Monday, November 14, 2011
Bach in a Japanese Forest Played on a Gravity Marimba
Deep in the tranquility of a Japanese woodland, the movement of a wooden ball plays Bach on a gravity marimba. The ball gently rolls down an elevated wooden incline striking a series of wooden bars each tuned to play a single note of the 10th movement of Bach’s Herz und Mund und Tat und Leben, BWV 147, commonly known in English as, Jesu, Joy of Man’s Desiring. A rare example of an advertisement that evokes wonder. Enjoy!
Hat tip to Makezine.
Saturday, November 12, 2011
Goodbye to UPS: Hello to FedEx and Independent Art Shippers
by Gregg Chadwick
I am often asked by fellow artists and gallerists about shipping art locally and internationally. As of today due to UPS' gross negligence in a guaranteed, i.e. expensive, delivery, I will no longer use their services and I recommend that others shift their services elsewhere.
I am heartbroken that my donation will most likely not be at The 9th Annual Oak Grove Golf Classic 2011 & SO-CAL Chef Open to benefit the Oak Grove Center for Education, Treatment and the Arts. When a company no longer guarantees their guarantee the little guy loses out. We need to stand together. #OccupyUPS anyone?
Please read the Open Letter to UPS CEO Scott Davis:
This holiday season please give Oak Grove a call and give to an organization that protects and nurtures the most vulnerable.
For information, please contact:
Cheryl Lievsay at 951-677-5599 ext 2238 or cheryll@oakgrovecenter.org
I am often asked by fellow artists and gallerists about shipping art locally and internationally. As of today due to UPS' gross negligence in a guaranteed, i.e. expensive, delivery, I will no longer use their services and I recommend that others shift their services elsewhere.
I am heartbroken that my donation will most likely not be at The 9th Annual Oak Grove Golf Classic 2011 & SO-CAL Chef Open to benefit the Oak Grove Center for Education, Treatment and the Arts. When a company no longer guarantees their guarantee the little guy loses out. We need to stand together. #OccupyUPS anyone?
Please read the Open Letter to UPS CEO Scott Davis:
Dear Scott Davis,
On November 11, 2011 while you were chatting on the radio how UPS works on a day when the USPS is closed, I found that because of a shortage of UPS workers my Guaranteed package was not delivered as promised to the Oak Grove Center for Education, Treatment and the Arts.
The shipment contains an important artwork to be auctioned on Monday, November 14, 2011 at the The 9th Annual Oak Grove Golf Classic 2011 & SO-CAL Chef Open for the benefit of Oak Grove's students. Many of the children have suffered physical and/or sexual abuse. Other are victims of violent traumas. The school effectively cares for children with social, emotional or behavioral challenges.
When I was asked by Kevin Keller to donate an artwork for such an important cause, I didn't hesitate. I went through the time and expense of creating the artwork, framing the artwork and chose what I thought was a reliable service to deliver this gift of hope.
I am shocked that UPS has failed me and will not even provide delivery on Saturday, November 12, 2011 - which will make it in time for the auction.
Words can not express my disappointment. I spent most of Friday, November 11, 2011 on the phone and twitter with less than helpful UPS representatives - The first of which hung up on me instead of transferring my call to a supervisor.
I paid just under $100 to have an insured and guaranteed delivery on November 11, 2011 by 4:30 pm. UPS failed in a major way.
I have used UPS in the past for many shipments for my art business, but if this situation is not rectified before it is too late, I will take my business elsewhere.
I expect a prompt response.
With Great Disappointment,
Gregg Chadwick
www.greggchadwick.com
Gregg Chadwick
Along the Arno
22"x30" monotype on paper 2011
(Donated to the Oak Grove Center for Education, Treatment and the Arts to be auctioned at the The 9th Annual Oak Grove Golf Classic 2011 & SO-CAL Chef Open )
Current Location Unknown - On Hold in a UPS Processing Center
This holiday season please give Oak Grove a call and give to an organization that protects and nurtures the most vulnerable.
For information, please contact:
Cheryl Lievsay at 951-677-5599 ext 2238 or cheryll@oakgrovecenter.org
On Oak Grove And What They Do:
Oak Grove is a nonprofit 24-hour residential and educational treatment center that serves 76 children who live on campus and an additional 80-90 day students who attend our nonpublic school day program. Oak Grove is located in Murrieta, Southwest Riverside County. Oak Grove also operates a second campus in Perris, Oak Grove at the Ranch, serving an additional 50 students. Children and youth are admitted with a variety of psychological, social, emotional, behavioral, medical and neurological problems with concurrent behavioral difficulties, school problems, family dysfunction and alcohol or substance abuse. Many of the children have suffered physical and/or sexual abuse, other traumas or experienced many other social, emotional or behavioral challenges.
