Archive for the ‘Personalities’ Category

Two More Lost from Cast of OHIOANS . . .

Tuesday, September 25th, 2012

It was 31 years ago that I finished the OHIOANS painting that would become a poster for Wright State University and a milestone artwork for me. David R sent me an image of the wall in his new office/showroom, and it’s flattering to see how he configured the wall display. Hard to believe that OHIOANS has been around for this long. We still have the original painting hanging in our Danville studio. I thought about the artwork when Neil Armstrong died. Quite a few of those depicted were living when I created the original, and I can’t help but experience a certain sadness each time one is lost (Owens right after completion, and then, over the years: Hope, Lynde, Rogers, Bombeck, Newman, and just recently, Diller, as well as Armstrong). At the beginning, I had the wild idea of trying to circulate a poster through celebrity representatives and build a master copy with multiple signatures, but never followed through. Then I thought of just getting a poster into the hands of each one alive, but I didn’t have enough to spare. I think the University did present some to a few, such as Erma Bombeck, who made some witty remark about her beehive hair-do.

There is a space above Grant’s head that I’ve used to draw an additional portrait once or twice. The one I remember most was Daytonian Allan W. Eckert. I gave it to him the first time we met during a book signing in Ohio. Years later I talked to him in Kentucky and he told me that he had included the poster with his manuscripts and “papers” that would be turned over to an institution after his demise. That was the last time I saw him. The most memorable encounter with respect to the poster was the time Jamie Farr performed in Kentucky (he played George Burns in a one-man show), and we had the good fortune to greet him backstage afterward to personally present a poster. After a demanding stage performance that must have been totally exhausting, he couldn’t have been nicer to us and joked about Corporal Klinger and his tiara.

I realize now that I was young when I pulled this off. I felt mature at the time, having just created the most challenging piece of my early career. I was 29 years old, engaged to be married, and fully ensconced in my own independent studio. In many ways, I had already achieved nearly all the goals I had set in my youth.

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OHIOANS hangs in David’s new office and showroom
(Click to view a larger image.)

Gardenshapes by Kathleen

Saturday, July 28th, 2012

“Beauty should be shared, for it enhances our joys.
To explore its mystery is to venture towards the sublime.”
―Joseph Cornell

I hesitate to use a sports term to begin this review, but, since the Summer Olympics opened last night, I’ll set my disinclination aside to state emphatically that artist Kathleen O’Brien is at the top of her game!

Gardenshapes —an exhibition of her mixed-media collage finishing its run in the main gallery of Danville’s Community Arts Center— has ample proof to support my claim. I made one more return visit yesterday to experience the diverse subtleties of her singular creations.

Inspired by birds and flowers, and exploring the garden as a metaphor, this collection of artworks represents everything that has captivated me for years about Kathleen’s approach. These works have clearly grown out of how she thoughtfully observes and attunes with nature. They also literally contain and preserve natural ingredients. But in contrast to collage that maintains its focus on formal or intellectual juxtapositions, Kathleen’s art always nudges one toward a deeper sense of wholeness and the inner complexity of our balanced existence as both organic and spiritual beings. Without question, she has made a personal commitment to creating art as a mystical practice, and, on a communal level, to providing nature-inspired beauty as a source of healing in a fractured world.

With the strong presence of these intangible dimensions, Kathleen’s art is always esoteric, and yet she manages to make the work accessible to all with her choice of subject matter and allegiance to traditional drawing. At the same time, she can delight the eye of a fellow artist with her methodology, aesthetic choices, and pictorial skill. I’m not ashamed to admit that much of Kathleen’s symbolic virtuosity is beyond my ken, but I appreciate that it’s all in play at the intuitive level. Being near the prolific output of her creative life is simply uplifting, and that’s because all the facets of her art —whether conscious or subliminal— unify as a total perception to nourish the mind, heart, and soul.

Getting back to the show, I was initially struck by the five largest pieces (28 x 36 inches), beautifully presented against white in deep gallery-style frames of natural wood. This “look” is familiar to those who know Kathleen’s art, and enhances the work’s identity as an unique artifact, preserved behind glass, like a rare botanical or zoological specimen. They are titled with reference to the garden theme. In contrast, a separate piece (24 x 30 inches) is presented with its surface exposed in the manner of an easel painting. It looks equally at home, released from behind the glass, expertly varnished in a way that does not distract. Its name is Heaven & Earth, Yin & Yang, Dark & Light, Birds & Trees, Flowers & Bees. My eyebrows lifted as I began to read the lengthy title, but was pleased with the closing rhyme as I finished. This artist always has a quiet surprise in store. Each of the large works is visually distinctive, but very much a cohesive part of a series unified by her long dedication to compositional abstraction, to a consistent theory of color, and to diligent mark making.

