Writing the Walls started 16 years ago when Artistic Director Mara Mills, Studio Theater in Exile and Livia Straus, co-founder Hudson Valley MOCA collaborated to enhance the museum exhibitions by inviting poets and playwrights to contribute original works reflective of their interaction with the art.
Accepted literary works were usually hung next to the artwork that inspired the written word and visitors to the museum had a chance to see the dialogue between art and word. This was followed by a culminating performance, “The Poets Walk,” a day at HV MOCA where, moving from artwork to artwork, the poets read their works in front of their chosen work of art. The audience followed the poets, walking from piece to piece, gaining new insight, energizing the space.
In 2020-2021 the live performance could not happen. With the pandemic at its height, we took to virtual posting. The 2020-21 poetry and art went on-line with audio recordings of the poets reading their works. In 2021, the exhibition expanded with How We Live II with paintings added to the exhibition. And still we could not gather together!
Writing (Off) the Walls II, the Virtual Poets’ Walk, proceeded with 2021-22 writers working from on-line images and bringing forth poems reflecting the exhibition and life as we are living it today.
Welcome to Writing (Off) the Walls II, an on-line Virtual Art and Word event inspired by the artwork in How We Live: Part II. The paintings and the poems are testaments that creativity is alive and flourishing.
13 white birds,
Egrets, I think.
A young dancer
Choreographs to
Dad’s music
Creates the motion
“13 ways of looking at a
black bird.”
Birds flying,
Birds feeding,
Birds perching,
Posing, diving,
Whirling
Egrets, intense
Calligraphic lines
White splotches
Bursts of non-color
The landscape sings
Fecund and fertile
Wet and lush
Lagoon with
a tropical sun?
Or is it the moon?
But …
Formally dressed
Awkward
Out of place
Out of tune
Not flying
Not diving
Not whirling
Still
Posing
Off center
Feel free to navigate through the tabs to hear the recording/poem of White Birds. The recording/poem are based on Hernan Bas' painting, Night Flight or Midnight Migration, or My Merry Way, 2008.
Hernan Bas
American, born 1978
Night Flight or Midnight Migration, or My Merry Way, 2008
Mixed media on canvas, 60 x 72 inches
“I do like the idea that everything is contained—the entire narrative, within the frame of the canvas,” said Hernan Bas, “but paintings that I consider to be successful are always on the verge of falling apart. To me, that’s the fun of it—the eminent collapse, and also the challenge.”
http://www.artnet.com/artists/hernan-bas/
His work revolves around the romantic and melancholic images of the classical world, with references to Oscar Wilde, Joris-Karl Huysmans and other writers of the Aesthetic and Decadent literary movements. Nature scenes with contemplative and solitary young males in a universe without women are a recurring motif in his painting. In the worlds imagined by Bas, good and evil are not simply counter points; they are identical. Solo shows include: Colby College Art Museum, Waterville, ME; Galerie Perrotin, Tokyo, Japan ; Mayfair, London, UK; Zurich, Switzerland; SCAD Museum of Art, Savannah, GA; Fredric Snitzer Gallery, Miami; Galerie Perrotin, Paris, France; Lehmann Maupin, Hong Kong, China; Kunstverein Hannover, Hannover, Germany among others. He participated in group exhibitions at Samsung Museum of Art, Seoul, South Korea, Andy Warhol Museum, Pittsburgh, Penn., Turner Contemporary, Margate, UK , Triennale di Milano, Milan, Italy and Tomio Koyama Gallery, Tokyo, Japan. His work has been acquired by: Brooklyn Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington, DC; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Miami; Museum of Modern Art, New York; Saatchi Collection, London, UK; Samuso: Space for Contemporary Art, Seoul, South Korea; and Whitney Museum of American Art, New York. http://www.peterkilchmann.com/artists/hernan-bas/overview/centre-de-arte-contemporaneo-2018
Bum Bum-Bum Baaaaaaaaah
Bar the door.
Run off the floor.
The barriers are breached.
“We’re here on orders of the king.
Come down, Daniel, to the lions’ den.
Smell the blood running through the halls.
Try to save the portraits we’re ripping from the walls.
We will find you, we call you by name.
Saving our country is our claim.
Besides the desecrations,
we’re here for assassinations.”
While they hunt for our leaders…
Hid in the gallery is a cinnamon Mom,
Suckling dark babies at each breast,
Singing to them softly under her breath,
“ You are noir portant jolie, the hope for our liberty”
Do you admire this uniform of mine? Or does it push you away?
Well, it was designed to do both.
To suit the stature as well as the burden of my responsibility during World War II.
Which was, at first, to protect and keep a nation, then two, then three,
then an entire continent from being overrun by the most murderous invaders in history.
I took it upon myself to be both a will and a way to resist a hellishly evil enemy
out to rule the world by squashing those living in it.
I had to. Eventually, we all had to. There was no alternative.
Thus, I dressed to be formidable against
those out to squash and bury everyone in their way.
I needed to lead, to inspire, to build strength
and plan for fierce resistance before we,
all free nations, were overrun.
Thus, in every pocket of every fine jacket,
I carried a weapon,
be it a pistol, a grenade, garroting wire, or written
words of encouragement, imploring my
comrades to fight on for their country’s lives
in the case of my death.
I stood proud and strong, and, yes, defiant -
to encourage them to do the same.
Because they had to.
If you are willing to do the same for your nation in your times of threat, I salute you.
TODAY I AM GRATEFUL
TODAY I AM THANKFUL
TODAY I AM HAPPY
For I am here, I stand with you.
TODAY I AM GRATEFUL
TODAY I AM THANKFUL
TO BE HERE,
And not there
TO BE HERE
And not in the underground bunker.
TO BE HERE
As I stand with you.
YES, I AM A HIDDEN CHILD.
IN A BUNKER, UNDERGROUND, IN THE WOODS
LOOKING UP, BROWN MUD,
My mouth taped shut,
MORE SAUCER EYES STARING
IN THE DARKNESS ALL AROUND.
