24 December 2008

Weekend in Harrisonburg, VA with Alissa and Dylan







Two weekends ago, I drove up to Harrisonburg to see my kids. Although it was cold, we walked downtown to see the mural Alissa and the other kids in her second grade art class painted. I asked Alissa and Dylan to stand in front of the mural so I could get a picture, but they started posing themselves. In the second shot, Dylan isn't crying; he's actually mimicking the girl in the yellow dress. After getting a few shots of the mural, Alissa guided us on the same tour her art teacher had given her of the other murals in downtown Harrisonburg. She had stories to go along with all of the other murals. I wish I had taken shots of all of them, but I didn't think of it at the time.

In addition of the pics of the kids and the mural, I took a few other shots of random stuff around town. If anyone out there reading the blog wants to download one or all of them to print out, that's fine. I normally ask that folks don't download any of the shots on this blog without my permission (although, honestly, there's no way for me to know if someone does, and I don't really care very much), but today the shots below are a gift.

Since I haven't posted in a while, I'm going to throw in some Bonnie "Prince" Billy. Here's Will performing Sam Cooke's "A Change is Gonna Come" last month after Obama quoted the song in his election night speech. I suppose I'm late getting to it, but it's good; and it kind of goes along with the photo of the Obama painting below. Enjoy, and happy holidays.


perhaps an odd image to include after obama, but i took it moments after taking the obama shot, and it does reflect a bit of the mixed emotional realities we're living in.
the american sublime
alissa liked this one because of the scratch-out of the man smoking a cigarette on the horse's butt.

16 December 2008

Fight the coming apocalypse by buying great art

Laura Levine, Red-Winged Blackbird@20X200
Idaho Springs, Colorado, James Justin Reed@20X200
Hank Williams' Bed, Georgiana, Alabama, Scott Eiden@20X200
Palm Aire, Tema Stauffer@20X200

Over the last few weeks, I've had a hard time finding enough money to buy food or pay my rent/electric bill, so Christmas gifts have been low on my list of concerns. If I somehow manage to scrape together a few extra dollars, though, I plan to take advantage one or two of the great offers on original art floating around the web this holiday season.

I've bought a couple of prints from Jen Bekman's 20 X 200 in the past, and I've been really happy with the quality. Over the last few weeks, 20X200 has rolled out a cornucopia of beautiful artwork, from Laura Levine's whimsical bird paintings to Scott Eiden's photo of Hank Williams' childhood bed in Georgiana, Alabama. There's also plenty of great stuff in the archives, including a couple of wonderful shots by a photographer who initially drew my interest to 20X200 and has since become a good friend, Tema Stauffer.

Another photographer I've intended to mention on this blog for some time is Christopher Wilson. I wrote to him a couple of years ago after seeing his photo inserts in the Band of Horses CD Everything, All the Time, and he was kind enough to send a lengthy response. In any case, he's a wonderful photographer (see for yourself), and he's currently offering 10X10 or 8.5X11 prints of ANY photo on his site for $30. If you or anyone you know loves art, head on over to 20X200 or Christopher Wilson's site and get them something unique and memorable.
from In the Shadow of the City, Christopher Wilson
from It Seemed Like A Good Idea, Christopher Wilson

03 December 2008

Bless you for your anger, it's a sign of rising energy

Found in Abandoned House, Cripple Creek, VA

3 Frank Stanford Poems

Lullaby to a Child They Say Will Not Live Through the Night

the fog worked on the coffin without a sound
like a tire rim rusting in the dark
I went around waiting for some scum to grow on the lid
I wanted to hewn me oars to take you home
I wanted to bring clean sheets dipped in ice water
and smell your curls like strawberry vines
have a one of you seen how long it takes to wave so long or lose a crop
I plant my garden under the gradual pressure of the loveliest saddle
forgetting the undergrowth of sorrow
I make loops for the worms my darlings
I take a bath in a grave with no soap
and keep the secret of the fingernails and vortices of dirt
a pelt is taken by the sound of a lantern going out
and I tremble with the channel cat black as soot
and I pass out on funeral jazz and slow water rag
I betroth myself to the tension of the raccoon's approach
flexing my eyes with the dark
and I swear on my life
I will prowl this black island until I can return
your dirty kiss lightning's flesh and thunder's hurt
I stand ready for the spume of your cooked tongue
it is a simple ceremony
a girl has burned
her wilderness to honey but not to death
a woman will die
before the hunter rises I can hear the embers from my boat
from my bed I can see the odor of her pillows