We are licensed as a level 12 group home and have the additional distinction of being accredited by the Joint Commission on Accreditation of Healthcare Organizations (JCAHO), as well as the non-public school on grounds having accreditation by the Western Association of Schools and Colleges (WASC).
Oak Grove works with children and adolescents whose needs and problems can be quite complex. One of our greatest assets lies in the sophistication and experience level of a team of clinicians comprised of psychiatrists and licensed independent practitioners (MFT, LCSW, Psy. D), as well as our nursing staff, behavior intervention specialists, teachers, milieu and activities staff that together make up the Treatment Team.
Accreditations/Memberships/Licensure:
- Joint Commission of Accreditation of Healthcare Organizations (JCAHO)
- California State Department of Education Non-Public School Certification
- Western Association of Schools & Colleges (WASC)
- California Alliance for Children & Families
- Licensed by the State Department of Social Services Community Care Licensing Division
- http://www.OakGroveCenter.org/index.php?p=1
Friday, November 11, 2011
Veterans Day 2011: Honoring our Nation's Veterans for their Service and Sacrifice
President Barack Obama's Veterans Day Message
Thursday, November 10, 2011
Happy 236th Birthday United States Marine Corps
by Gregg Chadwick
Gregg Chadwick
Memory Wall: My Father at the Vietnam Veterans Memorial
24”x18” oil on linen 2011
At the Rijksmuseum in Amsterdam last October on my birthday, I was able to visit the painting I first remember: Rembrandt's iconic group portrait The Sampling Officials of the Amsterdam Drapers Guild. As a six year old, I stood before the painting and recognized it as the same image on the Dutch Masters' cigar box, my father's go-to brand. The connection was phenomenal; I was hooked.
My dad had just finished his tour in the Vietnam War, where he had been serving as a JAG officer in the United States Marine Corps, and we were traveling around Europe. To this day, I recall most everything about that European family reunion. A lifelong love of Rembrandt ensued.
Rembrandt's intellect and courage allowed him to move beyond a search for a mere likeness. Instead, Rembrandt pushed deep into the work to seek the inner selves of his sitters.
I thank my father for introducing me to Rembrandt. As an homage to that day and to many years of love and friendship, I painted my father as I remember him, both in the past and the present. In Memory Wall: My Father at the Vietnam Veterans Memorial, I gather these memories to paint a portrait of accumulation. Each mark and each layer on the painting echoes a moment or conversation shared.
Today, on the 236th anniversary of the founding of the United States Marine Corps, I am honored to post my painting of my dad in uniform.
Peter Clothier has written on this painting:
USMC Billboard, Milwaukee, Wisconsin 2011
photo by Gregg Chadwick
I am proud of my father's career in the USMC and thankful for the opportunity I have had to meet Marines across the globe. Today I greet all Marines with a fervent, "Happy Marine Corps Birthday!"
More at:
Peter Clothier on Theater of Memory
236 years of Semper Fi
Gregg Chadwick
Memory Wall: My Father at the Vietnam Veterans Memorial
24”x18” oil on linen 2011
At the Rijksmuseum in Amsterdam last October on my birthday, I was able to visit the painting I first remember: Rembrandt's iconic group portrait The Sampling Officials of the Amsterdam Drapers Guild. As a six year old, I stood before the painting and recognized it as the same image on the Dutch Masters' cigar box, my father's go-to brand. The connection was phenomenal; I was hooked.
My dad had just finished his tour in the Vietnam War, where he had been serving as a JAG officer in the United States Marine Corps, and we were traveling around Europe. To this day, I recall most everything about that European family reunion. A lifelong love of Rembrandt ensued.
Rembrandt's intellect and courage allowed him to move beyond a search for a mere likeness. Instead, Rembrandt pushed deep into the work to seek the inner selves of his sitters.
I thank my father for introducing me to Rembrandt. As an homage to that day and to many years of love and friendship, I painted my father as I remember him, both in the past and the present. In Memory Wall: My Father at the Vietnam Veterans Memorial, I gather these memories to paint a portrait of accumulation. Each mark and each layer on the painting echoes a moment or conversation shared.
Today, on the 236th anniversary of the founding of the United States Marine Corps, I am honored to post my painting of my dad in uniform.
