“In this silkscreen, the concept of ‘she’ represents life. Everyday is a new experience. Will it be a bouquet of roses or an alligator whose fierce temperament might change with love and caring into a pleasant, understandable creature? Or, in dealing with the surprises in life, could it be a mad red dog?
“These are everyday challenges faced by every person. Sometimes all we can do is burn some candles and pray to somebody, maybe God, maybe Buddha, maybe my long dead Aunt Bertha, that we get through the day.”
Saturday, March 24, 2012
Friday, March 16, 2012
“A few years after I started painting the Blue Dog, a local politician in Lafayette asked me if I knew about the Blue Dog Democrats in Louisiana. I said “no,” and he recounted his version of the origin. We had no Republican party since the Civil War. All early Louisiana primaries were Democratic, but those included many factions, including New Orleans, Cajun country, North Louisiana and the African-American population. These groups were divided by ideology, some more conservative than others, but all within the Democratic Party.
"At some point, the more liberal side became Yellow Dog Democrats and the more conservative side, Blue Dog Democrats. When I first heard this story in the early 1990s, the Republican party had a foothold in Louisiana. The old terms were outdated. I wasn’t aware of the Blue Dog Democrats in modern times until U.S. Congressman Jimmy Hayes of Lafayette, Louisiana pushed this term once again to the forefront, renaming the ‘Boll Weevil’ Democrats the ‘Blue Dogs.’
“Without my permission they adopted my image. As usually happens with hometown folk, they assumed that they were doing me a favor. Instead I’ve spent the past twenty years trying to distance myself and my artwork from this connection.” - George Rodrigue
Monday, March 12, 2012
“She was like a woman of Leonardo da Vinci’s, whom we love not so much for herself as for the things that she will not tell us.” –Cecil Vyse, A Room with a View by E.M. Forster, 1908
“In that vein of ‘humankind,’ the Mona Lisa became the most famous painting in the world portraying an unknown subject. It represents a common person rather than a noble one.
"Da Vinci’s contemporaries saw the painting in his studio and were shocked that he painted it not as a commission, not to make someone famous, but rather for the pure joy of capturing a persona on canvas. With the Mona Lisa, the artist was no longer exclusively a craftsman interpreting other’s ideas.”
“Matisse,” wrote Annette Rosenshine, a friend of the Steins, “was disappointed if the students merely followed in his footsteps. He had struggled desperately for his own artistic freedom and was not interested in creating little Matisses, but wished to help the students find their own individual expression.”
“As for your loving me, you don’t, not really.
You don’t. It’s only as something else.
As something you own. A painting, a Leonardo.
I don’t want to be a Leonardo,
I want to be myself.”
“I never particularly liked him,” he said. “But I understand what he was doing and I admire the concept of Impressionism. I mean, photography was a shock, seeing how the light bounces off of the figure into the film.
“Before photography, the artist drew a form first, emphasizing the shape in an almost technical way. ….think of Michelangelo’s Renaissance drawings. The artist was as aware of the backside of the head as he was the front.
“The Impressionists could care less about the backside of the form; they only wanted an impression of what they saw.”
Monday, March 5, 2012
“Bring me the big knife; I’m gonna cut my throat!”*
“I love two things,” he said (the ‘he’ in my head is George or Cage; take your pick). “I love you, and I love the Opera. If I can have the two things that I love together for one night, I will be satisfied to give up, oh God, the rest of my life.”
-be sure and click the photo to enlarge-
“I ain’t no freakin’ monument to justice!” shouted Cage, in the movie and in my head. “I lost my hand! I lost my bride! Johnny has his hand! Johnny has his bride! You want me to take my heartache, put it away and forget?”
“Is that a man or a woman?” whispered George.
“I’m from Philadelphia,” she explained.
“This is the most tormented man I have ever known,” said Chrissy in the movie and in my head.
“I’m in love with this man,” continued Chrissy about Ronnie Cammareri (Cage), “but he doesn’t know that, ‘cause I never told him, ‘cause he could never love anybody since he lost his hand and his girl.”
“...but what are we doing tomorrow?”
*unless otherwise noted, all quotes are from the movie Moonstruck, 1987-
-for a related post see "A Night at the Opera," a story I wrote for Gambit, posted here-
-also this week, Lafayette artist Francis Pavy in my latest post for Gambit, linked here-