Looking for enrichment, creativity, and fun? Join the Heard Museum on May 11 for the continuing 2nd Saturday Series.
This month the Heard Museum will host, Books | Beats | Bites: food, music, and interesting titles. Come and browse the many selections of cookbooks, children’s books, American Indian genre, Southwestern-themed novels, and many other tables throughout the marketplace. We will be joined by artist, Steven Paul Judd (Kiowa/Choctaw.) He will host a maker space to create stickers for your own sticker book. Also, try out a new delicious Native foods dish from our tasting table. Authors, Laura Tohe, and Evangeline Parsons Yazzie will be on-site with their wonderful books. Join Wasted Ink Zine Distro, and make and take your very own zine and express yourself during the open-mic session with authors and poets at 1 p.m.
Catch our continual Scene and Heard Film Series, for a showing of Taqwacore, Recommended for mature audiences, at 11:30 a.m.
Zines Wasted Ink Zine Distro rinky dink press
Bookstores and Publishers Palabras Bookstore Holum Press Hoot N Waddle
Authors Evangeline Parsons Yazzie Laura Tohe
Poetry Imogen Arate, Poets and Muses
Saturday, May 11 10 a.m. – 4 p.m.
Location: Heard Museum Campus, 2301 N. Central Ave., Phoenix
For more information, visit the Heard Museum website.
Today we are pleased to feature Xanthe Miller as our Authors Talk series contributor. While being interviewed by Stephanie Welch, Xanthe touches on many aspects of her work including the social issues they speak to and her own personal relationship to art. We get an inside look at her artistic process and intent in creating pieces of art that will “endure long after we’re gone.”
Xanthe uses recycled materials to construct her work, which started when she began to see the objects as “pieces of little, tiny cities” and decided to build those cities herself. She is particularly concerned with migrant life and is “drawn to issues of environmental justice” because of her own experience and background in the American Southwest, which led her to use a lot of Southwestern artistic motifs in her work. In attempting to portray the various ideas and themes she wishes to address with her art, she notes that they typically “start with a color, or sometimes two colors, and the relationship they could have with each other.” The process seems to start so simply and, yet it becomes something so much more complex and powerful.
Xanthe comments that “art always felt unapproachable” to her, but she began creating her pieces as a way to “interact more deeply” with the desert environment that surrounded her. Her story and experience truly speak to the natural inclination of the artistic mind and to how art is more than what it seems, often commenting on the current social and political climate of our culture.
FREE EVENT. Artist and bestselling author Jonathan Santlofer visits with his powerful new memoir THE WIDOWER’S NOTEBOOK, the portrait of a marriage, an account of the complexities of finding oneself single again after losing your spouse, and a story of the enduring power of familial love. (Event co-presented by Hospice of the Valley and Temple Chai.)
ABOUT THE BOOK
On a summer day in New York, Santlofer discovers his wife, Joy, gasping for breath on their living room couch. After a frenzied 911 call, an ambulance race across Manhattan, and hours pacing in a hospital waiting room, a doctor finally delivers the fateful news. Consumed by grief, Jonathan desperately tries to pursue life as he always had—writing, social engagements, and working on his art—but finds it nearly impossible to admit his deep feelings of loss to anyone, not even to his beloved daughter, Doria, or to himself. As Jonathan grieves and heals, he tries to unravel what happened to Joy, a journey that will take him nearly two years.
ABOUT THE AUTHOR
Jonathan Santlofer is a writer and artist whose work has ben translated into seventeen languages. His fourth novel, Anatomy of Fear, won the Nero Award for best novel of 2009. His short stories have appeared in numerous anthologies. He is also the creator and editor of several anthologies including It Occurs to Me That I Am America, a collection of original stories and art. His paintings and drawings are included in many public and private collections. He lives in New York City.