OHHH,
I DIDN’T KNOW THE SKY WOULD BE SO VAST,
I DIDN’T KNOW IT WOULD BE SO BLUE,
When I emerged above at the age of two.
BUT MY MEMORIES ARE SMALL AND DARK
NOT REAL, I FEAR…
But there,
IN A PLACE I CAN HARDLY REACH,
But there,
DEEP WITHIN MY PSYCHE
AND THE TIGHT LID HOLDING THEM WITHIN
Has loosened,
AND A JAGGED FRAGMENT ESCAPES, AND THEN ANOTHER,
BUT NOT ENOUGH I FEAR, TO MAKE ME WHOLE
Not enough to make me whole.
SO, I CRY FOR THE INFANT TUCKED AWAY,
AWAY FROM LOVE, AWAY FROM SUNSHINE, AWAY FROM SMILES,
AND AWAY FROM LIFE.
IN A MUDDY BUNKER BENEATH THE GROUND,
SAFE THEN, THEY SAID,
BUT NEVER SAFE, NOT THEN, NOT TODAY.
BUT TODAY, I AM GRATEFUL
I AM HAPPY
TO BE HERE, STANDING WITH YOU.
Feel free to navigate through the tabs to hear the recordings/poems of The Halls Where It Happened, Coat of Arms, and Yes, I am a Hidden Child. All of these recordings/poems are based on Zsolt Bodoni's painting, Blue Uniform (Tito), 2016.
Zsolt Bodoni
Hungarian, born 1975
Blue Uniform (Tito), 2010 Oil and acrylic on canvas
86.6 x 76.8 inches
In his first U.S. solo exhibition, titled “Yesterday’s Heroes, Tomorrow’s Fools,” Zsolt Bodoni, who is Romanian-born but Hungarian by descent, presented what initially seemed a modest exploration of painting’s formal issues. Soon, however, visual excavation of the images’ gray, washy layers revealed figures immersed in hazy, romantic narratives of post-Soviet-bloc Eastern Europe.
The past cannot be dismantled in a single stroke.
Zsolt Bodoni received his MFA from the Hungarian Academy of Fine Arts in Budapest, Hungary. Selected solo shows include: The Shining Path and King Give Us Soldiers, Green Art Gallery, Dubai, UAE; Remastered, Brand New Gallery, Milan, Italy Gods and Mortals, Mihai Nicodim Gallery, Los Angeles, Foundries of Ideologies, Ana Cristea Gallery, New York, USA and Monuments, FA Projects, London, UK; He has been shown in several important group shows including: THE NUDE in the XX & XXI CENTURY, S|2 Gallery, London, Turning Points, The Twentieth Century Through 1914, 1939, 1989, Hungarian National Gallery, Budapest, Hungary Defaced, Boulder Museum of Contemporary Art, Boulder, COOL Nightfall, Galerie Rudolfinum, Prague, Czech Republic; Leipzig Walkabout, Galerie Eigen + Art, Leipzig, Germany; Uncertain Terrain, Knoxville Museum of Art, Knoxville, TN; Show Me a Hero, Calvert 22, London, UK; 15 Hungarian and Romanian Painters, Plan B, Cluj, Romania. His work has been featured and reviewed in Art in America, Flash Art and The New York Times. In 2009 he was selected for the "Top 100 Emerging Artists" by Flash Art International.
https://www.artnews.com/art-in-america/aia-reviews/zsolt-bodoni-60370/
I’m up for breath
But I want to stay down
No one is deciding, it’s up for grabs
Want and Need
Want and Need
Glittering surface, artificial and delicious
No need to lick my lips
No road to stick to, no instruction booklet
Want and Need
Want and Need
But over there, that’s me and I’m swimming!
Down in coolest, cool of the Ocean
Water parting, legs kicking
Oxygen filled lungs, not bursting
Silence, not deafening
I come up and breathe
But I want to stay down
The water top attracts me
Against my better judgement
Want and Need
Want and Need
Signs pass but they’re not meant for me
Spelling out the obvious
Twinkling above the turquois
Pulling me up, where I will not stay
Want and Need
Want and Need
But still, no matter what, I keep an eye on me!
Plunging way down, down
Among the florescent fish
Time is no longer
Eyelids translucent
Still, the sky entices me through the sea
Wanting and needing
Wanting and needing
Never Free
So many histories are montage: memory shards
And slivered snapshots, rained down, and reconfigured.
We re-set missing tiles and paint-daubed tesserae slowly
With what’s lingered and the schemas we’ve recovered,
Recreating what we can, and what’s bearable to reimagine.
Like that dawn in August when the green streets groaned and shook
As the tanks rolled into Prague while Spring’s still-dreamers slept,
The bullets stinging the Museum when the mercenaries mistook
Its sandstone domes for a Palace of Justice or Trade.
As beds and offices were overturned by unnerved women
Searching for what they’d need for safety or for flight.
As water swelled in the white-tiled summer pools
When the tanks thundered past, wave after wave,
Until what was falling had fallen and for a moment all was still.
The earth had rattled once before that same twentieth day,
As cindery ash plumed high to join fast rolling quakes.
Men ceased building bonfires for the Vulcanalia,
Stunned by the distant brittle cracks and thunder roar.
As women felt the earth roil, pilasters fall,
And, wincing from distant wolf cry and owl screech,
Rose from their baths - the waters rocking, sloshing now -
Bundled their jewels and amber amulets in brass-bound chests,
Bidding servants to ready them for the flight north.
As raining bombs of ember burned and pumice-hail
Shattered roofs and pierced walls,
Opening new voids for the poisonous wind sear,
Which shot in, wave after charring wave,
Until what was falling had fallen and for a millennium all was still.
Now, where centuries-silent cinder has been brushed aside
And half-felled homes and hollowed walls laid bare again
In Forum baths where magistrates and wealthy merchants met,
We honor that crucible and assemble its artifacts gladly,
Its scorched chairs of wood and ivory, blackened scrolls,
Faint frescoed faces and shattered acanthus leaves,
Defining their beauty by how we choose to re-assemble them.
The drear of our own catastrophes’ rubble draws us less,
Machine-tooled bath-house tiles stained with rust-trailed rivulets
Die a less-mourned death than the sea-monstered mosaics
That embellished the houses of ancient patricians who perished.
Our own sulfurous disasters are still fresh-lain, chaotic,
Our eyes still struggling to distance, re-assemble, and redefine,
Until our footing’s sure enough to water what springs from quaked soil.
House Ghost
It’s the deep thirst that makes me consider
The backyard swimming pool.
Then again, a drink can finish your strength.
Better a journey be scorching and companionless,
That’s what I thought,
Because our bodies are pressed seemingly thin.
We can only hold a mirror and look at older versions—
The now escaped inside a nanosecond from my retina to that light.
I settle for watching the floating device.
I remember, I lived on the crowded side
Of the glass, then passed over it like the arch of a note.
After all, we are arm and arm with dream,
Wrapped around it, morning can no longer interfere.
Feel free to navigate through the tabs to hear the recordings/poems of Want and Need, Artifacts, and House Ghost. All of these recordings/poems are based on Daniel Pitin's painting, The Old Swimming Baths, 2009.
Daniel Pitin
Czech, born 1977
The Old Swimming Baths, 2009
Oil and acrylic on canvas
65 x 90.6 inches
Daniel Pitin is one of the generation of artists to have emerged since the fall of communism in Central and Eastern Europe. He received his education from the Academy of Fine Arts, Prague, Czech Republic and continues to live and work in Prague.
Pitin produces large, visually complex paintings, dense with imagery and subtle references to films and canonical works of art. Often embedded are bits of newspaper, lace, paper towels and collaged segments od blueprints of buildings designed by his grandfather in Prague and left rolled up in his family attic. His dark color palette, solitary, ethereal figures, and surreal structures, which seem to both reveal and hide their occupants, imbue his works with moodiness and mystery. He describes his paintings as fragments of stories or dreams, explaining that through them he explores the “personal and public memory of the place where I live.” He uses the family archive and as well as internet sources, historic film material (specifically with references to the work of Alfred Hitchcock), film noir and Czech new wave films from the 1960s. His interest shifts between humanity and its creation, between structures and their content, filling his oeuvre with moodiness and a breath of unsaid contents.
Daniel Pitin was artist-in-residence at Hudson Valley MOCA Fall 2010, producing a solo exhibition ‘Garrison Landing’ that gained wide press acclaim.
Recent exhibitions include A Race of Peeping Toms, Nicodim Gallery, Los Angeles (2020, solo); A Paper Tower, Galerie Rudolfinum, Prague (2019, solo); Broken Windows, House of Art, Česk Budejovice (2018, solo); Grotto, Charim Gallery, Vienna (2018, solo); Crystal Gardens, GRIMM, Amsterdam (2017, solo). Pit n is in the collection of Los Angeles County Museum of Art and Knoxville Museum of Art. Solo institutional exhibitions include Cover Story, Boulder Museum of Contemporary Art (2012); Garrison Landing Hudson Valley MoCA (2010)`, Peekskill, NY and the Knoxville Museum of Art, Knoxville, TN (2011).
On warm summer days wild birds were seen walking together across large back yards.
Nature in all its color and vibrancy sang its melody like a poem dropped from heaven.
What I remember most are the conversations and the games, of course.
Hydration was of upmost importance, and I won’t over-indulge;
Some brought water in plastic bottles, Poland Spring and the like.
The kind of bottles fit to be transformed into clothing.
Others brought iced water in thermoses or cold drinks with vitamins and electrolytes.
There were suits made for play, Nike and the like. And ordinary shorts and tees.
In late fall, layered clothing was the fashion with heavy sweats, even coats.
We exercised and ran enough to reach a fence or slice a ball that couldn’t be returned.
Levels varied; so, teams were made to keep competition balanced.
On court, we encouraged each other:” Good hit, nice whack, good run, attack!”
We always “left it all on the field”. Off court, we shared. We spoke.
Sometimes injury sidelined us, and we waited to return.
But now that covid-19 has separated us, when will we play again?
Or will it be a notice of a fallen friend via our handy cell phones?
Covid -19 or old age. Take your pick.
Feel free to navigate through the tabs to hear the recording/poem of Friends. All of these recording/poem are based on Serban Savu's painting, Three Friends, 2009.
Serban Savu
Romanian, born 1978
Three Friends, 2009
Oil on Canvas
64.2 x 86.2 inches
Savu's figurative paintings capture the daily life of contemporary Romanians. He lives in Cluj, Romania and makes his paintings in a former paintbrush factory. His subjects are his surroundings, his people and places, sometimes painted directly or other times invented. This context — historical, intellectual, and environmental — is his home living in the aftermath of Communism, or in his words, “its results, the effects of a failed utopia.”
His palate that creates an atmospheric distancing, and his straightforward manner of depicting subjects from the vantage point of a surveillance presents a world both convincingly real and alienating. Events are non-events. People are specific, yet without names or faces. Everything is quiet, maybe at times silent. He manipulates reality in order to make it more relevant.
“I always associate painting with literature. In order to speak you need to learn the language from your parents. In order to write a novel it is not enough just to know how to speak. I think you need to read a lot from the beginning of literature until today in order to have an idea about how to write a novel. I did the same with painting and I have seen art museums around the world and bought a few art books with artists I love. But after living in Venice for two years I deeply fell in love with Venetian painting. Painters like Giorgione, Bellini, Titian, Veronese or Tintoretto, to name just a few, are the figures that I venerate.”
https://hyperallergic.com/127684/artists-pick-artists-serban-savu/
About Serban Savu
Șerban Savu attended the University of Art and Design in Cluj, Romania (2001); he was awarded a two-year postgraduate research grant to Venice. His work has been exhibited Centre Pompidou, Paris, France; Nicodim Gallery, Los Angeles, CA; Gallery of Fine Arts, Ostrava, Czech Republic, Ferenczy Museum Center, Szentendre, Hungary; Berlin, Germany and David Nolan Gallery, New York, NY (2009, solo).
My father fled religious persecution in Baghdad to come to this country at age ten in 1950. MORIS is an
artist born and working in Mexico, and his work, “El Due o de Todo” (2020) resonates so strongly with
me because it uses collage and mixed media to encompass the spirit of migration and diaspora.
Hudson Valley Moca is just over an hour’s drive north of the Statue of Liberty, one of the most lasting
symbols of America and of New York in particular. I am the son of an immigrant. The Statue of Liberty
and it’s renowned poem by Emma Lazarus which reads “Give me your tired, your poor, your huddled
masses yearning to breathe free,” exudes hope to new arrivals from other countries who have endured
a long and hard and treacherous journey to come to a new but strange land that they will make their
home.
Immigration is uniquely fundamental to the story of America. Combined with the important and lasting
heritage of our Native Americans, immigrants have woven their distinct cultures into the vibrant mosaic
that is America today, and MORIS’s work very much embodies this diverse and strong cultural mosaic.
I am the son of an immigrant.
Donald Trump launched his campaign in 2015 and uttered his most infamous attack on immigrants:
“They’re bringing drugs. They’re bringing crime. They’re rapists.” These words were hurtful to me personally
and entirely unamerican. When I met with Donald Trump in 2017 to discuss civil rights in my prior
career as an attorney, I was again confronted with the harsh reality of our country’s new supreme leader
in a very personal and direct way. This meeting inspired me to develop a practice of art and activism and
to use art to convey, among other messages, the importance of immigration and inclusiveness in our nation’s
history and future; and certainly MORIS’s “El Due o de Todo” (2020) embodies this urgent message
as well.
I am the son of an immigrant.
Layering depths
The complexity
Of human experience
De then Re composing
Insistently exposing
Beliefs, Concepts, illusions
found, repeated, transformed,
assumed,
trusted,
lost,
feared
contradicted.
Scratching out pain, sorrow.
Misunderstandings.
From the hubris
Pluck out hairs,
Flag gagged justice.
Take them all…………
surviving
Fingers, paper, enamel,
personal materials
Insistently reordering,
Undoing, redoing
intermittently
explosive and comforting
wild then quiet.
The canvas heart beats.
They arrive refugees in back of a ponga.
Tiffany housewife, criminal ghostly sailor, voodoo priestess
Shipwrecked
Where the coconut and banana grow.
Where the swagger of green palm and yellow bamboo line the distant cove.
They step unto the playa, tortoises climbing from their shells.
To
Bronze themselves
Shed their skins.
Peel themselves, of themselves
Drown themselves.
Rid themselves, of themselves
Day after day
Watch their bodies float away on the back of the ebbing wave.
Feel the pulse
Share their secrets
Cleanse themselves, of themselves
In the suds of the delicate foam
Footprints disappear
Bury their lives in the sand
They come back, day after day
Sip on Margaritas
Hear the pie woman say “Tu quiere una pastel de banana.”
Sit on a spout of a humpback whale
Speak Spanish with the dolphin
Walk the pace of the mule
Paint the landscape with themselves
Climb the manure trails
Follow the sign “a la cascada.”
Purge themselves
Baptize themselves, of themselves
Make friends with the scorpions
Hitch a ride with a butterfly to a Mexican graveyard.
Ride the back of a crab
Discuss the political essays of Octavio Paz.
Attend the Quinceanera
Reggae down at the disco nights.
Set a bonfire in their hearts
Watch thoughts flow down the mouth of the lagoon
Lay naked under the dry palms of their palapa
Here the indigenous cries
of themselves
Awaken each morning to island dreams
Falling In love
With themselves
With each other
With
Yelepa
We packed up everything we owned. Precious and sacred rags. Mama’s re-imagined flour sacks, became
precious silks and linens in our longing and hopeful eyes. Battled shoes stuffed with cardboard, missing
soles but never their souls. Patched pants, shirts, dresses, skirts and blouses, cast offs from all the Mr.
& Mrs. Whites our tortured lives knew. Cargo intended for trash cans. Cold harsh cruel voices, shouting
at overworked and underpaid employees. “Mabel , you want any of this stuff before it’s thrown in the
trash? You can fix it up as good as new.”
Away from the glares of Mr. & Mrs. Whites eyes and ears we cursed their ignorance in favor of hard
earned coins. Coins when added together would lead us out of Jim Crow and to freedom. No more
bodies swinging from the poplar trees, rapes hidden from our men folk, bombed churches, mis-education,
Wall Streets, Emmett Tills, and doctorate mops on office floors. Our history and herstory infused
with dreams, audacious hope and the elegant words of brilliant author Isabel Wilkerson’s The Warmth
of Other Suns. Understanding all too well the kindred strokes of comrade Morris bleeding passionately
onto canvass. Like Morris we bring pieces of our lives. Aged pictures passed down, a dress, pair of shoes,
grandfather’s sacred letter and 102 year old Aunt Hattie telling us to wash our panties before going to
bed at night, so that we would have fresh ones to wear the next day.
Everyone spoke about freedom and opportunity up north. Family members sent word
of apartments, jobs and education. When freedom day finally arrived there was great excitement. It
appeared as though the entire Black population just up and left. We did our best not to look over our
shoulders, knowing we would miss the land that struggled to produce food for us. The land we prayed
to and loved. The land where we rested our ancestors. The land we hoped oneday our children would
return to when the evils of the White death we suffered no longer existed. Stories followed us of all
the Mrs. Whites lamenting and wondering how they were going to find colored girls to do their work.
Couldn’t stop talking about how their entire lives were thrown into turmoil. Mama said, “You don’t miss
your water until the well runs dry.”
Seems like Black folks have always been looking for home. Escaping plantations looking for our people.
Children snatched from our wombs and sold. Juneteenth celebrated two and a half years after emancipation.
Greedy brutal enslavers angered by the news hoping to suck the last of our remaining breath
from our bodies. Their kin fight for voter suppression and keeping the truth of their brutality out of
schools. While our resilient descendants still fight for what remains “Freedom: A Failed Promise.”
