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American Arts Quarterly
This is a kind of double-link, in that it ought to get you to Bill Murphy as well.
Look in the Winter 2005 issue for "Bill Murphy's Quest For Space", an article I wrote about Bill's superb - and ongoing - series of panoramic paintings and etchings.
I may post the complete article on my blog at some point.
I'm also going to point out - obtusely perhaps - that this particular magazine frequently champions the sort of gun-shy painting and sculpture guys like Robert Henri had such a hard time getting out of America's constipated system. Unfortunately, he's not been with us since a year or two before our Great Depression and didn't appoint a successor (a notion he would have disliked anyway.) How I got in there I can't imagine - though the editors managed to realize that I was an impostor quickly enough and rejected everything else I sent in. Am I just a disgruntled outsider peering over the garden wall? Possibly. But no garden should be without one.
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Anderson Gallery
By the summer of 2000, I had two big shows running simultaneously in Richmond, VA. I've already blabbed on about one (see Valentine Museum.) The other, at VCU's Anderson Gallery, was almost as big, but not quite as ambitious. But it ran a whole summer - the worst possible time for an exhibit in Richmond or anyplace else.
The show was a paean to a particular street and was called "The State of Broad" (as in "Broad Street.") I considered it pretty good, but a sister exhibit, on the plight of the rain forest, grabbed all the attention.
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Bill Murphy
See Bill's profile under "The Unfazed Art Spectator". Note: The Brooklyn Museum recently purchased the etching, "Mermaid Avenue" - a tremendous honor by any yardstick.
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Historic Jackson Ward Association
Vickie Mollenaeur, webmaster and community activist, cooked up the idea of having some of my Jackson Street paintings on the official Jackson Ward Association site. This was not a particularly astute idea in a political sense, in that my images are mostly concerned with decay and deseutude, but an independent-minded vote that is completely characteristic of her.
You will also find gratuituous literary embellishments, which are completely characteristic of me.
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Journal of Urban History
When I was getting frantic over the fact that my exhibit at the Valentine Museum had become a sort of crypt haunted by me only, I contacted a writer and academic named John Moeser and proposed that he write an article about the show. He did and it appeared, posthumously (that is to say, after the death of the exhibit), in the January 2001 (Volume 27, Number 2) issue of this magazine. It is lavishly illustrated - albeit with black and white images - and written with a grace and lucidity often lacking in scholarly journals.
In fact, the whole damned issue is damned interesting.
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Melissa Burgess
One of the Mid-Atlantic's most compelling and original voices, who, naturally, works somewhat outside of the mainstream. Yet her dusk-haunted moods and animated architecture have the sort of resonance that defines a place and sets critical orthodoxy regarding appropriate readings of one's personal landscape on its ear.
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Newman Galleries
I am no longer respresented by this gallery, but our relationship was - and is - cordial. I'm still, however, in its directory because the gallery owns five or six of my paintings. They are, as such, still for sale.
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Roy Proctor, Paulette Roberts-Pullen, et al
These are the names of Richmond critics who either wilfully forgot who I was, or were just too damned lazy to remember. There were others. Just thought I'd try to get a rise out of them personally.
I'm over these people, but if any of you want to make something of it, I'll challenge you to try to beat me at one of the following (provided there are witnesses):
- run a 5K. (I will give you a half-mile headstart - but you have to promise you'll finish.)
- debate you in some public forum on the subject of your choosing. That forum can include a clutch of sorry drunks, but you'll have to stead 'em the first round.
- ping-pong. I will win.
- female impersonation. Singing is optional.
- writing something off the top of our heads. In English, though I realize that may be hard for you.
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The Artist's Magazine
I wrote a few pieces for this magazine, which appeared in somewhat abbreviated - I might even say mutilated, mucked-up, and somewhat malodorous - form. Don't read them; read my versions, which I will eventually post on my blog. You might, however, browse the magazine for its own sake. It is, along with American Artist, a monument to the sort of mediocrity without which there cannot be workshops of any kind; vast university infrastructures; MFA candidates who'll go into teaching and stay there even after their second midlife crisis; art "expos"; museum docents. Highbrow magazines come and go, but The Artist's Magazine is an apparent Rock of Gilbraltar amidst the shifting sands of publishing. To that one might say "Egad!" while wanting to do something more expressive like going up to an insipid little painting of field or meadow and just crying aloud for the tremendous affront it poses to nature itself - and to the bright human urge to make something better.
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Virginia Cavalcade
Virginia Cavalcade was a fine-looking, meticulously edited magazine which came out under the umbrella of The Library of Virginia. It featured a portfolio of paintings, quotes, and archival material from "Painting the Town: Richmond Neighborhoods Past and Present" in its Autumn 2001 issue. A characteristic painting from the exhibit appears on the cover.
The magazine was forced to close its doors in 2002 - victim of a state budget that was tightening its belt in the wrong places.
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Washington Post Magazine
The March 13, 2005 issue was otherwise known as "The House Issue." On pages 22- 23, the magazine ran a piece about a series of paintings I was working on here in DC. I'd wanted it to be longer - and better, whatever that may mean to you. I have happily settled for the people who've come into my life as a result of it.
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