Today we are pleased to feature artist Jenny Day as our Authors Talk series contributor. In this short interview, Day talks about her five art pieces from her “Nearly Somewhere” series and “Forgotten Topographies” series featured in Issue 19. Day expands on her own artistic background, influences, goals, and the places and memories that inspired her art pieces.
As an artist, I am naturally drawn to literature depicting artists: historical or fictional, painters, sculptors, composers, writers, and craftsmen of all trades. I am drawn to their struggles for inspiration and perfection of execution, to their achievements or failures, and to their intriguing techniques.
Opening windows to fascinating worlds or processes of beloved artists, these fictions prove endlessly engaging; if there are any shortcomings, perhaps they lie in the authors’ attempts to present the broad historical fabric in which an artist was active, which sometimes interferes with dramatic arc or character development.
Those who seek more uninhibited imaginations might turn to novels on fictional creative characters, especially those engaged in unique and unforgettable trades; or even more fascinating, to books on well-known real-life or mythical figures not previously associated with any artistic ambitions or endeavors.
In Bauchau’s retelling, the exiled, blind Oedipus, accompanied by his daughter Antigone, embarks on a spiritual cleansing and a journey in pursuit of self-discovery. Oedipus launches an improbable career as a sculptor, culminating in sculpting a huge relief of wave on a cliff.
Oedipus started modestly by moulding clay figures or carving branches, giving his creations poetic names such as “The Stone’s First Smile” or “There is a Spring”. He soon fixated on a cliff and was determined to reveal the waves that he perceived, despite or perhaps because of his blindness, beneath the stone surface. He installed himself “at the top of the headland,” listened to “the waves crashing against the cliffs and the cry of the seabirds. … something has begun to open up inside him and periodically the sea appears in all its fullness, yearning for him to abandon himself to it or be consumed by it.”
“Sometimes he slips and cuts his hands. It is almost a pleasure to mark the cliff with his blood for the wave is there as well as within him.”
He carved one oarswoman, modeled on his daughter Antigone “how Oedipus sees her, how he wants her to see herself”, “a vibrant, determined beauty, suffused with confidence,” while Antigone carved another oarsman as Oedipus, “as he was before that time, the savage boy – conqueror and victor”, without blemish and relieved of his fate.
His struggle was mighty and meaningful.
On the overhanging rock the wave curves back, twisting under the pressure of its own weight and falls, as Oedipus wanted it to, plunging back into the sea.
The wave, dark at its base, becoming lighter as it rises, spring up out of the sea. … Nothing can stand up to it. It is about to fall back into the vast trough but the boat gets there first and uses the power of the wave and the gap it has created to project itself forwards … guided towards the port by the blind man of the sea, … sending out a message of hope to all sailors.
Kosztolányi’s Nero, soon after his ascendency to the Roman throne, suffered from a feeling of purposelessness in life. His mentor, the poet Seneca, unwisely turned his attention to poetry. Consequently, the talentless yet committed young emperor “himself had no idea how or why it happened, but suddenly he began to write. Line after line he wrote, Greek hexameters which flowed precisely. But upon reading them aloud, he began to feel less confident. He weighed the lines in his mind, tested them, made corrections. Now his mood was black and desperate like that of a murderer aiming himself for an ominous deed for which, should he fail, he must pay with his life.”
He wrote and re-wrote and invited critiques from Seneca, a seasoned courtier, who praised Nero’s efforts and cemented the emperor’s ambition and self-confidence, which outstripped his artistic self-doubt. Eventually, however, the populace came to see Nero’s banal efforts as buffoonery and travesty, the insecure poet-emperor became intolerant, and so commenced his downfall.
In contrast to the sculptor-king and the poet-emperor, the protagonist in Süskind’s Perfume was an orphan without status, but engaged in an unusual artistic career. The young Grenouille, endowed with extraordinary olfactory sense, installed himself in a struggling Parisian master-perfumer’s workshop, and invented countless superior perfumes for his master while perfecting his own skills.
The scent of his first perfume for the master, “was so heavenly fine that tears welled into Baldini’s eyes. He did not have to test it, he simply stood at the table in front of the mixing bottle and breathed. The perfume was glorious. … It was something completely new, capable of creating a whole world, a magical, rich world, and in an instant you forgot all the loathsomeness around you and felt so rich, as at ease, so free, so fine. …”
Grenouille’s dream was to capture and preserve a most glorious scent of a young girl he encountered. “But of course this unique scent could not be used in a raw state. He must set it like the most precious gemstone. He must design a diadem of scent, and at its sublime acme, intertwined with the other scents and yet ruling over them, his scent would gleam. He would make a perfume using all the precepts of the art, and the scent of the girl behind the wall would be the very soul of it.”
In his obsessive efforts to obtain similar scents, he would steal toward a series of muses/victims and hammer them to death, suddenly and instantaneously, before fear could interfere with their wondrous virginal scents.
Then, he would seal the body with scent-absorbing oiled-linen, “not a slit, not a hole, not one bulging pleat was left through which the girl’s scent could have escaped. She was perfectly packed. There was nothing to do but wait, for six hours, until the gray of dawn.”
Grenouille fulfilled his artistic dream, creating the most glorious scent out of his fine, gruesome collections. Yet, due to his personal flaw — he was without a scent himself, therefore, in his own mind, without any presence, and meaningless — he used the angelic scent he created to lure a crowd of people, in a fit of mad love, to consume him — literally, in a horrifying orgy of cannibalism.
These fables demonstrate artistic struggle in multiple ways, with successfully realized art or not. All point to the conclusion that abandonment, total commitment, obsession, and being possessed — even bleeding for one’s art — is the prerequisite for artistic fulfillment.
As a painter, I have experience many artistic struggles: for inspiration, to execute my ideas, to succeed in the frustrating business of marketing. I have also worked on pieces featuring creative characters — painters, musicians, dancers, or sculptors — finding myself drawn to sympathize with these characters, and to empathize with their struggle as my own. But to do justice to my figures’ inspirations and struggles has not been easy. Due to the limitations of painting and drawing media, my works were the visualization of only momentary snapshots of artistic processes, without the deep analyses and temporal unfolding that novels are able to render.
One of my paintings, titled Encounter, is an interesting case in point. It depicts a young man, in a nocturnal light, meeting a bronze bust of a young boy. A wave of emotions reveal themselves through the young man’s posture and facial expressions. The subject can be seen as a sculptor who unexpectedly sees his creation in a new light, or the Muse facing a creation he inspired. In the single moment depicted in the painting, the artist/muse was possessed by the creation.
Indeed, the key for an artist to succeed is to be possessed!
Phoenix, Arizona is not a place that attracts serious artists the way New York City and Los Angeles do. Some might assume that artists who live there are not as serious as those who re-locate to the important art centers of the world. I admire the artists that make those moves, but at this point it doesn’t look like that will be me. Even though I am living and working in Phoenix, I am very serious about what I do. All the artists I know here are. One of the best reasons for living in Phoenix is that it costs less to do so, and that means more time in my studio. A lot of creative people believe that it is okay to live somewhere like Phoenix as long as you travel. Traveling is interesting, people who travel become interesting, and then they can live in boring place but have interesting things to talk about.
Really, I am not bored when I am at home in Phoenix. There is more to do and experience than one ever could. But spending time somewhere else helps makes things vivid. My current house sitting opportunity in Brooklyn, for an artist friend, is allowing me to experience quality time in a major art capitol.
When I go to an old city I am thrilled by period decoration combined with the patina of age. Like the manhole cover in the basement of the contemporary art space, PS1, in Long Island City.
Also in PS1, is the always-magical Skyspace by artist James Turrell. Scottsdale Museum of Contemporary Art has one, but each Skyspace is an individual experience. On this day the clouds are smiling at me.
Inside the American Natural History Museum there are endless dioramas. These dramatic taxidermy scenes, that blend real and fake, can be found in lots of museums. But in this museum, there are more, and they are grander. This detail shows a leopard with his peacock kill.