Feel free to navigate through the tabs to hear the recordings/poems of I am the Son of an Immigrant, Lyering Depth, Yelpa, and As Good as New. All of these recordings/poems are based Moris' painting, El dueno de todo, 2020.
MORIS (Israel Meza Moreno)
Mexican, born 1978
El dueno de todo, 2020
Collage and transfer and enamel on canvas, mixed media and found objects
78.75 x 78.75 inches
Moris’ work addresses representation, social and subjective agency, urban issues, and marginal cultures often taken for granted in mainstream society. Moris grew up and lives and works in a Cartel-run area outside Mexico City. The issues he researches are part of his daily life; the street and social space are his laboratory. Understanding the diverse social codes of the urban underclass and underworld, their strategies for survival, and informal use of aesthetics in order to make daily life more humane and dignified are the driving ethos for his work.
His recent work echos the phenomenology of the migrant, the survival tools in the countries, on the long journey to the USA. Always looking north, Latin Americans compose a great unstoppable caravan transforming each place on the way towards to the US.
Under the idealization that the north has more resources and better payments, migrants try to obtain the benefits that a government as the US may offer. There is an ongoing tension between the government and the caravan seeking opportunities and resources during their stay or possible permanent residence.
His work is part of many important public and private collections worldwide including the Museum of Modern Art (MoMA), New York City, Museum of Contemporary Art (MoCA), Los Angeles, La Colección Jumex, Mexico City, and FEMSA Collection, Monterrey Mexico. Major exhibitions include “Mi casa es tu casa”, Los Angeles Nomadic Division (LAND), MOCA Geffen Contemporary, Los Angeles, CA.; “Un animal pierde la vida porque otro tiene hambre (An animal dies because another is hungry)”, Museo Experimental El Eco, Mexico City, Mexico and has been a representative at the 9th Havana Biennale, Havana, Cuba and the 30th São Paulo Biennial, São Paulo, Brazil in 2012.
In a world ere the dominion of tar and glass,
when the human animal humbly watched time pass
and the other kingdoms in benign concert reigned,
an hour and place for all things Gaia ordained.
But the ambitions of the wise ape overthrew
such accord as all other earthly creatures knew,
devising instead the tyranny of machines
that bent the world to suit the selfish philistines.
Now on this bewildered scape of nature spoiled
where from raging fire, wind, and flood we are recoil’d,
even the night wanes in the toxic mists of blight—
the waves and particles of ever-present light.
The temples of the sky star-hung do we betray
for the profane veneration of ruined day.
In the valley the fields
lie fallow under the first
snow, the grain safely
stowed away against marauders, no
chance of famine here, coils of baling
wire at the ready, tarp-covered silage too,
cattle secured in their pens, the
flitches of bacon drying on
the rack, the puddings boiled
in the basin and he
takes these long nights to
mend his harness and
plan for spring planting, the
furrows riven in the earth to
coax forth new life, the
ribbons of green marking
the borders of his land
beneath these sheltering mountains,
the peace of the night yet
undisturbed by word of random acts
of violence blot-splotched across newsprint
in newspeak
In the shadow of the mountains,
Near the farmhouses and fields,
The snow lights the cold night
With a reflective glow
From the distant cities
And the nearby lampposts.
So cloistered in light,
The heavens are lost.
I pray for darkness -
The velvety darkness of childhood
On a winter’s night
When I stepped into the January air
Absorbed by the inky blindness,
Until my eyes adjusted upward
To distant pinpoint stars.
Coaching myself to stay still,
Take time, ease into the nothing,
Feel the winds blow through
Until it came into focus
The Milky Way spiraling through cosmic clouds.
How small I needed to be
To see such grandeur.
Feel free to navigate through the tabs to hear the recordings/poems of Ode to Lost Night, Spring Planting, and Prayer for Darkness. All of these recordings/poems are based on Sven Kroner’s painting, Light Pollution, 2006
Sven Kroner
German, born 1973
Light Pollution, 2006
Acrylic on canvas
63 x 118 inches
At first, Kroner’s work seems to be one of the Arcadian landscapes from the long tradition of the landscape: vast European landscapes, with sunrays penetrating the foliage and creating a play of light and dappled shadow underneath the trees, sweeping views.
Kroner instead offers only the most minimal implication of human presence. He only leaves subtle hints as part of a large commentary on our ongoing connections with the natural world but also our mistreatment of it. Kroner adjusts the presence of humanity and, in doing so, alters the impact of his landscapes altogether.
Kroner is currently based in Düsseldorf and splits his time between teaching and painting.
Sven Kroner exhibits in Germany, The Netherlands, United States and elsewhere. His first exhibition was at Kunstverein Wilhelmshöhe Ettlingen E.V. in 1996. Important shows include Sven Kroner at Marc Straus in New York City, NY, at Ludwig Forum für Internationale Kunst in Aachen and Sies + Höke in Dusseldorf. Sven Kroner’s art is in 4 museum collections including Zabludowicz Collection, London and Gemeentemuseum Helmond - Boscotondohal in Helmond among others.
No machinery can or will rescue
any of us from the law of being.
For centuries we have pretended that
by echoing those grey wings on the wind
grinding the black earth into our palms, and
dipping blue confections to our pink tongues,
we are truly living.
But, by proclaiming that
there can only be one of anything,
we are gradually tearing at the
seams of a sheath, well worn.
It would do us well to remember that
while the fringes may be tattered and torn
the main core is always serviceable.
Because while all our ancestors loom large
in the shadows of grief
Brown, Yellow, Red…
We must remember that
someone great was and is ever-present—
In the untouched landscape
In the interior web of oneness
In the infinite expanse beyond that
disposable jacket—
that great white hide.
Wearing a black coat, head bare,
his face set against armed strongmen,
he stands close to his brothers
and sisters, his gaze harbors a wilderness,
a deep resolve to share in the scattering
light of this dark dark world.
Then:
His skull, fractured.
Body, bloodied.
His life is light.
From a psalm dancing hills emerge
the sea splits, and in the path between
the walls of water freedom sings.
