Louise Nevelson spent decades struggling for recognition. "For forty years I wanted to jump out of windows." "I didn't have the price ( 5 cents on the subway ) to go uptown." "I belived in myself." I wasn't going to let a soul on earth judge my life. "I was so desperate that I decided that I had to have a show or I was going to cut my throat." At this point a wealthy Cousin arrived in New York for a visit. Took her out to elegant dinner etc. "I suddenly realized that while I was having trouble sustaining myself, he spent a thousand dollars in two days." The time had come to make some serious changes in her life. "I said to myself, what's the best gallery in New York? She stalked into this gallery and demanded he exhibit her work. He repied he didn't know her work. Well you can come and see it. He showed the next day, gave her a show in 3 weeks. No sales were made.
She created some works in a workshop that were valued at $150,000. "When I heard that I was cured." "It wasn't that I had the money, or was going to have it, it was just that it made everything bothering me seem ludicrous." Between 1946 and 1955 she had no One-Woman shows. Determined to be noticed, she showed in every group show she could. "I showed anywhere I was asked." "I showed, I didn't care where... My feeling is show wherever you can. I don't care whether it's prestigious or not. I'll flood the market with the work, so they'll know I'm here."
Nevelson believes you create your own life.
" The purest and most thoughtful minds are those which love color the most." John Ruskin [ 1819-1900 ].
"Color is my day-long obsession, joy and torment." Claude Monet
[ 1840-1926 ]. French Impressionist Painter.
"Color has taken a hold of me; no longer do I have to chase after it. I know that it has hold of me forever. That is the significance of this blessed moment. Color and I are one. I am a painter." Paul Klee [ 1879-1940 ].
"Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul." Wassily Kandinsky [ 1866-1944 ]
Modern Russian painter, one of the first creators of Pure Abstraction in modern painting and founder of Der Blaue Reiter.
Understand this Pat, I am not blaming myself, but I need to be realistic. There is some reason I did not have the guts to call this wedding off when the bastard stole my money from my savings account--a month before we married. And I need to accept that responsibility. If more woman would do that there wouldn't be so many chapters of the International Association of Man Haters.--with 5000 card carrying members!.
Nobody can make you do anything you do not want to do. People only do what you give them permission to do!! And we usually give people permission to fuck over us when we are looking for some easy answer to our current set of problems. And in my case honestly speaking, if I wasn't seeking outside answers to my inner turmoil, then I would have had the good sense to see that he surely was not the answer.
I mean I had choices all along, and the choices I made were not made at gun point. So I need not waste my energy huffin' and puffin' and fuming about how he turned out to be a "fraud". I need to look in the mirror and ask the burning question, just how and when did I stop believing in myself so much so that I refuse to trust my own instincts in something so serious as this." Why was I willing to move forward when all the signs were there, who did I think I was that all this situation needed was me and my "brilliance" to fix it...those Pat are the overriding questions that I will have to look within for the answers........
The art world is in retrograde, once again. The pashas and doyennes at the prestigious galleries in NYC, LA, DC, London, Paris, and Berlin are sitting around with their thumbs up their butts looking for the "Next Movement," anxiously hoping that the next one is not what it is now; a bowel movement!
In their refusal to acknowledge the great art noir eleve' [high black art] and Unconventional American Artists such as those honored in the "Deep In Lexington" exhibition-the Great Ubiquitous Aristocracy Society Of Art will continue the wade through the muck of mendacity and repetition. But the innovators in this show will continue to grow and flourish, no matter what. Who knows, maybe the sharks will come around at some point [they are mesmerized by the sight of blood, and reds dominated Jean-Michel Basquiat's work for a minute]? However: night is upon us, and it is getting dimmer-er and dimmer-er. Light is scarce. The collective gathered here for "Deep In Lexington" have sparked a blaze of passion, vision, and desire that will hopefully ignite the art culture en masse. This blinged-out society needs something to thaw us from the artic tundra of indifference, because as JMB once said, "Fire will only attract more attention than any other cry for help."
Too bad Their Greatness ignored his screams.
Barry Michael Cooper
vision: vizh-en – 1. Something seen in a dream,
something imagined Seeing something that could
come to be.
A vision starts in the depth of your soul
too small for the naked eye to see, it pierces
a tiny hole in your heart, makes its way
to your thoughts and screams to be set free!
A vision then plants itself in your mind,
the place where your dreams command,
creeps its way all through your self and
gently takes you by the hand pass all the
negative possibilities, through layers of
self doubt, until you’ve hurtled all the
can’ts and don’ts --your vision is plain, now
you claim it with a shout!!
Clear view of your vision will keep your way lit,
When darkness sometimes surrounds, its the
View of that vision that keeps your spirit buoyed up,
Even when the tendency is to be down.
It will keep you focused and your
heart in the task—that clear clear vision
will keep you right on tract—keep you from fading
giving up, or turning back!
Then reward can be sudden and overwhelming too
cause you’ve stepped outside the “box” and
done all that you can do,
and somehow no matter what the up
and no matter what down, you
KEPT THAT VISION IN CLEAR CLEAR View-----
WELCOME TO YOUR VISION
this is the last line of dialogue from a play called "unmasked"
How Do I Get Out of This Fucking Rut?
