his eloquent and generous introduction and then thought about myself, I wondered who he was talking about. It's always good to have your closest friend and associate to say something good about you. And Ralph Abernathy is the best friend that I have in the world. I'm delighted to see each of you here tonight in spite of a storm warning. You reveal that you are determined to go on anyhow. Something is happening in Memphis; something is happening in our world. And you know, if I were standing at the beginning of time, with the possibility of taking a kind of general and panoramic view of the whole of human history up to now, and the Almighty said to me, "Martin Luther King, which age would you like to live in?" I would take my mental flight by Egypt and I would watch God's children in their magnificent trek from the dark dungeons of Egypt through, or rather across the Red Sea, through the wilderness on toward the promised land. And in spite of its magnificence, I wouldn't stop there. I would move on by Greece and take my mind to Mount Olympus. And I would see Plato, Aristotle, Socrates, Euripides and Aristophanes assembled around the Parthenon. And I would watch them around the Parthenon as they discussed the great and eternal issues of reality. But I wouldn't stop there. I would go on, even to the great heyday of the Roman Empire. And I would see developments around there, through various emperors and leaders. But I wouldn't stop there. I would even come up to the day of the Renaissance, and get a quick picture of all that the Renaissance did for the cultural and aesthetic life of man. But I wouldn't stop there. I would even go by the way that the man for whom I am named had his habitat. And I would watch Martin Luther as he tacked his ninety-five theses on the door at the church of Wittenberg. But I wouldn't stop there.

I would come on up even to 1863, and watch a vacillating President by the name of Abraham Lincoln finally come to the conclusion that he had to sign the Emancipation Proclamation. But I wouldn't stop there. I would even come up to the early thirties, and see a man grappling with the problems of the bankruptcy of his nation. And come with an eloquent cry that "we have nothing to fear but fear itself" But I wouldn't stop there. Strangely enough, I would turn to the Almighty, and say, "If you allow me to live just a few years in the second half of the 20th century, I will be happy."

Now that's a strange statement to make, because the world is all messed up. The nation is sick. Trouble is in the land; confusion all around. That's a strange statement.

But I know, somehow, that only when it is dark enough can you see the stars. And I see God working in this period of the twentieth century in a way that men, in some strange way, are responding.

