Wednesday, April 29, 2015

Requiem for Eddie Gray - The Blue Line in Charm City


by Gregg Chadwick



 From Birth - Baltimore April 2015
Photo by Lara Davidson*


"Schoolteachers, Johns Hopkins employees, film crew people, kids, retirees, everybody went to the city jail. If you think I’m exaggerating, look it up. " - David Simon on Baltimore's anguish. 

"Are you going to tell me the story of my life, or am I going to tell you yours."

- Baltimore Resident to me in a coffee shop near City Recreation Pier in the Fells Point neighborhood in Baltimore in the late 1990's. Homicide: Life on the Street's police department scenes were all shot there.

Eddie Gray's death at the hands of the Baltimore Police Department is sadly not an isolated event. To understand the current situation in Baltimore, it pays to read the thoughts of David Simon on Baltimore’s Anguish: Freddie Gray, the drug war, and the decline of “real policing” in The Marshall Project. David Simon's history with Charm City is long and nuanced. The groundbreaking 1990's television drama, Homicide: Life on the Street was inspired by Homicide: A Year on the Killing Streets, a non-fiction book written by Simon when he was a Baltimore Sun reporter. Simon went on to create HBO's powerful Baltimore based police drama The Wire. Simon's experience following a Baltimore Police Department's homicide unit as a journalist and a dramatic screenwriter lends credence to his deep discussion of the systematic failures of the Baltimore Police Department in its decades long "war on drugs." Simon writes:
" In these drug-saturated neighborhoods, they weren’t policing their post anymore, they weren’t policing real estate that they were protecting from crime. They weren’t nurturing informants, or learning how to properly investigate anything. There’s a real skill set to good police work. But no, they were just dragging the sidewalks, hunting stats, and these inner-city neighborhoods — which were indeed drug-saturated because that's the only industry left — become just hunting grounds. They weren’t protecting anything. They weren’t serving anyone. They were collecting bodies, treating corner folk and citizens alike as an Israeli patrol would treat Gaza, or as the Afrikaners would have treated Soweto back in the day. They’re an army of occupation. And once it’s that, then everybody’s the enemy. The police aren’t looking to make friends, or informants, or learning how to write clean warrants or how to testify in court without perjuring themselves unnecessarily. There's no incentive to get better as investigators, as cops. There’s no reason to solve crime."
Baltimore's brutalization of its black community has deep and ugly roots and as Jesse Williams wrote on Twitter: 
Maryland governor just said "The violence began yesterday at 3pm." This sums it up: Violence against Black people does not count.

The violence and unjust incarcerations of people of color in Baltimore have ramifications that are just beginning to play out. Simon explains - Why Now? What has changed?:
"Because the documented litany of police violence is now out in the open. There’s an actual theme here that’s being made evident by the digital revolution. It used to be our word against yours. It used to be said — correctly — that the patrolman on the beat on any American police force was the last perfect tyranny. Absent a herd of reliable witnesses, there were things he could do to deny you your freedom or kick your ass that were between him, you, and the street. The smartphone with its small, digital camera, is a revolution in civil liberties." - 
As I write this on April 29, 2015, Baltimore has woken up from a weekend of peaceful protests, punctuated by acts of rage against the Baltimore Police and the city that doesn't seem to hear the voices of its citizens. Last night on David Letterman, the Baltimore based band Future Islands played an emotional version of their new song "The Chase." Lead singer Samuel Herring expressed,"This song is gonna go out to the people in Baltimore. Let us not discount their voices — or the voices of all the people in the cities that we live and love." 

Today, members of the Baltimore Symphony Orchestra gathered in front of Meyerhoff Symphony Hall to give a free concert "in support of our community." The musicians, who donated their services, invited "friends, BSO family and all who love the great City of Baltimore" to the event. On Sunday - May 3, 2015 - a long-scheduled performance of Brahms' German Requiem, will be played at Towson United Methodist Church in Baltimore at 4 pm in memory of Freddie Gray. The Greater Baltimore Cultural Alliance reports that the concert will include "a plea for peace and reconciliation." 


Crowd forms for impromptu lunchtime concert by Baltimore Symphony Orchestra
April 29, 2015

Scott Malone 


*From a poignant group of photos taken by MICA Professor Nate Larson and a group of photography students who took to the Baltimore streets near MICA on Tuesday, April 28 to document and help with the clean up efforts. Please visit BMore Art for more on art and activism in Baltimore: http://bmoreart.com


  


 Mural by NETHER in Baltimore, Maryland
photo courtesy XXIST

Friday, April 24, 2015

For Alex Eliot on his Passing - "Oriste!"

