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Wednesday, October 27, 2021

Kehinde Wiley's Rumors of War


It was something of a particularly beautiful and sunny Saturday morning quickly evolving into an afternoon. My granddaughter and I were on a side trip to the state capitol, Richmond to visit the Virginia Museum of Fine Art (VMFA.) A work by art by a renowned contemporary artist had taken up residence at the museum and we were anxious to view it in the flesh. 

As we came within blocks of the museum we passed an empty twenty foot tall defaced pedestal covered with graphitti and markings both offensive and profound. The original inscription although very much in tack and still legible; Stone Wall Jackson. General Jackson was so nick-named with it’s meaning being the man, like a stone wall was immovable. Apparently this wasn’t altogether true…the appearance to me was that the confederate general had move out because his neighborhood had become intolerable due to the arrival of the new resident to the area at the VMFA just within the next block. Kehinde Wiley’s magnificent work “Rumors of War” features a young modern African-American man astride a rearing war horse in his most regal ripped jeans, Nikes and dread locked hair had invaded the neighborhood. Now existing as a permanent resident and thus an “intolerable.” This could be the civilized solution, the secret to getting rid of offensive historical statures that have overstayed their cultural relevance; those dedicated to racist historical figures…voluntary relocation. 

Wiley’s work was a personal reaction to his distaste of the City of Richmond’s honoring of a disproportionate number of the American Civil War and it’s confederate generals and soldiers. This was during a visit to the city of Richmond’s Monument Avenue in 2016. He would express his thoughts in this statement:











“I’m looking up at those things that give me a sense of dread and fear. What does it feel like physically to walk a public space and have your state, your country, your nation, say…this is what we stand by?”

                                                                                              Kehinde Wiley   



Wiley would react in kind with the methods he knew best. Wiley created a work to symbolize freedom (for all) and a future of representation and inclusion for all citizens; the work succeeds in a grand fashion.

Wiley would react in kind with the methods he knew best. Wiley created a work to symbolize freedom (for all) and a future of representation and inclusion for all citizens; the work succeeds in a grand fashion.


“Rumors of War” was first unveiled at New York’s Time Square on September 27, 2018. Witnessed and applauded by an awed crowd of thousands the statue was well received and accepted. It would go on in a few weeks to Richmond and again welcomed by a huge gathering in December. Wiley had this to say:


“…and today, we say yes to something that looks like us. We say yes to inclusivity. We say yes to broader notions of what it means to be an American.”

                                                                                                Kehinde Wiley
























I first became aware of Wiley’s mastery of the arts from the cover of “Art in America.” It happened to be the April 2005 issue. I walked into Barnes & Noble to confront what I knew was attainable but as yet to not happen; a main stream magazine to bravely feature an elegant, sophisticated, unapologetic and handsome portrait of an African-American young man.  I just stood at a slight distance for a minute long eternity absorbing, cherishing and inwardly celebrating the “once in a life time moment.” Then I picked up the magazine and opened the doorway to a new existence, a new reality.   













  Not surprisingly Wiley (as is widely noted) went on to paint the official Presidential Portrait of the nation’s first president of African-American leanidge. In 2018 Time magazine selected Wiley as one of the world’s 100 most Influential People. He was also prominently featured in the landmark “30 Americans” exhibition at the Corcoran in Washington. In conjunction with “30 Americans” he was honored with his own pool side fish-fry at the Capitol Skyline Hotel and entertained by the Howard University Marching Band and female troop of dancers. I was fortunate enough to attend, meet Kehinde and enjoy the festivities with an overflow crowd. Within the process Wiley has become a major participant in the global art economy, the world canon and modern history.   

Another accomplishment for Wiley is his earning of the Yale University MFA; the art world “Golden Ticket” of sorts. He served as well in a marvelous fashion as Harlem’s Studio Museum Artist-In-Residence where he increased his knowledge, standings, influence and mentoring chops. While Wiley grows in his artistic life and journey we are privy to and the benefactors of his gifts and inspirations. His beauty is much appreciated in his giving and his remarkable works. 

And if at all possible travel to Richmond, Virginia…and see “Rumors of War” at VMFA along with masses of other beautiful and provocative works!     


Take your bows Kehinde!




   


Sunday, August 1, 2021

Yo-Yo Ma: The Music

Yo-Yo Ma Doesn't Play Cello...

He is "The Cello."

The music seems to exude from his very being; his essence. His love, knowledge, commitment and mastery come together in a unique blend that translates to a beauty of grace and elegance that is a thing of purity. The sounds are for the enhancement, the pleasure, the being of the listeners, his audience. The cello is for all purposes merely “the instrument” of transference of his heart, his soul, the mind of this musical man; Yo-Yo Ma.

There have been and are other musicians, performers in the league of Yo-Yo Ma. They have lived throughout history; many lauded and some unknown, that we will never hear even in recordings. A few that fit the category, the mold for our time are his contemporaries Perlman, Shorter, Santana, Vidović.    They are the purest, the naturals. They are wonders. They take us to places of elation, understanding, comfort and bliss like only the few can achieve. 


