Thursday, June 21, 2012

Jason Huntzinger and the 42nd Annual Park Point Art Fair

About three years ago I flew in to Nashville on a business trip and the city had just been devastated by rains and flooding. As we drove along the highway we could see the immense losses caused by this storm, a whole lumber yard under water, auto dealerships and more. I couldn't imagine the work that would be involved in restoring things back to normal there.

Today, as some of you know, I am getting a close up look at what this kind of devastation looks like. Our beautiful city on a hillside has just been decimated by large volumes of rain, including four inches in one hour at one point. Hills and heavy rainfall can produce destructive flash flooding and Duluth took a beating yesterday. If you have Facebook friends, be sure to look at their photos of washed out roads and cars in sink holes or under water. 

Nevertheless, even though Duluth mayor Don Ness has declared a State of Emergency here, this weekend, June 23 & 24, the 42nd Annual Park Point Art Fair here will go on as planned. Situated out near the end of a seven mile long sand bar, the heavy rains slid back into the bay and the lake so that come Saturday this outdoor festival featuring 120 Midwest artists will go on as planned.

In anticipation of this event I interviewed photographer Jason Huntzinger, who had a piece in our Red Interactive Phantom Galleries Superior show this past autumn.

EN: What is your relationship to the Park Point Art Festival and how long have you been involved?

Jason H: This will be my third year in the Park Point Art Festival. The last time was in 2008. I have been in a few art festivals over the years, not many. It takes a lot to put one together. It would be a very difficult way to make a summer living. I usually have a day job of some sort and don't have the time to devote to that many shows. I am no longer living in Duluth so I thought it would be a good reason to get back up there. Duluth is where I am best known. I am also doing the Minnesota River Arts Festival at the end of July in my new hometown of Shakopee. In August I will attempt to drive halfway across the country to be in the Helper Arts and Music Festival in Helper, Utah, one of my favorite places. It's a great little historic mining town and they have a really good festival. That's my art fair tour for 2012.

EN: What are the hours and what else is happening in terms of special music or entertainment?

JH: The PPAF is Saturday and Sunday 10-5 each day. Not sure what is happening in terms of music and entertainment, I can't see it listed anywhere. Their Facebook page says there will be live music, puppet theater, storytelling and food. It is a great way to spend a few hours. I assume every one has been, but that may not be the case. If you haven't, go. It's a beautiful setting.

EN: How did you become interested in photography and who have been your biggest influences as an artist?

JH: I became interested in photography because it suited my disposition. I picked up a friend’s camera one day about twenty years ago and made an image of a scene in the rain and realized just how transformative a medium photography could be and that was the beginning. I started checking out a lot of photography books from my college library on great 20th century photographers like Alfred Stieglitz, Paul Strand, Minor White, Ernst Haas, Lee Friedlander, etc. Minor White was the first great influence as far as another photographer. He was photographing spirit.

EN: What are you up to now? What do you do for a living?

JH: Since I moved to Shakopee last fall I have tried to get active in the Twin Cities art scene. I've been in one group show at Altered Aesthetics and have other plans in the works, including being in group shows with Duluthians at Cult Status gallery in Minneapolis next month and at Wing Young Huie's The Third Place gallery in the Fall. I've found a few artists here in Shakopee and have been part of an effort to start an arts group. I've been making a lot of photographs of my new hometown.

I also traveled to New Orleans earlier this year with my wife Lisa and came back with enough material to self-publish a book 'A Brief Encounter With New Orleans' which will be available at the Park Point Art Festival.

EdNote: Thanks, Jason. And to everyone... For more information on the Park Point Art Fair this weekend, visit their website at http://www.parkpointartfair.org/ . Hope to see you there.

Photos courtesy Jason Huntzinger. Click images to enlarge.

Tuesday, June 19, 2012

Blog 2000: An Interview with Myself

With the summer solstice nearly here, another milestone was reached today.

