In the past two weeks I have been to the Imperial War Museum and the House of Illustration in London to watch Simon Armitage then David McKean talk about and show their respective works on WW1 respectively. Armitage in his poem referenced Virgil’s use of the bees and it made me think, ‘Yes, tings like bees would continue to try to survive despite human folly’.
McKean was altogether more comprehensive in his use of insects and birds in his INCREDIBLE graphic-novel-BOOK called Black Dog inspired by the First ‘World’ War and work of Paul Nash. I shall dedicate a full blArt on DMcK later when I have had time to digest all he said and created in the book alongside some great photos of his face and limbs moving thru the discussion of his work.
I must offer that Black Dog by Dave McKean is, for me, the best! It’s such a powerful piece, incorporating such hugh delicacy, that I feel as if I am in the company of a giant in his field who makes the BFG seem tiny. I have had long-standing admiration for the Underground comic art of Rick Griffin since the 1970s but this Black Dog has stolen his place at the top of my thinking. Here’s my rendition of D Mc in a drawing I did of him then played with in PShop.
I am busy working the photos I took into a series of ‘portraits’ which I shall add words I wrote taken from what ‘Dave’ was saying and hope it gives a graphic story of the evening worth looking at. Here’s another image I have worked up. At some time I shall print them off and work into them with other media like pen and paint, but meanwhile this is done in photoshop where I still haven’t worked out how to draw with the natural flair which comes with my years of crafting my turn of hand.
I must tank DMcK fer allowin me to tek snaps and do ma skitches too whilst he tried to consecrate on his words & tings. Here he is troyin to concentrated milk:
Now for someting com-peterly diffrunt:
Latest update on my Shrewd Idiot book:
I have now completed the layouts of my Shrewd Idiot book and in the good feeling that has dawned as a result of the culmination of what amounts to 40 years work I have been self-reflecting. My printman says he can give it his attention come august 22nd which gives me a bit of time to dig out about 40-50 images I am going to add to it in colour, the bulk of it is B&W wid justa modicum of red, on drafting film which wiil add both the images and a palimpsest [The noun palimpsest originally described a document, such as a page from a manuscript written on parchment, that had been rubbed smooth so it could be used again, with traces of the original writing showing through. The word still carries that meaning, but ancient manuscripts are rare these days, so you’re more likely to hear palimpsest used to describe something that has traces of early stages showing through…Vocabulary.com, which seems appropriate for my SI pages in which I am re-using (scans of) typed pages from my 1978 manuscript along with handwritten additions and alterations and a few comments from the older me what is now. In fact only a Stupid Idiot like what I am would bother to ‘publish’ the work in the way I have laid it out. It has indeed been a very arduous process in which I scanned the typing, then cleaned up every page so the cut & paste line didn’t show and dropped in copies of the drawings I used to do in my ‘notes’. It would have been infinitely easier to have had the whole of the words re-typed digitally and then worked into a new layout but I had to suffer for my art! Trouble is it’ll also make the potential reader/buyer suffer too and many will be put off by its form. I have chosen to ignore all those considerations, I’ve always been stubborn with an inbuilt determination to make things hard for myself, in the name of ‘authenticity’. I should really heed the words of Walter Matthieu (born Matuchanskayasky on October 1, 1920, in New York City to impoverished Russian-Jewish immigrants) in one of his final films, Kotch(er) 1971, where he says that sometimes it’s best not to be so honest and that honesty can be and is sometimes too brutal, but, I never learn do I?….Do I ? On the contrary, I am learning all the time; I take things into consideration then eject them for my better plan, which more often than not seems foolhardy, hence the Shrewd Idiot! I am hoping that the beautiful presentation of the book will invite scores of punters to pirchase it, yes that’s pirchase as in pirspire (try doing that without wordcheck killing it!). One of my heroes, Brian Clough, before the demon drink took his judgement, used the same strategy as me when he said he would
- listen to his player(s)’ points of view, then
- carry on and do what he intended to do before they expressed their differences of opinion.
Hero! He won the Euro-Cup twice with a load of players most of whom had passed their sell by dates and a few greenhorns at Notts Forest. That was no fluke, Forest never did anything worthwhile after his demise.
So buy my buk you pirfec puntas cos I knows warramonabArt!
Choreographer Rosemary Butcher, who has died recently aged 69, once commented: “I’m not particularly interested in accessibility. Staying easy isn’t going to move anything.”
In 1965 the liberal arts college at Dartington, in Devon, launched a new theatre and dance studies course and she enrolled as its first dance student.
In 1968 she travelled to the US on a two-year scholarship and, studying at the schools of Martha Graham and Merce Cunningham, received a thorough immersion in the mainstream of American modern dance. But it was when she returned to New York and began working with members of the radical dance collective Judson Church that she found the aesthetic that inspired her own dance-making.
The Judson philosophy was encapsulated in the opening line of its manifesto “NO to spectacle, no to virtuosity … magic and make believe”. But, just as important to Butcher, the Judson choreographers were closely involved in the experimental strategies of new music, film and visual art, and it was within this crossover culture that she saw her own career taking shape, rather than in the world of pure dance. (Guardian 20 July 2016).
I was fortunate enough to attend a number of classes in the Martha Graham technique run by Molly Penn when I was looking for something to substitute for football at St Luke’s college in Exeter in the summer months of 1972. Molly accepted me in altho I was pretty damned useless. It did lead to her asking me to design the dance production of her take on Catulli Carmina wherein she used the same structure as the Black Mountain college had with 3 people doing the production; a artisbloke (me) a dance person Molly, and a music person whose name I forgits nah (Peter O’Brien you goofball). cf Rauschenburg/Merce Cunningham/John Cage. This event is chronicled in ma Shrewd Idiot buk and this will be one of the big images in it, innit!