Thursday, June 14, 2012

Today In History, June 14, 2012

On this day in history...

Today in 1777 the Continental Congress adopted the Stars and Stripes to be our American flag, replacing the Grand Union flag.

Today in 1834 Isaac Fischer, Jr. of Springfield, Vermont patented sandpaper. From that day on, if you rubbed someone the wrong way you now had a tool to smooth things out a little.

Today in 1870 the all-pro Cincinnati Red Stockings suffered their first loss in 130 games.

This day in 1881 the player piano was patented by John McTammany, Jr. of Cambridge, Mass. The following evening the Piano Instructors Guild met to decide whether they should organize a nationwide strike lest the new machinery put them out of their jobs.

This day in 1933 Lou Gehrig and Joe McCarthy were thrown out of a game. McCarthy was suspended for 3 games but Gehrig was not, so he could continue his streak at 1,249 games

Today in 1941 Estonia lost 11,000 inhabitants as a consequence of mass deportations into Siberia, a memorably grievous loss.

This day in 1942 Anne Frank began her diary.

And finally, on this day Bernard Baldwin (1942-2005) was born in Berlin. His father, whom he never met, was an officer in the German Reich who lost his life during the siege of Stalingrad. His mother, who had been in theater before the war, instilled in him a love of literature. His grandfather had been a skilled glassblower, and despite the family’s poverty after the war he was surrounded by beauty.

He moved to Paris after attending the university, but chose not to settle there and decided to travel, experiencing countless foreign cultures while writing essays and stories which occasionally found publication in obscure literary journals. In his mid-thirties he was courted by a Danish woman who lived in a castle on the outskirts of Copenhagen where he spent the next eight years of his life writing a novel and learning to play jazz piano before becoming a wanderer once more. As an author Baldwin published three volumes of poetry (he has often compared to Rilke) and four volumes of essays pertaining to his travels, most significantly Flames and Ruins. He would have been 70 years old today.

Here is a poem by Bernard Baldwin from his second collection of poems, An Angel Once Slept Here.

The Whirlwind

I stand within the whirlwind,
The wind within me whirling.
Do I stand outside myself
To experience this tempest swirl
Of dynamism and confabulation
Or am I inside looking out?
I’ve lost my footing, thrust forward,
In flight, airborne on spirit wings
Unfettered by strings
And in amazement my voice has been found…
I can sing.


EdNote: Pictures by ed newman. Bernard Baldwin is a work of fiction. 

Featured eBook of the Day: The Breaking Point and Other Stories

Tuesday, June 12, 2012

Something About the Water

Every field of endeavor has its slogans and the arts are no different. "Ars longa, vita brevis" has been attributed to the Greek physician and philosopher Hippocrates, famous for the Hippocratic Oath which persons in the medical professions swear by. ("First, do no harm.")

In the early 19th century the slogan l'art pour l'art' (Art for art's sake) was adopted as central to a movement that sought to liberate art, poetry and creative expression from the need to be utilized for causes or other purposes beyond its own existence. To some extent it was a reaction against pressure to use art as an evangelistic tool or to promote political or commercial ends.

To my knowledge, however, there is no universal philosophy to which all artists swear by, and for this reason art has been used for every imaginable endeavor from leading revolutions to winning a young maiden's heart to decorating a living room to inspiring a song.

Nor is there a universal subject matter for artists. Visual artists are often captivated by light. Many artists, Van Gogh for example, filled canvases with images of daily life, from shoes to farmers harvesting. Portraits are a common theme, especially when it comes to people of importance. A new portrait of the Queen of England was unveiled this week.

Nevertheless, there are some recurring themes that run through much that is created by artists. One of these is nature, and here in the North Country this is accompanied by a deep appreciation of and respect for the great lake that our city on a hillside stretches itself against as if in a passionate embrace.

All this is preface to a modest but interesting art show that is on display in the dining area of Duluth's Whole Foods Co-op from June 6-28.  Several local artists are involved in this group exhibition aimed at raising awareness for water-related issues leading up to Lake Superior Day in August. The exhibition, called Respect Protect Fulfill-We Humans Need Water to Exist will be followed by Tonya Borgeson's solo exhibit June 29 through August 7th called Waters, What about the Waters IV. The artists whose work is currently featured in June include Kristen Anderson, Tonya Borgeson, Sarah Brokke Erickson, Maritn DeWitt, Adu Gindy and Ann Klefstad.

