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Here is a link to a project by my long-time friend Josh Hoisington.  Josh has been working in the music industry for years and he has always been on the edge of blowing up (in the sense of succeeding enormously, not of exploding: although sometimes it is hard to tell the difference with popular musicians).  His newest musical project takes on the task of the English metaphysical poets: to explore our relationship with God and morality through the intensely personal language of romance and the sensual and trancelike electronic music of dance clubs (this is not as quixotic a task as it may sound…just ask the Sufis who believe that dreamlike music, otherworldly dancing, and exploration of our relationship with Allah all go together like a single calligraphic symbol).

The refrain “My dialogue may not with God, but it’s with myself…” certainly reflects a theme which Ferrebeekeeper has been meaning to return to: that deities are the ultimate metaphor for self.  Let me know your impressions and I will pass them on the musicians.

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For many years I studied at the Art Students League of New York, a storied yet inexpensive atelier-style art school/collective which accounts about half to ¾ of all eminent American artists as members, pupils, or instructors at one point or another.  I would work all day as a stupid flunky at a bank and then go to the League and paint for three and a half hours every night.  At the Art Students League, one could find every sort of artist from around the world, from international art superstars to first time hobbyists. I mostly studied with the great portrait painter Ron Scherr who drew young luminaries of contemporary realism to him like a man casting loafs of bread in Union Square park draws pigeons.  There were many gifted Scherr students whose works and careers I need to highlight, but arguably the most gifted draftsperson was my friend Mark Kevin Gonzales, a chess player who grew up in Brooklyn (the rest of us just moved here to make it in the arts) and went to the famous Brooklyn Technical high School.

Since Mark is a native New Yorker, his artwork highlights life in the city, and these particular artworks highlight the animal life of the city, our famous rock pigeons (Columba livia) which throng the city’s parks and statues.  Indeed they are famous urbanites around the world.  The watercolor painting at the top highlights Mark’s mastery of  form shading and color.  The pigeon has been rendered in swift staccato strokes of watercolor (a famously unforgiving media) yet because of his masterful brushwork, the piece has an illusion of three dimensional form and conveys the impression of details which aren’t actually there.  A master’s secret is that if you can get the first few lines exactly right, you don’t have to agonize over a bunch of fussy little lines (but…oh let’s not talk about the years and years of practice necessary to get those big flat shapes to come out exactly right with the flick of a wrist).   The pigeons feathers seem to glisten with shimmering iridescence which is upon close inspection revealed to be a simple wash of viridian.  Its lively eye and cocked head makes the viewer think that the bird is observing the observer from beyond this little square of paper.  I suspect the bird really was observing Mark closely in whatever park he painted this (the poor pigeon probably though he was being sized up by a big weird cat as Mark crouched at his traveling easel).

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The second painting is even more of a quick sketch…but it is also more of a celebration (and a political piece).  This pigeon is strutting his stuff as joyous 4th of July fireworks go off in the background.  Notice how the pyrotechnics have colored the urban bird red white and blue.  Rock Pigeons are not originally from the new world (neither are Mark’s black and Philippine ancestors, come to think of it) but they have moved here to New York and lived here successfully for generations and they have a greater claim to being native New Yorkers than just about anybody.  It is good to see the patriotic national colors fitted out for an existence which is completely urbanized and it is so good to see some of Mark’s playful small works (he usually works in exquisitely rendered large format portrait painting).  You should check out his amazing work in Drawing Magazine or at his website, or just take a gander at his astonishingly lovely drawings and paintings on Instagram…Oh and tell him what a gifted artist he is: he certainly already knows, but it is always still good to hear.

 

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Today (June 21st 2018) is a sacred day.  In the northern hemisphere it is the first day of summer, the longest day of the year. I love each season a great deal…but I unabashedly love summer the most. At evening the sky is alive with fireflies and bats.  The garden is filled with roses, lilies, and hydrangeas which gleam like particolored stars in the long fluorescent twilight. As the weather warms the oceans, New York City is revealed to be a beach paradise. I live in a West Indian neighborhood and for a season it is like I live on a Caribbean island: everywhere there are stalls filled with tropical fruits, women in bright sarongs, bike rides to the coast and the dulcet songs of the islands lingering in the air as children laugh and cicadas chirp. Summer!