Something is happening in our world. The masses of people are rising up. And wherever they are assembled today, whether they are in Johannesburg, South Africa; Nairobi, Kenya; Accra, Ghana; New York City; Atlanta, Georgia; Jackson, Mississippi; or Memphis, Tennessee -- the cry is always the same: "We want to be free." And another reason that I'm happy to live in this period is that we have been forced to a point where we are going to have to grapple with the problems that men have been trying to grapple with through history, but the demands didn't force them to do it. Survival demands that we grapple with them. Men, for years now, have been talking about war and peace. But now, no longer can they just talk about it. It is no longer a choice between violence and nonviolence in this world; it's nonviolence or nonexistence. That is where we are today. And also in the human rights revolution, if something isn't done, and done in a hurry, to bring the colored peoples of the world out of their long years of poverty, their long years of hurt and neglect, the whole world is doomed. Now, I'm just happy that God has allowed me to live in this period to see what is unfolding. And I'm happy that He's allowed me to be in Memphis I can remember -- I can remember when Negroes were just going around as Ralph has said, so often, scratching where they didn't itch, and laughing when they were not tickled. But that day is all over. We mean business now, and we are determined to gain our rightful place in God's world. And that's all this whole thing is about. We aren't engaged in any negative protest and in any negative arguments with anybody. We are saying that we are determined to be men. We are determined to be people. We are saying -- We are saying that we are God's children. And that we are God's children, we don't have to live like we are forced to live. Now, what does all of this mean in this great period of history? It means that we've got to stay together. We've got to stay together and maintain unity. You know, whenever Pharaoh wanted to prolong the period of slavery in Egypt, he had a favorite, favorite formula for doing it. What was that? He kept the slaves fighting among themselves. But whenever the slaves get together, something happens in Pharaoh's court, and he cannot hold the slaves in slavery. When the slaves get together, that's the beginning of getting out of slavery. Now let us maintain unity. Secondly, let us keep the issues where they are. The issue is injustice. The issue is the refusal of Memphis to be fair and honest in its dealings with its public servants, who happen to be sanitation workers. Now, we've got to keep attention on that. That's always the problem with a little violence. You know what happened the other day, and the press dealt only with the window-breaking. I read the articles. They very seldom got around to mentioning the fact that one thousand, three hundred sanitation workers are on strike, and that Memphis is not being fair to them, and that Mayor Loeb is in dire need of a doctor. They didn't get around to that. Now we're going to march again, and we've got to march again, in order to put the issue where it is supposed to be -- and force everybody to see that there are thirteen hundred of God's children here suffering, sometimes going hungry, going through dark and dreary nights wondering how this thing is going to come out. That's the issue. And we've got to say to the nation: We know how it's coming out. For when people get caught up with that which is right and they are willing to sacrifice for it, there is no stopping point short of victory. We aren't going to let any mace stop us. We are masters in our nonviolent movement in disarming police forces; they don't know what to do. I've seen them so often. I remember in Birmingham, Alabama, when we were in that majestic struggle there, we would move out of the 16th Street Baptist Church day after day; by the hundreds we would move out. And Bull Connor would tell them to send the dogs forth, and they did come; but we just went before the dogs singing, "Ain't gonna let nobody turn me around." Bull Connor next would say, "Turn the fire hoses on." And as I said to you the other night, Bull Connor didn't know history. He knew a kind of physics that somehow didn't relate to the transphysics that we knew about. And that was the fact that there was a certain kind of fire that no water could put out. And we went before the fire hoses; we had known water. If we were Baptist or some other denominations, we had been immersed. If we were Methodist, and some others, we had been sprinkled, but we knew water. That couldn't stop us. And we just went on before the dogs and we would look at them; and we'd go on before the water hoses and we would look at it, and we'd just go on singing "Over my head I see freedom in the air." And then we would be thrown in the paddy wagons, and sometimes we were stacked in there like sardines in a can. And they would throw us in, and old Bull would say, "Take 'em off," and they did; and we would just go in the paddy wagon singing, "We Shall Overcome." And every now and then we'd get in jail, and we'd see the jailers looking through the windows being moved by our prayers, and being moved by our words and our songs. And there was a power there which Bull Connor couldn't adjust to; and so we ended up transforming Bull into a steer, and we won our struggle in Birmingham. Now we've got to go on in Memphis just like that. I call upon you to be with us when we go out Monday. Now about injunctions: We have an injunction and we're going into court tomorrow morning to fight this illegal, unconstitutional injunction. All we say to America is, "Be true to what you said on paper." If I lived in China or even Russia, or any totalitarian country, maybe I could understand some of these illegal injunctions. Maybe I could understand the denial of certain basic First Amendment privileges, because they hadn't committed themselves to that over there. But somewhere I read of the freedom of assembly. Somewhere I read of the freedom of speech. Somewhere I read of the freedom of press. Somewhere I read that the greatness of America is the right to protest for right. And so just as I say, we aren't going to let dogs or water hoses turn us around, we aren't going to let any injunction turn us around. We are going on. We need all of you. And you know what's beautiful to me is to see all of these ministers of the Gospel. It's a marvelous picture. Who is it that is supposed to articulate the longings and aspirations of the people more than the preacher? Somehow the preacher must have a kind of fire shut up in his bones. And whenever injustice is around he tell it. Somehow the preacher must be an Amos, and saith, "When God speaks who can but prophesy?" Again with Amos, "Let justice roll down like waters and righteousness like a mighty stream." Somehow the preacher must say with Jesus, "The Spirit of the Lord is upon me, because he hath anointed me," and he's anointed me to deal with the problems of the poor." And I want to commend the preachers, under the leadership of these noble men: James Lawson, one who has been in this struggle for many years; he's been to jail for struggling; he's been kicked out of Vanderbilt University for this struggle, but he's still going on, fighting for the rights of his people. Reverend Ralph Jackson, Billy Kiles; I could just go right on down the list, but time will not permit. But I want to thank all of them. And I want you to thank them, because so often, preachers aren't concerned about anything but themselves. And I'm always happy to see a relevant ministry. It's all right to talk about "long white robes over yonder," in all of its symbolism. But ultimately people want some suits and dresses and shoes to wear down here! It's all right to talk about "streets flowing with milk and honey," but God has commanded us to be concerned about the slums down here, and his children who can't eat three square meals a day. It's all right to talk about the new Jerusalem, but one day, God's preacher must talk about the new New York, the new Atlanta, the new Philadelphia, the new Los Angeles, the new Memphis, Tennessee. This is what we have to do. Now the other thing we'll have to do is this: Always anchor our external direct action with the power of economic withdrawal. Now, we are poor people. Individually, we are poor when you compare us with white society in America. We are poor. Never stop and forget that collectively -- that means all of us together -- collectively we are richer than all the nations in the world, with the exception of nine. Did you ever think about that? After you leave the United States, Soviet Russia, Great Britain, West Germany, France, and I could name the others, the American Negro collectively is richer than most nations of the world. We have an annual income of more than thirty billion dollars a year, which is more than all of the exports of the United States, and more than the national budget of Canada. Did you know that? That's power right there, if we know how to pool it. We don't have to argue with anybody. We don't have to curse and go around acting bad with our words. We don't need any bricks and bottles. We don't need any Molotov cocktails. We just need to go around to these stores, and to these massive industries in our country, and say, "God sent us by here, to say to you that you're not treating his children right. And we've come by here to ask you to make the first item on your agenda fair treatment, where God's children are concerned. Now, if you are not prepared to do that, we do have an agenda that we must follow. And our agenda calls for withdrawing economic support from you." And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy -- what is the other bread? -- Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying they are going to support the needs and the rights of these men who are on strike. And then they can move on town -- downtown and tell Mayor Loeb to do what is right. But not only that, we've got to strengthen black institutions. I call upon you to take your money out of the banks downtown and deposit your money in Tri-State Bank. We want a "bank-in" movement in Memphis. Go by the savings and loan association. I'm not asking you something that we don't do ourselves at SCLC. Judge Hooks and others will tell you that we have an account here in the savings and loan association from the Southern Christian Leadership Conference. We are telling you to follow what we are doing. Put your money there. You have six or seven black insurance companies here in the city of Memphis. Take out your insurance there. We want to have an "insurance-in." Now these are some practical things that we can do. We begin the process of building a greater economic base. And at the same time, we are putting pressure where it really hurts. I ask you to follow through here. Now, let me say as I move to my conclusion that we've got to give ourselves to this struggle until the end. Nothing would be more tragic than to stop at this point in Memphis. We've got to see it through. And when we have our march, you need to be there. If it means leaving work, if it means leaving school -- be there. Be concerned about your brother. You may not be on strike. But either we go up together, or we go down together. Let us develop a kind of dangerous unselfishness. One day a man came to Jesus, and he wanted to raise some questions about some vital matters of life. At points he wanted to trick Jesus, and show him that he knew a little more than Jesus knew and throw him off base.... Now that question could have easily ended up in a philosophical and theological debate. But Jesus immediately pulled that question from mid-air, and placed it on a dangerous curve between Jerusalem and Jericho. And he talked about a certain man, who fell among thieves. You remember that a Levite and a priest passed by on the other side. They didn't stop to help him. And finally a man of another race came by. He got down from his beast, decided not to be compassionate by proxy. But he got down with him, administered first aid, and helped the man in need. Jesus ended up saying, this was the good man, this was the great man, because he had the capacity to project the "I" into the "thou," and to be concerned about his brother. Now you know, we use our imagination a great deal to try to determine why the priest and the Levite didn't stop. At times we say they were busy going to a church meeting, an ecclesiastical gathering, and they had to get on down to Jerusalem so they wouldn't be late for their meeting. At other times we would speculate that there was a religious law that "One who was engaged in religious ceremonials was not to touch a human body twenty-four hours before the ceremony." And every now and then we begin to wonder whether maybe they were not going down to Jerusalem -- or down to Jericho, rather to organize a "Jericho Road Improvement Association." That's a possibility. Maybe they felt that it was better to deal with the problem from the causal root, rather than to get bogged down with an individual effect. But I'm going to tell you what my imagination tells me. It's possible that those men were afraid. You see, the Jericho road is a dangerous road. I remember when Mrs. King and I were first in Jerusalem. We rented a car and drove from Jerusalem down to Jericho. And as soon as we got on that road, I said to my wife, "I can see why Jesus used this as the setting for his parable." It's a winding, meandering road. It's really conducive for ambushing. You start out in Jerusalem, which is about 1200 miles -- or rather 1200 feet above sea level. And by the time you get down to Jericho, fifteen or twenty minutes later, you're about 2200 feet below sea level. That's a dangerous road. In the days of Jesus it came to be known as the "Bloody Pass." And you know, it's possible that the priest and the Levite looked over that man on the ground and wondered if the robbers were still around. Or it's possible that they felt that the man on the ground was merely faking. And he was acting like he had been robbed and hurt, in order to seize them over there, lure them there for quick and easy seizure. And so the first question that the priest asked -- the first question that the Levite asked was, "If I stop to help this man, what will happen to me?" But then the Good Samaritan came by. And he reversed the question: "If I do not stop to help this man, what will happen to him? That's the question before you tonight. Not, "If I stop to help the sanitation workers, what will happen to my job. Not, "If I stop to help the sanitation workers what will happen to all of the hours that I usually spend in my office every day and every week as a pastor?" The question is not, "If I stop to help this man in need, what will happen to me?" The question is, "If I do not stop to help the sanitation workers, what will happen to them?" That's the question. Let us rise up tonight with a greater readiness. Let us stand with a greater determination. And let us move on in these powerful days, these days of challenge to make America what it ought to be. We have an opportunity to make America a better nation. And I want to thank God, once more, for allowing me to be here with you. You know, several years ago, I was in New York City autographing the first book that I had written. And while sitting there autographing books, a demented black woman came up. The only question I heard from her was, "Are you Martin Luther King?" And I was looking down writing, and I said, "Yes." And the next minute I felt something beating on my chest. Before I knew it I had been stabbed by this demented woman. I was rushed to Harlem Hospital. It was a dark Saturday afternoon. And that blade had gone through, and the X-rays revealed that the tip of the blade was on the edge of my aorta, the main artery. And once that's punctured, your drowned in your own blood -- that's the end of you. It came out in the New York Times the next morning, that if I had merely sneezed, I would have died. Well, about four days later, they allowed me, after the operation, after my chest had been opened, and the blade had been taken out, to move around in the wheel chair in the hospital. They allowed me to read some of the mail that came in, and from all over the states and the world, kind letters came in. I read a few, but one of them I will never forget. I had received one from the President and the Vice-President. I've forgotten what those telegrams said. I'd received a visit and a letter from the Governor of New York, but I've forgotten what that letter said. But there was another letter that came from a little girl, a young girl who was a student at the White Plains High School. And I looked at that letter, and I'll never forget it. It said simply, Dear Dr. King, "I am a ninth-grade student at the White Plains High School." And she said, "While it should not matter, I would like to mention that I'm a white girl. I read in the paper of your misfortune, and of your suffering. And I read that if you had sneezed, you would have died. And I'm simply writing you to say that I'm so happy that you didn't sneeze." And I want to say tonight -- I want to say tonight that I too am happy that I didn't sneeze. Because if I had sneezed, I wouldn't have been around here in 1960, when students all over the South started sitting-in at lunch counters. And I knew that as they were sitting in, they were really standing up for the best in the American dream, and taking the whole nation back to those great wells of democracy which were dug deep by the Founding Fathers in the Declaration of Independence and the Constitution. If I had sneezed, I wouldn't have been around here in 1961, when we decided to take a ride for freedom and ended segregation in inter-state travel. If I had sneezed, I wouldn't have been around here in 1962, when Negroes in Albany, Georgia, decided to straighten their backs up. And whenever men and women straighten their backs up, they are going somewhere, because a man can't ride your back unless it is bent. If I had sneezed -- If I had sneezed I wouldn't have been here in 1963, when the black people of Birmingham, Alabama, aroused the conscience of this nation, and brought into being the Civil Rights Bill. If I had sneezed, I wouldn't have had a chance later that year, in August, to try to tell America about a dream that I had had. If I had sneezed, I wouldn't have been down in Selma, Alabama, to see the great Movement there. If I had sneezed, I wouldn't have been in Memphis to see a community rally around those brothers and sisters who are suffering. I'm so happy that I didn't sneeze. And they were telling me --. Now, it doesn't matter, now. It really doesn't matter what happens now. I left Atlanta this morning, and as we got started on the plane, there were six of us. The pilot said over the public address system, "We are sorry for the delay, but we have Dr. Martin Luther King on the plane. And to be sure that all of the bags were checked, and to be sure that nothing would be wrong with on the plane, we had to check out everything carefully. And we've had the plane protected and guarded all night." And then I got into Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it really doesn't matter with me now, because I've been to the mountaintop. And I don't mind.Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the Promised Land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land! And so I'm happy, tonight. I'm not worried about anything. I'm not fearing any man! Mine eyes have seen the glory of the coming of the Lord!