Borgeson’s aim with this show is to increase the viewer’s global awareness and appreciation for the interconnection of all life. “Water is everybody's business,” she said.

The co-op, in case you were not aware, has some very tasty food in their deli for patrons of the store. The enclosed dining area has large windows so that if you face south you can see Lake Superior's vast wingspan, the largest freshwater lake in the world. Many of us take these pristine waters for granted. We are blissfully ignorant of the fact that 1.1 billion people on this planet have no access to safe, clean drinking water. Most of us are unaware that lack of clean water kills more people than war.

The show aims to help us think more deeply about this part of our lives we so often take for granted and to examine our daily patterns and actions related to water usage. I recommend checking it out, even if for no other reason than to appreciate the art for its own sake. Grab something to eat, and take a seat.

What do you think about the world's water crisis? It's something to think about.

All photos here provided by Tonya Borgeson who curated this show. 
CLICK IMAGES TO ENLARGE

Featured eBook of the Day: Newmanesque

Monday, June 11, 2012

Eight Minutes with Northland Painter Aaron Kloss

“By the shores of Gitche Gumee,
By the shining Big-Sea-Water,
Stood the wigwam of Nokomis,
Daughter of the Moon, Nokomis.
Dark behind it rose the forest,
Rose the black and gloomy pine-trees,
Rose the firs with cones upon them...”
~H.W. Longfellow

His paintings of pines and birches show the same affection for nature that once enthralled Longfellow and Thoreau. Northland artist Aaron Kloss, however, works with a paintbrush and not a pen. His paintings evoke mystery and solemnity, and are worth the extra time it takes to find a way to see them in person.


Ennyman: When did you first take an interest in art?

Aaron Kloss: I first took an interest in art as a child. One of my favorite quotes comes from Pablo Picasso: "Every child is an artist. The problem is how to remain an artist once we grow up." During school, art class was something I looked forward to every day. My teachers were so encouraging. I wanted to become a full time artist while in high school. By my senior year I figured I couldn't make much of a living off my art, but I discovered graphic design and the rest was history. I went to North Hennepin Community College in the cities, and later transferred to UMD to finish my Bachelors in Fine Arts. I majored in graphic design, that's where my head told me to go, yet my heart told me to create art. As a graphic designer I worked at several local publications which would feature fine artists in their A&E sections. Designing page layouts for these art editorials got me thinking again of art as a career...

EN: How did you get back into painting?

AK: I picked up where I left off. I love landscapes and geometric style. I wanted to somehow combine those two into painting, but it took a while. I basically just painted in acrylics and explored different styles and ideas. I was drawn to anything graphic in look and feel, anything that featured the color black. I suppose it was the way the black made the colors pop and give them life. Working towards this goal yet not reaching it was frustrating at times and I did give up. Drawing comes naturally to me, but painting was always a huge stumbling block. I worked for years as an airbrush artist and often would grab my airbrush when I was frustrated with my acrylics on canvas. The feel of the airbrush in my hand, the ease I had using the airbrush after years of experience would soothe my creative blocks and give the feeling of accomplishment. I soon noted that I needed a style, something that would be totally unique and unseen before. Something that would give my work a signature, so that people could glance at it and know I had created it. I needed to be different. I needed a style, and once again I began seeking that style through acrylics on canvas and through trial and error my style emerged one Spring day and once I saw it I knew I had found what I was searching for...


EN: Your paintings have a distinctive style. What do you call it and what attracts you to this form of expression?

AK: I love to know what people think about my work. Usually the first thing they mention is the style. Often they ask me how I get the 'squares' on the canvas. Even people who have painted years longer than I have will often ask. I just paint with a square end 'bright' brush. My paintings have several layers, each transparent, showing the layers beneath, giving an incredible depth. In many places, the black gessoed canvas beneath shows through. I would think that my intent to show my process would be the influence behind that. I'm naturally attracted to complementary colored themes in nature. Blue skies and yellow sunsets. Red cardinals and green evergreens. I'm also drawn to vertical themed compositions. That would explain my tall trees in many of my works. The negative space of a blue sky in the background is often the subject matter of my piece. Many times people will comment on what they see in the distance, then realize the huge birch trees in the foreground they completely missed because of the color in the background. The acrylics applied with the black canvas is just intriguing to many people. As far as a name for it ... I've never thought about naming my style, acrylics on black canvas does sound a little boring. Graphic expressionism would be closer to an official name for what I paint.