His soul grows “deep like the rivers.”
There is no darkness in it.
She wore aprons similar to this
in colors and shape
they were called Mother Hubbard
did any of them last through the six
children she didn’t truly want
before birth control or abortion
except DIY
the coverings practical, related
to her own but not
indigenous cultures
while we stripped her to her hide
a great woman long gone
Feel free to navigate through the tabs to hear the recordings/poems of Great White Hide, No Darkness - for John Lewis, and Mother Hubbard. All of these recordings/poems are based on Jeffrey Gibson’s painting, Someone Great is Gone, 2013.
Jeffrey Gibson
American, born 1972
Someone Great is Gone, 2013
Elk hide, acrylic, paint, graphite, colored pencil
73 x 66 inches
Jeffrey Gibson’s multimedia practice synthesizes the cultural and artistic traditions of his Cherokee and Choctaw heritage with the visual languages of Modernism and themes from contemporary popular and queer culture. His work is a vibrant call for queer and Indigenous empowerment, envisioning a celebration of strength and joy within these communities.
Jeffrey Gibson grew up in major urban centers in the United States, Germany, Korea, and England. He received a Bachelor of Fine Arts in painting from the School of the Art Institute of Chicago in 1995 and Master of Arts in painting at the Royal College of Art, London, in 1998. He is a citizen of the Mississippi Band of Choctaw Indians and is half Cherokee. He is currently an artist-in-residence at Bard College and lives and works near Hudson, New York.
Gibson’s artworks are in the permanent collections of many major art museums, including the Museum of Fine Arts, Boston, the Smithsonian, the National Gallery of Canada, the Nasher, the Nerman, Crystal Bridges, and the Denver Art Museum. Recent exhibitions include SCAD Museum of Art (Savannah and Atlanta), National Academy Museum in New York, Institute of Contemporary Art Boston, Cornell Museum of Fine Art, Denver Art Museum and Ruth and Elmer Wellin Museum of Art. He has participated in Greater New York, Prospect New Orleans, the Everson Biennale, and Site Santa Fe. Gibson is a member of the faculty at Bard College and a past TED Foundation Fellow and Joan Mitchell Grant recipient. He was included in the 2019 Whitney Biennial. In 2019 he received a MacArthur Foundation genius award.
The universe gave birth to the stars and planets. Theoretically the origin began by a series of cataclysmic
eruptions in the great beyond. Something we refer to as space, infinity of existence unimaginable. My point
is Universe as mother or simply womb. Planets in infancy like glass marbles tossed across asphalt. Beautiful
embryos awaiting recipient and the miracle of life, where why how doesn’t matter. A concept in all its complexities
shapes and forms, with one very basic objective, survival, the most natural of all instincts. We’ve
found, or rather it’s been demonstrated in millions of instances how life bounces back. The tree or plant
thought dead, bearing fruit and leaves the next season like unyielding mother. An animal in the wild severely
wounded mending itself with only nature at its side. Millions of years, a nano second in time and space,
prehistoric life is birthed from the earth’s ocean womb. Grand children of universe, born to slither, crawl
and finally walk, be it four or two limbs. Traveling great distance to spawn and spread. Exquisite, inquisitive,
entities yearning to learn grow ultimately evolving into innovative self sufficient creatures. We’ve learned to
utilize raw materials for tools, weapons and instruments of wonder for growth. We’ve also become reliant
on one another as community and family. The rise from prehistoric culture to civilization and progress
has turned. Access, greed, power and supremacy have brought human beings to our present condition.
Apparently we’ve learned nothing of nature and a mother’s will to survive. We have under the auspices of
advancement, with blatant disregard for nature and its natural resources. Have and continue to methodically
drain them in abundance, for instruments of convenience and war.
Plant life, water, oil, all of nature’s life blood abused. Human beings like a virus attacking an immune system.
Wouldn’t the earth as a living organism fight to sustain itself, protect itself as any living creature from decease?
Perhaps the earth is trying to survive, to protect its other more appreciative life forms. This with no
other choice than by destroying what has become an infection that threatens her very existence. A mother
in nature will sacrifice one child to preserve the lives of all her children. Is that what the planet is doing?
Curing its self, self preservation,
Are human beings earth’s virus?
Go West, young woman, and see
the thick tributaries, once rivers,
now roads, thrumming highways, that truck goods to
your door, the ripened strawberries
for your breakfast, the shoes on your feet
Tough-whiskered Yanks, Irish too,
and Chinese laid the rails joining our
two coasts, metal ringing upon metal,
sparking fires of creation, of industry, of
building up to the sky, rather
than reducing to a blight of cinders.
Criss-crossing the patchwork quilt
of corn, soybeans, barley, wheat, oats, the barns
of lowing cattle, squealing swine, cackling hens, the
hum of honeybees hard at work, an orchestra of the
outpouring of America released by
human hands tilling the soil, these
notes sing still, through the days and nights,
a world never-ending
Your speech/ is yours/
And it/ is free/
This is/ the way/
It was/ meant to be/
Burma-Shave
Feel free to navigate through the tabs to hear the recordings/poems of Universal Survival and Go West, Young Woman. The recording/poem are based on Norbert Schwontkowski's painting, Ende der Welt, 2005.