“Life is a fatal adventure. It can only have one end. So why not make it as far-ranging and free as possible?” Alexander Eliot


I received the sad news yesterday that my dear friend, art writer and mythologist, Alex Eliot passed away. Born April 28, 1919, in Cambridge, Massachusetts, Alex would have turned 97 this week. Alex was the art editor at Time Magazine from 1945 until 1960. During those years Alex crafted numerous articles about the modern art scene. Alex always held us spellbound with tales of meeting the major artists of the period. Alex especially loved to tell the story of meeting Salvador Dali in New York and that Dali became a close friend because Jane Winslow, Eliot’s wife, had lived in Catalonia and spoke Dali’s native Catalan fluently. 

For his 90th birthday, Alex's talented daughter, the writer Winslow Eliot, asked me to craft an appreciation of Alex. I have revamped this essay a bit to reflect on his passing:

In Alex Eliot's marvelous essay in Frederick Franck's book, What Does it Mean to be Human?, Alex recounts his journey to the Greek region of Karoulia and his encounter with the "very holy fellow" Simon. Like many of his fellow Orthodox monks from Mount Athos, Simon retired to a cliff side residence in Karoulia. Perched high above the water, these monks spend their later years in solitude with the meeting of the sea and sky as their constant companion.

Alex was invited by a fisherman from Mount Athos, who spoke of Simon as a holy fellow, to make the journey with him by sea to visit the monk. With the fisherman's boat bobbing in the waves below, Alex climbed a series of steps carved into the rock face with only a series of chains spiked into the cliff to hold onto. The fisherman had said, "If those chains will hold you, it is as God wills" for Alex to meet with Simon. At the end of his climb, Alex explains that he lay drenched in sweat, gasping like a beached fish until he felt a cool shadow break the heat and there was Simon, "sparkling eyed" with his arms spread wide, exclaiming "Oriste!" meaning "Welcome, what can I do for you!"



Forgive me if I break Alex's engaging narrative at this point. As I write these words, I am sitting in my studio surrounded by a series of new paintings inspired by a recent trip with my family to Japan. The siren of these images is calling me. And I can't help but wonder what Alex and Jane Eliot, who also traveled with their family to Japan, will think of this new work. I don't have to risk my life scaling a cliff to reach the Eliots. I just need to make my pilgrimage out my studio door and down Ocean Park Boulevard, Diebenkorn's old haunts, to Venice, California to visit this couple who always greet my friends and family with wide open arms and profound insights. Like Simon's greeting, Alex Eliot's welcoming words nourish and inspire me.
Alex Eliot and Gregg Chadwick at the Getty Museum Malibu

Alex Eliot turned 90 on April 28, 2009. In his fruitful life, Alex met with and wrote about the great artists of his age, including Picasso and Matisse. One might think it would only be natural for a man of such wisdom and experience to be a bit haughty. Instead, Alex shares the old monk Simon's gentle and generous spirit as well as his great wisdom and love for life.

While on that cliff in Karoulia, Simon offered Alex a piece of caramel candy. Alex, graciously accepted the gift and then when the monk was preoccupied, Alex, feeling that the seemingly undernourished monk needed all the calories he could get, slipped it under Simon's plate. Alex then bowed and scooted out to climb down the cliff to the boat waiting below. The sun was setting when Alex reached the fisherman who lay asleep in the boat. The sirens called. Alex disrobed and dove into the sea only to be startled by a basket hurtling down the old monk's supply cable which linked his aerie to the world. In the basket was the caramel. "My candy had come back! I put the caramel straight into my mouth and like a child once more I tasted its burnt sugar elixir right down to my toes."

And then Alex opens up to the mythosphere - "Never before in this life, possibly, had my poor spirit taken nourishment. I stood dripping upon the shore of time and Simon waved to me from eternity."

Like Simon's candy, Alex Eliot's friendship gives my poor spirit nourishment.

Let me break again from my essay to speak directly to Alex:

Alex, I thank you for your wisdom, your profound words and feelings, the inspired love that you show to your wife - Jane - and your talented children. Alex - you are a lifeline, an example, and a challenge. I am proud to be your friend. 



Gregg Chadwick

Study for a Portrait of Alex Eliot 
8"x13" oil on wood 2009

Throughout my years as I stand with my wife, MarySue, and my kid, Cassiel, on the shore of time I will see Alex and Jane Eliot waving to me from eternity and exclaiming, "Oriste!"

Alex and Jane Eliot
photo courtesy Winslow Eliot