American Art – Part I of V: Carole A. Feuerman
In the words of one art historian, “Carole A. Feuerman, American sculptor, is internationally recognized as one of the world’s most prominent hyperrealist sculptors with a prolific career spanning four decades. She lives and works in New York and Florida. Feuerman sculpts life-size, monumental and miniature works in bronze, resin and marble. She has had six museum retrospectives to date and has been included in prominent exhibitions at the Venice Biennale, The State Hermitage, The Palazzo Strozzi Foundation, the Kunstmuseum Ahlen and the Circulo de Bellas Artes.”
Died 19 May 1993 – Nemesio Antunez, a Chilean painter.
Below – “Stones”; “Tango in Monymarte”; “M-2”; “M-1”; “Underground Playground.”
“Beware of men who cry. It’s true that men who cry are sensitive to and in touch with feelings, but the only feelings they tend to be sensitive to and in touch with are their own.” – Nora Ephron, American journalist, essayist, playwright, screenwriter, novelist, producer, and director, who was born 19 May 1941.
Some quotes from Nora Ephron:
“Insane people are always sure that they are fine. It is only the sane people who are willing to admit that they are crazy.”
“[A successful parent is one] who raises a child who grows up and is able to pay for his or her own psychoanalysis.”
“My mother wanted us to understand that the tragedies of your life one day have the potential to be comic stories the next.”
“I try to write parts for women that are as complicated and interesting as women actually are.”
“In my sex fantasy, nobody ever loves me for my mind.”
“I am continually fascinated at the difficulty intelligent people have in distinguishing what is controversial from what is merely offensive.”
“The desire to get married, which – I regret to say, I believe is basic and primal in women – is followed almost immediately by an equally basic and primal urge – which is to be single again.”
“As far as the men who are running for president are concerned, they aren’t even people I would date.”
“When you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.”
“My mother was a good recreational cook, but what she basically believed about cooking was that if you worked hard and prospered, someone else would do it for you.”
“With any child entering adolescence, one hunts for signs of health, is desperate for the smallest indication that the child’s problems will never be important enough for a television movie.”
“If pregnancy were a book they would cut the last two chapters.”
Nelina Trubach-Moshnikova was born in Belarus, graduated from Minsk Art School, and now lives and works in Yalta, Crimea. In her words, “It is interesting for me to see through colors and lines something hidden and sometimes to hide the obvious.”
“Childhood is measured out by sounds and smells and sights, before the dark hour of reason grows.” – John Betjeman, English poet, writer, broadcaster, and Poet Laureate (1972-1984), who died 19 May 1984.
Even if someone is not a fan of his work, there are two reasons why he or she should admire John Betjeman. First, this quote comes from the time when he was Poet Laureate: “I don’t think I am any good. If I thought I was any good, I wouldn’t be.” Second, in his “Who’s Who” entry, Betjeman described himself as “poet and hack.”
Come friendly bombs and fall on Slough!
It isn’t fit for humans now,
There isn’t grass to graze a cow.
Swarm over, Death!
Come, bombs and blow to smithereens
Those air -conditioned, bright canteens,
Tinned fruit, tinned meat, tinned milk, tinned beans,
Tinned minds, tinned breath.
Mess up the mess they call a town—
A house for ninety-seven down
And once a week a half a crown
For twenty years.
And get that man with double chin
Who’ll always cheat and always win,
Who washes his repulsive skin
In women’s tears:
And smash his desk of polished oak
And smash his hands so used to stroke
And stop his boring dirty joke
And make him yell.
But spare the bald young clerks who add
The profits of the stinking cad;
It’s not their fault that they are mad,
They’ve tasted Hell.
It’s not their fault they do not know
The birdsong from the radio,
It’s not their fault they often go
And talk of sport and makes of cars
In various bogus-Tudor bars
And daren’t look up and see the stars
But belch instead.
In labour-saving homes, with care
Their wives frizz out peroxide hair
And dry it in synthetic air
And paint their nails.
South African Art – Part I of II: Shany van den Berg
In the words of one writer, “Shany van den Berg was born in Riversdale in the Western Cape in 1958, and matriculated from CJ Langenhoven Highschool. She studied ceramics part-time from 1982 to 1985 at Paarl College, and life drawing and painting part-time at Ruth Prowse School of Art from 1990 to 1992. Since then she has worked as a full-time artist, developing her own technique in oil painting and producing work exhibited at various galleries.”