Peter Clothier has written on this painting:
Particularly moving to this one viewer is "Memory Wall: My Father at the Vietnam Veteran's Memorial" ... a portrait of the artist's father in U.S. Marine dress uniform. The face is seen in three-quarters profile, pale and stern, lips full, eyes gazing upward, as if respectfully, toward an unseen flag or deity. The uniform, complete with medals, speaks loudly of his pride and service. The portrait speaks of duty, unwavering loyalty, discipline. The man is tough. And yet... we see him through the eyes of a son, respectful, yet aware of the vulnerabilities, the softer side of real humanity that lurks behind the outward show of strength. We are reminded, as men, of our own experience with fathers--giants for us as little children; imposing, distant, to be feared for their infinitely superior strength and wisdom. We may come to resent the discipline they impose on us, but accept it grudgingly because, like God, our father can't be wrong. As we grow, however, if we're fortunate and strong ourselves--if that father has managed to share his strength with us--we come to see the uncertainty, the self-questioning, the doubts and fears that assail even the toughest of men, and to recognize the deep bond of love between us.
USMC Billboard, Milwaukee, Wisconsin 2011
photo by Gregg Chadwick
I am proud of my father's career in the USMC and thankful for the opportunity I have had to meet Marines across the globe. Today I greet all Marines with a fervent, "Happy Marine Corps Birthday!"
More at:
Peter Clothier on Theater of Memory
236 years of Semper Fi
Friday, November 04, 2011
Free Sunday Admission at UCLA's Hammer Museum Through January 8, 2012
FREE SUNDAYS
November 6, 2011 - January 8, 2012
Starting this Sunday, November 6, the Hammer will offer free museum admission for all exhibitions every Sunday until the closing of the exhibition Now Dig This! Art and Black Los Angeles 1960-1980 on Sunday, January 8, 2012.
Admission is ALWAYS FREE for Museum members, students with ID, UCLA faculty and staff, military personnel, veterans, and visitors 17 and under accompanied by an adult. Free on Thursdays for all visitors.
November 6, 2011 - January 8, 2012
Starting this Sunday, November 6, the Hammer will offer free museum admission for all exhibitions every Sunday until the closing of the exhibition Now Dig This! Art and Black Los Angeles 1960-1980 on Sunday, January 8, 2012.
Admission is ALWAYS FREE for Museum members, students with ID, UCLA faculty and staff, military personnel, veterans, and visitors 17 and under accompanied by an adult. Free on Thursdays for all visitors.
For hours, location, and parking information, click here.
Tuesday, November 01, 2011
Theater of Memory Catalog Now Available in the iTunes Bookstore
Monday, October 31, 2011
Into the Reason of Things: Jonathan Moreno's "The Body Politic: The Battle Over Science in America"
By Gregg Chadwick
Are we making monsters in university laboratories? How much is a life worth? Where does science start and religion end? When it comes to contemporary advances in science, the general public can feel lost on the margins as new discoveries whizz past like speeding rockets on the Bonneville Salt Flats. As humans we are primed to distrust or misunderstand unfamiliar things or states of being. Is it any wonder that popular culture since the dawn of the modern era is full of out of control scientific experimentation such as that found in Mary Shelley's cautionary novel Frankenstein?
Fear of the unknown may often be polarizing. Knowledge may be liberating. Jonathan Moreno's new book, The Body Politic: The Battle Over Science in America, shines a light on the issues surrounding contemporary scientific explorations. Moreno focuses on the current place of science and politics in the United States, yet Moreno also deftly explores through a long lens, the philosophical history of scientific thought and the political debates that have ensued
Gregg Chadwick
Slipstream
30"x22" monotype on paper 2011
Moreno argues in a balanced fashion, as his book considers the debates over the ethics undergirding contemporary scientific discoveries and explorations. Should the government fund scientific projects? Is there a limit to scientific advancement? The discussion becomes especially heated in the political sphere, when advancements in current Biology are considered. At times, the rhetoric adheres to a standard Red State vs. Blue State pattern. Moreno explains that, when considering science, alternatives exist to the stagnant polarization often found in the political sphere. Moreno quotes Charles Peirce's definition that science "does not consist so much in knowledge...as it does in diligent inquiry into truth for truth's sake, without any sort of axe to grind, nor for the sake of delight of contemplating it, but from the impulse to penetrate into the reason of things...."
Moreno's The Body Politic delves deeply into the battles over science in our era and ultimately calms our irrational fears by questioning the mad scientist trope: "The notion that science is an enemy of moral and civic education is puzzling. How then to account for the coincidence of the development of science with the growth of liberal democracy and the recognition of human rights since the eighteenth century?"
Jonathan Moreno's groundbreaking book, The Body Politic: The Battle Over Science in America, should be required reading for all students in the sciences and all those interested in our place in the universe. Highly recommended.
