Nelson Mandela’s death reminds me of all the great men and women who put their lives on the line for peace and justice, especial those of my childhood.
As a kid in Catholic grade school in the 1960s I was very aware of what the “reason for the season” really was. It was something more powerful than Santas kneeling before a manger, a fish on a bumper sticker, or a fight in a mall parking lot over being wished the wrong happiness.
We were taught that the message of the first Christmas was the longed-for good news of the coming of peace and justice to those who needed it most: the poor, the war-torn, the oppressed, and to ourselves when we recognize our humble role in the story. The great messengers of my childhood were not just from MY church or MY country, but from all over OUR world, and these men and women literally risked their lives for it.
With art school, parish duties, and New York at my doorstep, I barely had time to be homesick for California, that first autumn in 1989. But I was. I missed Berkeley’s temperate climate and dramatic landscape, the way nature entered everyday life, how people treated one another, the forward-thinking politics, and my friends. Oh, my friends. And the deep, clear blue West Coast sky that saturated Berkeley’s daylight, the shadows, and my mood most of the year.
He has always stared just past my left ear, as if he has something on his mind, sometimes concerned about me, sometimes engrossed in his own thoughts.At times he has seemed wistful, other times melancholic. When I was young, I imagined more than a few times that he was perturbed with me for not putting enough time into the painting studio. His younger portraits were more playful, confident, self-possessed, proud. This one looks resigned to the current situation…whatever it may be. Continue reading “rembrandt’s gaze”→
Years ago, when one of my sisters and her husband were visiting New York, she returned after a long day of tourist activity still wearing the little tin Met button from her morning visit to the museum.
“Do you know what the ‘M’ stands for?” I asked.
“Metropolitan Museum of Art,” she replied cautiously, aware that the question was too elementary.
“No, that’s inside the museum,” I insisted, “but do you know what it means outside?”
The handsome Italian flight attendant unfolded the cloth napkin and rested it across my lap, with big smiling Caravaggio eyes that toyed with me for the moment. Bob and I had left Verona at 4 a.m. to race through the foggy Northern Italian countryside in our rental car and arrive at Milano’s Malpensa airport just short of two hours ahead of departure, only to find that Alitalia had overbooked our flight and we might not have seats.
Bob was miserable. He had picked up a cold in Verona, or Modena, or possibly even in my favorite Bologna. So driving through the dark and the fog to arrive at an airport that seemed to be accessible only by a series of farm roads with foreign names like “deviazione” and “non accessibile” had been stressful, to say the least, and multiplied when we learned at the ticket counter that we might not get on the plane at all.
I had the honor of offering reflections at the memorial service for our dear friend Ruth Van Erp a year ago today. I first read the following reflections from Bob (who to our surprise had known Ruth longer than anyone else in the room other than her family) and then followed them with a poem I’d composed over the three days since we’d received the news of Ruth’s death.
The day I first met Bob at NYU 23 years ago, he was excited for me to meet his friend Ruth. He spoke of her like they had known each other forever, a year or two already. Turned out it had only been a week. But the first day they met they had spent seven hours together talking and had became instant friends.
This piece appears as one of the two introductions to the art anthology Hair, published by Bruno Gmünder in 2010. The book is in its second edition, and the introductions themselves received callouts in reviews.
The Hairy Pendulum Swings: How culture has embraced male body hair over the past century
When I was a child the world was warm and furry, from shag carpeting to suede bean-bag chairs to shing-a-ling trim to the long manes on everyone young. No one but competitive bodybuilders and drag queens would have considered shaving or waxing their bodies back then, and actors and athletes, like Sean Connery, Joe Namath, Burt Reynolds, and James Caan bared their luscious chests proudly on screen and in the pages of the magazines as often as possible.
In 1960s and ’70s America, chest hair was not only popular, it defined masculinity. The opposite of idealized stone-cold waxed muscle, the mysteries of adult male sexuality lay hidden deep within the thick matted diamond of hair between a workman’s pectorals, or under an athlete’s arms, or in furtive glimpses of bushy crotches in locker rooms. Hair softened the hard parts of men’s bodies, gave shape and expression to those that would otherwise have been shapeless, and suggested raw animal attraction waiting to be discovered.
I had that classic shot of Manhattan from the airplane window as I flew up the Hudson on the way into LaGuardia, parallel to the City’s skyscraper grid, as if the flight pattern had been directed specially for Continental Airlines and the City of New York by Woody Allen or Nora Ephron. I swear I heard Gershwin playing, possibly on the crackly airplane headphones, but I can’t say for certain. As I watched the World Trade Towers, then the Woolworth, Con-Ed, Flatiron, Empire State, Pan Am, and Chrysler buildings rise and fold below me like a pop-up book, the words passed through my head: “I could meet someone there.”