Photo by Andrew Perfetti
Ennyman: Today is your 2000 daily blog entry. That’s quite a streak you have going. How does it feel?
EN: Actually, I think there are about a half dozen days I didn’t blog. Maybe once a year or so (I started five years ago) I would skip a day in order to relieve the pressure to keep it going, in case there was a day I didn’t have anything to say or didn’t have internet access. There were a few days I posted twice, though, I don't know if that means anything other than I don't want to feel boxed by a law that demands one entry a day, no more and no less.

Enny: Still, it must take a certain amount of discipline to blog daily like that for over five years.
EN: Actually, I started a dream diary in seventh grade that I kept up daily till I finished high school. After college I started journal writing. As I’d been journal writing daily for thirty years as a way to start my day, I suppose starting each day with a blog entry is similar form of discipline.

Enny: What differentiates your blog from the gazillion other blogs out there in the internet universe?
EN: I started the blog out of curiosity. I wanted to see what blogging actually was all about. After researching hosting platforms I favored Google Blogger to Microsoft’s Wordpress due to ease of use. Then I had to make decisions about content. I initially decided to transcribe thoughts from my thirty years of journal writing and add illustrations to set my blog apart. Most writers are not artists and vice versa, I felt at the time. Before long I discarded the use of my journals as a startpoint because I found blogging such a natural thing to do I didn’t need the crutch to lean on.

Enny: How has the blog evolved since you started it?
EN: Initially I wrote about anything and everything, whatever I was thinking about that morning when I woke up. My interests are fairly broad so the subject matter was all over the place. Eventually, because I had produced so many pictures to illustrate my blog a few friends said I should have an art show. This led to my becoming more serious about my art. (I had been an art major in college.) It also led to the narrowing of focus to being more about the arts and especially the local arts scene rather just about me.

Enny: You don't seem to mind talking about yourself sometimes though. I mean, you're interviewing yourself here this morning.
EN: And I interviewed myself once before as well, but generally I attempt to approach my subject matter as a journalist would, in a somewhat objective way that gives readers some kind of take-away at the end, including this silly exercise here today.

Enny: Any suggestions that would help others who are getting started as bloggers?
EN: Be patient. Be consistent. Keep at it. Have something worth saying and continually care about those you are writing for. I gotten to know many interesting people through this experience. 

Enny: I see that you make references to Dylan a lot. In what ways has Dylan influenced your life?
EN: I wrote about this during Dylan days. If I find the link I will post it.

Enny: What other kinds of music do you listen to? It’s not all Dylan, is it?
EN: Hardly. Bluegrass, jazz, classical… Arlo, Miles, classic rock like the Beatles, Stones, the Who, Joe Cocker… and some new age stuff. But yes, a lot of Dylan.

Enny: Over the years you’ve done a lot of movie reviews as well. What are some of your favorite films of all time?
EN: That’s such a hard question. So many great films. Here are a few I have watched five times or more… Groundhog Day, Zelig, A River Runs Through It, No Country For Old Men, Educating Rita, 2001: A Space Odyssey, Kubrick's Paths of Glory, Beetlejuice, Dirty Rotten Scoundrels, It's a Wonderful Life, The Mission, The Truman Show, Vanilla Sky...

Enny: What about authors… Who have been your biggest influences?
EN: Jorge Luis Borges, Hemingway and Andre Gide. 

Enny: How much of your blog content is true and how much is fiction?
EN: To some extent this interview is probably fiction. I am projecting an image of myself that is the ying side of my yang, or the visible fruit and leafy part of a tree which has an equally complex roots system. But it is what it is.

Enny: Is it a challenge working full time and trying to be a blogger and artist? 
EN: It would be more challenging to not be working full time. At least I have the money to buy art supplies and a work space, among other things. I think if I had more time I would read more, but there are only so many hours in a day.

Enny: Do you have any regrets?
EN: Yes. There are things I've said that I wish I'd never said and people I have hurt that I wish I didn't hurt. And decisions I made that I wish I didn't make. But we start anew every day and do the best we can. That's what I like about the movie Groundhog Day. Today's another day. Maybe I can do it better this time.

Thanks to all who have encouraged me on this blog journey over the years. It meant a lot to me every time.

Monday, June 18, 2012

Art Thots Stimulated by Recent Readings

"Thus the figural distortion of German expressionist painters is not dismissed as an inept attempt at verisimilitude and, therefore, as defective or pseudo art, but as an intelligible and well-precedented artistic response – a revolt – against realism for the sake of securing a widely and antecedently acknowledged artistic value, namely expressivity.

"It is an expectation of artists that they be concerned to make original contributions to the tradition within which they work. These contributions can range along the creative scale from slight variations in established genres to wholesale revolutions. ... However, as in conversation, the contribution must also have some relevance to what has gone before – otherwise there simply is no conversation."

Noel Carroll, Art In Three Dimensions 

Thoughts in response...
1. This is why teaching art history is important.
2. This is what made Dylan a significant songwriter when he emerged in the 60’s. He had immersed himself in the history of folk music; its roots, its themes, its modes of expression. He was also aware of the cultural situation of his time. He wasn’t just writing love songs. He was responding to the “great conversation.”
3. No philosopher worth his or her salt would skip the study of classic philosophy before undertaking the development of a contemporary voice.
4. Yet in art, we often want to suggest it is just a matter of being creative and learning techniques. To some extent this can be said to be so, but to make significant art, to be a serious artist, one needs to understand historical context, and be aware of what has already been done, is being done in our time… not so we can drop a few names but so we can understand how our “voice” and vision fits into the grand scheme of things.


"From the start, the strongest and most bitter energies of the book were directed against the idea that art should serve a political cause, an idea that Auden had alternately embraced and rejected since 1932."

Edward Mendelson, Preface to W.H. Auden’s The Prolific and the Devourer

In response...
1. Auden embraced the idea of art for art's sake, yet also took the opposing position at times. When we look at an author or artist's life work we get a better picture of the man or woman than were we to just grab a few quotes from a volume of essays written at a specific moment of time.
2. The human soul is not fixed, but ever in flux. Personality has its recurring themes that remain the same, like fingerprints, but we are not the same.
3. I agree with Auden, yet at times Auden did not agree with Auden.

Of these things much more could be said, and I must start my day. What are you reading and thinking about?

Sunday, June 17, 2012

A Whole Book of Rube Goldberg Schemes

There's nothing to match curling up with a good book when there's a repair job to be done around the house. ~Joe Ryan

This past week was our annual Friends of the Library Book Sale, one of my favorite events based on how often I try to make it. The last day of the sale is bag day where you acquire as many books as you can fit into a shopping bag all for a fixed price. It used to be a dollar, but this year four dollars, which is still a bargain. The thing that amazes me is how many classics and great books are still left on the last day.

Another feature of making this an annual trek is that you can trace your life interests based on what kinds of books you bring home. Having grown up in close proximity to New York, I often reflect that my bio could be written based on which parts of the City I visited in the various eras of my youth, from Yankee Stadium to Central Park to Greenwich Village to Soho to Madison Avenue.

So it is with the bags of books I bring home. There was a time when I would scarf up classic literature and other times it would be history and biography. Friday I went for the art books, though I also found a number of Life magazines from 1971 or so that slid easily into the side of the bag. And I also brought home this small jewel of a book The Best of Rube Goldberg.

Click to enlarge so you can read text.
Reuben "Rube" Goldberg was an American cartoonist as well as author, and inventor. His cartoons are what made him famous, and rich. The cartoons were essentially depictions of ultra-complicated ways to do simple things. His first was appeared in 1914 and by 1928 he was pulling in $125,000 a year. He also wrote articles and stories for magazines and even travelled some with a vaudeville act. These were the days before television and the Roaring Twenties to boot. Later in life he did political cartoons and even won a Pulitzer Prize for one depicting the dilemma of atomic power. Post-World War II he also devoted himself to being a serious sculptor.

Growing up I often heard the expression "that's another Rube Goldberg scheme." Everyone knew what it meant because his cartoons had been absorbed into pop culture. Games like Mouse Trap and Crazy Clock (1964 and 1965) capitalized on this notion of comical contraptions designed to achieve a simple end, further cementing Goldberg's influence. Years later our daughter built a huge and hugely complicated Rube Goldberg sequence in our basement, which should have been filmed or documented and was probably photographed.

Goldberg was a contemporary of another cartoonist who made it big in pop culture in the pre-TV era, Robert Ripley, whom I interviewed here at Ennyman's Territory in 2008.

A Simple Fly Swatter
If you like quirky stories, here's a link to my Featured eBook of the Day: Newmanesque, free for members of Amazon Prime.

Have a very special day.

Saturday, June 16, 2012

Uprooted Part XI: On the Waterfront

This story is based on a true account of events in the life of Ralph Kand, a partially crippled young Estonian man during World War II. It is being written in serial fashion on Saturday mornings based on a screenplay I once wrote after hearing and recording many of Ralph's stories.

At this point, the Red Army is on the outskirts of Tallinn, the capital city of Estonia located on the Baltic Sea. Ralph has been riding a stolen motorbike in an attempt to reach the sea and escape the country. He had been detained by a German checkpoint on the road where they expected he would stay with them to fight the Russians, an absurd idea as there were platoons of tanks coming and there were four or five Nazi soldiers plus Ralph. 


Because he refused to stay and fight with them they took him upstairs and locked him in a room. A moment later he dropped out the window, jumped on the motorbike and took off down the road.

The Last Boat

Where were all the people, Ralph wondered to himself as he rode toward town. There were no people on the narrow streets as he raced toward the bay. Fishing is a major industry here but the boats were all gone. Was he too late? It was as if Estonia's most thriving commercial city were an abandoned ghost town.

Ralph rode past empty docks and realized by being out on the Eastern front he had already missed the exodus.

He felt ill with fear as he rode down to the warehouse district on the northwest promontory. Up ahead he spied a fair-sized fishing boat still moored on a distant dock, and he headed there. There were warehouses and small shacks nearby. He ditched the bike behind a shed and limped to the boat looking for its captain.

"Anybody there? We have to get out of here. They're coming."

"What are you doing? What's going on?" It was a man's voice from inside the boat. Ralph couldn't see the man but moved forward.

"We have to leave, now," Ralph shouted.

"Everyone's inside the warehouse. I'm here to make sure no one steals the last boat. Enter by the door with scuffs and dents along the bottom."

Ralph turned away and headed to the warehouse, a large building with shipping docks and many doors. Like all the buildings here it looked utterly abandoned. He walked along the bay side and found the office entrance locked. A little further on he turned the corner and found a grey metal door. It, too, was locked. But he saw the scuffs along the bottom and dents where it must have been knocked with a hammer. He began banging with his fist, shouting in Estonian, "Open up."

The door opened and a man with grim features shushed him. He could see by the uniform that Ralph was Estonian. The man pulled on Ralph's arm. "Get in here."

The warehouse was dark. Slats of light filtered in from upper level windows but it took a few moments for Ralph's eyes to adjust. When they did he could see that there were dozens of others here in hiding, possibly too many for that one little boat. They were of all ages, some clustered as if families. Others sitting on the sacks of goods that were in storage here. Most had luggage or bags holding their valuables.

A man came over to Ralph. "You'll have to get out of that uniform. You'll be the first one they shoot, you know."

Ralph nodded, "I know that. I know. Is the captain here somewhere?"

"He's upstairs watching the weather and the activity."

"Can you help me find some other clothes?"

The two walked down an aisle. Skids of goods were stacked in a semi-orderly fashion throughout. They were looking for a man Ralph's size, a man who might be generous with an extra jacket, shirt and pants. They passed several clusters of people. A few had cigarettes lit, but there was little mirth. One family had a little dog with them.

"Sir," his new friend said to a man standing by a 55-gallon drum of chemicals, "do you have any extra clothing? This man has to get rid of his uniform."