Introduction:
Neera Tanden, Chief Operating Officer, Center for American Progress
Neera Tanden, Chief Operating Officer, Center for American Progress
Distinguished Panelist:
Jonathan Moreno, Senior Fellow, Center for American Progress; David and Lyn Silfen University Professor, University of Pennsylvania; and Author, The Body Politic: The Battle Over Science in America
Jonathan Moreno, Senior Fellow, Center for American Progress; David and Lyn Silfen University Professor, University of Pennsylvania; and Author, The Body Politic: The Battle Over Science in America
Moderator:
Andrew Light, Senior Fellow, Center for American Progress; and Associate Director, Institute for Philosophy and Public Policy, George Mason University
Andrew Light, Senior Fellow, Center for American Progress; and Associate Director, Institute for Philosophy and Public Policy, George Mason University
Happy Halloween From Speed of Life and Google!
Time-lapse video of the Google doodle team & friends carving giant pumpkins in the Halloween spirit. Shot on location at Google's Headquarters in Mountain View, CA. Music by Slavic Soul Party! Composed by Matt Moran.
Friday, October 14, 2011
Please Join Me Tonight & Tomorrow - October 15th and 16th - for the Unveiling of New Work at the 7th Anniversary of the Santa Monica Art Studios
Gregg Chadwick
Los Sueños del Río
38"x38" oil on linen 2011 (Triptych: Closed)
Please Join Me Tomorrow at My Studio for the Unveiling of New Work at the 7th Anniversary of the Santa Monica Art Studios
The Triptych Los Sueños del Río Will Be Opened At 7pm!
October 15, 2011 - Saturday Night 6-9pm
&
October 16, 2011- Sunday Afternoon 1-5pm
My studio- #15 - will be open
along with the other wonderful artists at the Santa Monica Art Studios.
Please stop in and say hello.
3026 Airport Ave, Santa Monica, CA 90405
cell 415 533 1165
email: greggchadwick@earthlink.net
Tuesday, October 11, 2011
"Women, War, and Peace" Starts Tonight on PBS
Women, War & Peace from Women, War & Peace on Vimeo.
Must Watch Television: Women, War, and Peace Starts Tonight on PBS:
Women, War & Peace is a bold new five-part PBS series challenging the conventional wisdom that war and peace are men’s domain. Spotlighting the stories of women in conflict zones from Bosnia to Afghanistan and Colombia to Liberia, it places women at the center of an urgent dialogue about conflict and security, and reframes our understanding of modern warfare.
Featuring narrators Matt Damon, Tilda Swinton, Geena Davis and Alfre Woodard, Women, War & Peace is the most comprehensive global media initiative ever mounted on the roles of women in war and peace.
Watch on your local PBS station Tuesday nights from Oct. 11 to Nov. 8. Check local listings for air times.
Friday, October 07, 2011
Art in the Station
As part of my current exhibit at the Monterey Peninsula College Art Gallery, "Engine Company" is on loan to the Monterey Fire Department. The painting will be displayed for the next month in Station #1 located at 600 Pacific Street, Monterey, California. I feel it is vital to take contemporary art out of the gallery and into the streets. I am honored that my work dedicated to brave Union workers across the globe hangs in Station #1.
Thursday, October 06, 2011
Sunday, September 25, 2011
Krazy Kat Caught in an Alley by Kent Chadwick: New Poem Published in Pontoon by Floating Bridge Review
Krazy Kat caught in an alley
By Kent Chadwick
________
________
___ ___
Krazy Kat Caught in an alley
caterwauling
night in Garwood
New Jersey
moonlight on the sagging
back landings
drinking men stripped
to undershirts
ribbed with a
working day’s sweat
the viscosity of bourbon
poured into shots
patterened thump of
ball against wall
ball against wall
sound of speed
from the street
rubber friction
gas combustion
the swamp coolers shake
the swamp coolers drip
against the heat
“Fireflies don’t come no more.”
blue auroras stream
from each T.V.
out window screens
“Turn it down!”
one house shines
in new siding
chain links the brown
block’s backyards
right angles and shadow
no sirens tonight
a kid laughs
some woman hums
the dishes away
“Sit for a week, even this’ll look good.”
“That’s whiskey talking. Throw me a beer, Jake.
It’s all in your head.”
This poem was included in Pontoon, published by Floating Bridge Review (Seattle), Number Four, 2011
All the poems in Pontoon were chosen from manuscripts submitted to the 2011 Floating Bridge Press Poetry Chapbook Award.
Pontoon is available from Floating Bridge Press
Pontoon is available from Floating Bridge Press
Photo: Painter & Poet by Margaret Chadwick
Gregg Chadwick
Detail of Jimmy Buffs
72"x96" oil on linen 1982--1992
Collection: Kent Chadwick
Defending the Muse: Michael Stein and Paul Georges
Paul Georges
The Studio
120”x79 1/2” oil on canvas 1965
The Whitney Museum Collection, New York
Courtesy Paul Georges Estate
Michael Stein's new novel "The Rape of the Muse" ponders the worth of art and the place of beauty in our contemporary society. Stein's re-imagining of painter Paul Georges' trial for libel in 1980 updates the events to the 21st century and fleshes out the characters with a post September 11th ennui. When Georges' trial took place in 1980, the Neo-Expressionist boom in art was just beginning. Emotional, brightly colored paintings using the figure as a theme filled galleries in New York and Europe. In that time Paul Georges’ artwork was included in exhibitions at the Whitney Museum in New York, the Rose Art Museum at Brandeis, and the Pennsylvania Academy of Fine Arts. But still, Georges was an outsider looking in on an art world that often considered narrative painting to be atavistic at best - reactionary at worst.
