Kamila Shamsie's novel "Burnt Shadows" uses a cinemascope vision to portray a Japanese woman's struggle to understand her life in a spinning world where historic forces seem to lead her and her family into an inevitable showdown with fate. Hiroko carries the memories and scars imprinted into her skin from the atomic blast in Nagasaki in 1945 from Japan to India to post-partition Pakistan. Her son Raza carries the memories into a politically charged New York where the events of September 11, 2001 still loom in our headlines. Shamsie deftly leads the reader through the haunted landscapes of the last sixty years and by distilling chilling historical events through the vision of one family her words shed light into the shadows of time.
Christopher Nolan's "Inception" is the box office smash of the summer of 2010 which is indicative of the film's place in the new century. Whether the film will stand alongside "Citizen Kane" or "Taxi Driver" is up to the future to decide. But it can be argued that Nolan's film provides a necessary contemporary conduit for the questions: "What is reality?" and "Who decides what reality is?"
The Persistence of Being Gregg Chadwick 36"x24" oil on linen 2010
An August surprise from U2. Listen with the crowd waiting for the Torino show as the band runs through a new song and others during the soundcheck. Rumor has it that Miss Sarajevo will also be played on this leg of the tour ...
Gregg Chadwick Las Piedras del Cielo 16"x20" oil on linen 2010
"From the top they could make out, apart from the canyon, some small boulders which seemed to be as high as a man. Those who went down and who reached them swore that they were taller than the great tower of Seville." - Pedro de Casteneda, notes from the Coronado Expedition
"I have heard rumors of visitors who were disappointed. The same people will be disappointed at the Day of Judgment. In fact, the Grand Canyon is a sort of landscape Day of Judgment. It is not a show place, a beauty spot, but a revelation" - J. B. Priestley
My latest paintings gather thoughts and images of time, history and place. On a day when a federal judge blocks the imposition of a biased law, I post my painting in solidarity with the myriad cultures that call this land home. For the Hopi it is a sacred place called Ongtupqa. Spanish settlers described the Gran Cañón. Many speak of the Grand Canyon as if contemporary residents were the first to feel the power of its great beauty. But the stones themselves seem to speak of the history of time.
Gregg Chadwick Die Kathedrale Der Bucher (The Cathedral of Books) 20"x16" oil on linen 2010
I am back from Berlin steeped in imagery and inspiration and new work. Today, books are on my mind as my latest painting was inspired by the Selexyz Dominicanen, a bookstore in Maastricht, the Netherlands, located in a deconsecrated Dominican Church. Also, Michael Krasny interviewed Phil Cousineau about his latest book Wordcatcher which includes over twenty images of my artworks inspired by Phil's marvelous word histories.
Did I think it would abide as it was forever all that time ago the turned earth in the old garden where I stood in spring remembering spring in another place that had ceased to exist and the dug roots kept giving up their black tokens their coins and bone buttons and shoe nails made by hands and bits of plates as the thin clouds of that season slipped past gray branches on which the early white petals were catching their light and I thought I knew something of age then my own age which had conveyed me to there and the ages of the trees and the walls and houses from before my coming and the age of the new seeds as I set each one in the ground to begin to remember what to become and the order in which to return and even the other age into which I was passing all the time while I was thinking of something different
Remarks by the President to the Nation on the BP Oil Spill
Full Transcript of Speech from the Oval Office
June 15, 2010 8:01 P.M. EDT
Good evening. As we speak, our nation faces a multitude of challenges. At home, our top priority is to recover and rebuild from a recession that has touched the lives of nearly every American. Abroad, our brave men and women in uniform are taking the fight to al Qaeda wherever it exists. And tonight, I’ve returned from a trip to the Gulf Coast to speak with you about the battle we’re waging against an oil spill that is assaulting our shores and our citizens.
On April 20th, an explosion ripped through BP Deepwater Horizon drilling rig, about 40 miles off the coast of Louisiana. Eleven workers lost their lives. Seventeen others were injured. And soon, nearly a mile beneath the surface of the ocean, oil began spewing into the water.
Because there has never been a leak this size at this depth, stopping it has tested the limits of human technology.That’s why just after the rig sank, I assembled a team of our nation’s best scientists and engineers to tackle this challenge -- a team led by Dr. Steven Chu, a Nobel Prize-winning physicist and our nation’s Secretary of Energy. Scientists at our national labs and experts from academia and other oil companies have also provided ideas and advice.