Something I always notice, are mound-like forms, which some very old buildings have at their edges. Usually they are situated on corners, where I assume they are meant to provide protection to the building. This one I found in an alley in the lower east side of NYC.
My last image is a small object that I photographed at The Cloisters, a museum created in the 1930’s by John D. Rockefeller Jr. consisting of re-assembled parts of 5 different cloistered European abbeys. This object is one of approximately 5,000 medieval works of art that is contained within The Cloisters. I have been to this museum before, but on this visit I especially love this object. It is strange and wonderful, but there wasn’t much information with it. It reminds me a little of The Garden of Earthly Delights, the painting in Madrid, that I have been lucky enough to see in person as well.
So I will soon return to Phoenix to continue teaching and making art. And the next time someone asks me, I will be able to say that I recently traveled somewhere important. Which might just justify that I am a serious artist living in Phoenix, Arizona.
Earlier this millennium, I learned from my friend Stan about the Esalen Institutea remote 27 acre retreat on the Big Sur coastline between Monterey and San Luis Obispo, California. Digging, I learned that Esalen was founded in 1962 as “an alternative educational center devoted to the exploration of what Aldous Huxley called the ‘human potential’—the world of unrealized human capacities that lies beyond the imagination.” I was intrigued. So in the summer of 2004, I made my first journey to Esalen.
I arrived at Esalen with my friend Stan after driving the better part of a day from Orange County, departing from civilization at San Luis Obispo and another 90 miles of the 2-lane Pacific Coast Highway, California 1. Arriving, I was taken by the striking beauty of theplace. After checking in at the lodge, we found our simple but very comfortable accommodations. After a brief exploration of the grounds, we headed to dinner at the lodge. Esalen’s meals are served camp style and the food is excellent. Meat, dairy, vegetarian, vegan, and raw foods are served at every meal and produce is picked daily from Esalen’s five-acre organic farm.
Stan and I had enrolled in a five-day workshop led by Steven Harper, an eco-psychologist, wilderness guide, author, and artist. At 8:30 p.m. on arrival day, we had our first session, an orientation to the week’s activities and brief explanation of the goals of the workshop. Harper’s work focuses on wild nature as a vehicle for awakening. For the remainder of the week, he took us for practiced meditative walks through four diverse natural areas in Big Sur’s Ventana Wilderness—a deeply satisfying, introspective experience. After 20 or so years in business, I so needed to reconnect with nature and Steve’s workshop was the ideal medium.
Since that first workshop, I have returned to Esalen four more times and each experience has brought new perspectives and opportunities for inward exploration. For instance, a workshop with cultural anthropologist Dr. Angeles Arrien, The Four-Fold Way: Walking the Paths of the Warrior, Teacher, Healerutilized Shamanic dreaming techniques and practice that allowed me to reconnect with long forgotten experiences in overcoming personal and professional challenges today.
Another time I came with my wife and young children for a week-long session with Rick Jarrow that helped me change course in my career, providing the impetus for me to return to school. Esalen has a children’s program for seminarians through its Gazebo Park School Early Childhood Programand babysitters are available during evening sessions.
• Writing the Wildled by Marisa Handler, author of Loyal to the Sky, which won a 2008 Nautilus Gold Award for world-changing books. Her essays, journalism, fiction, and poetry have appeared in numerous publications, and she teaches creative writing at Stanford and the California Institute for Integral Studies.
• Framing Nature: Photography as Meditation and Mirror led by Andy Abrahams Wilson, an award-winning filmmaker and photographer. Recent projects include the Academy Award semifinalist Under Our Skin and the PBS broadcast The Grove. His focus is using the camera to create a bridge between ourselves and our environment.
Generally, depending on my level of stress it takes up to two days to melt into the Esalen experience. It is for this reason that I recommend at least a five-day workshop, ideally seven-days with a five-day and a three-day workshop.