Archive for March, 2009

MARCH BLOG

Tuesday, March 24th, 2009

Dear VSC Friends,

It’s surprising how fast the 25th of the month comes around, in this our 25th year at VSC, and it’s time to post another edition of this blog. Like many things here at the Studio Center, the blog is now becoming one more “regular” activity, and it’s that rhythm of “Regular Activities” at VSC, and the sense of ordered monastic calm, that allows each resident’s creativity, whether calm, chaotic or both, to expand. Three “regular” meals  (what does 3 square meals mean anyway? why square?) leads to a regular pattern of get up, eat, go to the studio for 4 hours, eat, go to the studio for 4 hours, eat, go to the studio for 4 hours, or a lecture or reading, go to bed, get up and do it again for a week, two weeks, three weeks, four weeks and on…with occasional or regular activities such as walking, hiking, yoga, meditation, relaxing, dancing, etc. added to the daily schedule.

It is a monastery-like routine, and as those of you aware of the 40 year involvement Louise and I have with meditation know, this is no accident, but rather one of the founding principles of our adventure in creative world community here in Johnson.

Carlos de Villasante, a December resident, sent me the excellent quote below on the relationship between the artist’s and the meditator’s practice, which succinctly articulates a relationship we have been endeavoring to incorporate in the “regular” daily life at VSC for the past 25 years.

Best Regards,

Jon

P.S.  Visit the Vermont Studio Center on Facebook and spread the word to other alumni.

Great Art and Great Dharma

Monday, March 23rd, 2009

The artist’s dilemma and the meditator’s are, in a deep sense, equivalent. Both are repeatedly willing to confront an unknown and to risk a response that they cannot predict or control. Both are disciplined in skills that allow them to remain focused on their task and to express their response in a way that will illuminate the dilemma they share with others.

And both are liable to similar outcomes. The artist’s work is prone to be derivative, a variation on the style of a great master or established school. The meditator’s response might tend to be dogmatic, a variation on the words of a hallowed tradition or revered teacher.

There is nothing wrong with such responses. But we recognize their secondary nature, their failure to reach the peaks of primary imaginative creation. Great Art and Great Dharma both give rise to something that has never quite been imagined before. Artist and meditator alike ultimately aspire to an original act.

–Stephen Batchelor, Tricycle: The Buddhist Review, Vol. IV, #2

Memories

Monday, March 23rd, 2009

Over the past 25 years the founding vision of VSC has evolved into what is now the largest International Artists and Writers Residency in the U.S. hosting talented individuals from across the country and from 96 nations around the world. In honor of our 25th anniversary year I thought I would share with you just a few photos from the early days at VSC.

Creation begins with vision.

-Henri Matisse

Art does not reproduce the visible, rather, it makes visible.

-Paul Klee

Residents

Monday, March 23rd, 2009

A Selection of Recent Resident Portraits:

Photos by Howard Romero

March 2009 Residents:

Photo by Howard Romero


March 2009 International Residents:

Photo by Howard Romero

Chaiwat Kudapun, Thailand

Julio Jose Austria, Philippines

Yi Xianbiao, China

Maru Michinori, Japan

Wei-Hui Hsu, Taiwan

Jung Hea Yun, Korea

Amirhossein Akhavan, Iran

Steven Low Thia Kwang, Singapore

Rodney Tjon Poen Gie, Suriname

Jaeho Jung, Korea

Azami Takako, Japan

Marina Ahunbabaeva, Russia

Yana Dimitrova, Bulgaria

Maria Michails, Greece


Visiting Artists and Writers

Monday, March 23rd, 2009

March Visiting Artists:

Lauren Ewing

Julian Lethbridge

Marjorie Portnow

Tom Bills

March Visiting Writers:

Excerpt from A Wronged Husband
By David Gates

Half awake, pawing at the night table for The Book of Great Conversations, I knock the bottle onto the floor. The sound hangs there: a ringing part, a shattering part, a splashing part. I smell the gin. Fine. It can stay there until I feel like getting up and dealing with it. Nobody here to be scandalized, nobody to be protected. A mouse, I suppose, might scamper across and cut its dainty foot, but that’s the mouse’s lookout, no? I remember when we first moved in here, we felt sorry for them, darting along the countertop to cower, bright-eyed, beside the toaster. So tiny, so dear: couldn’t we all just live? It took a month for you to agree that something had to be done. But no D-Con. So, like what? I said. A resettlement program? “Well, couldn’t we?” you said. “Couldn’t we try?” And finally I went out and bought the Hav-a-Heart trap. Humane, enlightened. That was only last fall. Less than a year ago. As I remember it, we were all right then.

Excerpt from Beautiful Children
By Charles Bock:

The camcorder’s microphone catches the tail end of a reprimand from an unseen adult. It catches the boy’s protest, It wasn’t me! By this time, though, focus is shifting, swinging toward the middle of the table, where coaches and other adults subdue a slap fight. After a few seconds, a semblance of decorum is reached; the presentation of the next trophy begins, and the camera pans down the length of the table, showing children in varying states of interest. And here judicious use of the fast-forward cues a final appearance by the redheaded boy, for just a few seconds, a short sequence—he directs a sneering remark toward the action; when his neighbor does not respond, the boy sinks into his chair. The flesh of his cheeks lengthens, goes slack. Small eyes cloud, turn dark.

April Visiting Artists and Writers:

Rosanna
 Warren

Cora
 Cohen

Phoebe
 Adams

Joyce
 Kozloff

Jene
 Highstein

Eric
 Pankey

Bread and Puppet

Monday, March 23rd, 2009

The Bread and Puppet Theater (often known simply as Bread & Puppet) is a politically radical puppet theater, active since the 1960s, currently based in Glover, Vermont.  The Theater was founded in 1962–1963 in New York City by Peter Schumann.  It was active during the Vietnam War in anti-war protests and is often remembered as a central part of the political spectacle of the time, as its enormous puppets (often ten to fifteen feet tall) were a fixture of many demonstrations.  In 1970 the Theater moved to Vermont, first to Goddard College in Plainfield, and then to a farm in Glover where it still resides. The farm is home to a cow, several pigs, puppeteers and chickens, as well as indoor and outdoor performance spaces, a printshop, store and large museum showcasing over four decades of the company’s work. The Bread & Puppet Theater has received National Endowment of the Arts grants and numerous awards from the Puppeteers of America and other organizations.

Peter Schumann is frequently a visiting artist at VSC, most recently in January 2009.  These photos are from a visit by the Bread and Puppet troupe, performed for the VSC community (and involving residents as volunteer performers) in February 2009.

 

 

VSC Slideshow

Sunday, March 22nd, 2009