Joe Greene and the Heavy Steppers "William Wallace"

Went to a small club last night with a quartet of friends and found a musical epiphany - Joe Greene and the Heavy Steppers.
Much more to come next week ...

Joe Greene and the Heavy Steppers on iTunes

Tokyo Lolita

Tokyo Lolita, originally uploaded by GreggChadwick.

Gregg Chadwick
24"x18" oil on linen 2010

Glen Hansard (The Swell Season) - "Drive All Night" Live Feb 7, 2010 in Milan

Glen Hansard (the Swell Season) belts out a chilling version of Springsteen's Drive All Night.
Recorded live in Milan on February 7, 2010


Edward Norton introduces and sits in with Glen Hansard as he sings Bruce's Drive All Night at Crowdrise benefit on March 22, 2010.

Glen Hansard says: "Help me raise money to get my Maasai friends a truck. It will help them protect their lions, get people to health clinics and much more."

Donate at:
Crowdrise

More at:
Gli Swell Season, il sole, una chitarra scassata

Peter Clothier @ Artillery Magazine Art Series at the Standard Hotel

Peter Clothier Reads at the Standard by Paige Wery's Torchlight (March 23, 2010)

Artillery Magazine hosted an intimate event with art writer Peter Clothier last night at the Standard Hotel in Hollywood.
Peter began the evening by reading a bit from his new book Persist and then in an honest vulnerability spoke of his personal and artistic challenges to a supportive audience. Peter encouraged the group to face the inhibiting lies that keep us from reaching our full potential in art and life. Peter explained that his personal lie began at his birth when he was delivered with an umbilical cord wrapped around his neck. A skilled, quick thinking nurse cut the cord but Peter spent much of his life held back by the illusion that "I shouldn't be here. I shouldn't be alive." Peter Clothier has left that illusion behind. In Persist and on his continuing book tour, Peter provides vital clues and encouragement learned through meditation and community to his readers.

Congrats to Peter Clothier and to Artillery Magazine publisher Paige Wery for an important event.
Read Peter's thoughts on the evening on his blog :The Buddha Diaries

Artillery Magazine's next event at the Standard - this time at the Downtown Standard will be held on Sunday, April 11, 2010:

ROUND TWO * ART DEBATES
(arguing the issues that really matter)
2-6 P.M.
Debate Starts at 3P.M. sharp
THE STANDARD, DOWNTOWN- LA ART SERIES

LOWBROW & HIGHBROW: ROBERT WILLIAMS VS. EZRHA JEAN BLACK

PORNOGRAPHY IN ART: ZAK SMITH VS. BETTY ANN BROWN
ECONOMY & CREATIVITY: ROBERT BERMAN VS. SHANA NYS DAMBROT PROJECT DEITCH: MAT GLEASON VS. MARGARET LAZZARI

THE STANDARD
550 South Flower Street
$15 Valet Parking /Self Park Lots Nearby

artillerymag
standardhotels

Peter Clothier Reads from Persist on Tuesday March 23, 2010 at 7 pm at The Standard, Hollywood

A Reading by Peter Clothier
Date/Time: Tuesday March 23 at 7 pm
Location: The Standard, Hollywood
Please join Peter Clothier from 7 to 10 PM in the Cactus Lounge for this public event
Hosted Wine bar for the first hour


Artillery Magazine presents a special book reading and signing of Persist: In Praise of the Creative Spirit in a World Gone Mad with Commerce, by writer Peter Clothier.

Peter Clothier's Persist: In Praise of the Creative Spirit in a World Gone Mad with Commerce arrives at the perfect time. As the art world tries to reinvent itself in the current economic malaise, Clothier's book inspires us to see the soul and spirit inherent in the creative process. Money may not be the root of all evil but it is the root of a lot of bad art. Peter Clothier challenges artists, writers, actors and filmmakers to value artistic process as a goal in itself rather than a path to wealth and power. Most of all, Clothier urges us to keep on creating - to never give up. The world would be a lesser place without the arts. A beautiful, inspiring book. Highly recommended.

Peter Clothier is a long time student of the dharma and a meditation practitioner. In this context he examines the qualities of compassion, perseverance and discernment on the artist's predicament in a world that judges success in terms of celebrity and material reward. Peter describes his new book:

"The title, together with the subtitle, pretty much says it all. This latest book is a collection of essays, written over the past thirty years, addressing in a variety of ways the predicament of the artist in a cultural climate in which celebrity and established commerical track record too often count for more than talent and quality of work. Yet artists of all kinds still have to "do it"- if only because that's who they are. The book describes strategies I myself have found to be indispensible in learning to "persist" beyond the all too familiar obstacles: practice, the exercise of mental and logistical discipline, and building community."

Peter Clothier has a long and distinguished career as an an internationally-known art writer, novelist and poet. Peter avoids the jargon that obscures much current writing about art by using readily understood language that illuminates rather than obfuscates. Clothier seeks to achieve a harmony of mind, heart, and body in his work, and looks for this quality in the artists he writes about. His work has appeared in the Los Angeles Times, Artscene, ARTNews and other publications. Peter writes a daily weblog,The Buddha Diaries, and is a contributing blogger to The Huffington Post. He also hosts a monthly podcast entitled "The Art of Outrage," on ArtScene Visual Radio."
Peter Clothier's latest book is Persist.


Available from the publisher at: Peter Clothier's Persist from Parami Press And from Amazon: Peter Clothier's Persist Peter Clothier's blog The Buddha Diaries is continually informative and entertaining.

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President Obama on Health Care Reform: "We did not fear our future - we shaped it."

Full text of President Obama's remarks, delivered at the White House on the passage of Health Care Reform. March 21, 2010

Good evening, everybody. Tonight, after nearly 100 years of talk and frustration, after decades of trying, and a year of sustained effort and debate, the United States Congress finally declared that America's workers and America's families and America's small businesses deserve the security of knowing that here, in this country, neither illness nor accident should endanger the dreams they've worked a lifetime to achieve.
Tonight, at a time when the pundits said it was no longer possible, we rose above the weight of our politics. We pushed back on the undue influence of special interests. We didn't give in to mistrust or to cynicism or to fear.