The large piece titled Garden for Queen Anne’s Lace is marked by a cellular pattern resembling microscopic tissue, which, while remaining highly abstract, transforms itself into a flower garden, with an interesting emphasis on each “drop of Queen’s blood” that, when closely examined, becomes a dance of circles, squares, and triangles —a dynamic that exemplifies Kathleen’s knack for taking the observer/participant through layers of meaning. The design also incorporates the application of illustrated postage stamps. Kathleen is never far removed from a devotion to cultural references and ephemera, and her Joseph Cornell influences are ever present. A fine example of this are four pieces dedicated to bird-species (16 x 20 inches) that combine found printed patterns with her typical labor of liquid media. Nests are created with random shards and colorful scraps. Dried and painted star-like blossoms effectively merge the organic, symbolic, and celestial. In Kathleen’s collage there are many allusions to language, both literal and archetypal, and here we discover many fragments of the printed word, as well as her “trademark” calligraphy. I was particularly drawn to Garden for Blue Grosbeaks, a strong arrangement of symmetrical and asymmetrical elements that carries out more of her evident investigation into fundamental shapes —circle, square, and triangle. These compositions are anything but static, a characteristic of Kathleen’s art built on a myriad of ways in which she provokes eye movement by simulating the dynamic patterns of nature, often with the application of actual plants and minerals. A perfect case in point is 9 Bird Eggs (30 x 30 inches), with its nimble use of botanicals most artists would overlook as raw material, through which she creates a variety of rhythms within a formal, 3×3 grid structure.

I should mention that Kathleen’s control of what I call “implied viewing distance” is masterful. Enjoying her watercolor effects and hidden treasures up close is inevitably a satisfying experience, as is true with much of current small-scale mixed media collage, but her pieces also can be savored at a distance. I found myself continually studying a work from across the room and then, taking off my eye-wear, sticking my nose near the glass to examine fine detail. Whether from this point of view or from half a block away, Kathleen’s distinctive impression is always recognizable, an enviable accomplishment for any artist. For example, both Royal Lily Garden and Staple Garden contain brushwork that only can be achieved by someone who is continuously handling liquid on a tool and is fully at ease with her surface. On the other hand, she uses this micro-fluency to create the intended multi-layered depth of her macro-composition, and yet I was constantly invited to step back into the intimacy of the picture plane, much as one feels when standing back to admire a flower garden, while being compelled to converge at hand’s length, only to spy a miniature surprise —a dutiful pollinator or tiny feat of nature’s diversity within repetition.

With my fixation on the bigger paintings, it was too easy to neglect the smaller items, so I had to instruct myself to visually isolate and appreciate several other works. Two of these were within squares, and each have treatments not as pronounced elsewhere in the exhibition. Feathers uses paper itself as a dimensional medium, and The Blessing of Rain features a darker atmospheric background —a shimmering chalk texture that makes me wish Kathleen would more intensively explore the potential of pastel effects. In addition, there are three bird portraits (9 x 12 inches), with coatings of what appeared to be beeswax, which recall for me the investigations of 19th-century naturalists. My favorite is Garden for Eastern Bluebirds, with its deft pencil work and luscious color palette. Kathleen pushes her highly capable layering beyond technique to create a sense of time distortion, an interplay of wildlife and cultural antiquity that makes certain the work is much more than a lovely rendering of birds. Throughout this outstanding show are many such allusions to natural and human-made cycles that fuse the worlds of growing things and a striving race that has always responded with symbolic culture to seek a balanced place in the scheme of life.

Indeed, Kathleen O’Brien has found her place. With a home studio close to nature, and a creative passion that distills her observations and meditations through heart, head, and hand, she is a gold-medal artist of the soul.

© 2012, John Andrew Dixon

Garden for Eastern Bluebirds and Garden for Scarlet Tanagers
by Kathleen O’Brien

March-Ex VI: fell short on day twelve

Monday, March 12th, 2012

“If I believe I cannot do something, it makes me incapable of doing it. When I believe I can, then I acquire the ability to do it, even if I did not have the ability in the beginning.”
— Mahatma Gandhi

Spent much of the day on self-promotion and never quite managed to get the grand exercise in gear. Glen Bishop replied, “I wish you wouldn’t have said that.”

