My favorite photographer and yours, Sara Stathas, spent the weekend chronicling the opening day of sturgeon fishing season on Lake Winnebago in Wisconsin for none other than Reuters!  Her photos have been picked up worldwide.  Not only that, she wrote a blog post for “Photographer’s Blog” on the Reuters website!  I am so proud of her.

The other day, Sara was texting me all these ideas for next year’s opening day that she’s planning for me and her.  She’s going to get us a shack, some beer, and fishing licenses.  Not many people know that Sara has a weird fascination/phobia regarding fish.  (Sorry dude for outing you.)  I think this is a big breakthrough for her.  To think that someday she’s going to sit on a block of ice, spearing a dinosaur fish, and cooking it up in a pan.  To dream, to dream.

Congratulations, friend!

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Sara and I did a lot of gallery visiting this weekend, and the one we will remember forever is Christian Marclay’s “The Clock,” on view at the Paula Cooper Gallery through next weekend. The gallery shows the film every day from 10 am to 6 pm, but on the weekends, the film is played the way it’s meant to be seen: on a 24 hour eternal loop.

“The Clock” is a massive collection of thousands of clips of film showing clocks and the actors’ response to clocks in the movies, edited to play in real-time.  When it’s 11:27 p.m. on screen, it’s 11:27 p.m. in real life.  (The Economist ran an interesting story on the making of “The Clock” here).  It is nothing short of mesmerizing.  You are totally aware of time passing, but never has it felt so thrilling.  It’s fun to guess what clip is from what movie, and it’s a joy to listen and watch the sound and editing create a new narrative.  Roberta Smith of The New York Times accurately described “The Clock” as “a 24-hour valentine to the movies” (her wonderful review of the exhibit is here).

Sara and I made two trips to the gallery; we spent 2 hours (5pm to 7pm) on Friday, then an hour and a half on Saturday night (11pm to 12:30am).  There was hardly any line on Friday when we first walked over, although we initially couldn’t believe that there was a line at all.  By Friday night, the line grew down the block and stayed that way through Saturday night.  Once in the gallery, you are allowed to stay as long as you’d like, but the average time people spent inside was around an hour or two.  When someone goes out, another person can come in.  Both times when we left, we seemed to do so with a lot of people, leading me to believe that there was an inherent rhythm to the piece that everyone intuitively felt.  Here is the line at one in the morning on Saturday:

While Marclay technically never received permission to use any of the footage, I can’t imagine any filmmaker or studio would object to his appropriation of their work.  It celebrates film and re-purposes the footage into something altogether different.  Plus, admission to the gallery is free.  The Paula Cooper Gallery in New York and White Cube in London provided the funding for this project, so maybe that sidesteps any legal issues.  I don’t know.  I’m just so happy to have seen some of this.  It is beautiful.

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Wow, that was some Thanksgiving!  Sara and Andrew hosted us, and the four of us were in perfect post-turkey sync all weekend.  The city seemed to be half-full, which is a magical way to stroll around the city (the picture above was taken on Bleecker Street).  The only time we ran into actual crowds was a brief walk through SoHo, but we ducked into Puck Fair for a quiet afternoon nip to get away from them all.

On Saturday, Misia and I headed over to Brooklyn.  We wandered through the Polish section of Greenpoint, and had lunch at Karczma.  The food was unreal.  We started (!) with a plate of smalec (pronounced “SHMA-letz”).  Smalec is animal lard flavored with bits of bacon and other spices spread over Polish bread.  It’s amazing just as long as you don’t think too hard about what you’re eating:

Now on Thursday, I ate a normal amount of food.  I never felt too full or bloated.  Saturday’s feast at Karczma, however, made me question if I was actually going to barf.  Not in a Meredith Baxter-Birney  from Kate’s Secret sort of way, but in a Lardass Hogan from Stand By Me sort of way.  It passed, thankfully, and we shuffled on back to Chelsea.