EN: How does your personal belief system influence your subject matter?

AK: My personal belief system doesn't directly influence my subject matter. Every artist believes something, whether or not that belief emerges in their body of work is up to the artist. I'm a Christian. I'm an artist. More importantly, I don't want to use art to market my faith, and I've never been too comfortable with sacred or religious art. I paint what attracts me, and that would be landscapes. Like my favorite artist Van Gogh, I've had several experiences with Christians that don't approve of artists or artwork. I've almost given up on art after hearing some negative critisism, but I've spurred myself on, knowing I was created to create. Maybe the best thing to say is that I would want everything I say and do and create to be a reflection of the love and grace that God has given to me.

EN: What is creativity to you?

AK: Creativity to me is creating something genuine. To reproduce or copy someone's style would be the opposite of creativity. I don't have a huge interest in taking painting workshops as I don't want to learn how to paint like someone else. I want to be original, one-of-a-kind. Creativity comes from the heart.

EN: Do you have any upcoming shows lined up?

AK: My website, www.aaronkloss.com, has a list of my upcoming shows in the right hand column. I've been very ambitious this year, scheduling shows back to back, but you only live once, and I love what I do, and want others to see my work.

June 2012 
"Urban Oasis" at Jitter's Coffee 102 West Superior St, Duluth, MN


July 24-August 20 2012 
"Intimate Landscapes" at The Vanilla Bean 812 7th Ave (Hwy 61) Two Harbors, MN


September 2012 
"Awesome Autumn" at Beaner's Central Coffeehouse 324 N. Central Ave, Duluth, MN

EN: Where can people see more of your work?

AK: My work can be seen online anytime on my website www.aaronkloss.com, or my blog which features all my paintings and often includes my thoughts for my work too http://aaronkloss.blogspot.com. In person, you can find my work at:

Blue Lake Gallery (Canal Park)
Lizzard's Art Gallery and Framing (Superior Street, Downtown)
Sivertson Gallery - Art of the North (in Grand Marais)

 EN: Thank you.

Portions of this interview originally appeared in The Reader

Sunday, June 10, 2012

Sunday Morning Thoughts On Art

“You know that what you eat you are, but what is sweet now turns so sour…”
~George Harrison 

By Emma Rustan at Washington Galleries
As much as we dislike making judgments about things, we make them constantly. We place things in categories. Good/bad, useful/useless, important/unimportant, essential/irrelevant, playful/serious.... In the realm of art as a young student I wrestled extensively with the question, "What is art?" I had no idea how big a question it was at the time and now, in the second half of my life I find that question still awaits me.

Many of my interviews with artists have been roundabout ways of getting at this question through new eyes. And in some ways they are an attempt to unearth all the corollary questions that it seems tangled up with, most significantly, "What is good art?"

There it is, that "judgment call" that we shy away from. Is it "good" because it was executed with a certainly level of technical skill? I have seen work that is technically good, but felt heartless to me. 

A collection of essays by Noel Carroll is the catalyst behind some of my rambling here this morning. The book is titled Art in Three Dimensions, and it offers a small feast of mental nourishment every time I chew on it.

During last night's nibble Carroll pointed out that Arthur Danto made a distinction between Andy Warhol's Brillo Boxes as art and the actual Brillo boxes in a store as "not art." This is a bold statement in some circles, but it seemed to be a defining moment in Danto's life when Warhol brought the elements of popular culture into the austere museum sanctuaries.

Morgan Pease show at the Ochre Ghost opening Friday.
We all make distinctions. "I like this. I don't like that." Even the artists themselves are perpetually making distinctions. "This is good, this is worth keeping. That is something I will paint over when I need another surface."

Noel Carroll address the issues behind the issues, like when is a pile of sticks more than a pile of sticks? When is it art and when is it just a pile of sticks? He is in a position to make assessments because he has spent a lifetime studying and thinking about what other art philosophers have been writing and saying.

The questions circle back over themselves. What gives art its importance? And why do we try so hard to define what art is and whether it should be defined?

John Heino displayed at the PROVE
James O. Young, in his review of Art in Three Dimensions writes, "Carroll argues that philosophers of art need to refocus their attention on the ways in which art enters the life of culture and the lives of individual audience members."

