SAM GILLIAM
This is the way he told the story: One day in his studio when he was working on his upcoming solo show at the Corcoran (a rare event for an African American artist at that time), there was an accident. A section of his large new painting, Niagara, hanging on the wall to dry, slipped down.
And as he looked at the collapsed/crumpled heap/mass of crestfallen splayed pigment-saturated canvas lying there in ruins on the floor, he suddenly realized how this would be his groundbreaking work.
A painting that was also sculpture– and installation.
This was in 1968, he said, when everything seemed possible.
And so, he rigged his draped/beveled canvasses up high on the wall, almost up to the ceiling, and then would pull them down onto the floor–
And gravity led to where all maps disappeared and whole new territories of pigments surfaced, as he guided them along on this precarious voyage- –
And then let the colors coalesce on their own across the folds of the landscape of the canvas–
Luminous images
Sumptuous Baroque Abstract parts and forms
Illuminations of colors–
And a blaze against the night
HILMA AF KLINT
PALE PINK-GOLD SUMMER DUSK
She is looking at me– I can feel her happiness. She’s totally there in that moment on the beach– Rilke said animals are the only ones who are in the present, who don’t think about time: They are simply there where they are. He said it’s because they don’t think about death. Is that what Rilke said? It doesn’t sound right.
What I’m trying to say is the dog is looking at me with such contentment– in this photograph, where she’s lying on the beach, head raised, in canine bliss, long front legs out, basking in the moment: in the intoxicating spell of the sea and honeysuckle-sparked salt air, and vast empty open space– that I can feel what she is feeling.
The photo that I just brought up from an old file while sitting here at my desk writing– I’m not sure why, except I guess because I still think about her– often enough. She looks so happy on that beach, in the pale pink-gold summer dusk in Amagansett, where we were with her back then, when you and I were still more or less young– not so long ago.
I keep looking at the photo on my computer screen: her refined head, regal pose, beautiful coat. This is wonderful here, she is telling me, as she looks at me, as I photograph her– on the perfect, almost deserted beach with its miles of flawless sand, at low tide,
some gulls in flight, glistening along, a swirl of colors of a kite streaking by– and the surf, with its glittering sounds, its steady repetitive rush, breaking over and over again, in an eternal present. How that moment pulls back in.
Now with its wake of words– where there is no end to where we are not–
Deborah Elliott Deutschman has had poems and stories in a number of places over the years: Alaska Quarterly Review, Another Chicago Magazine, Carolina Quarterly, Gargoyle, The New Criterion, and The New Yorker, among others; a novel, Signals (Seaview Books/Simon & Schuster, and PEI paperbacks). She has also written and co-written feature-length screenplays. Currently, she just finished a science fiction novel she’d been working on for a long time.