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Mere Habitation

March-Ex VI: sought art on day eleven

Sunday, March 11th, 2012

“I could see no reason why used tram tickets, bits of driftwood, buttons, and old junk from attics and rubbish heaps should not serve well as materials for paintings; they suited the purpose just as well as factory-made paints.”
—Kurt Schwitters

The matrix is abandoned. Is it March or not? Dana and I traveled to Louisville to see a group collage exhibition at Hard Scuffle Gallery. One of the most satisfying opening receptions I have ever attended. Caitlan and Kyle walked over to join us, and we presented our congratulations gift to him—the unusual ceramic cast by Igor. Bob and Meg attended and wanted to have dinner with us. My intention was to make it back to the farm for Mission: Madness, but the schedule went to pieces. I really hated to stand up my Pal-zee. It was a joy to re-connect with these friends. We are all at the age when it becomes a challenge to maintain the continuity of our self-employment and stability, but each of us does our part to navigate the waters with purpose and a semblance of dignity. Schwitters was the great example of always moving on to the next thing in the face of adversity, yet preserving a dedication to his unifying artistic vision. Would he disdain my current fixation on his “style?” Most likely. But an artist must absorb all one can from influences, modify one’s own creative code in the process, and venture on toward greater individuality. Bert Cooper said, “Get on with it!”

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To Pay Paul

March-Ex VI: faced anxiety on day nine

Friday, March 9th, 2012

“I think I grew in different ways—just that it didn’t break me, I didn’t really just quit. There were moments when I was definitely close.”
—Taylor Kitsch

Dana told me, “Just remember, these are your friends, and they want you to do well.” With that helpful suggestion, I finalized my PowerPoint presentation and headed out to address the club that I’d quit nearly three years ago. It’s funny how nagging insecurities and self-doubt can get in the way of achieving a straightforward goal. I decided to do this. I knew I was fully knowledgeable and capable of pulling it off. And yet, somehow, the lead-up was all about overcoming the fear of failure. The ability to perform is in my bones, I guess, but speaking in public has never come easy for me. I thought to myself, whatever you’re dealing with, there is nobody more on pins and needles today than young Taylor Kitsch. So I picked up the microphone, smiled, said, “Thank you, Danville Rotary!” and shared my passion for bicycling. John Carter ordered, “Get on!”

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A Cult of One

Indebted to Merz

Tuesday, February 28th, 2012

Three of my works have been acquired by the Ontological Museum in connection with the centennial of collage, 1912–2012. No visual art form is more vital than collage on its one-hundredth birthday. Certainly there are antecedents in mosaic, the fabric arts, and various folk traditions, but the art historians have decided that either a Frenchman or a Spaniard crossed a significant threshold a dozen years into the previous century. Some may continue to debate whether collage as a technique was “invented” by Georges Braque or Pablo Picasso, but in my considered view, the seminal genius of the medium was Kurt Schwitters, perhaps the first modern artist to fully master the process. That should be no surprise to anyone who follows this blog.

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A living master

Friday, January 27th, 2012

“I have been told often enough that I have a sense of humor that makes strong men faint and women reach for weapons.”
— Gene Wolfe

If you enjoy a highly imaginative, superbly written short story, please don’t overlook Gene Wolfe. Best recommendation Bruce ever made to me.

Clan Valley ~ the place to go . . .

Sunday, November 27th, 2011

Out of the blue — a rare eagle-eye view!

Recently I had the great fortune to enjoy a flight in a small plane with a pilot who is a fellow bicyclist. Earlier in the summer he mentioned that I should go up with him, but I forgot about it until I received his invitation by email. I was excited to join him, and I was prepared to share whatever he wanted to do. Unexpectedly, as soon as we departed the airport vicinity above Junction City, he asked me what I wanted to see. And so I happily guided him to a destination in the Casey County knobs — for any red-blooded member of the Dixon Clan, it was unquestionably the “place to go.”

This is the part of the story where clearly I should provide some kind of apt description of just how magnificent that experience proved to be. Instead, I hope that a few pictures will capture the perspective better than anything I might write. I hadn’t been in a position to do any aerial photography for at least 15 years or more. At that time, I had borrowed superior camera equipment and was in an aircraft which enabled me to hang out an open window with Dana clutching my belt. Because I was on the clock for a client that day, the idea of heading toward Blue Bank Road wasn’t in the cards. This time around, I only had our inadequate digital, and the plane windows were picking up a lot of glare, so I did my best to grab some decent angles in the time available, falling short of the desired “full coverage.”