As a result of these efforts, we’ve directed BP to mobilize additional equipment and technology. And in the coming weeks and days, these efforts should capture up to 90 percent of the oil leaking out of the well. This is until the company finishes drilling a relief well later in the summer that’s expected to stop the leak completely.
Already, this oil spill is the worst environmental disaster America has ever faced. And unlike an earthquake or a hurricane, it’s not a single event that does its damage in a matter of minutes or days. The millions of gallons of oil that have spilled into the Gulf of Mexico are more like an epidemic, one that we will be fighting for months and even years.
But make no mistake: We will fight this spill with everything we’ve got for as long as it takes. We will make BP pay for the damage their company has caused. And we will do whatever’s necessary to help the Gulf Coast and its people recover from this tragedy.
Tonight I’d like to lay out for you what our battle plan is going forward: what we’re doing to clean up the oil, what we’re doing to help our neighbors in the Gulf, and what we’re doing to make sure that a catastrophe like this never happens again.
First, the cleanup. From the very beginning of this crisis, the federal government has been in charge of the largest environmental cleanup effort in our nation’s history -- an effort led by Admiral Thad Allen, who has almost 40 years of experience responding to disasters. We now have nearly 30,000 personnel who are working across four states to contain and clean up the oil. Thousands of ships and other vessels are responding in the Gulf. And I’ve authorized the deployment of over 17,000 National Guard members along the coast. These servicemen and women are ready to help stop the oil from coming ashore, they’re ready to help clean the beaches, train response workers, or even help with processing claims -- and I urge the governors in the affected states to activate these troops as soon as possible.
Because of our efforts, millions of gallons of oil have already been removed from the water through burning, skimming and other collection methods. Over five and a half million feet of boom has been laid across the water to block and absorb the approaching oil. We’ve approved the construction of new barrier islands in Louisiana to try to stop the oil before it reaches the shore, and we’re working with Alabama, Mississippi and Florida to implement creative approaches to their unique coastlines.
As the cleanup continues, we will offer whatever additional resources and assistance our coastal states may need. Now, a mobilization of this speed and magnitude will never be perfect, and new challenges will always arise. I saw and heard evidence of that during this trip. So if something isn’t working, we want to hear about it. If there are problems in the operation, we will fix them.
But we have to recognize that despite our best efforts, oil has already caused damage to our coastline and its wildlife. And sadly, no matter how effective our response is, there will be more oil and more damage before this siege is done. That’s why the second thing we’re focused on is the recovery and restoration of the Gulf Coast.
You know, for generations, men and women who call this region home have made their living from the water. That living is now in jeopardy. I’ve talked to shrimpers and fishermen who don’t know how they’re going to support their families this year. I’ve seen empty docks and restaurants with fewer customers -– even in areas where the beaches are not yet affected. I’ve talked to owners of shops and hotels who wonder when the tourists might start coming back. The sadness and the anger they feel is not just about the money they’ve lost. It’s about a wrenching anxiety that their way of life may be lost.
I refuse to let that happen. Tomorrow, I will meet with the chairman of BP and inform him that he is to set aside whatever resources are required to compensate the workers and business owners who have been harmed as a result of his company’s recklessness. And this fund will not be controlled by BP. In order to ensure that all legitimate claims are paid out in a fair and timely manner, the account must and will be administered by an independent third party.
Beyond compensating the people of the Gulf in the short term, it’s also clear we need a long-term plan to restore the unique beauty and bounty of this region. The oil spill represents just the latest blow to a place that’s already suffered multiple economic disasters and decades of environmental degradation that has led to disappearing wetlands and habitats. And the region still hasn’t recovered from Hurricanes Katrina and Rita. That’s why we must make a commitment to the Gulf Coast that goes beyond responding to the crisis of the moment.
I make that commitment tonight. Earlier, I asked Ray Mabus, the Secretary of the Navy, who is also a former governor of Mississippi and a son of the Gulf Coast, to develop a long-term Gulf Coast Restoration Plan as soon as possible. The plan will be designed by states, local communities, tribes, fishermen, businesses, conservationists and other Gulf residents. And BP will pay for the impact this spill has had on the region.