Norbert Schwontkowski
German, born 1949, died 2013
Ende der Welt, 2005
Oil on Canvas
40.5 x 60 inches
Norbert Schwontkowski challenges artistic categorization; his work falls between abstraction, realistic representation, and cartoon. He created his paints from hand-ground pigments mixed with various materials to yield a multitude of textures. Schwontkowski also added metal oxides to the pigments, creating shimmering surfaces that continue to change over time. His palette of pale earth tones, blacks and grays creates a muted, subdued atmosphere, while his carefully worked surfaces and minimal gestures demonstrate his sophisticated paint handling. Schwontkowski’s work is often described as playful yet melancholy, and naive while still mature.
https://www.miandn.com/artists/norbert-schwontkowski
Schwontkowski does not presume to know the contours of our anxiety: he just shows us his, refusing to elevate it, and supposes that ours is equivalent. Nor, as a painter, is he a downer. His handling is wristy but muffled, flash also held back, and, on this evidence, he was continually inventive, refusing to duplicate motifs and even sometimes – in very late works like the neon-lashed street murkily atmospheric, mostly figurative scenarios, using painting to wrestle emphatically with existential disquiet and a neo-Romantic sense of the numinous.
https://www.apollo-magazine.com/norbert-schwontkowski-kunstmuseum-bonn-review/
Norbert Schwontkowski was born in 1949 in Bremen, Germany. He attended Hochschule für Gestaltung in Bremen, and later became a professor of painting at the Hochschule für Bildende Künst, Hamburg. Schwontkowski has regularly exhibited in galleries and public institutions throughout Europe since the late 1970s. Most recently, his work has been exhibited at Williams College Museum of Art, Williamston, MA (2013); Contemporary Fine Arts, Berlin (2011); and Kerlin Gallery, Dublin (2010). His work was included in the 2005 Berlin Biennial. He is in the collections of Solomon R. Guggenheim Museum, New York and Museum of Fine Arts, Boston.
I am not a poet or a playwright.
But I do like to think about art,
And here’s what I think about
A.A. Bronson's White Flag #8:
I think that there is quite a lot
To contemplate in this mixture
Of skin glue, honey, and such.
For example, in my opinion, Bronson's White Flag #8 is not really a flag; rather, it is the representation of a flag. Of
course, you could argue otherwise, insisting that Bronson has, in fact, created a flag - using unusual materials. This
The restaurant is out of the way, in a two hundred year old barn
with an American Flag waving over the door.
We share a pot of mussels and most of the shells are stuck shut—
the dangerous ones.
We know well enough to leave them be.
You are a philanthropist raising millions of dollars for Saint Jude,
Ronald McDonald House, Hole in the Wall, spending countless hours
and dollars helping children with cancer.
I’m impressed.
When I ask what was the driving factor, you share your family
has cancer markers and many have died.
Bad genes, you say, very bad genes.
Did you have cancer? I ask.
No. Did you?
I hesitate then spit out the truth. Yes. But I’m fine now.
Mussels with stuck-together shells pile on the plate.
I am no longer a date. Now, I am a patient in a hospital gown.
Weak constitution. Now you imagine me dead.
You frantically scan the restaurant for the waitress
and motion for the check.
Cancer has motives going far beyond one’s health,
trapping its victim inside the most dangerous of bi-valves—
the ones with the shells that never open,
the ones recognized as dangerous,
the ones carelessly and heartlessly discarded.
Feel free to navigate through the tabs to hear the recordings/poems of Thinking. Wishful Thinking and Stigma. All of these recordings/poems are based on AA Bronson’s painting, White Flag #8, 2015.
A.A. Bronson
Canadian, born 1946
White Flag #8, 2015
Rabbit skin glue, champagne chalk, raw honey on linen, cotton, cotton rope on linen 59.1 x 114.1 inches
AA Bronson, nee Michael Tims, Vancouver, Canada,1946, was a founding member of the artists' group General Idea, During their twenty five year association, General Idea produced work in every conceivable medium, pioneering video and performance work as well as producing artist’s books, photographs, sculptures, multiples, prints as well as installations, and public art projects. They sought to examine and subvert social structures, taking particular interest in the products of mass culture. They began publishing their ideas and work in File, a quarterly journal published in Toronto. In the late 1980s they focused their attention on the AIDS epidemic. General Idea ended when Bronson’s partners died of AIDS in 1994.
Since then AA has worked and exhibited as a solo artist, often collaborating with younger generations. Since 1999 he has worked as a healer, an identity that he has also incorporated into his artwork. From 2004 to 2010 he was the Director of Printed Matter, Inc. in New York City, founding the annual NY Art Book Fair in 2005. In 2009 he founded the Institute for Art, Religion, and Social Justice at Union Theological Seminary in New York City, which he now co-directs. In 2013 he was the founding Director of Printed Matter's LA Art Book Fair. He has taught at UCLA, the University of Toronto, and the Yale School of Art.
He has had solo exhibits in the UK, Berlin, Finland, Basel, Munich, Austria; 10th Gwangju Biennale, Gwangju, Toronto. Group exhibitions include The Jewish Museum, New York; Museum of Contemporary Art, Chicago; The Balcony, Toronto National Gallery of Canada, Ottawa; LA, Museum of Contemporary Art, Los Angeles.
her words repeat and repeat,
raven-haired girl, as he drains
the pint of plain,
eyes closed in silent pleasure
at the drenching draught of
the black stuff.
How many hours on the job
today, building upon what went
before—and more to do tomorrow,
primed for it, thick-necked and
ready to meet any obstacle.
Another day done, and yet,
so many more to do, the
sun cracks through the sky
yellow as the egg yolk scraped
from the breakfast plate to the bin, and, as
the gravedigger in Brooklyn said:
Don’t look back. If you look
back you’re finished. Forge on,
always.
It’s time, gentlemen, time. You don’t
have to go home,
but you can’t stay here….
Sinne Fianna Fáil….
Comfort in a glass.
Smug gentleman bathed in pastels
eyes closed, distant from photos repeating
what he won’t see or hear.
Identical women filmed with open eyes and mouths
are cornered in a frame nearby
holding their endless gaze, their voice.
Again and again he sips or gulps.
When will the glass be empty
the frame without further comment?
Feel free to navigate through the tabs to hear the recordings/poems of Jars at McDaid's and Again. All of these recordings/poems are based on John Wesley's painting, Guinness, 1989.
John Wesley
American, born 1928
Guinness, 1989
Acrylic on canvas
60 x 72 inches
John Wesley is an American artist whose paintings hover between pop art and erotic surrealism. Wesley has consistently worked with his distinctive palette: primarily, varying tones of ‘pastel’ blue and pink “It was just fun doing what I was doing.”
