Saturday 30 June 2018

Dead Poets Society #82 Spike Milligan: Welcome Home

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Welcome Home by Spike Milligan

Unaware of my crime
they stood me in the dock.

I was sentenced to life....
without her.

Strange trial.
No judge.
No jury.

I wonder who my visitors will be. 

Friday 29 June 2018

Wednesday night's set lists at The Habit, York

Ron Elderly: -
Streets Of London
Can't Help Falling In Love

Da Elderly: -
You've Got A Friend
I Don't Want To Talk About It

The Elderly Brothers (1): -
The Price Of Love
When Will I Be Loved
Then I Kissed Her

The Elderly Brothers (2): -
Walk Right Back
Hello Mary Lou
Crying In The Rain
I Saw Her Standing There

A warm welcome greeted our return to The Habit on a hot still night in York, after 5 weeks away on vacation. Starting quietly, the pace quickened as the show got on the road and the bar was busy for most of the night. Despite some late comers, we ran out of players before close, so those who were left got a second chance to play. The Elderly Brothers closed out the open mic to an appreciative audience.

Thursday 28 June 2018

Our man in The Cotswolds - and thereabouts...


Blenheim Palace

Clifton Suspension Bridge, Bristol

Wednesday 27 June 2018

Winslow Homer and his Mawson & Swan camera

Winslow Homer, Artist's studio in an afternoon fog (1894)

Winslow Homer and the Camera: Photography and the Art of Painting
Bowdoin College Museum of Art
23 June 2018 - 28 October 2018

This exhibition explores the question of Homer’s relationship with the medium of photography and its impact on his artistic practice. As one attuned to appearances and how to represent them, Homer understood that photography, as a new technology of sight, had much to reveal. This exhibition thus adds an important new dimension to our appreciation of this pioneering American painter, demonstrating his recognition that photography did not undermine, but instead complemented his larger artistic interests.

Winslow Homer with 'The Gulf Stream' in his studio, ca. 1900, gelatin silver print, by an unidentified photographer

Mawson & Swan camera owned by Winslow Homer, ca. 1882. Gift of Neal Paulsen, in memory of James Ott and in honor of David James Ott ’74. Bowdoin College Museum of Art, Brunswick, Maine.
Mawson & Swan camera owned by Winslow Homer, around 1882 Bowdoin College Museum of Art, Brunswick, Maine

How Winslow Homer's long-lost camera changed the way scholars see his paintings
After four years of research into the recently discovered camera, Maine's Bowdoin College Museum of Art reassesses the American artist’s creative practice

Judith H. Dobrzynski
The Art Newspaper
26th April 2018

Little did the Bowdoin College Museum of Art know that an unsolicited phone call it received in 2014 would lead to an exhibition this summer that may change the way Winslow Homer is viewed in art history.

On the line that day was Neal Paulsen, who lived about five miles from Prouts Neck, Maine—Homer’s residence after he returned in 1884 from a two-year stay in Cullercoats, England. Paulsen, who said he had a camera once owned by Homer, met with skepticism.

Three mannequins purchased by Winslow Homer in Tynemouth, England, 1881–83, wood and cloth. Bowdoin College Museum of Art

Frank H. Goodyear III, the co-director of the Bowdoin College Museum of Art in Brunswick, Maine, says that in a previous job as a photography curator, “I’d get calls like that from people who had unbelievable things, and 99% of the time what they had was less than interesting.”
"Perils of the Sea," 1881, watercolor, by Winslow Homer. Sterling and Francine Clark Art Institute, Williamstown, Massaschusetts

But Paulsen’s camera—which he later donated to Bowdoin—proved more than interesting, prompting a chain of research that resulted in the forthcoming exhibition, Winslow Homer and the Camera: Photography and the Art of Painting (23 June-28 October). Comprising 134 objects, including 19 paintings, 17 watercolours, about 50 photographs and archival materials, the exhibition will explore how what was then a new technology affected the way Homer made his art.