Paul Georges
The Mugging of the Muse
80”x103” oil on canvas 1972-1974
Courtesy Paul Georges Estate
Michael Stein adeptly weaves elements of Paul Georges' life into the story of his fictive painter - Harris Montrose. Montrose cares deeply about the gift and responsibility of art. This humble esteem for the muse that stokes his creative fire leads to a showdown with an artistic colleague over a limned image. Are we all fair game for artistic interpretation? Is anything really private anymore? Is the language of painting relevant to our time?
Stein brings in a young artist, already marked by the reigning critics as one to watch, who is psychologically blocked from the creative process. This young artist, Rand Taber, becomes Montrose's studio assistant. As if in a scene from Martin Scorsese's segment in the film "New York Stories", Taber learns life lessons from his mentor Montrose. In this sense, Michael Stein seems to hold up the elder painter as a pugnacious model of validity. Harris Montrose paints like his life depends on it. The muse needs to be honored. And if anyone gets in the way they should heed the warnings. The muse shall be avenged.
It is refreshing to read a work in which art is considered deeply as much more than a commodity or a means to privilege. Michael Stein’s “The Rape of the Muse” is gutsy – almost an aesthetic bar fight of a novel. It is heartening to feel Paul Georges’ passion seep into Stein’s writing. Art is not just style. At its best, art considers life and then makes something new. Michael Stein’s “The Rape of the Muse” digs into the life and work of the forceful painter Paul Georges and conjures up a story for our moment.
Highly recommended.
Michael Stein
More at:
Life and Art of Paul Georges
Michael Stein's Website
The Studio
120”x79 1/2” oil on canvas 1965
The Whitney Museum Collection, New York
Courtesy Paul Georges Estate
Michael Stein's new novel "The Rape of the Muse" ponders the worth of art and the place of beauty in our contemporary society. Stein's re-imagining of painter Paul Georges' trial for libel in 1980 updates the events to the 21st century and fleshes out the characters with a post September 11th ennui. When Georges' trial took place in 1980, the Neo-Expressionist boom in art was just beginning. Emotional, brightly colored paintings using the figure as a theme filled galleries in New York and Europe. In that time Paul Georges’ artwork was included in exhibitions at the Whitney Museum in New York, the Rose Art Museum at Brandeis, and the Pennsylvania Academy of Fine Arts. But still, Georges was an outsider looking in on an art world that often considered narrative painting to be atavistic at best - reactionary at worst.
Paul Georges
The Mugging of the Muse
80”x103” oil on canvas 1972-1974
Courtesy Paul Georges Estate
Michael Stein adeptly weaves elements of Paul Georges' life into the story of his fictive painter - Harris Montrose. Montrose cares deeply about the gift and responsibility of art. This humble esteem for the muse that stokes his creative fire leads to a showdown with an artistic colleague over a limned image. Are we all fair game for artistic interpretation? Is anything really private anymore? Is the language of painting relevant to our time?
Stein brings in a young artist, already marked by the reigning critics as one to watch, who is psychologically blocked from the creative process. This young artist, Rand Taber, becomes Montrose's studio assistant. As if in a scene from Martin Scorsese's segment in the film "New York Stories", Taber learns life lessons from his mentor Montrose. In this sense, Michael Stein seems to hold up the elder painter as a pugnacious model of validity. Harris Montrose paints like his life depends on it. The muse needs to be honored. And if anyone gets in the way they should heed the warnings. The muse shall be avenged.
It is refreshing to read a work in which art is considered deeply as much more than a commodity or a means to privilege. Michael Stein’s “The Rape of the Muse” is gutsy – almost an aesthetic bar fight of a novel. It is heartening to feel Paul Georges’ passion seep into Stein’s writing. Art is not just style. At its best, art considers life and then makes something new. Michael Stein’s “The Rape of the Muse” digs into the life and work of the forceful painter Paul Georges and conjures up a story for our moment.
Highly recommended.