The third part of our response plan is the steps we’re taking to ensure that a disaster like this does not happen again. A few months ago, I approved a proposal to consider new, limited offshore drilling under the assurance that it would be absolutely safe –- that the proper technology would be in place and the necessary precautions would be taken.
That obviously was not the case in the Deepwater Horizon rig, and I want to know why. The American people deserve to know why. The families I met with last week who lost their loved ones in the explosion -- these families deserve to know why. And so I’ve established a National Commission to understand the causes of this disaster and offer recommendations on what additional safety and environmental standards we need to put in place. Already, I’ve issued a six-month moratorium on deepwater drilling. I know this creates difficulty for the people who work on these rigs, but for the sake of their safety, and for the sake of the entire region, we need to know the facts before we allow deepwater drilling to continue. And while I urge the Commission to complete its work as quickly as possible, I expect them to do that work thoroughly and impartially.
One place we’ve already begun to take action is at the agency in charge of regulating drilling and issuing permits, known as the Minerals Management Service. Over the last decade, this agency has become emblematic of a failed philosophy that views all regulation with hostility -- a philosophy that says corporations should be allowed to play by their own rules and police themselves. At this agency, industry insiders were put in charge of industry oversight. Oil companies showered regulators with gifts and favors, and were essentially allowed to conduct their own safety inspections and write their own regulations.
When Ken Salazar became my Secretary of the Interior, one of his very first acts was to clean up the worst of the corruption at this agency. But it’s now clear that the problem there ran much deeper, and the pace of reform was just too slow. And so Secretary Salazar and I are bringing in new leadership at the agency -- Michael Bromwich, who was a tough federal prosecutor and Inspector General. And his charge over the next few months is to build an organization that acts as the oil industry’s watchdog -- not its partner.
So one of the lessons we’ve learned from this spill is that we need better regulations, better safety standards, and better enforcement when it comes to offshore drilling. But a larger lesson is that no matter how much we improve our regulation of the industry, drilling for oil these days entails greater risk. After all, oil is a finite resource. We consume more than 20 percent of the world’s oil, but have less than 2 percent of the world’s oil reserves. And that’s part of the reason oil companies are drilling a mile beneath the surface of the ocean -- because we’re running out of places to drill on land and in shallow water.
For decades, we have known the days of cheap and easily accessible oil were numbered. For decades, we’ve talked and talked about the need to end America’s century-long addiction to fossil fuels. And for decades, we have failed to act with the sense of urgency that this challenge requires. Time and again, the path forward has been blocked -- not only by oil industry lobbyists, but also by a lack of political courage and candor.
The consequences of our inaction are now in plain sight. Countries like China are investing in clean energy jobs and industries that should be right here in America. Each day, we send nearly $1 billion of our wealth to foreign countries for their oil. And today, as we look to the Gulf, we see an entire way of life being threatened by a menacing cloud of black crude.
We cannot consign our children to this future. The tragedy unfolding on our coast is the most painful and powerful reminder yet that the time to embrace a clean energy future is now. Now is the moment for this generation to embark on a national mission to unleash America’s innovation and seize control of our own destiny.
This is not some distant vision for America. The transition away from fossil fuels is going to take some time, but over the last year and a half, we’ve already taken unprecedented action to jumpstart the clean energy industry. As we speak, old factories are reopening to produce wind turbines, people are going back to work installing energy-efficient windows, and small businesses are making solar panels. Consumers are buying more efficient cars and trucks, and families are making their homes more energy-efficient. Scientists and researchers are discovering clean energy technologies that someday will lead to entire new industries.
Each of us has a part to play in a new future that will benefit all of us. As we recover from this recession, the transition to clean energy has the potential to grow our economy and create millions of jobs -– but only if we accelerate that transition. Only if we seize the moment. And only if we rally together and act as one nation –- workers and entrepreneurs; scientists and citizens; the public and private sectors. When I was a candidate for this office, I laid out a set of principles that would move our country towards energy independence. Last year, the House of Representatives acted on these principles by passing a strong and comprehensive energy and climate bill –- a bill that finally makes clean energy the profitable kind of energy for America’s businesses.