Instead, we proved that we are still a people capable of doing big things and tackling our biggest challenges. We proved that this government - a government of the people and by the people - still works for the people.
I want to thank every member of Congress who stood up tonight with courage and conviction to make healthcare reform a reality. And I know this wasn't an easy vote for a lot of people. But it was the right vote.
I want to thank Speaker Nancy Pelosi for her extraordinary leadership, and Majority Leader Steny Hoyer and Majority Whip Jim Clyburn for their commitment to getting the job done.
I want to thank my outstanding Vice President, Joe Biden, and my wonderful Secretary of Health and Human Services, Kathleen Sebelius, for their fantastic work on this issue.
I want to thank the many staffers in Congress, and my own incredible staff in the White House, who have worked tirelessly over the past year with Americans of all walks of life to forge a reform package finally worthy of the people we were sent here to serve.

Today's vote answers the dreams of so many who have fought for this reform.
To every unsung American who took the time to sit down and write a letter or type out an e-mail hoping your voice would be heard - it has been heard tonight.

A victory for the American people
Today's vote answers the prayers of every American who has hoped deeply for something to be done about a healthcare system that works for insurance companies, but not for ordinary people
To the untold numbers who knocked on doors and made phone calls, who organised and mobilized out of a firm conviction that change in this country comes not from the top down, but from the bottom up - let me reaffirm that conviction: this moment is possible because of you.
Most importantly, today's vote answers the prayers of every American who has hoped deeply for something to be done about a healthcare system that works for insurance companies, but not for ordinary people.
For most Americans, this debate has never been about abstractions, the fight between right and left, Republican and Democrat - it's always been about something far more personal.
It's about every American who knows the shock of opening an envelope to see that their premiums just shot up again when times are already tough enough.
It's about every parent who knows the desperation of trying to cover a child with a chronic illness only to be told "no" again and again and again.
It's about every small business owner forced to choose between insuring employees and staying open for business. They are why we committed ourselves to this cause.
Tonight's vote is not a victory for any one party - it's a victory for them. It's a victory for the American people. And it's a victory for common sense.

Major reform
Now, it probably goes without saying that tonight's vote will give rise to a frenzy of instant analysis. There will be tallies of Washington winners and losers, predictions about what it means for Democrats and Republicans, for my poll numbers, for my administration.
This legislation will not fix everything that ails our healthcare system. But it moves us decisively in the right direction. This is what change looks like .
But long after the debate fades away and the prognostication fades away and the dust settles, what will remain standing is not the government-run system some feared, or the status quo that serves the interests of the insurance industry, but a healthcare system that incorporates ideas from both parties - a system that works better for the American people.
If you have health insurance, this reform just gave you more control by reining in the worst excesses and abuses of the insurance industry with some of the toughest consumer protections this country has ever known - so that you are actually getting what you pay for.
If you don't have insurance, this reform gives you a chance to be a part of a big purchasing pool that will give you choice and competition and cheaper prices for insurance.
And it includes the largest healthcare tax cut for working families and small businesses in history - so that if you lose your job and you change jobs, start that new business, you'll finally be able to purchase quality, affordable care and the security and peace of mind that comes with it.
This reform is the right thing to do for our seniors. It makes Medicare stronger and more solvent, extending its life by almost a decade.
And it's the right thing to do for our future. It will reduce our deficit by more than $100bn over the next decade, and more than $1 trillion in the decade after that.
So this isn't radical reform. But it is major reform. This legislation will not fix everything that ails our healthcare system. But it moves us decisively in the right direction. This is what change looks like.

Call of history
Now as momentous as this day is, it's not the end of this journey.
On Tuesday, the Senate will take up revisions to this legislation that the House has embraced, and these are revisions that have strengthened this law and removed provisions that had no place in it.
Some have predicted another siege of parliamentary manoeuvring in order to delay adoption of these improvements. I hope that's not the case.
It's time to bring this debate to a close and begin the hard work of implementing this reform properly on behalf of the American people. This year, and in years to come, we have a solemn responsibility to do it right.
Nor does this day represent the end of the work that faces our country.
The work of revitalising our economy goes on. The work of promoting private sector job creation goes on. The work of putting American families' dreams back within reach goes on. And we march on, with renewed confidence, energized by this victory on their behalf.
In the end, what this day represents is another stone firmly laid in the foundation of the American Dream. Tonight, we answered the call of history as so many generations of Americans have before us.
When faced with crisis, we did not shrink from our challenge - we overcame it. We did not avoid our responsibility - we embraced it. We did not fear our future - we shaped it.
Thank you, God bless you, and may God bless the United States of America.

Health Care Passes!

“This is the civil rights act of the 21st century,” said Representative James E. Clyburn of South Carolina, the No. 3 Democrat in the House.