Michael Stein
More at:
Life and Art of Paul Georges
Michael Stein's Website
Friday, September 16, 2011
Theater of Memory: New Exhibit Opens October 4, 2011 at the Monterey Peninsula College Art Gallery
Gregg Chadwick
Theater of Memory
48"x48" oil on canvas 2011
Theater of Memory
New Paintings by Gregg Chadwick
Curated by Melissa Pickford
Monterey Peninsula College Art Gallery
Opening on October 4, 2011
Runs until November 4, 2011
One could say we all create paintings as we distill meaning from the rush of life. Experiences, moments, thoughts, actions, memories, and dreams mix together and overlap in our minds and hearts bringing patterns and understanding in our everyday life. My paintings in the exhibit, Theater of Memory at the Monterey Peninsula College Art Gallery, echo this cognitive-emotional process. My artworks evolve through a series of painting sessions in which colors and images overlap, merge, and flow.
At times, my paintings begin close to home with remembered dreams of family members. In the title painting, Theater of Memory, my much loved late nephew Luke Chadwick appeared unbidden, but at the perfect moment. His faint smile recalled a day many years before, when I began a painting in his Seattle bedroom. As Luke watched me mix my paints on an improvised palette, he exclaimed with the intuitive vision of a child that the color I had mixed would not do. “Don’t fear color”, he said in so many words, as he pointed to a rich ultramarine glistening on my palette.
In honor of Luke and my father, Robert Chadwick, I purchased a tube of genuine lapis lazuli from the London color maker Michael Harding. This true ultramarine, ground into a crystalline powder and mixed with linseed oil on a stone mill, is the color blue found in Renaissance skies. Transparent layers of this lapis mark each of my paintings in this exhibit. Sourced in Afghanistan, lapis lazuli, reflects the historical tides of trade, conquest and conflict that ebb and flow across this region and the globe.
More at:
Gregg Chadwick's Theater of Memory
Monterey Peninsula College Art Gallery
980 Fremont Street Monterey, CA 93940-4799
Melissa Pickford, Curator
More info at: mpickford@mpcgallery.com
831 646-3060
Receptions for the artist:
Thursday, Oct. 6, 2011 from 12:30 – 2 pm
&
Saturday, Oct. 8, 2011 from 3 – 5 pm
Gallery Hours: Tues-Fri 11am - 4pm or by appointment
Admission: Free
Parking: 4 quarters
Catalog Available:
Please Note:
Also in the gallery under the tandem title Humanitas: Paintings by Cynthia Grilli.
Memo From David Axelrod: Obama in good position for 2012 with liberal base, electorate
TO: Sunday Show Producers
FR: David Axelrod, Senior Strategist
Public polling released this week makes clear that Americans strongly agree with the President’s plan to create jobs and provide economic security for the middle class and believe that leaders in both parties should move quickly to pass the American Jobs Act.
Members of the media have focused on the President’s approval ratings as if they existed in a black box. Following the intransigence of the Republicans during the debt debate, the approval rating of the GOP brand dropped to a historic low. The approval rating of Congress dropped to a near historic low. Americans are still dealing with the impact of the financial crisis and recession and the long-term economic trends that have seen wages stagnate for many, and that is manifested in their anger towards Washington. There’s no doubt that Americans are calling on leaders in Washington to take immediate action to address their economic challenges -- exactly what the President is advocating for.
According to a CNN poll released on Wednesday, a plurality of Americans approve of the President’s jobs plan. Two thirds believe we should cut taxes for the middle class and rebuild America’s roads and bridges. Three quarters believe we need to put our teachers and first responders back to work. More Americans trust the President to handle the economy than Congressional Republicans by a margin of 9 points.
Despite what you hear in elite commentary, the President’s support among base voters and in key demographic groups has stayed strong. According to the latest NBC-WSJ poll, Democrats approve of his performance by an 81%-14% margin. That’s stronger than President Clinton’s support among Democrats at this point in his term and, according to Gallup, stronger than any Democratic President dating back to Harry Truman through this point in their presidency. 92 percent of African Americans approve. And a PPP poll out this week showed the President winning 67 percent of Hispanics against Romney and 70 percent against Perry, a higher percentage than he captured against Senator McCain in 2008.
The base is mobilized behind the President. 12,000 individuals applied to join the campaign as volunteer summer fellows, more than in 2008. 1,100 students across the country are organizing their campuses in support of the campaign as fellows this fall. We had 552,462 individuals give to the campaign in the second quarter -- more than we had in all of 2007. Of our 552,462 total donors to the 2012 campaign so far, more than 260,000 of them are completely new to the Obama organization and have never given before.
The Republicans have yet to choose a nominee, and therefore, most Americans have yet to learn much about their records or visions for the country. Their candidates are busy courting the Tea Party, signing off on any economic pledge it might demand – no revenue increases under any circumstances, ending Medicare as we know it, draconian cuts that will hamper job creation. And Americans are increasingly rejecting the Tea Party’s agenda and its ideological rigidity – following the debt negotiations, an AP poll found the Tea Party’s approval rating sinking to 28-46. When Americans learn the details of the Republican candidates’ plans, the choice about America’s future will come into clear view.