This statement brought to mind comments that artist and critic Ann Klefstad recently made in a Reader interview.

Not everyone is "an artist," in the way that "artist" has been understood for millennia—that is, someone whose primary job, whose chosen role, is to make stuff in the world (whether temporal like music or physical like sculpture) that is imbued with mind or spirit. But everyone is creative, and every human being is a maker. When that's choked off people die a little. Or a lot. And they stop caring about whether the day or the place is alive or beautiful.

This last statement is really potent to me. Once we stop caring about what kind of places or spaces we live in, we've lost a portion of our humanity, nobility and dignity.

Much more can be said, but it's time again to start my day. A little food for thought from the mind farm.

Saturday, June 9, 2012

Uprooted: A Story of Estonia (Part X)

Background: In 1944 the million man Red Army was finally on the move, pinching in from the East in order to drive a stake through the heart of Germany. The German army was about to begin a hasty retreat, but to stall the westward movement of Stalin's forces the Estonian National Guard was being instructed to hold the line. This was a virtual joke, however, as they were really being used as cannon fodder.


Ralph Kand heard the German Major instructing his officers and knew it was time to flee. He stole the major's motorcycle and headed home to get his mother in an attempt to flee the country. His mother cooperated reluctantly, allowing Ralph to load some of her belongings into a horse-drawn wagon to bring to the sea where they would hope to catch a boat and leave their homeland.

Flight

Ralph knew that riding the officer's motorbike on the open roads was unsafe, so as his mother clip-clopped on the gravel road toward Tallin he rode along paths through the woods that lined the way. After a couple miles, he saw that his mother had stopped the cart and was crying. He rode back, left his bike in the weeds and ran to her. She looked in his face with cheeks streaming. "I cannot go. This is not something I can do."

Ralph could see she had no heart for it. They clasped one another and he, too, cried. He knew he would never see her again. Ralph grapped a small pack of his most personal items, a handful of photos, some letters, a book, and placed them inside her shirt. He limped back to his motorbike and kicked it to life, riding back into the woods.

As he approached the city the trees thinned and he was forced to ride his motorbike on the road north toward the sea. The street merged with another and he paused to get his bearings. Far up ahead he could see a two-story concrete German checkpoint. Without warning the motorcycle stalled. He attempted to kickstart but failed. The street was now empty, a small hill behind him and the outpost a half mile ahead. He again tried to kickstart the bike. Nothing.

His heart began to beat fiercely. After all this, to be left behind terrified him. It was a longing for freedom that impelled him to flee. If the dark blanket of Stalin smothered Estonia again, to live like that would be impossible. This was his conviction.

He pushed the bike forward down the slight hill but again could get the bike to jump to life. He could feel the ground quaking from the rumble of approaching tanks. While sizing up his situation a man came over the rise on a bicycle. Without slowing the man shouted, "They are just over that hill."

The rush of despair was such that Ralph unholstered his pistol and lifted it to his temple. Before pulling the trigger he gave the bike one more kick. It sputtered, then jumped and he took off down the road.

As he sped toward the Nazi guard post his mind raced to guess what to do. He had already determined he could not turn around. He was in his National Guard uniform. The Soviets would fire their guns as soon as they saw him. But what would the Nazi soldiers do? He was riding the major's stolen motorcycle.

He sped forward. The wind rushed against his face. As he approached the two uniformed Germans stepped into the road with their guns raised. Ralph stopped the bike but did not turn off the motor. "The Russians. They are just over that hill. I could hear them. We have to go."

The soldiers were mere boys, fifteen or sixteen. But they were given orders. "Turn it off," the taller boy shouted.

Ralph obeyed.

The shorter boy soldier pushed Ralph to the side, away from the bike. He then walked it over and leaned it against the concrete wall.

"Don't you understand? The Red Army is just over that hill!" Ralph's eyes were wild.

"Go inside," the boy soldier said. Both had their rifles lifted.

Ralph was relieved that they did not notice he was riding an officer's motorbike.

Inside the outpost there were three more Nazi soldiers, one seated behind a small desk, the other two standing, sharing a cigaret. Two of these were youth and the third perhaps in his mid-thirties with an officer stripe.The taller soldier from outside conferred quietly with the officer.

"You have to stay and fight," the officer then said to Ralph curtly. Ralph understood the German, but not enough to explain why it was useless for them to try to stop the entire Russian army.

"This is insane." He worked his jaw and tried to maintain his composure.