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But there is a sadness to the solstice too, which I guess is part of life.  The first day of summer is the longest, and from there, the days get shorter and shorter.  If the winter solstice is the effective beginning of the year, the summer solstice is an end too.  Things have peaked.  Even as the nights get hotter they get longer.  Before you know it, it will be autumn and then winter again.  And all of our days are getting shorter too.

Lately I have felt sad.  Year by year my dreams slip further away from the tips of my fingers, and there is no going back to rectify anything, even if I wanted to (and I don’t want to: what else would I be? Some crooked banker who is ruining the world? An ignored ichthyologist discovering minute differences in triggerfish peduncles? The least popular literature professor in a miniscule liberal arts college somewhere?)  I have always felt a deep affinity for my nation, but lately I feel like a foreigner…even in Brooklyn, to say nothing of West Virginia! I have always felt that art was important…a guidepost to the numinous in our world of unfeeling stone, but lately it just seems like another empty battle for status.

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The summer solstice is a day when you can see the past…and the future too, shimmering like Fata Morgana above the pink ocean waves.  It is possible for a second to hear the horse carriages and trolleys passing up old Flatbush…or even to imagine Brooklyn as a patchwork of farms, or a forest with a few hunter-gatherers…or as the terminal moraine of the Wisconsin Ice sheet.  Think of it! a wall of ice taller than the skyscrapers was here. Or you can look the other direction and imagine the sun setting beyond cities of tumbled down towers and ruined concrete cenotaphs.

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The solstice reminds us of oceans of time all around us.  Cronus is standing at our elbow with his scythe and hourglass (or is that bearded old man a druid? Or is it the mirror on my dresser?) We have to catch this fleeting moment as the years wheel away. We have to do something important!  But what?

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It is May Day! This weekend I was thinking about whether to celebrate the ancient pagan festivals and rituals associated with this holiday of seasonal rebirth or whether to instead write about the international day honoring workers. This latter manifestation of May Day came about in the nineteenth and early twentieth century as a response to the excesses of the industrial revolution and the undemocratic forms of power manifested by the cartels and monopolies which sprang up with the railroad, the mills, the mines, and the oilfields. I was sitting in my yard looking at the spring blossoms when the issue was decided for me. Sirens and chants of “The only SOLUTION is COMMUNIST revolution!” filled up the garden. I ran out to the street and a parade of communists was marching up Flatbush in Brooklyn. They were waving blood red flags and waving placards. Most were wearing red shirts and some were riding in a huge old flatbed lorry which looked like it came out of 1960s Cuba.
Although I can respect the socialism of Jaures and I am fascinated by the social democracy of modern forward-thinking northern European countries like Holland and Denmark, I have trouble uncoupling communism per se from the ghastly totalitarian abuses of Lenin, Mao, Pol Pot et al. (plus I grew up in the shadow of the Cold War) so I stared at the communists in shock—as though medieval monks or Sumerian charioteers were riding through. A number of people in the crowd joined them or eagerly grabbed their manifestos though. Evidently the communist message was not as outside of time as I thought.

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A lot of these recherche movements have been springing up lately. There are communists, confederates, tea partiers, celibate terrorists (?), and syndicalists popping up all over the place. There are even confused ultramontanists angry that they can’t understand the current pope sufficiently to treat him as an emperor.

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The oligarchs who reap the greatest benefits of globalized capitalism have not been sharing the benefits of global commerce, nor reinvesting in next generation technology, nor even buying epochal flounder-themed art (although there is always time, great masters!) Moneyed interests are not even hiding the extent to which they are manipulating the American political system, except maybe with some awkward metaphors about how the financial system is like blood. They are breaking the system to exploit it and weirdness, old and new, is seeping into the cracks.
Our democracy and our fundamental economic system are having serious troubles. It is unclear if these are growing pains, or if they are the onset of the sort of changes which felled Athens or undid the Roman Republic. The ossification of our system has combined with rapid social and economic change to completely undo one political party (albeit through mechanisms which would look more familiar to Tiberius & Gaius Gracchus and Huey Long, than to Ayn Rand or William Buckley Junior).