South African Art – Part II of II: Kerry-Jane Evans
Artist Statement: “The painting process is all important to me. I do not plan my work; it begins without the conditioning of idea or even conception. It is through the action of painting that the compositions arrive, the figures move and adjust in relationship… they come and go and are my primary vehicle of expression. Figurative representation is where I find my greatest delight, that sense of pleasure and identification with the emotional aspects of life.
Figures move through their own, most often, bare space, they emerge without imagery, symbol, devoid of inheritance. They isolate moments of movement through a long narrative of inner and outer conflict and address the need for resolution and harmony.
In this very act of painting, the physical application of paint – through this energetic stillness – subtle “felt” perceptions arise and my imagination grows with these perceptions. The movement of thought, of idea, of relationship, my relationship with the painting, with the world in me and around me…the images unfold through this dynamic and become the journey, the way to comprehending the self.”
“‘I’m not sure he’s wrong about automobiles,’ he said. ‘With all their speed forward they may be a step backward in civilization — that is, in spiritual civilization. It may be that they will not add to the beauty of the world, nor to the life of men’s souls.’” – Booth Tarkington, American writer, dramatist, and one of only three novelists (the others being William Faulkner and John Updike) to win the Pulitzer Prize for Fiction more than once (in 1919 for “The Magnificent Ambersons” and in 1922 for “Alice Adams”), who died 19 May 1946.
A few quotes from Booth Tarkington:
“Cherish all your happy moments; they make a fine cushion for old age.”
“There are two things that will be believed of any man whatsoever, and one of them is that he has taken to drink.”
“Gossip is never fatal until it is denied. Gossip goes on about every human being alive and about all the dead that are alive enough to be remembered, and yet almost never does any harm until some defender makes a controversy. Gossip’s a nasty thing, but it’s sickly, and if people of good intentions will let it entirely alone, it will die, ninety-nine times out of a hundred.”
“Arguments only confirm people in their own opinions.”
“Boyhood is the longest time in life for a boy. The last term of the school-year is made of decades, not of weeks, and living through them is like waiting for the millennium.”
American Art – Part II of IV: Thomas Schaller
In the words of one writer, “A registered architect and architectural artist, Thomas Schaller founded Schaller Architectural Design + Presentation in New York City in 1985. Since 2006, he has been based in Los Angeles, California.
Widely known for his work in transparent watercolor, Mr. Schaller has authored two books on the subject and has won every major award in the field of architectural illustration. His work has been exhibited around the world and has been featured in numerous publications.
As a fine artist, Mr. Schaller’s watercolor work has become increasingly recognized, published, and exhibited.”
From the American History Archives: Shot Harry
19 May 1953 – The United States government conducts an above ground nuclear test in the Nevada desert. Code named “Shot Harry,” the blast sent so much fallout over St. George, Utah, that it became know as “Dirty Harry” when details were finally released to the press. The extent of the effects of such tests remained a closely guarded secret, until one American decided to expose the reprehensible conduct of her government. As one reviewer put the matter, “In her remarkable book ‘American Ground Zero: The Secret Nuclear War,’ photojournalist Carole Gallagher has penetrated the veil of official secrecy and anonymity to document the incredible untold story of the Americans whose misfortune it was to live downwind of the nuclear detonations – those citizens described in a top-secret Atomic Energy Commission memo as ‘a low-use segment of the population’ – and of civilian workers and military personnel exposed to radiation at the Nevada Test Site. ‘American Ground Zero’ provides a gripping, courageous collection of portraits and interviews of those whose lives were crossed by radioactive fallout.”
American Art – Part III of V: Scott Waddell
In the words of one writer, “Scott’s theories on painting stem from a classical tradition of art making. He continues to pursue technical progress in the crafting of every painting. A self described history painter, Scott earnestly attempts to imbue his narrative depictions with the type of epic grandeur one might find in the pages of Homer.”
A Poem for Today
“An Abandoned Factory, Detroit,”
By Philip Levine
The gates are chained, the barbed-wire fencing stands,
An iron authority against the snow,
And this grey monument to common sense
Resists the weather. Fears of idle hands,
Of protest, men in league, and of the slow
Corrosion of their minds, still charge this fence.
Beyond, through broken windows one can see
Where the great presses paused between their strokes
And thus remain, in air suspended, caught
In the sure margin of eternity.
The cast-iron wheels have stopped; one counts the spokes
Which movement blurred, the struts inertia fought,
And estimates the loss of human power,
Experienced and slow, the loss of years,
The gradual decay of dignity.
Men lived within these foundries, hour by hour;
Nothing they forged outlived the rusted gears
Which might have served to grind their eulogy.
American Art – Part IV of V: Lisa Reinertson