But the real stars of the weekend were Penny and Ruby, long-distance BFF’s who totally made every minute of their visit together worth it.  Knuckles and Chuckles, these two are.  Here they are at the Half King Bar (confidential to my mom: Sebastian Junger owns this place) at 9 in the morning on Sunday.  These two like to keep the party going, for sure.  We didn’t want to leave, and ended up paying for it when we got stuck in holiday traffic on out way back to Boston.  The seven hour trek back home was worth it, though.  The holidays are meant to be lingered over, to stay a little too long, to eat too much animal lard, and to have a lovely, wonderful, magical time.

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I’m working on a lot of smallish projects right now.  Some fun drawing projects, some annoying course development issues.  But here’s a list of things that are on my mind:

1.  Birch Beer.  Have you had this?  I had never even heard of it until yesterday.  Birch beer: it’s like root beer but it’s clear!  Amazing.

2.  I sold a painting this week using instant message.  Technology!

3.   The current political climate is unhealthy.  The dumbest people who know the least about civics and law should not be the common denominator.  But that’s what’s happening.  And one more thing about election season: living in Massachusetts means viewing all the political ads for three different states, sometimes more.  Dislike.

4.  I’m excitedly awaiting Sara Stathas’ visit up to Boston next week.  It’s her birthday week and it’s going to be a good time.  And she’s bringing Ruby, and Penny will be thrilled to have a buddy. It’s nice to have great friends visit (cough) Bradford (cough).

5.  Next weekend: Washington D.C.  Our friend Sean is running the Marine Corps Marathon benefiting the American Cancer Society.  He’s putting my initials on his jersey in honor of my heroic cancer-freeness.  It will be the closest I ever get to running a marathon.  Plus, the day before the marathon is Jon Stewart’s rally on the mall.  Good weekend indeed.

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On Thursday, I drove my paintings down to NYC to have Sara take proper slides of all of them.  I’ll be shipping these paintings to Milwaukee this week for a show at the art museum, so getting these shots taken happened none too soon.

I spent Friday afternoon with my friend Karen, who is working in New York on a television show through December (she is keeping a blog during her time there in the style of a daily journal to her dad, and it’s amazing.  You can read Karen’s blog here.)

On Friday night, Sara and I did the slides.  I meant to take more photos of the process, but she works so fast; I didn’t have time to remember to take pics.  I managed to get one off before she broke down her equipment (pictured).  I like the way her photo equipment looks in her living room.

I left on Saturday, but not before Sara’s beau, Andrew, and I spent a lovely morning together.  Being in NYC on the anniversary of September 11 was like any other day, but with a couple of asterisks.  Andrew and I walked the dog along the Hudson, where we talked about art and artmaking.  We talked throughout the day about 9/11, but I don’t think that was a New York-specific conversation on Saturday.  A couple of small groups of tourists seemed extra smiley to the locals, maybe to show a semblance of solidarity or maybe to pay respect to a resident; they smiled in much the same way one smiles at the family members at a wake of a loved one.  Then we had brunch at a diner in Chelsea.  Three NYPD counterterrorism officers were also having brunch; this, I suspect, is a New York-specific 9/11 experience.  We had a lovely meal together, and after walking over to see Sara at her work to say goodbye and thanks for all her work, I stopped into one of my favorite neighborhood corner stores on 22nd and 9th.  I like this store because they sell upscale bodega goods and the owners are this lovely Chinese couple.  The wife works at the register, and there’s something about her that I like.  She has this quiet happiness about her, like maybe she’s a yogi or a habitual pot smoker.  I went there to buy Andrew and Sara some flowers.  The woman was listening to Chinese radio, and it sounded the way a television sounds.  I asked her if she was listening to the radio or the television.  ”Radio,” she said, wrapping my flowers.  ”It’s a church service.”  I nodded and smiled.  She stopped wrapping my flowers for a minute to look absentmindedly towards the ceiling, the way you do when you’re listening to something.  ”He’s saying ‘Hallelujah.’”  We both smiled, waited a moment, and then together we said, “Hallelujah.”

Happy new week, everyone.

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So, I think she’s all finished.  I am pretty happy with how this turned out.  I wish my photographing skills were as deft as my painting ones, but I guess that’s why I have genius friends like Sara Stathas to shoot my work.  I’m taking the lot of these paintings down to her pad in NYC in a couple of weeks to get proper slides taken.  I still say “slides,” because “digital image files” doesn’t sound as street-tough.

I’ve started a new painting that I’ll post tomorrow.  After writing how I began this  Gary painting this week, I took a slightly different approach to this newest one.  I structured it in a more traditional way.  It’s taken a lot of restraint to not over-paint the thing, but I did so as a matter of conducting a comparative analysis.  It’s science, you see.

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I’m back to painting.  I started this one yesterday and should be finished with it this afternoon.  I’m working from a photograph of New Mexican telephone wires by Sara Stathas.  It’s such a good photograph that the painting is sort of painting itself.  I totally feel like I’m cheating with this one.

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When I was in New York last weekend, I had to go over to my friend John’s house to pick up an unsold painting from a show he curated back in December.  I came back to Sara’s apartment and put the painting on top of the bookshelf.  It looked really, really good amongst her things.  When she saw it, she too thought it looked good in her house.  So I suggested we to an indefinite temporary trade, a painting for a painting.  The painting I got from her is this one on the left, and it’s something I fell in love with when I first saw it years ago.  It’s a drawing on chalkboard paint.  It’s so simple and so lovely.  I can’t pinpoint why I love it so much, but it gives me feelings.  And now it’s in my house!

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My friend Sara Stathas says that 99% of photography is moving furniture.  Well, today I have learned that same percentage applies to preparing the studio walls for cleaning and painting.  Our basement is fairly small, and I realize I’ll have to do this project in four stages.  I will do the walls in two parts, and then the floor in two parts.  While this project will allow me to exercise my love of spacial reconfiguration, it may be a bit physically taxing.  Shelving units and cinder blocks are rather heavy, and all my wood and power tools and art supplies take up a lot of room.

I took this picture of me wearing a mask to highlight that I’m being really safe about all this.  There’s no mold, only calcification going on, but I’m not taking any chances.  Plus it’s dusty business, this taking care of business business.  And rather than cleaning the walls with muriatic acid, I’m going to use the less-abrasive phosphoric acid.  Jesus, that has to be the hands-down dullest sentence I’ve ever written.

Sorry.

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So today I had a phone conference with my friend Sara about the images I’m drawing for her dog blog, and I think we came up with something nice (I’m doing the final drawing right after I write this post, so it should be up on her site within the week.)  But I think it’s nice to look at all the sketches in one photo, so that’s why I took this photo.  I like doing this sort of stuff as much as I like making series’ of paintings, because I get a different kind of pleasure doing assignment work.  Sometimes it’s a lot more fun to do “assignments,” rather than come up with stuff on your own.  Being creative is hard, yo.  What’s funny is that the font we agreed on is the handwriting that I use when I’m imitating Sara’s handwriting.  When I do sign painting and the person wants a nice, easy to read font that is pretty yet a bit artsy, I go in my mental Rolodex and use my “Sara Stathas” handwriting.  Oh artists, all we do is copy.  Each other.

This past summer, I helped my mom organize my grandma’s basement.  A lot of the stuff I went through belonged to my grandpa, who was an industrial and mechanical engineer.  He did a lot of freelance engineering; in fact, he was hired as a consultant for Pabst to work on the efficiency of their bottle line system (think “Laverne and Shirley.”)  I took the majority of his old hand tools, drafting paper,  and drawing supplies.  Some of them I knew I’d use right away, and some of them I wanted for nostalgic purposes.  I took his mechanical pencils, but I never thought I’d use them because they are all much harder leads than I like to use (light pencils are “H” leads, and I use “B” leads.)  All of his stuff is in perfect working order and, funny enough, the same brand of pencils that I use today.  Anyway, back to drawing.  In doing the lettering for Sara’s blog header, I realized that everything gets scanned nowadays and good computers pick up everything, including incidental marks from a pencil.  I thought, “Wow, if I only had one of those dumb ultra-light lead pencils.”  And I did, in a box, eleven inches from my nose.  Dumb pencil…

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