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But back to the communists in Brooklyn—who were, after all, surrounded by police (to a disquieting degree, actually) and drew far more chuckles and eye rolls from the Flatbush crowds than they got converts. It is a reminder that we all need to laugh less at the dysfunction in Washington. Fascist totalitarians are cropping up on the left as well as the right. We need to have some serious conversations about democratic reforms and how to reestablish useful and helpful mechanisms and norms to deal with the changes in the world. Otherwise unexpected weirdos will make those choices for us and instead of a comic stunted Mussolini with porn stars and Russian business ties we might end up with a high theocrat or a tribunal of the people. Things are moving fast: let’s talk more and think more clearly!

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This past Friday/Saturday was the annual Pratt Drawathon, a 12 hour event which is one of the highlights of the New York City art year. I should clarify:  the event is not a highlight of the New York art world year. The drawathon is not a place where elite moguls drink wine from airport cups and buy multi-million dollar status-items to embellish their hegemony.  The drawathon is, instead, a draftsperson’s event where Pratt students and other people who love to draw get together and draw all night. Mostly the artists are young fashionable 18-20 year olds with fluorescent hair and strange stylish raiment who struggle away at capturing the likeness of the models within the media rubric of whatever undergraduate project they are currently working on.  Yet the greater New York art ecosystem knows about it too; so you also find peculiar outsiders dressed like janitors who draw like Raphael.

This year, I worked for 9 hours at my spreadsheet-themed dayjob and showed up to squeeze in among the miscellaneous artists and do some pencil sketches to stay limber as an artist (it is also nice to draw naked people sometimes instead of allegorical flatfish).  After midnight the event also features pizza, caffeinated beverages, and live drummers to keep everyone’s energy up. But alas, this year my energy was flagging and my back was sore as I squirmed on the drafting stool. I was feeling sorry for working all day and drawing all night. That’s when I a model I hadn’t seen before came in and gave me a new jolt of energy…not because they were a 19 year old beauty unstained by time’s cruel tutelage (although such models indeed participate in the drawathon), but for the opposite reason.   A man older than John McCain came in and then held stock-still for heroic long poses.  Holding perfectly still sounds easy in theory, but as anyone who has been to Methodist church can tell you, it is exceedingly difficult in practice. Yet the heroic model easily stood like a statue in the airless room.  At one point the man jumped up on a teetering bar stool and stood with his feet close together balanced and motionless for twenty minutes as the assembly gasped and begged him to be careful and not to fall and break something.  “You better draw fast then!” is all he said.

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Not only was this strange muse indefatigable and brave, he was also generous.  After the pizzas arrive the event loses its coherence until about one o’clock when the proctors dragoon it back into shape.  There are always some artists who wolf down their pizza and wait impatiently for things to get started.  The model (who was named Mike) came in and said, I’ll pose until things get started again, if anyone wants to draw.”

One has to be impressed by the fortitude and bravery of anyone who can pose nude in front of strangers at all (I am not sure I could).  To jump into such a career later in life is to truly overcome the prejudices of society and the indignant dictates of the aching spine. Mike seemed like he was having a great time.  He was friends with the models and the artists. Even more, he was a friend to art (though I am, naturally dissatisfied by my drawings…speaking of which,  I am sorry I cut off his feet on this last image–my scanner is only letter-sized).

So am I saying that my hero is a weird naked old man? I guess I am. The combination of strength, fortitude, generosity, and bravery are hard to gainsay.

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I am sorry that these pictures don’t do him justice, but my back was tired from sitting in a comfy office chair all day.   It’s a reminder that life is short, but opportunities are more diverse than you think.  And it is a reminder to get to work! If Mike can pose 12 hours straight, from dusk till dawn, all of us can get out of your comfortable ruts and accomplish anything.