"Why isn't he fighting? He's a soldier."

"You don't understand. The Nazis are abandoning the Estonian army and fleeing. By killing Estonians, the Nazes can save their skins, at the cost of ours. It's futile."

The man didn't say anything.

"The Red Army will be hear soon. I don't know why you are all still here, but I am grateful to find at least one boat left."

"We're here because of the submarines in the bay. The captain said we must wait till morning. This is a fishing boat. He has to make it look like he's going fishing."

"Henry," a woman said sharply, "you have extra clothes. Help the man." She had seen Ralph's limp, noticed the elevated heel on his boot and felt sympathy.

"Thank you," Ralph said to the woman. Her husband reluctantly leaned over and pulled open a sack. After rummaging a few minutes he handed Ralph a pair of slacks and a shirt. "I don't have but one jacket. I'm sorry."

Ralph hurried to another part of the warehouse, moved his uniform. The pants were snug but the flannel shirt fit well enough. After getting his boots on again he folded up the uniform and hid it under sacks of potatoes that were in that corner of the building. 

* * * *
No one wanted to sleep because no one wanted to be found sleeping when the boat left in the morning. Ralph spent the night alternately pacing and sitting. He refused to lie down.

Before dawn the captain tapped a barrel head and said it was time to go. Everyone gathered at the door where he made the following announcement. "There may be too many of us. Are you certain you want to risk your life on the open sea? The German's have U-Boats and the Soviets do as well. We do not know whether there is any safety where we are going. This is your last chance to change your mind."

No one chose to remain. Everyone gathered their belongings and filed to the dock where the boat was waiting.

It was impossible to make it look like a simple fishing expedition. Every inch of the boat was weighted to capacity. The captain started the motor. A puff of smoke wafted up from the aft part of the rig. Ropes were loosed and the boat puttered away from the dock, headed for the open sea. There were no cheers, however. They had been warned about the submarines.

Ralph was especially anxious. He stood at the rear of the crammed boat and watched, looking for evidence that there might be trouble. The city began to fall away. The sun had not yet risen, but dawn light promised a measure of hope.

Suddenly all the quiet jabbering stopped and everyone became still. Someone had seen it, and now they all strained to see. A torpedo was shooting toward them through the waters. Ralph's heart stopped. When it missed he began breathing again.

Now everyone knew. They had been spotted and a submarine was tailing. No one said a word. The boat puttered on.

"There," a man cried out, pointing again to the waters.

Again all eyes strained to see. The torpedo shot through the water like a barracuda, but like the first, it had missed its mark and passed, this time on the other side.

There was no jubilation, because the third would undoubtedly be in the middle between these two. Ralph put his hands over his face and thought about his mother whom he'd left behind, and his brother who had been taken away by the Soviets before the Nazis came.

CONTINUED

Friday, June 15, 2012

Philosophical Inquiries: Document 47

Why did Zarathustra leave the cave and begin sputtering like a madman?

Why were they painting the passports brown?

Why did the pond weep when Narcissus no longer leaned over her to gaze at himself?

Whose box was it originally and why was Pandora blamed for opening it?

What kind of medicine was Johnny mixing up in the basement?

In light of genetics, instincts, institutional coercion and social programming, to what extent can people ever really be free?

How can we ever hope to understand one another when it's likely we don't even understand ourselves?

Why is it illegal to sell my kidneys but O.K. to give them away?

Who's the better bass player, Paul McCartney, Jack Bruce or Charles Mingus? How would Tony Garnier answer that?

What is the difference between the mind and the brain? How is it that we always say, "She's losing her mind" and not "He's losing his brain"?

Can mental illness be something temporary like a common cold?

Can love heal all wounds?

Sometimes we describe people as mentally unbalanced. What does a perfectly balanced look like?

How many warning labels can one balance on the head of a pin?

When all is said and done, the big questions still remain. Where did we come from? Where are we going? Why are we here?

If you've been a regular visitor here, thank you. Hope your weekend is a very special one.

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