“The complex world of John Wesley is, paradoxically reached via a short journey, and the ease with which he is able to conjure up special effects in the viewer’s minds places his work in the great tradition of the blind visionary. Under the surface of his absurd utterances, however, a scathing commentary on society, superficiality, power or abuse can be found, if one only wants to look for it.” --Carolyn Christov-Bakargiev, “John Wesley: A Retrospective,” PS1/MoMA
John Wesley has been exhibited and collected by museums worldwide since the 1960s. Surveys of his work have been held at the Stedelijk Museum, Amsterdam, curated by Rudi Fuchs and Kasper Koenig (travelled to Portikus); Museum Ludwigsburg, curated by Udo Kittleman (travelled to DAAD, Berlin); PS1 MoMA, Long Island City, curated by Alana Heiss; Harvard University Art Museums, Cambridge, MA, curated by Linda Norden; Museum Haus Lange, Krefeld, Germany, curated by Martin Henschel; Chinati Foundation, Marfa, TX, curated by Marianne Stockebrand; and Fondazione Prada at the Venice Biennale curated by Germano Celant. Since 2004, the Chinati Foundation, Marfa, TX. has maintained a permanent gallery housing its collection of Wesley’s paintings, as was intended by Judd since the foundation’s inception. In 2014, Wesley was commissioned to create a public art project for the High Line.
“What’s it going to be then, eh?”
The words reverberate through the call
like a wayward ball
bouncing through a hollowed hallway.
Others may defend this as the “new normal,”
but what came before
was far from acceptable.
Those desks may have housed people
occasionally,
but the faces staring back at
me were as empty
as those perpetual black screens—
little black boxes
void of data— a vacant reality.
If only there was someone here to hear me.
If only there was someone here.
If only there was.
Before bed, they whisper ancestral tales
Of wolves waiting in woodland forests,
Mouths dripping with saliva and blood:
Stories reaching crescendos of fear,
Until the hunters arrive and behead the beasts.
They leave us alone in the dark, hearing
The dripping of tick, tock, drip, drop.
By midnight, we wake with a start,
To windows breaking, fires burning
And sirens wailing in the distance.
In the classroom, we wait for the teacher
Who never comes.
Each week, another desk goes empty:
Their red chairs, turned upside down,
Another chalk mark in our minds tallies those we’ve lost.
Now just the five of us,
Staring at the blank board, separated and afraid to talk.
Outside the grey smoke-clouds move off from the fires
There is a severed wolf head on my desk
Seeping blood under my chair.
I show the frightened boys,
But the others refuse to see.
Now I feel the sickness, leaking into the classroom.
They wait patiently for the teacher to return,
But now, I see how the story really ends.
Feel free to navigate through the tabs to hear the recordings/poems of The New Normal and The Classroom. All of these recordings/poems are based on Josef Bolf’s painting, Classroom, 2009.
Josef Bolf
Czech, born 1971
Classroom, 2009
Oil paint, wax and ink on canvas
68.9 x 102.4 inches
Josef Bolf (born October 7, 1971 in Prague) is a painter living in the Check Republic. He studied at the Academy in Prague from1990–1998. In 1995 he studied at Kongsthögskolan (Stockholm) and in 1996 at the Akademie der Bildenden
Künste in Stuttgart. From 1996 to 2002 he was a member of the art group Bezhlavý jezdec.
Bolf's creations capture strange characters, often suffering, sometimes half-animal. His paintings are often considered depressed, gloomy, sad, melancholy. His ideas often stem from his childhood spent in the southern city of Prague. His figurative paintings exist against the background of a more or less realistic landscape that emphasizes the narrative.
He is part of the first generation not under the control of Communist censorship and able to have connections with foreign and western artistic scenes. Josef Bolf works in collaboration with artists Šerých, Ján Manuška and Tomáš Vanek with whom he created the artist group BJ (Bezhlavý jezdec/The Headless Knight).
His work revolves around childhood, his memories and the surrounding gloom which took over between 1968 with the Prague Spring and the Velvet Revolution in 1989, a period known as the Normalization period, characterized by the restoration of "Communist norms".
His work is in the following collections: 8smička, Humpolec, Czech Republic; AMC Collezione Coppola, Vicenza, Italy; Collett Prague/Munich, Czech Republic/Germany; Eileen S. Kaminsky Family Foundation, Jersey City, New Jersey; Fait Gallery, Brno, Czech Republic; Galerie Klatovy/Klenová, Czech Republic; GAVU, Cheb, Czech Republic; GHMP, Praha, Czech Republic; Hudson Valley MOCA, Peekskill, New York; Marek Collection, Brno, Czech Republic; Moravian Gallery, Brno, Czech Republic; National Gallery, Praha, Czech Republic; Olomouc Museum of Art, Czech Republic; Pudil Family Foundation, Praha, Czech Republic; and Robert Runták Collection, Olomouc, Czech Republic.
Writing the Walls started 16 years ago when Artistic Director Mara Mills, Studio Theater in Exile and Livia Straus, co-founder Hudson Valley MOCA collaborated to enhance the museum exhibitions by inviting poets and playwrights to contribute original works reflective of their interaction with the art.
Accepted literary works were usually hung next to the artwork that inspired the written word and visitors to the museum had a chance to see the dialogue between art and word. This was followed by a culminating performance, “The Poets Walk,” a day at HV MOCA where, moving from artwork to artwork, the poets read their works in front of their chosen work of art. The audience followed the poets, walking from piece to piece, gaining new insight, energizing the space.
In 2020-2021 the live performance could not happen. With the pandemic at its height, we took to virtual posting. The 2020-21 poetry and art went on-line with audio recordings of the poets reading their works. In 2021, the exhibition expanded with How We Live II with paintings added to the exhibition. And still we could not gather together!
Writing (Off) the Walls II, the Virtual Poets’ Walk, proceeded with 2021-22 writers working from on-line images and bringing forth poems reflecting the exhibition and life as we are living it today.
Welcome to Writing (Off) the Walls II, an on-line Virtual Art and Word event inspired by the artwork in How We Live: Part II. The paintings and the poems are testaments that creativity is alive and flourishing.