Enjoy the recordings of Yo-Yo Ma. See him in concert. Cherish his gifts and be in the company of the treasured beauty of sound and the true greatness of the human spirit. 


 

Saturday, July 10, 2021

American Realist: Jamie Wyeth


Jamie Wyeth could well be considered the third leg of a secular trinity of sorts. He is one of America’s foremost practitioners of realistic painting. He is responsible for a formidable body of work that rivals the living and the ages. He has well mastered his chosen; perhaps genetic and culturally…even God-given medium; painting. Jamie Wyeth is an artist of the highest order. He is also the grandson of N.C. Wyeth and son of Andrew together forming, and continuing their great family’s tradition, devotion, commitment to and love of art.

Jamie labors painstakingly; hours, days and nights on works that result in things of interest, passion and a richness of beauty of craft. In this world; increasingly unappreciative of the works of the human hand, mind and spirit he reminds us of a vanishing, richer age. He continues to produce works that are challenging while true to life and it’s very essence. 

Wyeth’s life-long fascination with the visual arts and imagery was first informed by visits to his father’s studio, books, objects and an unquenchable curiosity of the natural world. While his unceasing interest and exploring of everything possible, he grew. As a child he asked to be able to leave school (like his father who never actually attend formal school) early on and be educated by his aunt Carolyn Wyeth. 

Her style was a departure from the expected Wyeth style of painstaking realism and naturalism. His aunt’s style fits more readily within the realm of a fantastic outsider/ folk genre. She also worked with oils, unlike Jamie’s father who worked primarily with egg tempera and led to Jamie’s becoming a practitioner of Oils. Wyeth would later study in New York where he came in contact with the likes of Andy Warhol, Rudolf Nureyev and Arnold Schwarzenegger. He went on to share many experiences within the New York Scene and this led to multiple studies and paintings of a rare depth and beauty.  




 Jamie Wyeth would eventually evolve with his natural abilities into something akin to his grandfather; an illustrator. He has to date done three children’s picture books: “Cabbages and Kings,” “Sammy and the Sky,” and his mother; Betsy’s story “The Stray.” In the age of Post Modernism, Abstraction, Minimalism and Dada the Wyeth’s have never been lauded by the overall contemporary “Art Scene.” Again; negativity from the art world elites who consider illustration unworthy of great talent or merit. Wyeth has met disdain with the following quote:


"We're charged, my father and I, with being a pack of illustrators. I've always taken it as a supreme compliment. What's wrong with illustration? There's this thing now that illustrations are sort of secondary to art and I think it's a bunch of crap."                                 

                                                                                                                           Jamie Wyeth     

                                                                                                                                                                                                                                                                                                                               


                                                                                                                           




The Wyeth’s have survived and thrived in spite of some, somewhat expected snobbery and derision. It is the price of popularity. Jamie was chosen to be a member of the “Eye Witness to Space” group created by the National Gallery in Washington; DC and NASA. The goal was to represent the activities of the space program for the present and posterity. Some of the other participants were Norman Rockwell, Robert Rauschenberg and Morris Graves. 





Wyeth has been a much sought out artist of chose for other venues as well.  “Harper’s” hired Jamie as court artist for the Water Gate Hearings and later trials. The Kennedy Family commissioned an unofficial posthumous portrait of JFK. It was brilliantly executed from the inspiration of photos and video depicting a young Kennedy perhaps at the time of the Bay of Pigs. The expression was something of introspection and possible indecision. The family for the most part was not pleased but over time public acceptance won out. It is considered one of the best depictions of the former president known.

Recently Jamie has been working on a series of his own provocation, his borderline surreal, often dreamlike seascapes. These images are coming to him within his actual night’s dreaming. The waters are choppy, rough and stormy. The wet rocky edges of the seas are often depicted with figures standing calmly watching the spectacle of it all. The figures just happen to be those of many whom he has known in life that left their individual marks on him. His father; Andrew and his grandfather, N.C. are depicted closest to land’s end and perhaps surprisingly the figure of Andy Warhol at a further distance;watching, almost hidden in the background trees. They are the residents of these strange hypnotic worlds. These are the most visionary and symbolic of any of Jamie’s works, especially when considering those of his earlier years.  These works are a definite departure from the quiet and serenity of the majority of his pieces.






































At the end of the day and much has been said Jamie Wyeth’s works are most solidly “American” in form and character. At once the speaking of his vivid, painterly voice. His paintings are robust, no-nonsense, strong pieces that seem to spring up from the very earth and sky becoming the incredible things they are.  Wyeth knows himself, his history and his work as well and much better than most. He is yet a rare talent and blessed with an inherited legacy few can match. We are all the better for the inspiration of his life and works. We continue and will always admire his gifts and giving.