In Plain View

A white rose fell out of my lapel
outside the church house
like a hand with too much sun
A horse trampled it
The barefoot rider who was
just passing through
leaned over backwards
and picked it up with his toes
He said Sorry
and I said Much obliged
And I took it from his dark foot
and gave it to his fine horse

Blue Yodel Silence You Are

You are a fourteen year old farm
girl who's done it already
you are dreaming about it again
losing your faith in the loft
in the hay of that dress you want
anybody to bring you
and the horses are sleeping
you are a dark boat
moored to the evening's
harbor and I
am a new rope
unravelling
the storm
passes by
like someone
I knew

Yoko Ono/Cat Power "Revelations"

01 December 2008

You don't know me, she said to the shooting star

Subway Parking Lot, Galax, Virginia
XM-Radio Call Center Cubicle, Galax, Virginia

A couple of Robert Frost poems that I like. Part of the power of the first poem hinges on the speaker's isolation, and whether or not the "and that was all" of the final line is enough; I suppose it has to be.

"After Apple Picking" is similarly ambiguous. It could mean a variety of things, depending on one's perspective--maybe not being equal to the harvests (of anything) we face in a life-time, not living up to the beauty and potential of the world? I like (like isn't really the right word) the line about not being able to "rub the strangeness from my sight." Certainly the way I often feel.

Of course, the lens begins to get a little foggy for most of us "midway through our journey of life." And part of maturing is accepting a limited harvest, a few mishandled fruit, that sight is always limited--and that sort of realization can make one weary and ready for a long sleep (if not the long sleep).

The second poem also brings to mind Radford University professor Charlie Brouwer's ladder sculptures. When I taught at RU, one of the places I used to go to escape the bustle was the lobby of Preston auditorium, where I would stand in the fractured light of the stained glass windows and spend a few minutes looking at Brouwer's "Dark was the Night, Cold was the Ground," thinking about the peaks and valleys of my own life or maybe some lonesome character from a Flannery O'Connor or Breece Pancake story.

The Most of It

He thought he kept the universe alone;
For all the voice in answer he could wake
Was but the mocking echo of his own
From some tree–hidden cliff across the lake.
Some morning from the boulder–broken beach
He would cry out on life, that what it wants
Is not its own love back in copy speech,
But counter–love, original response.
And nothing ever came of what he cried
Unless it was the embodiment that crashed
In the cliff's talus on the other side,
And then in the far distant water splashed,
But after a time allowed for it to swim,
Instead of proving human when it neared
And someone else additional to him,
As a great buck it powerfully appeared,
Pushing the crumpled water up ahead,
And landed pouring like a waterfall,
And stumbled through the rocks with horny tread,
And forced the underbrush—and that was all.

After Apple-Picking

My long two-pointed ladder's sticking through a tree
Toward heaven still,
And there's a barrel that I didn't fill
Beside it, and there may be two or three
Apples I didn't pick upon some bough.
But I am done with apple-picking now.
Essence of winter sleep is on the night,
The scent of apples: I am drowsing off.
I cannot rub the strangeness from my sight
I got from looking through a pane of glass
I skimmed this morning from the drinking trough
And held against the world of hoary grass.
It melted, and I let it fall and break.
But I was well
Upon my way to sleep before it fell,
And I could tell
What form my dreaming was about to take.
Magnified apples appear and disappear,
Stem end and blossom end,
And every fleck of russet showing clear.
My instep arch not only keeps the ache,
It keeps the pressure of a ladder-round.
I feel the ladder sway as the boughs bend.

And I keep hearing from the cellar bin
The rumbling sound
Of load on load of apples coming in.
For I have had too much
Of apple-picking: I am overtired
Of the great harvest I myself desired.
There were ten thousand thousand fruit to touch,
Cherish in hand, lift down, and not let fall.
For all
That struck the earth,
No matter if not bruised or spiked with stubble,
Went surely to the cider-apple heap
As of no worth.
One can see what will trouble
This sleep of mine, whatever sleep it is.
Were he not gone,
The woodchuck could say whether it's like his
Long sleep, as I describe its coming on,
Or just some human sleep.