There was also a significant degree of turbulence that morning, and when my friend offered me the controls, I declined, believing that the constant bumpiness would deprive me of any true “feel” for whatever modest adjustments I would be brave enough to make. Nevertheless, one can’t ascend in a small craft without being gripped by the wonder of flight. We were soaring with the land, just as pioneering aviators had done. As we circled through Marion County, past Forkland and into the Boyle County I had crisscrossed on a bike for nearly 20 years, my “sense of place” shifted abruptly from a ground-based familiarity to an eagle-eye awareness. I was struck with the thought of my father leaving behind his life as a pilot, giving up flying after he had known these same awesome perceptions far more profoundly than me. Why? Was it the unpleasant “baggage” from too many wartime hours in the air? Was it the power of youth’s love for field, river bottom, and the woodland creatures of a surface world? Or was it something else entirely?

For John Edward, there must surely have been times during that first decade after the Pacific tour when he faced an opportunity to reclaim the sky. A different vision must have taken hold not long after he came home—a vision of family and fatherhood that had no meaningful role for skills he had learned, taught, and then relied upon to survive a hazardous duty. Perhaps he had read Antoine de Saint-Exupéry, the famous French writer and pioneer of flight who was lost over the Mediterranean in 1944. Of Saint-Exupéry, David McCullough says it best for me:

Central to all he wrote was the theme of responsibility. In The Little Prince, it is the fox, finally, that tells the Little Prince what really matters in life, by reminding him of the flower, the single rose, he had cared for at home… “Men have forgotten this truth,” says the fox. “But you must not forget it. You become responsible, forever, for what you have tamed. You are responsible for your rose.” Writing of his friend Guillaumet, an intrepid mail pilot, in Wind, Sand and Stars, Saint-Exupéry said that moral greatness derives more from a sense of responsibility than from courage or honesty. “To be a man is, precisely, to be responsible.”

Responsibility. Any of us would be challenged to find another word that better fit the man we knew as Grandy-bo, Dadbo, Eddie … that handsome young man of the open sky who would return to earth and become the founder of our Clan.
 
 

Aerials taken on Sunday morning, November 6, 2011.
Click photos to enlarge.

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This is Clan Valley — the place to go . . .

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The heartland of our Clan, the vision of a man . . .

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The Blue Bank Farm and family cemetery . . .

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The “Heartyard” and home to our Clan mother . . .

Realm of Greystone

The Realm of Greystone includes Knob End . . .

New Cabinhood

The former Cabinhood recently changed hands . . .

The Shire

The Shire — newest addition to Clan holdings . . .

to California by train ~ part five

Wednesday, November 23rd, 2011

No major outings today, since the B’bach family is settling into Thanksgiving mode, but we did have a good lunch with Lauren and Kellie at the Dos Coyotes border restaurant here in Davis. I continued to correspond with JMM, who is in LA for the holiday (both of us in the same state, but so far away). He responded to my curiosity about the California light with these wonderful words, “Oh yes, my friend, the light is different out here. When the early 19th Century painters took their stuff back east, people exclaimed that light simply does not do what it they showed it to do in the West. Imagine Half Dome or El Capitan revealed from a mile or two, but without air to blur and soften. Can’t be done, they said. From there, we seem to love our American West very much for its revealing Air (Spiritus) and the inspiring of it (Inspiritus). The freedom from the well-worn assumptions of the American East (which is hardly ever capitalized) is necessary for the likes of us that need a new perspective now and then. Your ideas are more likely to be met graciously out West.” Mike is doing fine, but he misses his late father, of course. Oh, I know how it feels. It’s nice to see Dana so relaxed and full of smiles during the lead-up to this holiday. I suppose that part of this adventure is meant as a distraction for us, as we observe our first Thanksgiving without Bruce. It is good for her to be with her family. For me, too, and it’s also a mini-sabbatical, as I spend valuable time with books about key Bay-area painters. Looking at reproductions of Thiebaud’s pie paintings while the house is filled with the fragrance of actual pies baking was almost beyond my endurance. When the young generations left tonight, Bill and I made dinner together. The four of us had a great evening of food, wine, and conversation. It was fun to hear all the old stories of the Breidenbach heritage and lore.

pies

to California by train ~ part four

Tuesday, November 22nd, 2011

Lay in bed this morning, waiting for the sun to come up, so I guess my body still hasn’t adjusted itself to the time difference. On another level, I couldn’t wait for the day to begin — and what a day it has been! After preparing more revised documents for the Community Trails Committee back home (I’m all set up for online work in the Breidenbach office), we made an outing to the Crocker Art Museum in downtown Sacramento. I got to see my first Thiebaud and Kondos originals, in addition to many other stimulating artworks. I was stunned by a large Rockwell Kent (he painted the site in Greenland after reaching it by dogsled) and stumbled upon one of the most masterful watercolors I’ve seen in person: “California Oak and Carmel Mission” by Francis McComas. How could I have never realized that the capital of this unique state would have such extraordinary art to experience? Is the light different here? Something about the sun on the autumn trees across from the Crocker seemed especially unusual.