Now, there are costs associated with this transition. And there are some who believe that we can’t afford those costs right now. I say we can’t afford not to change how we produce and use energy -– because the long-term costs to our economy, our national security, and our environment are far greater.
So I’m happy to look at other ideas and approaches from either party -– as long they seriously tackle our addiction to fossil fuels. Some have suggested raising efficiency standards in our buildings like we did in our cars and trucks. Some believe we should set standards to ensure that more of our electricity comes from wind and solar power. Others wonder why the energy industry only spends a fraction of what the high-tech industry does on research and development -– and want to rapidly boost our investments in such research and development.
All of these approaches have merit, and deserve a fair hearing in the months ahead. But the one approach I will not accept is inaction. The one answer I will not settle for is the idea that this challenge is somehow too big and too difficult to meet. You know, the same thing was said about our ability to produce enough planes and tanks in World War II. The same thing was said about our ability to harness the science and technology to land a man safely on the surface of the moon. And yet, time and again, we have refused to settle for the paltry limits of conventional wisdom. Instead, what has defined us as a nation since our founding is the capacity to shape our destiny -– our determination to fight for the America we want for our children. Even if we’re unsure exactly what that looks like. Even if we don’t yet know precisely how we’re going to get there. We know we’ll get there.
It’s a faith in the future that sustains us as a people. It is that same faith that sustains our neighbors in the Gulf right now.
Each year, at the beginning of shrimping season, the region’s fishermen take part in a tradition that was brought to America long ago by fishing immigrants from Europe. It’s called “The Blessing of the Fleet,” and today it’s a celebration where clergy from different religions gather to say a prayer for the safety and success of the men and women who will soon head out to sea -– some for weeks at a time. The ceremony goes on in good times and in bad. It took place after Katrina, and it took place a few weeks ago –- at the beginning of the most difficult season these fishermen have ever faced.
And still, they came and they prayed. For as a priest and former fisherman once said of the tradition, “The blessing is not that God has promised to remove all obstacles and dangers. The blessing is that He is with us always,” a blessing that’s granted “even in the midst of the storm.”
The oil spill is not the last crisis America will face. This nation has known hard times before and we will surely know them again. What sees us through -– what has always seen us through –- is our strength, our resilience, and our unyielding faith that something better awaits us if we summon the courage to reach for it.
Tonight, we pray for that courage. We pray for the people of the Gulf. And we pray that a hand may guide us through the storm towards a brighter day. Thank you, God bless you, and may God bless the United States of America.
"June 09, 2010 — What if we could make a difference by doing something simple? A bunch of us walked into a bookstore in downtown Washington, DC, sat down and started chanting OM. Here's what happened."
DC's First Buddhist Film Festival runs from June 17th until June 20th.
SCHEDULE All events at the Katzen Arts Center at American University unless otherwise noted on the schedule. A few events will be held across the street at the Kay Spiritual Life Center.
Location
4400 Massachusetts Ave, Washington, DC, 20016
THURSDAY - JUNE 17
6:30 PM | Opening Reception: Featuring contemporary Asian refreshments from Mie N Yu of Georgetown and an opening ceremony led by Tibetan Drupon Tinley Ningpo.
8:00 PM | Opening Film: Cherry Blossoms
FRIDAY - JUNE 18
4:30 PM | FREE SCREENING: Fire Under the Snow
7:00 PM | Program: Tara Brach and Lama Surya Das
Living Buddha - Awakening in Today's World. Lama Surya Das and Tara Brach share teachings and practices that invite the unfolding of our deepest human potential for love, understanding and freedom.
9:00 PM | Screening: Dhamma Brothers
SATURDAY - JUNE 19
10:00 AM | Meditation and Teaching: Lama Surya Das
11:30 AM | Lunch (on own)
1:00 PM | Soto Zen Priest Ryumon H.G. Baldoquin, Sensei leads a meditation and talk as an introduction to the 2 pm film.
Talk: Can We Hear the Birds Sing? An Intimate Look at Differences within U.S. Buddhism.
2:00 PM | World Premiere Screening: Colors of Compassion: The Teachings of Thich Nhat Hanh
3:00 PM | Q&A with Eloise DeLeon, the filmmaker. Ryumon H.G. Baldoquin, Sensei will then lead a discussion about the film and the issues raised in it.