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I have been excited to start blogging about my spring garden as it awakens from the uncharacteristically frigid Brooklyn winter of ’17/18…and although the tulips are starting to sprout up, we have had a nor’easter “bomb cyclone” EVERY week for as long as I can remember (admittedly, winter is robbing me of memories of warmth, light, and joy).  Anyway here is a picture of my garden on March 21st…the second day of spring.  Hmmm…it is pretty (surprisingly so: my point-and-click photos don’t do it justice), but it is not especially springlike yet.  We will revisit this vista soon, I hope, as the world comes back to life.  In the mean time I hope you at least enjoy the snow photos.

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Back when I first moved to New York, I didn’t know how to cook very well, so my roommates and I ended up ordering out almost every night.  The profusion of infinite restaurants featuring delicious cuisine from everywhere in the world seemed like one of the city’s great features back then.  My favorite sort of take-out cuisine is Chinese, so we would order Chinese from New Panda Garden or Szechuan Delight at least once a week (and sometimes more).

Then one day, my roommate came back with a menu for a new place: Uncle Liao.  We had immense fun saying the name (which you should try) and we started ordering their sour pork cabbage delight—which was magically delightful. Coincidentally, according to a Chinese-speaking friend, “Liao” means “old” in Chinese—so their name was something like “Uncle Old” or maybe “Venerable Courtesy Relative.”  We ordered Uncle Liao all the time and poor Panda Garden closed (and Szechuan Delight was relegated only for the occasions when we had to have sweet and sour chicken, which they did really well).  But then a funny thing happened: the novelty faded from Uncle Liao and the food stopped seeming so delicious.  After a while my roommate picked up a “Red Hot” menu and soon Uncle Liao dropped out of the rotation.

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It is possible, of course, that their food became less good over time (indeed the internet tells me they closed a decade ago for gross health code violations), however I believe the whole cycle was illustrative of the human need for novelty.  After a while the most delicious food loses its special savor, and the most gorgeous ornaments look stale next to newer baubles.  We have an insatiable appetite for novelty–and it is this taste (not the need for sour pork-cabbage delight) which drives more of human activity and purpose than I ever would have credited.  Lately I see Uncle Liao scenarios everywhere: in media, in politics, in relationships, especially in the arts (which are afflicted by a real weakness for novelty even if the new work is stupid or inane)…yet even science and academia are prone to the “good because it is new” phenomenon.  I suppose this itself is good, since it drives change and innovation, but it is alarming too…our collective hunger which can never be sated which draws us to new things even if they are stupid or tasteless (or kind of too salty with too much MSG).   I don’t propose not trying new things (far from it), but we should be aware that they tend to overperform on the curve and most of them are destined for the back of the folder…or the landfill…or the “CLOSED” tab on the menu finder.

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We are coming up on the Fourth of July, our national holiday here in America when we all get together to celebrate being American. Mostly we celebrate by blowing things up, eating fattening food, and getting drunk—but whatever…we are after all American and those activities suit our national character. Yet lately there are real troubles in the USA: everyone is always fighting with everyone else over everything. The rich and the poor apparently regard each other as separate species (most unwisely in my humble opinion, since those states, seemingly so infinitely distant are not nearly so far apart as one might suppose). Ethnic and racial groups are sorting apart and clustering together even as like-minded individuals enter into their own echo chambers on the web. Drivers hate pedestrians. Dog owners and cat owners tsk at each other (although both sorts of animals are lovely pets). And beyond everything else there is the yawning chasm down the middle—the chasm between blue and red. This widening political gulf between left and right is paralyzing our nation and leaving us all poorer—both financially and in terms of experience, friendship, and opportunities. I have been disquieted by America’s growing animosity and fractiousness and I really hope you share my unhappiness. This is bad.