Peter Clothier's Review: "Monks"

Peter Clothier's new review of my work captures the soul and spirit of my art.

"There is an other-worldly quality to Gregg Chadwick's paintings, a sense of liberation from the bonds of gravity that define our physical existence. They celebrate the dedication of the monks they portray and convey some of the quiet joy that freedom from earthly needs invests in them. And yet, too, there is an elegiac tone, a kind of nostalgia for a manifestation of the purely spiritual that most of us can never hope to attain. The paintings are truly captivating in that they invite us irresistibly into their spaces and hold the attention there in their swirl of light and color, suggesting inexhaustible depths of experience for the eye to explore."
-Peter Clothier

Please read the full review here on Peter's site:
Monks by Peter Clothier

Peter Clothier has a long and distinguished career as an art writer, novelist and poet. His work has appeared in the Los Angeles Times, Artscene, ARTNews and other publications. Peter writes a daily weblog, The Buddha Diaries, and is a contributing blogger to The Huffington Post. He also hosts a monthly podcast entitled "The Art of Outrage," on ArtScene Visual Radio.

Peter Clothier's latest book is Persist.

Arrietty the Borrower: Next Studio Ghibli Project to be Released in Japan on July 17th 2010

Japanese film artist Hayao Miyazaki has announced that Studio Ghibli's next film, Arrietty the Borrower (Karigurashi no Arrietty ), will be released in Japan on July 17th 2010. The new film is inspired by Mary Norton's novel The Borrowers. Studio Ghibli's free adaptation of the book will be set in Japan in an anime version of the studio's home neighborhood Tokyo Koganei.

Miyazaki will be overseeing the film but Hiromasa Yonebayashi, at 36 years old, directs the feature.

On the occasion of Miyazaki's film retrospective at the Museum of Modern Art in New York in 2005 , AO Scott wrote that after viewing a Miyazaki's film "you may find your perception of your own world refreshed, as it might be by a similarly intensive immersion in the oeuvre of Ansel Adams, J. M. W. Turner or Monet. After a while, certain vistas - a rolling meadow dappled with flowers and shadowed by high cumulus clouds, a range of rocky foothills rising toward snow-capped peaks, the fading light at the edge of a forest - deserve to be called Miyazakian."


Hayao Miyazaki
Study for Princess Mononoke

AO Scott continues, "As a visual artist, Mr. Miyazaki is both an extravagant fantasist and an exacting naturalist; as a storyteller, he is an inventor of fables that seem at once utterly new and almost unspeakably ancient. Their strangeness comes equally from the freshness and novelty he brings to the crowded marketplace of juvenile fantasy and from an unnerving, uncanny sense of familiarity, as if he were resurrecting legends buried deep in the collective unconscious."


Arrietty the Borrower's theme song has been co-written by the French celtic harpist/singer Cécile Corbe




Japanese Website at:
Arrietty's Project
Studio Ghibli

More on Miyazaki at:
The Art of Miyazaki

Beware the Ides of March: Julius Caesar in Art

Gerard Julien/Agence France-Presse — Getty Images
A Roman bust thought by some French historians to be the only surviving statue of Julius Caesar that was carved during his lifetime.
On display at the Musée Départmental de l’Arles Antique.


Julius Caesar's assassination in Joseph Mankiewicz' 1953 film version of Shakespeare's play.


The Ides of March
by C.B. Cavafy

Guard, O my soul, against pomp and glory.
And if you cannot curb your ambitions,
at least pursue them hesitantly, cautiously.
And the higher you go,
the more searching and careful you need to be.

And when you reach your summit, Caesar at last—
when you assume the role of someone that famous—
then be especially careful as you go out into the street,
a conspicuous man of power with your retinue;
and should a certain Artemidoros
come up to you out of the crowd, bringing a letter,
and say hurriedly: “Read this at once.
There are things in it important for you to see,”
be sure to stop; be sure to postpone
all talk or business; be sure to brush off
all those who salute and bow to you
(they can be seen later); let even
the Senate itself wait—and find out immediately
what grave message Artemidoros has for you.


Translated by Edmund Keeley/Philip Sherrard

(C.P. Cavafy, Collected Poems. Translated by Edmund Keeley and Philip Sherrard. Edited by George Savidis. Revised Edition. Princeton University Press, 1992)

Μάρτιαι Eιδοί

Τα μεγαλεία να φοβάσαι, ω ψυχή.
Και τες φιλοδοξίες σου να υπερνικήσεις
αν δεν μπορείς, με δισταγμό και προφυλάξεις
να τες ακολουθείς. Κι όσο εμπροστά προβαίνεις,
τόσο εξεταστική, προσεκτική να είσαι.