Despite the Republican candidates just beginning to undergo the media scrutiny that occurs during a presidential campaign, from North Carolina to Nevada, the President remains ahead or in a dead heat with the Republican candidates in the battleground states that will decide the election in 2012. And ultimately it is in those battleground states where voters will choose, 14 months from now, between two candidates, their records, and their visions for the country.
More at:
David Nakamura: Washington Post
Wednesday, September 14, 2011
James Turrell: Present Tense - Opens on Thursday, September 15, 2011 at the Kayne Griffin Corcoran Gallery in Santa Monica
James Turrell at Kayne Griffin Corcoran
In 1966, James Turrell began experimenting with light at Santa Monica's Mendota Hotel, which he used as his visual laboratory. Turrell covered the windows, leaving slits that allowed prescribed amounts of light from the street outside to shine through the openings. After these experiments Turrell expanded his work, using halogen projectors to beam light across darkened rooms. From a distance the projected shapes appeared solid, but as viewers moved closer the numinous forms vanished revealing nothing more than light cast against flat walls.
Two of these Cross-‐Corner Projections, Carn White (1967) and Phantom Blue (1968), will be included in James Turrell: Present Tense. which opens tomorrow - Thursday, September 15, 2011 at the Kayne Griffin Corcoran Gallery in Santa Monica.
James Turrell: Present Tense is part of Pacific Standard Time, which documents the Los Angeles art scene from 1945-1980. Pacific Standard Time is an unprecedented collaboration of more than sixty cultural institutions across Southern California. Initiated through grants from the Getty Foundation, Pacific Standard Time will take place for six months until April 2011.
More at:
Pacific Standard Time Website
Kayne Griffin Corcoran Gallery
In 1966, James Turrell began experimenting with light at Santa Monica's Mendota Hotel, which he used as his visual laboratory. Turrell covered the windows, leaving slits that allowed prescribed amounts of light from the street outside to shine through the openings. After these experiments Turrell expanded his work, using halogen projectors to beam light across darkened rooms. From a distance the projected shapes appeared solid, but as viewers moved closer the numinous forms vanished revealing nothing more than light cast against flat walls.
Two of these Cross-‐Corner Projections, Carn White (1967) and Phantom Blue (1968), will be included in James Turrell: Present Tense. which opens tomorrow - Thursday, September 15, 2011 at the Kayne Griffin Corcoran Gallery in Santa Monica.
James Turrell: Present Tense is part of Pacific Standard Time, which documents the Los Angeles art scene from 1945-1980. Pacific Standard Time is an unprecedented collaboration of more than sixty cultural institutions across Southern California. Initiated through grants from the Getty Foundation, Pacific Standard Time will take place for six months until April 2011.
More at:
Pacific Standard Time Website
Kayne Griffin Corcoran Gallery
Monday, September 12, 2011
The Birth of the L.A. Art World: Pacific Standard Time 1945-1980
Ed Ruscha
Standard Station, Amarillo, Texas
64.5" x 121.75" oil on canvas 1963
Hood Museum of Art, Dartmouth College, Hanover, New Hampshire
© Ed Ruscha
Opening this month in Southern California are a series of art exhibitions, Pacific Standard Time, documenting the Los Angeles art scene from 1945-1980. Pacific Standard Time is an unprecedented collaboration of more than sixty cultural institutions across Southern California. Initiated through grants from the Getty Foundation, Pacific Standard Time will take place for six months until April 2011.
In a Teaser for Pacific Standard Time, Anthony Kiedis from the Red Hot Chili Peppers Takes Artist Ed Ruscha for a Ride
The Getty Museum's comphrehensive exhibit of the period, Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950-1970, opens on October 1, 2011.
More at:
Crosscurrents in L.A. Painting and Sculpture, 1950-1970
Standard Station, Amarillo, Texas
64.5" x 121.75" oil on canvas 1963
Hood Museum of Art, Dartmouth College, Hanover, New Hampshire
© Ed Ruscha
Opening this month in Southern California are a series of art exhibitions, Pacific Standard Time, documenting the Los Angeles art scene from 1945-1980. Pacific Standard Time is an unprecedented collaboration of more than sixty cultural institutions across Southern California. Initiated through grants from the Getty Foundation, Pacific Standard Time will take place for six months until April 2011.
In a Teaser for Pacific Standard Time, Anthony Kiedis from the Red Hot Chili Peppers Takes Artist Ed Ruscha for a Ride
The Getty Museum's comphrehensive exhibit of the period, Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950-1970, opens on October 1, 2011.