How do I get out of this fucking rut,
I need , but don’t get, I want but can’t have,
It seems the whole is getting deeper and the abyss darker,
How do I get out of this fucking rut,
They suck and take, draining all that I have to give, leaving
Me dry, useless and empty.
Throwing the net of tentacles around my straining body,
Emotions fleeing from my heart,
How do I get out of this fucking rut,
One face replaced by another, one dick replaced by the other,
Mouthing the same lies, spouting the idioms of intentional deception,
Yet I succumb and wallow wantonly
In the vile and vulgar knowing that the intermittent pain,
Guilt and shame will begin anew when they are gone.
How do I get out of this fucking rut.
The endless parade of selfish whores, ever seeking new victims to ravage
And I willingly abide, over and over again,
Gutting them, grinding the flesh and innards, mixing with shit and pouring it
Into the soup du jour,
Oh how funny the retribution for the years of torture and degradation
Struggling to breathe, to survive,
How do I get out of this fucking rut,
Repeatedly perform the virtual castration until it is real and smile with satisfaction.
"The World is Just 1 Big Condom" Larry Scott
The Tracks or Ladder in my work
I'm often asked the question, What are the railroad tracks or ladder about? My response is it can be both. In either case they represent a journey to somewhere. It can be a horizontal journey or an upward vertical journey, depending on the disposition one takes. The analysis I like to leave for the viewer to make a determination of what it could be ultimately. We don't have to agree, but the symbol is placed in the work first, because I like it. It is always about how it works in the picture. I guess I favor the "Tracks" over the "Ladder", but that is more secondary in my mind as to which gets the nod, just remember that's its a journey I'm expressing. If you want to really get into the work you have to go for the joy ride. Which means you must listen to the music that catapults you into the composition. The most connective individual for achieving this is John W. Coltrane. He is the driving force to most of the work I create. I'm the Coltrane without the horn. I'm the painter without the brush. I'm unconventional that way. I feel the paint with my fingers and paper towels, its less restrictive than a brush. It allows more freedom to be exuded upon the surface of which I am working. Want to take a ride?
Mr. Rauschenberg, talking apropos of doing what other people have already done, recalls an idea he once had for an exhibition of paintings imitating different Abstract Expressionists. 'Imagine the luxury, the excessive energy and the iridescent glory of doing a Rothko,' he says. 'Of course, it would have been blaspheming, but you think what it would be like to throw yourself into that incredible mood? Then out of respect I decided I wouldn't paint like Rothko or Franz Kline because I'd be in their way and they in mine. That was also John Cage's attitude. John always said, there's enough room in the world so that nobody has to be that close to another person."
Robert Rauschenburg (1925-2008), American artist, in an article by Michael Kimmelman, New York Times, Arts & Leisure section 2, August 27, 2000, p. 26. See Abstract Expressionism.
"Port Authur" by Don Griffin - Homage to Robert Rauschenberg
Mixed Media Collage on Canvas 2009. Selected by Susan Davidson
Curator, Guggenheim Museum in New York for Robert Rauschenberg
Tribute Exhibition at the Gulf Coast Museum in Port Arthur, Texas 2009.
SCOTT AN ORIGINAL BLACK EYE
BLACK EYES COVERED IN HICKORY AND SILK
ENTERTAINING GODS AND DEMONS
KNOWING NOTHING EXCEPT THE STORIES HIS SOCKETS TELL
SEEING THE GLOOMY, LONGING, FRAGILE, BRILLIANCE OF
STARRY NIGHT SPELL
A DESTINED MAN WARRIOR
WONDERING BEHIND STAINED WINDOW PANES
DODGING SHADOWS CAST ON TRAMPALENES
AN EXIT ROUTE MIRRORED BY STROKES AND LINES
BRUSHED ON CANVAS HIS FINGER FINDS
A SELF POTRAIT
A HOLLOW PIPE
AN OPEN VESSEL
THE WARM PUNGENT SIGHT
GO DOWN MOSES
MURALS TAKE FLIGHT
CAPTIVATING NUDE MODELS
BODY OF WORK FROM AN IMPRESSIVE ONE
MYSTERY’S OWN BLACK EYED SON
BJHEIGHT ( MO OPTIC ) 11 / 2007
"Detail" Larry Scott
"Living Space" Collaboration by Don Griffin & Larry Scott
Interview with Musician Carl Grubbs 2009
Who is your greatest jazz inspiration and why?
John Coltrane. When I was growing up I had the chance to listen to him practice and talk to him and I got a lot of guidance about how to approach playing jazz. I knew him from when I was 11 years old until the time that he passed away.
If your music was a painting, what would the painting look like?
It would be an abstract painting and it would be its own thing. It wouldn't fit the mood of a commercial or those types of things. My music is a reflection of American society, a reflection of this country. The things that I am influenced by every day I try to bring out through my music.
How do you feel about being one of the inaugural winners of the Baker Awards?
It blows me away! I am so proud and overwhelmed to be a winner. I think it has really given me a chance to be more free with my music and to pursue my idea of jazz and art. When I perform at the BMA's Jazz in the Sculpture Garden, I am going to play some music from Inner Harbor Suite, which was recorded live at the BMA in 1994. The music was written here in Baltimore, and it really reflects that.