Κι όταν θα φθάσεις στην ακμή σου, Καίσαρ πια·
έτσι περιωνύμου ανθρώπου σχήμα όταν λάβεις,
τότε κυρίως πρόσεξε σα βγεις στον δρόμον έξω,
εξουσιαστής περίβλεπτος με συνοδεία,
αν τύχει και πλησιάσει από τον όχλο
κανένας Aρτεμίδωρος, που φέρνει γράμμα,
και λέγει βιαστικά «Διάβασε αμέσως τούτα,
είναι μεγάλα πράγματα που σ’ ενδιαφέρουν»,
μη λείψεις να σταθείς· μη λείψεις ν’ αναβάλεις
κάθε ομιλίαν ή δουλειά· μη λείψεις τους διαφόρους
που χαιρετούν και προσκυνούν να τους παραμερίσεις
(τους βλέπεις πιο αργά)· ας περιμένει ακόμη
κ’ η Σύγκλητος αυτή, κ’ ευθύς να τα γνωρίσεις
τα σοβαρά γραφόμενα του Aρτεμιδώρου.


(Από τα Ποιήματα 1897-1933, Ίκαρος 1984)

Much more on Cavafy at:
The Cavafy Archive
Hat tip to the Hellanic Antidote
And Happy Birthday Ralph Heilemann!


Master of the Apollini Sacrum
Italy, late 15th century
Death of Julius Caesar
Gift of the Samuel H. Kress Study Collection, 60.48
Depicted on a cassone (marriage chest) panel in the collection of the Spencer Museum of Art, University of Kansas
Noting that this painting of the death of Caesar is in the collection of the Spencer Museum of Art at the University of Kansas, it would behove Kansas - the #1 seed in March Madness - to heed the warning. Is there an NCAA Brutus in the mix?

You are Invited to the 4th Annual Santa Monica Art Walk on March 20, 2010

Gregg Chadwick
Beauty and Sadness ( 美しさと哀しみと)
Utsukushisa to Kanashimi to
57"x103" oil and collage on Japanese screen 2010

Each year the city of Santa Monica sponsors an Art Walk at the Santa Monica Airport. Often the sound of takeoffs and landings from the tarmac mask the quieter sounds of chisel on stone and brush on canvas in the old hangars lining the historic airfield. A community of artists works quietly alongside the hum of rotor blades and the roar of jet engines. Hidden from the world at large on most days, on March 20th 2010 the artists that call the airport home will open their studio doors and let the public into their creative process.

I enjoy this day greatly. The crowd of visitors is convivial and eclectic and represents the diversity that I love in Los Angeles.
Last year I missed the event as I was traveling and gathering inspiration in Japan. A number of artworks inspired by this journey to Kyoto and Tokyo will be on display.

My studio is located at the Santa Monica Art Studios Hangar
Studio #15
3026 AirportAvenue
Santa Monica, CA 90405

The event runs from 1pm to 5pm. Please call me on my cell at 415 533 1165 or email me at speedoflife@mac.com if you want to view my studio a bit early or a bit late. Hope to see you on the 20th. Children and friends of all ages are welcome.


Santa Monica Airport ArtWalk 2010
Saturday, March 20, 1:00 pm – 5:00 pm
Santa Monica Airport, Airport Avenue betw. 23rd and Bundy
Free Admission, Free parking

The Kaaba

The Kaaba, originally uploaded by GreggChadwick.

Kelly Colbert Sings 600 Acres

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."

More on Ahn at:
Run for the Fallen

Sumisan

Sumisan 72"x36" oil and monotype on Japanese Torinoko paper 2010, originally uploaded by GreggChadwick.

Kamakura

Kamakura 36"x48" oil on linen 2010, originally uploaded by GreggChadwick.

Photographed at the Sherry Frumkin Gallery in Santa Monica.

Bob Dylan and President Barack Obama

Bob Dylan shakes President Barack Obama's hand following his performance at the "In Performance At The White House: A Celebration Of Music From The Civil Rights Movement" concert in the East Room of the White House, Feb. 9, 2010. (Official White House Photo by Pete Souza)

Warfare, Terror, Murder and da Vinci: Paul Strathern's "The Artist, the Philosopher, and the Warrior"

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.

Phil Cousineau's "The Oldest Story in the World"

My painting The Poet's Dawn is used as the cover image for Phil Cousineau's new book The Oldest Story in the World. Joseph Campbell, author of The Hero With a Thousand Faces, had this to say about Cousineau's work:

"It's just marvelous the way you've demonstrated how similar the journeys in myth are to those in art, literature, movies, and dreams. You've done what all artists and writers must do with the great stuff of myth: you've made it your own.
-Joseph Campbell on Phil Cousineau

Phil's Website:
More Details on Phil Cousineau and His Collaborations With Gregg Chadwick