More at:
Crosscurrents in L.A. Painting and Sculpture, 1950-1970
You Can't Blow Out a Fire: The Life and Death of Steve Biko
Peter Gabriel and Youssou N'Dour Perform Gabriel's Song Biko at Friends United Against Malaria - Genève, Switzerland on 08/10/2005.
Today, September 12, 2011, on the anniversary of Steve Biko's death at the hands of the South African security police, I reflect on the impact Mr. Biko had on South Africa and the world. I stand with Artists for a New South Africa and proclaim, "Biko lives on!"
On September 12,1977 Steve Biko died in in police custody in South Africa.
The leader of the black consciousness movement in South Africa, Steve Biko, was 30 years old.
Mr Biko had been in custody since August 18, 1977. He was the 20th person to die in custody during an 18 month stretch in 1976-1977. Steve Biko left a wife and two children.
Steve Biko's Biography
Steve Biko was born in South Africa in 1946.
He became active in the anti-apartheid movement in 1960s when he was studying medicine at the University of Natal.
Steve Biko organized the South African Students'Organistion in 1968 and was elected its first president the following year.
Expelled from his medical studies, Biko began working full-time for the Black Community Programmes organization. Biko also started writing under the pen-name Frank Talk for the South African Students'Organistion newsletter.
By 1973 his work had come to the attention of the repressive South African government. In an attempt to curtail his activism, Biko was placed under a form of house arrest restricting him to his birthplace - King William's Town .
Even under these restraints and the pressure from the South African government, Biko continued his work with the Black Community Programmes.
Steve Biko also helped create the Zimele Trust Fund in 1975, which helped political prisoners and their families, and the Ginsberg Educational Trust, to assist black students.
Steve Biko was arrested by the apartheid government on August 18, 1977. He died in police custody on September 12, 1977.
Steve Biko's memory lives on as a beacon to all those who fearlessly face down injustice across the globe. Steve Biko will never be forgotten.
Biko, written by Peter Gabriel, This version is from the 1994 Manu Dibango Album WAKAFRIKA: featuring Alex Brown, Peter Gabriel, Ladysmith Black Mambazo, Geoffrey Oryema and Sinead O'Connor
Biko
by Peter Gabriel
September '77
Port Elizabeth weather fine
It was business as usual
In police room 619
Oh Biko, Biko, because Biko
Oh Biko, Biko, because Biko
Yihla Moja, Yihla Moja
-The man is dead
When I try and sleep at night
I can only dream in red
The outside world is black and white
With only one colour dead
Oh Biko, Biko, because Biko
Oh Biko, Biko, because Biko
Yihla Moja, Yihla Moja
-The man is dead
You can blow out a candle
But you can't blow out a fire
Once the flames begin to catch
The wind will blow it higher
Oh Biko, Biko, because Biko
oh Biko, Biko, because Biko
Yihla Moja, Yihla Moja
-The man is dead
And the eyes of the world are
watching now
watching now
Sunday, September 11, 2011
In Memory September 11, 2001 - September 11, 2011
Saturday, September 10, 2011
Finding Beauty in Our Art & Lives: Upcoming Workshop With Gregg Chadwick & Phil Cousineau at Esalen in Big Sur (Weekend of September 30-October 2, 2011)
Gregg Chadwick
Beauty and Sadness ( 美しさと哀しみと)
Often cocooned in our metal boxes as we speed through our days, modern life can seem barren and uncreative. How do we find joy in our lives? Where is that creative spark found?
Join Gregg Chadwick and Phil Cousineau as we explore the nature of beauty in our art and being.
Coming up at Esalen during the weekend of September 30 through October 2nd 2011, we will venture into the realms of artistic creation and personal discovery with exercises in visual art and discussions around the mythic importance of beauty. I hope you can join us at Esalen as we use the arts to get back to life.
For info and reservations:
Who Stole the Arms of the Venus de Milo? The Myth of Beauty from Aphrodite to Ansel Adams
Feel free to email me directly with questions or ideas at speedoflife@mac.com .
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Art Exhibit: Humanitas at MPC Gallery
When: Thursday, October 6, 12:30 p.m. to 2:30 p.m.
Humanitas, an exhibit of extraordinary paintings, features luminous, poetic figures painted by Gregg Chadwick, along with more intimate works, often in earth tones, by Cynthia Grilli. Most art tells the history of the periods from which they are created. These recent works, depict the emotions reflecting the subtle complexity and unknowing directions of our times. Come see the once and future history of these thankfully fleeting days, illuminated by these two fine artists' incisive palettes. [JZ]
11am-4pm, Tue-Fri,
Receptions: 6th Oct, 12:30-2:30pm
8th Oct, 3-5pm.
Much more at Art Daily.com