Winslow Homer, Eight Bells (1886)

Scholars have long written that Homer’s art changed demonstrably after his time in England—his brushstrokes grew looser, his works more expressionistic, his palette darker, his subjects more philosophical. They also knew that Homer was aware of photography’s influence on other artists. “It’s a subject that many Homer scholars have been thinking about in recent years, and a fantastic subject for an exhibition,” says Brandon Ruud of the Milwaukee Art Museum and the co-curator of Coming Away: Winslow Homer and England, which is on view at the museum until 20 May. “It took the catalyst of the gift of the camera to get someone to focus on it.”

"Cullercoats Coble," 1882, albumen silver print, by Winslow Homer. Private Collection, courtesy of The Strong Museum, Rochester, New York

But first Goodyear and his co-curator, the art history professor Dana Byrd, had to be convinced that Paulsen’s camera really belonged to Homer. They found three solid clues. Carved into its wooden frame were the initials W.H. and the date 15 August 1882—which matches Homer’s time in Cullercoats. Also, the camera was made by Mawson & Swan, a photography business located less than 10 miles from the English village. Finally, Bowdoin’s archive of materials on Homer included many photographs in the same 3in by 4in format as this camera, Goodyear says, adding that “enlargements didn’t exist at the time”.

Winslow Homer, High Cliff, Coast of Maine (1894)

The pair have since assembled items that show how photography increasingly became part of Homer’s “visual investigation and broader creative practice”. In contrast to more realist artists, Homer found photography to be freeing—his work became not more precise but more, well, blurred. “I think Homer understood that vision through photographs was more complicated and more subjective than was thought” at the time, Goodyear says.

Winslow Homer, Cliff at Prout’s Neck (around 1885)

It’s now evident, he notes, that Homer, while known as a Realist, “was a proto-Modernist. He is less interested in a traditional academic rendering of the land—he’s interested in ‘things as they appear’”. His anticipation of Modernism, Byrd adds, “is related to the very modern use of the image—multiple sources serve as the basis for a single image in the end”.

Homer acquired two additional cameras in the 1880s, and photography remained part of his artistic practice for the rest of his life. But, Goodyear says, “it’s important to note that we’re not celebrating his achievements as a photographer—his existing photographs are relatively modest and they do not compare to [those by his contemporary] Thomas Eakins. Homer saw himself as a painter, not in competition with photography, but something he had to reconcile with.”

Saturday 23 June 2018

Dead Poets Society #81 Robert Lowell: Skunk Hour (for Elizabeth Bishop)

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Skunk Hour (for Elizabeth Bishop) by Robert Lowell

Nautilus Island's hermit
heiress still lives through winter in her Spartan cottage;
her sheep still graze above the sea.
Her son's a bishop. Her farmer is first selectman in our village;
she's in her dotage.

Thirsting for
the hierarchic privacy
of Queen Victoria's century
she buys up all
the eyesores facing her shore,
and lets them fall.

The season's ill-
we've lost our summer millionaire,
who seemed to leap from an L. L. Bean
catalogue. His nine-knot yawl
was auctioned off to lobstermen.
A red fox stain covers Blue Hill.

And now our fairy
decorator brightens his shop for fall;
his fishnet's filled with orange cork,
orange, his cobbler's bench and awl;
there is no money in his work,
he'd rather marry.

One dark night,
my Tudor Ford climbed the hill's skull;
I watched for love-cars. Lights turned down,
they lay together, hull to hull,
where the graveyard shelves on the town....
My mind's not right.

A car radio bleats,
'Love, O careless Love....' I hear
my ill-spirit sob in each blood cell,
as if my hand were at its throat...
I myself am hell;
nobody's here-

only skunks, that search
in the moonlight for a bite to eat.
They march on their solves up Main Street:
white stripes, moonstruck eyes' red fire
under the chalk-dry and spar spire
of the Trinitarian Church.

I stand on top
of our back steps and breathe the rich air-
a mother skunk with her column of kittens swills the garbage pail.
She jabs her wedge-head in a cup
of sour cream, drops her ostrich tail,
and will not scare.

Thursday 21 June 2018

Ian's adventures in Nashville

Studio B (to the strains of Roy Orbison):

The Country Music Hall of Fame: