Such was the idea put forth by painter (and frame maker) Charles Prendergast in explaining his theory of crafting frames. Recently, I had the chance to learn about Charles, and his better-known brother Maurice, at the New Britain Museum of American Art and to experience their collaborations. My feature article “The Painting and Its Frame” explores the relationship between the image and frame. You can find the full text at Woven Tail Press. Here is Maurice’s Approaching Storm framed by Charles’s wood frame with gilding and paint.
. . . Often my museum experience brings me to artists who have completely abandoned the frame—whether it’s painters whose raw canvas stands on its own or sculptures and installations where the boundaries are figurative.” Read More
It’s been over twenty-five years since I wrote these lines:
The doctors invited me to be still.
Then the X-ray revealed
one of van Gogh’s sunflowers
dying inside me, just beneath my ribs.
Not enough sun, they said,
prescribed antibiotics and suggested
lemon juice to ease the pain.
A few of the remedies worked; stillness came, then awakening. Just beneath my ribs, the sunflower lives, and so does the everpresent need to be still, to suggest bright petals and brave possibilities. Thanks, Vincent for this yellow.
At Musée d’Art Moderne
I notice the construct of silhouetted
stick figures juxtaposed above a door;
one’s triangular body tells me
to go into a different salle. There,
I find another version of graffiti
on the door in front of me as I sit down.
This is not art someone has written.
My bladder agrees, but against this angst
and all treachery of the world’s turmoil
another has revolted: Yes it is—
Art is what you make of it. Such words
delight me at first; they affect such openness,
pretend pluralism, and compel acceptance
of every sapling of discontent that arises
at seeing paint spread like entrails on the floor.
What you make of it . . . as if anyone could
wake and slither into anarchy and come out
with the paraphrase of a quail egg. I go out
and back to the exhibits, back to the violence
and spectacle of color and form. Seeking out
other dimensions, I walk into a room wrapped
in giant spools of gray, industrial felt.
At the end of one hall, a sculpture in straw
creates the illusion of an airplane; a thousand
pairs of scissors spear its shape. Art is
what you make of it? I need to go back:
digging into my bag and finding a pen
I scratch the last two words into blackness.
The poem is featured in Reconnaissance, published by Homebound Publications. For a signed copy (and free shipping), click the side menu and find “Purchase Signed Copies.”
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I have to admit that before the Barnum Museum in Bridgeport Connecticut invited storytellers to participate in their first PechaKucha night, I had no idea what PechaKucha was. It’s simple to describe: a slide show of 20 slides which progress through 20-second intervals–so a story in 6 minutes and 40 seconds. More than the slideshow, PechaKucha is an opportunity to gather with others and share. Developed by an architecture firm in Japan, PechaKucha translates loosely into “chit-chat” in Japanese. It’s taken off worldwide and the U.S. is starting to catch up.
I was happy to participate as the Barnum Museum hosted its first (of many) PechaKucha nights earlier this month (May 9). I told the story of how writing helped me recover from a coma–a story that I share in more depth in The Comet’s Tail: A Memoir of No Memory.
Obliterate, says the line
curve the horizon, resist
tremors of an inexact hand
tap into the statuesque control
of an oblique axis, linger
in the infinite advance; find proof
of existence between the abscissa
and the ordinate, between Euclid
and Descartes, between an arrow
and its trajectory.
To celebrating the release of the second edition of Reconnaissance, enjoy this poem about first editions. Click the title to order your own first edition at a special discounted price.
I apprenticed well. For a sixth grade project,
Mrs. Montecalvo taught me the worth
of a good forgery when she assigned
the footnoted history of a painter
and encouraged an attempt at imitation.
Seeing Monet’s Westminster Bridge reprinted
in Reader’s Digest, I modeled my own
with schoolgirl brushes and an aptitude
for blending. I typed his biography
on a blue Remington, stenciled a title page,
punched symmetrical holes and glued
the masterpiece into a pocketed folder.
I never got the stink of acrylic off my fingers.
After Monet: Westminster Bridge, Acrylic on paper, circa 1985
Audacity and small victories: these
are gateways for any scavenger.
Once one is secure in the false flat
of a sloped horizon, transformations
are easy: an open book, so to speak.
I pocketed the Collected Poems
of ee cummings wholesale, tore
the bar code from the last page
and slipped its frayed spine between
loose-leaf sheets of unlined
but perforated notebooks. Long after,
the card catalog entry went away too.
Like other trophies, I just stored it,
held it in a box of pressed flowers
and half memorized poems, among
generous piles of pens and paint brushes,
newspaper clippings and dirty love letters
scribbled on the backs of postcards.
For these corruptions I’ve paid only
in callouses and broken pencil tips.
Despite my best calligraphy,
slippery pens have crossed out
entire lines carefully typeset in Linotype
or Century Schoolbook, my marks bleeding
through pages now unreadable.
In the gray area between homage
and sacrilege, I thieve too much:
red wheelbarrows pile full of leaves and dirt
and burnable logs pressed into the pulp
of scrap paper or woven into stretchable
canvases. Little I see in nature
that is my own. I stole van Gogh’s sadness
and painted it on my shoulder.
Like Olympia, I learned how to stare.
Next time, let me mimic the syntax of bridges
and throw sand over wet, stolen ink.
Let me trust in surveillance. Once the thief
learns to discern original from run of the mill
everything is a first edition; everything
is one of a kind.
Dodeca Hexahedron with Blood Orange, Amy Nawrocki, Origami paper and rubber cement.
The sculpture is sixteen triangular hexahedrons glued together created a twenty-four sided sculpture, inspired by the geometric insight and modularity of artists like of Sol LeWitt, Alexander Calder, and others. “Dodeca Hexahedron” is a guess. Soccerball was the alternate.
Here’s a poem from Reconnaissance (2015 Homebound Publications), inspired by LeWitt’s work.
Distilling Sol Lewitt
Obliterate, says the line,
the curve of the horizon; resist
tremors of an inexact hand;
tap into the statuesque control
of an oblique axis, lingering
in the infinite advance; find proof
of existence between the abscissa
and the ordinate, between Euclid
and Descartes, between an arrow
and its trajectory.
Sol LeWitt, Four Sided Pyramid, concrete blocks and mortar, National Gallery of Art
Amy Nawrocki
. . . Often my museum experience brings me to artists who have completely abandoned the frame—whether it’s painters whose raw canvas stands on its own or sculptures and installations where the boundaries are figurative.” Read More
