This photograph (Fort Ebey State Beach) and four others will be in the Columbia City Gallery’s “Big Little Show.” A show centered on art that measures less than 12 x 12 inches.
Each of my images measures no more than 8in x 8in. with a frame size of 12in x 12in. All images are printed as shot except for Cactus, which was manipulated in photoshop.
Here’s why (from my Artist’s Statement): Photography feeds into my writing and writing feeds into photography. I strive for simple, unadorned images and sentences. In fact, none of the images here have been manipulated in any way, except for Cactus, CA. Every once in awhile you have to throw in an effect in writing as in photography to achieve what you need for the whole.
Please stop by between now and the middle of January to see my photography and the work of many other fine artists.
Tonight, we saw Steve McQeen’s film 12 Years a Slave. It was extraordinary. Everyone involved must have gone on an extremely difficult emotional journey in making this film. I cannot imagine how hard it must have been to play these characters, these real life human beings who brought evil, and suffered evil for so many years.
I imagine it will be hard to receive honors for this film that are sure to come. How can you celebrate a time in our history such as this film portrays.
One must believe that Chiwetel Ejiofor and Lupita Nyong’o's portrayals of Solomon Northrup and Patsey will forever be a benchmark for all actors.
12 Years a Slave drives home that there is no place in our nation for racism, and yet there is evidence in the news for it every single day.
This film should be required viewing, and those queued through the lobby to see Ender’s Game in the same cineplex, written by a celebrated homophobe, should be made to see a double feature.
It’s very rare that I see a performance in a film that absolutely takes my breath away. While elements of the film, and there are minor quibbles here, I wish were improved, Cate Blanchett’s portrayal of Jasmine is nothing short of brilliant. It’s such a naked performance, that, in its final moments, surpasses anything she has ever done since her first role in Oscar and Lucinda.
Not often does an actor go so far out on a limb to reach the core of a human being unraveling and yet grasping at the shreds of life before succumbing. It’s fascinating to watch. I’m reminded of Meryl Streep in Sophie’s Choice or One True Thing where she must carry the film and everyone with her so that the film is elevated to high art.
Ms. Blanchett and the supporting cast of Woody Allen’s Blue Jasmine, which includes, most memorably, Sally Hawkins, Alec Baldwin and Bobby Cannavale takes a story that combines both Bernie Madoff and elements of A Streetcar Named Desire, and makes you care about people on the edge of life, despair and delusion.
Someone once said of New Yorker stories, that the chief editor said they must leave the reader with a handle to carry the story with them when they are finished. I’ve always thought this was a terrific analogy to leaving the reader with something to feel, see, reflect, love, hate, weep, laugh.
I’ve just finished my first listen to Volcano Choir’s new effort – Repave. It was like my first experience with Bon Iver’s For Emma Forever Ago. I am speechless and moved. It is filled with such grace and passion that it’s impossible to not start it immediately all over again to delve deeper into the cadences and beauty.
Music this extraordinary rarely happens. My expectations for Repave were extremely high based on Justin Vernon’s previous efforts and it delivers more than I had hoped. It simply is astonishing.
And like all great short stories, it leaves you wanting more, but gives you a handle to hold on to – and this handle contains a world of emotion.
The “Before” trilogy of films has been far more satisfying to me than any other trilogy over the past 20 years. Before Midnight is an extraordinarily deft and intelligent study of a marriage that is going through changes both good and bad, and how the couple will navigate through it. Ethan Hawke and Julie Delpy are so natural and elegantly suited to each other that you forget that they really aren’t together in real life.
Built really upon four distinct scenes that create back-story, the history of where and what they’ve been doing since we last saw them in Before Sunrise and how each of them are dealing with the stresses of parenthood and their romance. There is the “car scene” where we learn of what’s happened. The “dinner party” is when we begin to understand where they are in their relationship. The “stroll” which cements their love for each other in the viewers eyes and in their own. And then the “hotel room” scene where their marriage fractures and fissures, which, by now are deeply felt by everyone involved. These are two amazing performances for their naturalness and candor. It sometimes feels like we’re eavesdropping, which is a stunning achievement.
Before Midnight, like its predecessors, is deeply romantic, but in a real sense – not some Nicholas Sparks simplistic trope, but in a way of how real people challenge and explore each other: cajoling, needling, hurting, loving, laughing, learning, defending and believing in the eternal love you feel when you meet the right person no matter the differences that do come up.
It’s the best film of 2013 so far. And, sadly, in a class by itself in this summer of Superhero blockbusters. Go see it and be moved.
Recently, while in New York, I was able to see PIPPIN (watch the video linked here), a musical I’ve been wanting to see since my youth since it opened on Broadway when I was in high school. I remember watching The Ben Vereen Show on TV because of his extraordinary performance as the Leading Player, which won him a Tony Award in 1972.
PIPPIN has been a beloved Broadway score by Stephen Schwartz by millions of people, and has been a key music produced in colleges and high schools across the country. Bob Fosse’s signature style of dance elevated the 1972 production to that of a classic.
The new revival of the play by Diane Paulus, who also revived HAIR and PORGY AND BESS has a knack for breathing life into musicals who’s historical runs ended years ago, and have taken on a sort of mystical air. It takes a brave and brilliant soul to mess with these musical war horses and I’m delighted to have experienced all three of her revivals.
But PIPPIN remains, for me, a touchstone musical, mainly for the score – and more precisely – for the songs, “Corner of the Sky” and “Morning Glow.” Two beautiful and moving songs that spoke to me at my young age. Watching them a few weeks ago brought back all those feelings and memories of growing up.
Aside from the music, this revival includes circus acts, a fine cast and a set that reveals itself to be beautiful, but illusive itself. It’s a stroke of genius because, when everything is finally stripped away, there is only ourselves.