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"Abstract expressionism Fiction."
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The Painter
Years ago, a well-known expressionist painter named Jim Stegner shot a man in a bar. The man lived, Jim served his time, and he has learned to live with the dark impulses that sometimes overtake him. Jim enjoys a quiet life in the valleys of Colorado. He works with a lovely model, he doesn't drink, he goes fly fishing in the evenings. His paintings fetch excellent prices at a posh gallery in Santa Fe. He is--if he can admit it--almost happy. One day, driving down a dirt road, Jim sees a man beating a small horse. Jim leaps out of the truck, tackles the man, and bloodies his nose. The man is Dell, a cruel hunting outfitter notorious among locals. Jim cannot shake his rage over the little horse. The next night, under a full moon, telling himself he is just going night fishing, he returns to the creek where Dell has his camp and kills him. As Jim tries to come to terms with what he has done, he must evade the police, navigate his own conscience, and escape the members of Dell's clan set on revenge. And he paints the whole time; trying to make sense of his actions.
Book
Charles Olson and Empire, or Charles Olson Flips the Wartime Script
Gilbert explores the metonymic strategies in the works of poet Charles Olson and painter Philip Guston during the Depression-era and the federal New Deal. Almost exact contemporaries (Guston was born in 1913, three years after Olson), both were the children of hard-working immigrants; their fathers died suddenly, prematurely and for both sons tragically; both lived frugally during the Depression; both produced art during the 1940s in the service of the US war effort; both were staunch supporters of the politics and policies of the New Deal; and when their first works were being published and exhibited, both had strong affiliations with 1930s and early 1940s-era Popular Front artists.
Journal Article
Fall Regional Bookselling Shows 2015: The Art of Writing Historical Fiction: PW Talks to B.A. Shapiro
Three years ago, Barbara Shapiro's writing career took off with the publication of The Art Forger (Algonquin), a novel inspired by the still-unsolved 1990 heist at Boston's Isabella Stewart Gardner Museum. This mystery and meditation on art became an indie bookseller favorite and has sold 325,000 copies to date. In an interview, she discusses the art of writing historical fiction.
Trade Publication Article
We Keep Heading West
In 1962 Dennis Hopper took a photograph on the set ofThe Sons of Katie Elder, where he was filming with director Henry Hathaway. The image is of Dean Martin and John Wayne on horseback framed behind a dominant tripod and camera that both unites and divides the two iconic actors. It draws our attention to the process of cinema, to its illusion making, its “fake cowboys, fake western frontiers, [and] fake fathers.”¹ Nearly ten years later, having completed bothEasy RiderandThe Last Movie, Hopper commented, “Photography became a way of learning to make movies.”² These two moments
Book Chapter
Observations on Otto Flake
The death of Otto Flake in 1963, at the age of 83, has led a few German critics to do a measure of soul-searching in their obituaries. Some of them without minimizing their own lack of concern while Flake was still alive, have pointed accusingly at the Germanists whose task it would have been to assign Flake his due place, and to publishers who failed to re-edit, after the Second World War, some of his lighter and more saleable novels. Flake was at that time in dire financial circumstances and had made an attempt at suicide.
It should not prove
Book Chapter
Joyce, DADA & Co
The opposite of (literary historical) genealogy—in the sense of a traceable and causal line of descent—is simultaneity, here understood as a form of non-causal co-incidentality. An often-cited example of literary historical simultaneity, illustrating, as it were, some form of common Zeitgeist, or spirit of the age, is Joyce writing his revolutionary Ulysses in Zurich during the heyday of the equally revolutionary anti-instiftutional art movement Dadaism, with Lenin living all the while literally just down the street, anticipating his Bolshevist version of a political revolution. This kind of Zeitgeist view is taken by Richard Ellmann in his biography of
Book Chapter
Aural Fact or Fiction
The crisis which has overtaken the contemporary composer involves, at its deepest level, his relation to his art and the very process of composing—the making of the artwork. He is suffering from the triumph of abstractionism.
He is like a bird who first wants to examine the size of the sky or a fish who first wants to examine the extent of the water-and then try to fly or to swim. But the bird and the fish will never find their own ways in the sky or water because they have dissociated themselves—the fish from the water which
Book Chapter
Interactive exhibit immerses patrons in youthful fantasies
Serious art school training wasn't enough to erase [Tony Baker]'s youthful love of science fiction. Years after immersing himself in abstract expressionism, the Edmonton painter found himself drawn back to spaceships, robots, aliens and world-spanning tyrants, creating a universe called 'The Expanse' in order to fit it all in. It's more than just a fascination with the lurid plots of B grade paperbacks and comics, though -- Baker also deftly lets his academic interests show in this alternate universe, as when he recently used a group show in Toronto to do a profile on the Expanse's Art 8, a secret group of alien installation artists.
Newspaper Article
Abstract expressionism meets spaceship aliens
TB: The idea of a space drama kind of got me through the '70s and '80s. I always felt that today would be the day they'd push the button, and Star Wars and Tolkien and Dungeons and Dragons gave me some escapism. That was my religion. Those mythologies meant so much to me, and reanalysing it now, I think I was pretty affected by the times. I was always listening for sirens. And I was pretty bitter towards the powers-that-be, holding us hostage with their vain politics and ability to destroy the world. But having shunned that when I became a high artist and fool, I was becoming bored with that, so melting the two together was exciting! I thought, it's hilarious! TB: Yeah! I'm playing bass with Columbus, and the Little Baby Cupcakes are on the back burner, but it's still on the stove. And I sometimes write my own stuff. It's a good way to get away from the visual. After this show, I'm not going to draw or paint for a while. Varnishing kills a lot of brain cells, and since I'm using oil pastels, I have to use the nastiest, most toxic varnish out there. But I'm gonna be OK. I'll just burn it off with beer.
Newspaper Article