Crocker Art Museum

to California by train ~ part three

Monday, November 21st, 2011

We grabbed a table in the lounge car for an early breakfast. That first sip of hot coffee tasted good after my miserable night. I had shifted from one spot to another, trying to find a minimum level of comfort, including a stint on the floor at the back of our coach car, where the attendant usually stows the vacuum cleaner. For some reason I still can’t stay reclined in my seat for very long. The ugly scrub east of Reno gave way to an increasingly beautiful climb into California. Now I must read the late Eckert’s account of the Gold Rush to fully appreciate this majestic country. Today I shall just soak it all in visually. I keep my camera handy, but most of the cloudy views are for the fleeting eye only. On the long, slow ascent up the Truckee River Canyon, each snow-topped pile of rock or dusted pine was its own quiet work of art. On through the “big hole” to top the crest of the Sierra Nevada range past Donner Lake, and we now begin our descent to the anticipated destination. It’s intriguing to contemplate reversing this entire journey in another ten days or so. How will I be thinking and feeling differently when that departure time arrives?

Colorado November 2011

Wednesday, October 5th, 2011

He made a big dent in my universe . . .

Steve Jobs

Thursday, July 7th, 2011

Allan W Eckert


Allan W Eckert
1 9 3 1 – 2 0 1 1
He told the
story of America.
R   I   P

Shoot, Munch, Quaff

Tuesday, March 22nd, 2011

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One of the highlights of each year has become my participation in the traditional British Single-Shot Sporting Rifle Match held at Simpson Range. In the busy lead-up to this annual event, I clearly lost interest in a daily log entry for the March Exercise, so now I’ll just focus on applying for the rest of the month my regimen for self discovery, putting aside the blogging ritual. The combination of friendship, hospitality, competition, precision activity, history, fine food, and the joy of life make for a unique weekend that holds a place in my heart to rival September in the Les Cheneaux and our quarterly Clan gatherings. I am a privileged man to have gained access to touchstones of authenticity such as these. John O’Donohue said that “the duty of privilege is absolute integrity.” There’s my food for today’s thought.

Eulogy for Bruce Joel Willoughby

Saturday, January 8th, 2011

Bruce liked animals, games, martial arts, music, entertainment, and public policy, but he was first and foremost a voracious reader — went cover to cover through the Holy Bible at the age of nine, and figured he had read through it again at least ten more times. Beginning as a child, he consumed three to five books a week through much of his life. It was only natural that he would devote himself to writing. Keeping in mind his great love for dogs, here is something penned by his alter ego, Elbo C. Buckminster:

“I agree with whiners, of the last few generations at least, that life is a bitch. But I’m not whining when I say it. Maybe the first person to utter that phrase was misunderstood, maybe wasn’t whining either, maybe, as I, realized that the spark of physical in this plane is protected by Nature, the bitch-goddess, sharp-toothed and warm-teated. And, like any bitch, when her offspring are threatened, Nature doesn’t retreat. She bare her teeth, she threatens, she snarls — and she bites. She won’t give up, no matter how overmatched, until the threat leaves or until she is torn to bloody shreds. So count on Life, your bitch-mother, for she’ll not abandon you easily. But respect her. If you misbehave, she may snap your little puppy head off.”

As most of you know, Bruce lost his solitary kidney in his mid 20s and spent 71 months on hemodialysis before gaining a transplanted organ, which would serve him for eight years, until he lost it while battling the devastating inflammation of his pancreas that left him gravely ill, hospitalized, and clinging to life for nearly a year, during much of which he could take no food or water by mouth. By his own account, “I died a few times — three or four, I don’t know — and at least once they were ready to call the time of my death, but one of the ICU nurses refused to give up on me; I guess she felt I still has some fight in me, and she was right.”

Indeed. When he was finally released to tenuous home care, we were told that he was only the second patient in the 100-plus-year history of that Indianapolis medical center to survive such a severe pancreatic hemorrhage. We never learned anything about that other person, but we came to know a Kentucky man named Nathaniel who defied similar odds at UK Medical Center well below one percent, and he helped us preserve hope during Bruce’s darkest days. That was 2005. But even more significant to us than Nathaniel’s kindness — and, of course, the support and encouragement of so many friends and family — was Bruce’s own valiant, grinding effort to meet daily challenges more daunting than it seemed any human being should have to face.

Later (this was 2006, April), to a standing-room-only group of us who met on Sundays to share silence, in perhaps the most awesome extemporaneous public commentary I’ve heard — one of those powerfully unique, you-had-to-be-there moments — Bruce told us that he made it through those grueling months by virtue of what might be understood, as he put it, “lying fallow,” a spontaneous, involuntary suppression of normal cognitive and emotional activity, and I have no reason to doubt it, since he retained only a partial memory of the ordeal. There were times he was so fragile that the doctors could give him no pain medication, even after major surgery. Dana and I will always remember that during the worst of his pain, he told us that he was able to endure it by reminding himself that Christ had suffered even more. Any faith in the future we managed to keep was inspired by this, Bruce’s own profound inner focus and his refusal to quit. Bruce wrote:

“Perhaps this is what Jesus meant when he said, ‘if you but had the faith of a mustard seed’—not belief, but faith. Faith doesn’t require belief, but a deeper knowledge, an intuitive awareness of possibility, even a denial of reality. Faith flies in the face of truth. So while I feel in my bones the existence of a being we, in our ignorance, call God, and the existence of an energy level beyond this lowly one of rock, flesh, and death, I refuse to qualify, quantify, or classify it, because to do so takes me further from the truth, not nearer.”

At long last, he was discharged to confront what he knew to be a difficult three-to-five-year recovery at best, with more surgeries and a relentless cycle of dialysis. Family and friends— that was five years ago. In fact, he went home after that first long hospitalization on Christmas Eve, and that was exactly five years ago this past Christmas Eve. Bruce had completed that journey of recovery, had made a transition, with his mother’s help, to a new, less debilitating method of in-home care, and was optimistic about his chances for another transplant, with a return to school to fulfill his original goal of becoming an English teacher. And then, after all that, the earthly saga of Bruce Joel Willoughby came to a close — when his soul abruptly flew from a physical organism compromised by so many years of precarious health.

We are here to comfort each other in sorrow, but more importantly, to celebrate Bruce’s life, to be inspired by it, as I have been, and to accept that some things can never be understood on this side of the curtain. It brings us once again to the words of Cockburn, who Bruce admired most as a musician and songwriter (and it went well beyond their sharing the name of Bruce):

An elegant song won’t hold up long
When the palace falls and the parlor’s gone.
We all must leave, but it’s not the end.
We’ll meet again at the festival of friends.

Smiles and laughter and pleasant times—
There’s love in the world, but it’s hard to find.
I’m so glad I found you; I’d just like to extend
An invitation to the festival of friends.

Some of us live and some of us die.
Someday God’s going to tell us why.
Open your heart and grow with what life sends.
That’s your ticket to the festival of friends.

Like an imitation of a good thing past,
These days of darkness surely will not last.
Jesus was here, and he’s coming again
To lead us to his festival of friends.

Bruce was troubled in body, but strong in spirit. One didn’t have the sense that he was in decline, but quietly fighting toward a crest, ever determined, never in retreat, but slowly gaining ground, inch-by-inch against insurmountable odds. Always the chess player, he would find a way to extend the end game one more move, one more cunning evasion against near-certain checkmate, yet unafraid of passing, if a stalemate was declared. I doubt if there was anyone except his mother who really understood how hard he tried, including me, but I never lost sight of how incredibly remarkable he was among everyone I’ve ever known. There were times when it seemed he held intact his presence here by sheer force of will. For me, he always will be the true “Impossible Missions Force of Nature.”

It is fitting that we close with Bruce’s re-creation of his summation from those memorable words he delivered in April of 2006, which he titled, “HAH! MISSED ME AGAIN.”

“I leave you with this thought: If you have unfinished business in your life, get to it. Be it mending relationships, expressing yourself creatively, getting involved in community service, going for your dream job, returning to school, or losing weight — get to it. You may not be rewarded with a better economic life, or a longer life, or a happier life, but I guarantee you will be rewarded with a worthwhile life, a satisfactory life, whether it end tomorrow or ninety years hence.”

Various & Sundry, part eighty-five

Thursday, December 30th, 2010

I do not write regularly in my journal… I see no reason why I should. I see no reason why any one should have the slightest sense of duty in such a matter.
—Occupant of The Hall Bedroom

— Year of 2010 workout totals: Swim-35; Bike-40; Powerwalk-3; Run-0; Lift-0; Pilates-0; Lupus Drills-0

— There is no good justification for having any of these annual numbers come in under 48. I managed to preserve some level of basic fitness this year, thanks only to continued pool access and my fondness for being on a bicycle, but I can’t kid myself—if I don’t reverse this slow decline in vigorous activity, I shall pay a price over time, and it will be a price I can’t afford. My hope for 2011: a new momentum of exercise that will result in a more balanced routine, with 7-10 pounds of weight loss by my birthday.

— The best exhibitions I’ve experienced this year? The ones that occur to me now are the Surrealism show at the Cincinnati Art Museum, the California Impressionists show at the Dayton Art Institute, and the Collage show at Northern Kentucky University. I shall not soon forget seeing my first original Schwitters collage or Cornell box. I am challenged to learn more about Louise Nevelson, Hannah Höch, Alfred Mitchell, William Wendt, Percy Gray, Matthew Rose, David Wallace, Cecil Touchon Janet Jones, Dennis Parlante, and Stephanie Dalton Cowan.

— One of these days I’ll start to fully comprehend what mobile technologies portend for my creative work style. Believe it or not, I still don’t know what to make of these changes in communications. They seem to be touching everything, even my annual experience at Barefoot’s Resort. Being able to have a MacBook Pro and access to a wireless broadband connection changes everything about staying on top of project priorities while out of the studio. Bullets showed me his Kindle and I liked it. I didn’t expect to. Everybody around me seems to have an iPhone. How can I stay abreast? How can I hope to remain a communication designer amid all these transformations?

— Dana’s blunder with the non-existent gas line sent me into a bit of a tailspin, until I realized that tearing apart my work space in the basement would probably result in a better situation after the dust settled. Lesson: disruptions can be opportunities. I need to embrace change more, as I used to do. Look at how Dana has taken on a new discipline with Bruce’s in-home dialysis. We all tend to make room for what we consider the most important things, and that includes procrastination.

— Very well . . . here I am at the close of another year. I can’t change a single thing about the past. In hindsight, the preceding weeks look like some type of malaise. Not that there haven’t been a few highlights, such as the Safariland Doe with my solo harvest at Blue Bank Farm, or the recent push to restore our conference room, but overall it has been a dismal quarter. Enough with the negative. I have the new-year opportunity to shake off the “humbug” and get it together. There’s always the historically strong motivator of Resolutions, to reboot my priorities and catalyze a new momentum that would carry me toward my 60th birthday in 16 months. Time to plot a systematic, gradient escalation to full engagement— physically and mentally —to balance professional, financial, and artistic activity. Reclaim it!

V & S

Sir Ben . . .

Wednesday, September 29th, 2010

I highly recommend this Kingsley “trifecta” for your viewing pleasure:

1) House of Sand and Fog with Jennifer Connelly
2) Elegy with Penélope Cruz
3) You Kill Me with Téa Leoni

Oldenday XIII

Friday, August 27th, 2010

Teachers and school boards should embrace comic books and graphic novels as a “gateway” literature, helping children transition towards more complex narratives and helping boys catch up with girls in reading achievement, according to a new study.
—Giuseppe Valiante, Postmedia News

I was thinking it might be about time to add another entry about “The Legend” to this neglected series, but then Joan passed along a link from the Vancouver Sun that forced me to ask a question: Were comics a key aspect of my own progress toward literacy?

It’s gettin’ kinda hazy, but I recall being heavily into the Hardy Boys as a pre-teen, and comic books were a treat, like the Saturday morning “Treasure Chest.” (Remember Chuck White, or This Godless Communism?“) As readers, we used to add little summary cards to our handmade “books pocket” —until junior high years and the move to Tipp City, and then the comics craze struck with a vengeance. We even managed to scrounge funds for subscriptions! (Jimmy Olsen? What were we thinking?) I recall few youthful activities as pleasurable as absconding with an “80-Page Giant” of Bob Kane Batman stories after school (on a day that I’d made a midday trip to “Jointer’s” lunch counter). DC reigned supreme, but we still liked Casper, Wendy, and Hot Stuff, too. We couldn’t get our fill, so we hunkered down with Superman whenever we made a visit to Pam and Lottie’s. “Superman Red and Superman Blue” was the pinnacle experience. Sadly, for me, everything was downhill from there. And when someone let that litter of kittens make a stink of our comics box, the era came to a ignominious close. I moved on to Edgar Rice Burroughs, Jules Verne, and Raphael Sabatini.