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What is going to happen when the latest economic bubble breaks and all of these divisions are thrown into sharp contrast as the money all sluices off to wherever it goes? I am a West Virginian who grew up In southern Ohio, Mainline Philadelphia, and Virginia. I went to college in South Chicago. I have seen red and blue America and they aren’t even that different! I feel like this tribal nastiness is being manufactured just so a bunch of narcissistic freaks can cling to power.
We are going to talk more about how to deal with this in later posts. If our country was united we could solve all of these logistical, moral, and fiscal problems which bedevil us in short order and resume building a future of beauty, meaning, and wonder. We will get there, but to celebrate the Fourth, let’s flee into a starkly different political climate: the past.
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For the 4th of July I decided to peak back through the history of my congressional district, which today is arguably the most diverse in the United States (consisting of unimaginably rich burgher-paradise of Park Slope, the inner city ‘hoods of Brownsville, the vast orthodox Jewish enclaves of Midwood, and the Russian and Central Asian immigrant districts of Sheepshead Bay).
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The history of the 9th Congressional District of New York was hilarious and remarkable. This congressional district has changed shape, color, and composition again and again like a cuttlefish at a rave. It has been redistricted and torn apart and pasted into so many different coalitions and coteries.
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Although it has mostly been a Democratic stronghold (with some congressmen and women who became famous (or infamous)—like Chuck Schumer, Geraldine Ferraro, and Anthony Weiner), there have been a fair number of Republicans representing the 9th District too. However, if you go back far enough there were other affiliations as well: Federalists, Whigs, and more than one candidate who were simply Anti-Jacksonian or “Opposition”. All the first representatives had Dutch names!
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The famous journalist Joseph Pulitzer was a congressman of the ninth district so was Thomas Bradley, a Tammany-era lawyer who died of cirrhosis of the liver at the age of 31. There were remarkable beards and moustaches aplenty: there were weirdoes and heroes and forgettable placeholders. The only constant was change.
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We Americans aren’t just different in different regions: we change a lot not over time. If you are unhappy now, keep your chin up and keep lobbying to keep the democracy fair, civil, educated, and unbiased. Affairs will work out in the end so long as we remain democratic and bound by fair rules. History keep changing faster than you might think and mostly for the better. That trend will resume and we can start being the UNITED States of America again. We can build bridges instead of walls and canyons (which suits Brooklyn better anyway). Happy Fourth of July!
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Ok, spring is moving by pretty fast. Where does the time go? However, despite the false spring back in February, the tulips in my garden came out really well this year! I thought I would share the pictures of the late tulips with you. These are lily flowering tulips. The delicate orange ones are named “Ballerina.” I bought them from a Dutch company which shipped the bulbs across the ocean last autumn. I lovingly planted them in a prime spot in the golden light of October.
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Yet, I think the pink and white ones are even prettier. Their name is apparently “Lowe’s Discount Bin.” I bought them for three dollars and forgot they were in a plastic bag under my bed until I found them in January beginning to sprout among my socks and science fiction novels. I rushed out into the slush and hastily buried them in cold shallow divots and assumed they would all die. You get what you pay for, right?
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Apparently not. The beauty of these tulips was undiminished by their low price and my slipshod gardening. I wonder if they will come back next year, and I wonder how I will ever find more of them.

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To celebrate the blossoming cherry tree, I made a big painting on cheap canvas and hung it beside the cherry tree. It’s a little hard to get the sense of the scale, but it is the largest work I have made on canvas.

The painting is an allegory of humankind’s place in the natural world (like most of my paintings). Against an ultramarine background, a giant glowing furnace monster is prancing on the back pf an aqua colored flounder. Inside the furnace chamber a little blossom person bursts into flames, powering the great contraption. Behind this tableau, a titan’s head festooned in weeds sinks into the mud (an amphora in the left corner is likewise settling into the muck). A cherry tree blooms against the night sky…along with a piece of kelp and a glass sponge. A goosefish watches the entire scene from the right foreground.
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Sadly, I forgot to paint the giant clam which was supposed to be beneath the flounder. Fortunately there is a sad squid at left to represent the mollusks within the painting (although I am not sure why he is standing around). Although the work is less finished than I would like, I think it successfully combines humor with a certain wistful pathos. Let me know what you think (or if you have a wall which needs a giant mural).
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