4:30 PM | Screening: Tulku
6:30 PM | Screening: Burma VJ, 2010 Academy Award Nominee for Best Documentary
7:00 PM | Screening: Blessings (at the Kay Spiritual Life Center)
9:00 PM | Screening: Meditate and Destroy
9:00 PM | Screening: The Buddha (at the Kay Spiritual Life Center)
SUNDAY - JUNE 20
10:00 AM | Meditation and Teaching: Lama Tsony
11:30 AM | Picnic for Peace Take part in a meditation on peace and enjoy a meal with others who share the same vision. A vegetarian meal plus a bottle of water will be available for $7. You may also bring your own lunch.
1:00 PM | Screening: Peace is Every Step
2:00 PM | Discussion: Peace In, Peace Out
Hugh Byrne, co-founder of the Washington Buddhist Peace Fellowship, leads a panel discussion on the film and on engaged Buddhism. Panelists include Bill Aiken, associate national director of Soka Gakkai International - USA Buddhist Association, and peace activist Colman McCarthy, founder of the Center for Teaching Peace.
A commitment to the Buddhist principles of compassion, peace and equanimity poses the challenge of embodying those qualities at work, school, in family life, and through social action. Join us for a group discussion on engaged Buddhism, on how peace on the inside can lead to peace on the outside, and how meditation in action can change the world.
3:00 PM | FREE Workshop: Want to Be a Peacemaker? Start at Home
Everyone has grand theories about solving conflicts across the ocean, but it's across the living room where it gets tricky - or wild. Colman McCarthy leads this one-hour workshop on the basic steps of nonviolent conflict resolution.
3:30 PM | Double-Feature Screening: Compassion in Exile
4:30 PM | And: Dreaming Lhasa
5:30 - 7:00 PM | Tibetan Dinner: Enjoy delicious homemade Tibetan food for dinner while supporting our local Tibetan community. No ticket required. You may purchase food a la carte.
7:00 PM | Closing Program: Sharon Salzberg A leading American teacher and author concludes the festival with a meditation and talk. Special musical guest Ben Beirs. The evening will conclude with a closing ceremony of chants and prayers led by Tibetan Drupon Tinley Ningpo.
Gregg Chadwick Shumisen Posted in solidarity with BuddhaFest
Presented by Eric Forbis & Gabriel Riera Made possible by a team of volunteers Sponsored by the Kay Spiritual Life Center at American University And the Insight Meditation Community of Washington With appreciation to the International Buddhist Film Festival
Murmurs New Paintings By Gregg Chadwick Artwalk Culver City 2010
“In Gregg Chadwick’s paintings 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
It is my pleasure to feature Gregg Chadwick’s artwork to a growing audience at the Artwalk Culver City 2010. Chadwick’s vision is global and inclusive. The paintings in Murmurs encourage viewers to travel into their haunting beauty. Fittingly, within the past year Chadwick’s paintings have entered collections in Tokyo, Rio, Paris, and Amsterdam as well as Los Angeles, San Francisco and Boston.
Chadwick is currently at work on paintings for a major exhibition slated to open in October 2010 at the Manifesta Maastricht Gallery located in the historic city of Maastricht in the Netherlands. A book on his art will be published in conjunction with this exhibit.
Another solo show of Chadwick’s work is set to open at the Monterey College Art Gallery in October 2011. Gregg Chadwick’s painting Painter and Model will be exhibited in the Julie Nester Gallery’s exploration of the self-portrait in contemporary art. The exhibition opens on June 14, 2010 in Park City, Utah.
When: Saturday, June 5, 2010 from 12-8pm Artwalk Culver City 2010
Where: @ SP, 8540 Washington Blvd., Culver City, California 90232
Curated by Kelly Colbert more info: 919 225 9370 greggchadwick@earthlink.net
"I have been to Hell and back and let me tell you it was wonderful." - Louise Bourgeois
The artist Louise Bourgeois has died at 98 on Monday at the Beth Israel Medical Center in Manhattan. It seemed that she would live forever. Her career has been historic. Holland Cotter has just written in the New York Times that "her psychologically charged abstract sculptures, drawings and prints had a galvanizing effect on younger artists, particularly women."
I have been inspired by Louise Bourgeois' work for quite some time, having encountered her sculptures for the first time when I was a High School student taking classes at the Corcoran School of Art in Washington DC. Her life ends but the mystery embodied in her artwork lives on.
A recent bio provides the details:
"Louise Bourgeois was born in Paris in 1911 to a family of tapestry restorers. In 1938, Bourgeois married American art historian Robert Goldwater and moved to New York City, where she currently lives and works. In a career extending over seven decades, Bourgeois has explored her memories and fears in a complex body of work ranging from poetic drawings to room size installations. She has stated that she gives her emotions and fears a physical form. In 1982, Bourgeois was the first woman artist to receive a Retrospective at the Museum of Modern Art in New York City. She represented America at the Venice Biennale in 1993, and was given the National Medal of Arts by President Clinton in 1997. In 2007, the Tate Modern in London, in collaboration with Centre Georges Pompidou in Paris, organized a Retrospective of her work that travelled to the Guggenheim, Los Angeles Museum of Contemporary Art, and the Hirshhorn in the United States."
Louise Bourgeois edition to benefit Freedom to Marry
"Everyone should have the right to marry. To make a commitment to love someone forever is a beautiful thing." - Louise Bourgeois
Louise Bourgeois I do, 2010 Archival dyes on cloth with embroidery 16 × 12 inches; 40.6 × 30.4 cm Edition of 300 with 35 APs Gift of the Artist; Courtesy of Cheim & Read, New York
Andy Warhol Portrait of Dennis Hopper silkscreen on canvas 1971
“The American art world often likes to put artists into boxes. You’re an artist, not a filmmaker. You’re a photographer, not a painter. But Dennis shows you can blur those boundaries, which is very current and exciting.” -Jeffrey Deitch
Dennis Hopper has died at 74 just weeks before an exhibit of his work will open at the Museum of Contemporary Art in Los Angeles. Over the years Hopper has created paintings and photographs along with his films. His photographs are noteworthy because of his unique access to his portrait subjects such as Andy Warhol and because of his romantic, brooding aesthetic.
Dennis Hopper Double Standard silver gelatin print 1961
Jori Finkel in the Los Angeles Times noted that " most big museum exhibitions take years to organize, but new director Jeffrey Deitch had the idea for this show just a couple of months ago when visiting Julian Schnabel, a longtime friend of Hopper."
“We’re rushing this exhibition because Dennis Hopper is ailing,” Deitch says, “and I wanted him to be able to participate in the selection of works. He saw the space with us last week.”
"L.A. is a city where people come to find themselves and explore new ways of thinking and being. They have a longing for an understanding of soul, and find themselves drawn to Jung."
-Nancy Furlotti, (co-president of the Philemon Foundation which financed the the translation of The Red Book)
At the Hammer Museum until June 6th is the exhibition The Red Book of C. G. Jung: Creation of a New Cosmology. On display for the first time on the west coast is psychologist Carl Jung’s (1875-1961) Red Book. Many scholars consider Jung's Red Book the most influential unpublished work in psychology. The Hammer Museum explains that "Jung also considered the Red Book to be his most important work, or as Jung described it, the "prima materia for a lifetime’s work."
Jung's massive illuminated volume has spent most of its existence in a Swiss safe deposit box. Only a select group has ever been allowed to view Jung's Red Book. Thanks to the Rubin Museum in New York, the Foundation of the Works of C. G. Jung, the C.G. Jung Institute in Zurich, the C.G. Jung Foundation for Analytical Psychology, and the Jung family private archive, we now have the chance to view the Red Book.
The Hammer's show is intimately presented. Jung's Red Book is displayed open in a glass case in the middle of the exhibition space. Facsimile edition's of the Red Book printed by W.W. Norton & Company line one wall while Jung's thoughts, sketches and paintings encircle the room.
Jung sought to find a visual form for his dreams and fantasies and ended up using a mandala like structure in his graphic work. Similar in appearance to Tibetan Buddhist artworks, Jung's drawings and paintings evoke a world outside the flow of physical time. Instead we are given a fascinating glimpse into Jung's psyche. This once in a lifetime opportunity is not to be missed. And the lecture series (see below for an example) is noteworthy as well.
HAMMER LECTURES
RED BOOK DIALOGUES: LAWRENCE WESCHLER & DENNIS PATRICK SLATTERY
Last night the final episode of Lost was broadcast on ABC. After a six year run the series ends almost as it began with a close up of Jack's face. Six years ago, Jack opened an eye to the strange new world of the island. Last night his eye closed to the mystery.
Satisfyingly, the mystery remains for us. The intersection of quantum physics and myth that seemed to engender the island remains tantalizingly out of reach. Jack's father may have walked offscreen into a heavenly light in the slide sideways/ slide metaphysical finale but on the island the tangible wreckage of a plane remains in the final shot before the credits roll.
At the start of this season, Chad W Post on the WSJ's Speakeasy wrote,"So if Lost wraps up with a definitive conclusion, with a series of resolutions and answers to all the mysteries, I’ll be disappointed. Great works of art don’t work that way. Great works of art are open to interpretation. If I already know the solution, why revisit the puzzle?"
Yesterday, in Paris the exhibition Turner and the Masters closed as well. I had the opportunity to visit the Grand Palais a few weeks ago and reveled in the light in Turner's works. In JMW Turner's paintings, light and shade are not abstract concepts nor a means to an end. Light and Shadow for Turner were in a sense palpable beings or characters.
As this season's episodes of Lost built to a conclusion, the dichotomy of light and shadow gained screen time. At times this duality was schematically rendered as black and white or as a glowing cavern and a shifting being of smoke. In a mythic sense were Jacob and the Man in Black merely personifications of day and night? Or was there a darker battle between Good and Evil that threatened all existence?
Turner would have had fun with the themes and imagery in Lost. I can only imagine how much richer and powerful Turner's depiction of the glowing cavern would have been. In the hands of a master like Turner a simple medium of pigment and oil can create a world that far surpasses the technological feats of digital graphics.
Turner learned much from the artists who preceded him. From Claude Lorrain, Aelbert Cuyp, Rembrandt and others Turner learned "to blend ... in all the golden colour of ambient vapour." It is the mystery within this blending of light and shadow that draws us back into Turner's paintings over and over again.
Chad W. Post hoped that "the final moments of Lost echo the ambiguously abrupt ending of The Crying of Lot 49, which leaves the reader tantalizingly close to resolution but forces them to go back through the book time and again, revisiting key brilliant passages in hopes of figuring it all out. I want my Lost incomplete. I want it to leave me with a desire to keep re-watching and debating. I want it to remain the great work of art it has become over the past five seasons."
Some Other Thoughts on the Lost Finale:
Chad W. Post writes "In terms of the overall narrative arc, I thought this was pretty brilliant and satisfying. The show has always been more about the characters than the mysteries. And the more time that passes (hello 1:30am!), the happier I am with how Lost resolved itself."
Tyler Cowen writes on Marginal Revolution,"Overall I thought it was the best final episode of a series I have seen, with close competition from The Sopranos."
James Poniewozik at TIME Magazine writes: "Lost, was not perfect, because nothing is. I still believe that Jacob and the Man in Black were never characterized as richly as other characters, like Ben, which rendered Locke in the end too much of a generic baddie. And the final images--with the heavenly light shining though the doorway of the chapel, as Christian walked into it a la Close Encounters--were a bit overly touched by an angel. But the finale, as good TV finales do, captured what the show's essence. Lost is a story about community, connections and interdependence. You live together, it told us, or you die alone. And when you live together--when you share of yourself and make meaning with others--you never die alone, even when you die bleeding out on the floor of a bamboo forest."
Sir John Gilbert wrote after watching Turner paint on Varnishing Day:
"He had been the Royal Academy all the morning, and seemed likely, judging by the state of the picture, to remain for the rest of the day. He was absorbed in his work, did not look about him, but kept on scumbling a lot of white into his picture -nearly all over it. The subject was a Claude-like composition, a bay or harbour-classic buildings on the banks of either side and in the centre the sun. The picture was a mass of red and. yellow in all varieties. Every object was in this fiery state. He had a large palette, nothing on it but a huge lump of flake white; he had two or three biggish hog tools to work with, and with these he was driving the white into all the hollows, and every part of the surface. . . . The picture gradually became wonderfully effective, just the effect of brilliant sunshine absorbing everything and throwing a misty haze over every object. Standing sideway of the canvas, I saw that the sun was a lump of white standing out like the boss of a shield."