Should I be marked down as a statistic?

Oldenday…

Inestimable vacuum

Tuesday, March 23rd, 2010

March Exercise V —day twenty-three— Sometimes a book will accidentally get shoved behind the others on a shelf, and that’s what happened to my copy of “High Performance Health” by John Yiamouyiannis. Thinking it was long lost, I discovered it was only hidden. After a bit of skimming, it didn’t take me much time to remember that he’d outlined one of the best, most practical anti-cancer regimens I’d ever read. Ironically, “Dr. Y” died of cancer in 2000, and he was about my age. I’d lost touch with him in the 90s and, needless to say, I was stunned at the news of his demise. I can only conclude that he became so tirelessly devoted to his crusade that he neglected his own program. The other possibility is that he was covertly murdered, which wouldn’t be impossible for me to comprehend, given the powerful enemies he made over decades of bitter lawsuits and uncompromising activism. I can’t help but wonder what he’d think of the sweeping federal legislation just signed.

Today’s sight bite— The initial shock of the garish turf —c-l-i-c-k— as I first set my eyes on Centre’s all-synthetic football surface.

Previously on M-Ex— The Muse comes through for me. (3/23/06)

Tomorrow— Local cyclists gather for a group ride…

Dr.Y

Sunday, March 14th, 2010

PeterGraves_RIP


Peter Graves
1 9 2 6 – 2 0 1 0
a great talent
a personal icon
R
I
P

Awesome bevy

Monday, March 8th, 2010

March Exercise V —day eight— The clock ruled the day, and it was 7 pm by the time I finished the photo-retouching for the next newspaper ad in the Jacob series. I’m astonished with how much I’ve broadened the exploration of music advantageous to my studio work, now that I have a Macintosh powerful enough to handle iTunes and Pandora.com while running intensive graphic applications. The ability to follow with minimal impediments one’s own evolving musical tastes is yet another fantastic benefit of the rapid advances in content delivery. For the first time in my life, I’m genuinely enjoying the output of great female vocalists, and have been drawn lately to the classic Portuguese samba and bossa nova tunes as a perfect adjunct to many of my typical daily tasks as a graphic designer. And, my goodness, no other ladies possess “that sweet beat” quite like Maria Rita, Gal Costa, Roberta Sa, Vanessa Da Mata, Carol Saboya, Rosa Passos, Nara Leão, Bebel Gilberto, and so many others. Maybe it’s that early infusion of Lalo Schifrin that predisposed me, but, damn, it sure took me long enough to come full circle and discover Cal Tjader, Bebo Valdés, Tito Puente, and all the others.

Today’s sight bite— The familiar smile of my “bay-bo brother” —c-l-i-c-k— making a diagnosis on two different ailing vehicles within a dozen minutes.

Previously on M-Ex— The momentum is placed in service to some of my finest works of collage. (3/8/07)

Tomorrow— Vision Therapy session number eight…

Bossa Nova

Gifted performances

Sunday, March 7th, 2010

March Exercise V —day seven— I completed most of the items on my checklist, including treating the lawn with about a hundred pounds of pulverized limestone that I got from the library construction site when they drilled bedrock for the geothermal system. After that, I spread a bag of grass seed, counting on it to rain before the birds get to picking away at the yard. As usual, the day went by too fast, and I found myself settling down to watch the Academy Awards show. I hadn’t found it watchable since John Stewart played host a few years back. I was disappointed when Plummer lost, but I liked it when UP got the Oscar for best original score—that theme had me emotionally hooked within the first five minutes. I also dug the dance number used to exhibit the soundtrack nominees. Clearly the best outcome of the night was the statuette for Jeff Bridges, one of my favorite guys since The Last Picture Show. I was a big fan of his dad, and it was so cool when he mentioned the Sea Hunt series, which probably influenced my lifelong desire to spend time in the water. His remarks giving credit to his parents were an uncanny parallel to Mombo’s sentiments of Friday evening. Indeed, personal achievements are an extension of our mother’s and father’s character, but especially if they have admirably performed their roles.

Today’s sight bite— A craftsman holds high his token of recognition —c-l-i-c-k— and demonstates true sincerity in a shrine to false humility.

Previously on M-Ex— I balance real progress with out-of-reach ambitions. (3/7/07)

Tomorrow— Back to the weekday regimen…

Sea Hunt