"Take him upstairs," the officer instructed. 

Ralph scanned the room, noticed the stairs to his left and turned to face them. A rifle stock hit him sideways, and he limped to the first step. The officer saw the elevated heel on his left shoe then.

"Up!" he shouted at Ralph, standing as he did so. Then turning to the others he laughed, "These Estonian have no heart for fighting."

There were two rooms upstairs and he was ushered into the first where he encountered a barren room occupied by a chair and a small cot.  There were stains on the wall. But there was a window and it was unbarred.

Ralph leaned over the window ledge and looked down. Without hesitation he rolled his feet out and lowered his body, hanging for an instant before letting go. He rolled as he hit the ground, quickly leaping to his feet to grab the motorcycle and take off. If it didn't start he would be a dead man, but then when the tanks got here in a few minutes he would also be dead along with these stubborn Germans.

The motorbike started on the first kick and he slammed it into gear. Without looking back he hunched forward over the handlebars. He could not hear the shouting but he did hear the shot that was fired. It was but one and he was suddenly over the next rise, Tallin and the sea unfolding before him.

CONTINUED
To the best of my ability I will be writing Uprooted each Saturday morning till it is finished.

Friday, June 8, 2012

Tonight, Tonight: A Good Night for Gallery Hopping

The theme was Intergalactica
I can't say enough about last night's Artist Kamikaze IV in which at least fourteen teams were paired for a show which now hangs at the Luce for the remainder of June. Eris Vafias and the Limbo Gallery get the credit for putting it together, and the teams of competing artists get all the enjoyment as the devote themselves to three months of innovation and execution. I will most assuredly be writing more about some of the things I learned in this year's project. But we'll save that for another time as this morning I want to highlight a few happenings for gallery goers to look forward to tonight in downtown Duluth.

In a nutshell, if you do not have time to read any further, there are openings at the Ochre Ghost, the PROVE, the Washington Galleries and the Zeitgeist lobby. If you plan your route, each is two blocks from another, a most leisurely stroll... and if we're lucky the afternoon storms will have dissipated for a beautiful night on the town.

Ochre Ghost


Morgan Pease returns to Duluth for a solo exhibition of his new work. Pease is a young artist in his mid-twenties who hase been fascinated with triangles and movement. He studied paint, print and draft at University of Minnesota Duluth before heading off to St. Paul. He's traveled part of the world and like bicycle-riding. I first noticed his work at the Duluth Art Institute in 2010 and am certain he will be presenting some interesting pieces tonight.


PRøVE Gallery 
If you've been there you already know you love the space down on the ground floor of the Sons of Norway Building. Last night as I was heading in to the Artist Kamikaze opening I stopped to see what's on the docket for tonight's show. This month it will be a photography show featuring work by Ryan Tischer, John Heino, Andrew Perfetti and others. Curated by Richard Hanson, the lights were on early as they spackled nail holes and scratched their heads as to how best to display the many works on hand. 

Washington Galleries
Emma Rustan’s show at Washington Galleries, two blocks up the hill from PROVE, is titled “Goodbye, Blue Skies.” Among other things (according to yesterday's Wave) the event "will include re-creations of old portraits of military personnel, railroad workers and regular people in moments of outdoor leisure. She also has a series inspired by Homegrown Music Festival. The opening reception is from 6-9 p.m. and will include music by Kyle Ollah.

Zeitgeist Lobby
One of the great additions to the arts scene in recent years has been the Zeitgeist Building, Teatro Zuccone and the Zinema. A staple of this venue is the art in the lobby. My brother recently reminded me that my first show in New Jersey several decades ago was in the lobby of a theater in Bernardsville. This month's lobby "gallery" will feature paintings by Robert Dewitt Adams. Adams is new to Duluth, but not new to the arts. His shows at the Seattle Art Museum, the San Francisco Museum of Art and the Brooklyn Museum clearly make one aware that he's been around. Let's give a warm welcome to Mr. Adams.

As for other things happening, stay current by reading DNT's The Wave on Thursdays and The Reader, which has added a number of pages to cover the arts. We have great theater happenings (I suggest the two Tennessee Williams plays) and a vibrant music scene. So...

In the meantime, I do hope I'll run into you tonight on the town. Embrace as much as you are able. And be enriched.

This beautiful piece by Ryan Tischer will be on display tonight at the PROVE.

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