“American Stories: Paintings of Everyday Life, 1765–1915” is currently on view at LACMA and unfortunately closes today. The exhibition includes more than eighty paintings which range in date from the Revolutionary War era to just before World War I. The stories are myriad and the paintings are narrative heavy and engaging.The museum is open till 7 pm and if you haven't seen the exhibition already, rush on down today.
Barbara Weinberg curated the exhibition “American Stories" at The Metropolitan Museum of Art in New York. The website that the Metropolitan Museum put together for the exhibit is rich in detail and I enjoyed the audio elements with Barbara Weinberg and guests. The podcast with painter Eric Fischl discusses John Singer Sargent's "An Interior in Venice" and "A Street in Venice". Eric Fischl admits right out that he has not studied the history of the works in depth and so allows himself the imaginative freedom to wander into the paintings and describe what he finds in the artworks themselves.
Sargent is a painter's painter so I am not surprised that Eric Fischl would provide fresh insights into Sargent's work.
Eric Fischl describes Sargent's technique:
"Sargent is someone who has such extraordinary bravura, the kind of slapdash quality of the paint combined with his acute observations. It’s incredibly reductive in that he can see so accurately the essentials for what describes an ornate, gold Venetian table or what it takes to capture the quality of the material of the dress or something like that. I mean, it’s so luscious, so direct, and so perfectly observed. At the same time, it’s so fast and facile. It’s pretty amazing."
John Singer Sargent's "A Street Scene in Venice" seems to depict a chance meeting between the viewer wandering through the maze of Venetian alleys and a man and woman engaged in conversation outside a wine shop. The woman seems to stop mid sentence to gaze at us as we arrive on the scene. Eric Fischl sees the man as caught up in a flirtation or rendezvous:
"The other thing that strikes me in this painting is the way he’s painted her dress, which looks like a bonfire. If this painting’s about sex, about desire, about lust, whatever, then, you know, she’s absolutely the object of that desire and she’s on fire. And fire is something that is also being consumed by the huge, vast emptiness of that blackness that it reaches up into .... I think it’s more like the feeling of you’re moving through your life and you come on this scene. You interrupt something. You have the chance to pass by it, but for that brief moment it stops you and you take it in and then you go past, you know, you go into the light."
With a heavy heart I have watched the recent events in Thailand from afar. This song calls for peace and plays over video clips from the battle on the streets of Bangkok. A must view.
Journey's "Don't Stop Believin'" performed at Carnegie Hall for Sting and Trudie Styler's annual Rainforest Foundation benefit by Bruce Springsteen, Lady Gaga, Elton John, Sting, Debby Harry, and Shirley Bassey.
Gregg Chadwick Painter and Model 16"x20" oil on linen 2010
I recently returned from a trip to Paris, Amsterdam and Maastricht. Art, ideas and images from each of these cities hover in my mind. The works of Lucian Freud, on exhibit at the Pompidou Center in Paris until the 19th of July 2010, are in the forefront as I just completed a painting for the Julie Nester Gallery's Self Portrait Exhibition which opens on June 12, 2010.
Jasper Johns Flag encaustic and printed paper collage on paper laid down on canvas 17½ x 26¾ in. (44.5 x 67.9 cm.) Painted in 1960-1966
Christie's announced that Jasper Johns' painting of an American flag from the collection of writer Michael Crichton sold last night in New York for a record $28,642,500.
Jasper Johns Flag encaustic and printed paper collage on paper laid down on canvas 17½ x 26¾ in. (44.5 x 67.9 cm.) Painted in 1960-1966 (detail)
Jasper Johns Flag encaustic and printed paper collage on paper laid down on canvas 17½ x 26¾ in. (44.5 x 67.9 cm.) Painted in 1960-1966 (detail)
Phil Cousineau, Eric Lawton and Doors Drummer John Densmore at BookSoup in Hollywood on May 5, 2010
Phil Cousineau read from his new book WordCatcher at BookSoup in Hollywood last night. Tonight, May 6, 2010, Phil will stop by my studio at the Santa Monica Airport where we will be hosting a gathering to celebrate the publication of Wordcatcher and to feature other collaborative projects that Phil Cousineau and I have worked on. The evening will start at 7 pm.
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?
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
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
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?’"
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