th - Copy - Copy

Ghost sun half
hidden, where did you go?
There’s always a mother
of some other creature
born to fight for her young.
But crawl out of your hide,
walk upright like a man,
& you may ask if hunger is the only passion
as you again lose yourself
in a white field’s point of view.
In this glacial quiet
nothing moves except—
then a flash of eyes & nerves.
If cornered in your head by cries from a cave
in another season, you can’t forget
in this landscape a pretty horse
translates into a man holding a gun.

Source: Poetry (April 2012).


In his poetry, Yusef Komunyakaa weaves together the elements of his own life in short lines of vernacular to create complex images of life in his native Louisiana and the jungles of Vietnam. From his humble beginnings as the son of a carpenter, Komunyakaa has traveled far to become a scholar, professor, and prize-winning poet. In 1994, he claimed the Pulitzer Prize and the $50,000 Kingsley Tufts Poetry Award for his Neon . . .

“Painting Abstraction: new elements in abstract painting” by Bob Nickas.

Oregon College of Art and Craft Library:

 “Painting Abstraction: new elements in abstract painting” by Bob Nickas.

 Featured Artist: Michelle Ross

She is well known for her contemporary abstract paintings, which “[traverse] the history of abstraction, design, decoration and the love of language” (here). Her work has been likened to Mondrian, Hans Hoffman, Giorgio Morandi, Agnes Martin, Mary Heilman, and Robert Mangold. Ryan Pierce has stated that “Ross’ paintings are firmly grounded in the tropes and traditions of modernism,” they are “refreshingly free of the gimmicks that crowd a lot of abstraction these days,” and they “link the classical and the modern with grace and reverence, leaving plenty of open space for whatever happens next” (from a 2007 review on PORT).

More images of her recent work can be seen on the Elizabeth Leach Gallery website.


 “Painting Abstraction: new elements in abstract painting” by Bob Nickas.

For this week’s library pick, we have selected a title that showcases many of Michelle Ross’ contemporaries and other artists pushing the limits of abstract painting. The book is Painting Abstraction: new elements in abstract painting by Bob Nickas.

After a prefatory essay on the “persistence of abstraction,” the book is broken up into six parts: “hybrid pictures,” “Rhythm and Opticality,” “Color and Structure,” “Found/Eccentric Abstraction,” “Form, Space, and Scale,” and “the Act of Painting.” About a dozen or more artists have been selected for each section and a short text describes how each particularly addresses some issue related to that section’s theme.

For example, Nickas asks “Is the hand of an artist more visible to us when drawing and line are central to her paintings?” (139). He then demonstrates how this question can be answered in the “affirmative” by a close investigation on the work of Allison Miller. Several large, full-color reproductions of her work follow in order to illustrate his point.

Painting Abstraction is an authoritative compilation that addresses the key issues in the field of abstract painting from the last five years and profiles 80 different contemporary abstract artists including Mark Grotjahn and Amy Sillman. Bob Nickas work is an excellent balance of research, critical analysis, and, what all great art books so often have: art, art, and more art.


“Love’s Last Adieu” – George (Lord) Byron



The roses of Love glad the garden of life,
Though nurtur’d ‘mid weeds dropping pestilent dew,
Till Time crops the leaves with unmerciful knife,
Or prunes them for ever, in Love’s last adieu!

In vain, with endearments, we soothe the sad heart,
In vain do we vow for an age to be true;
The chance of an hour may command us to part,
Or Death disunite us, in Love’s last adieu!

Still Hope, breathing peace, through the grief-swollen breast,
Will whisper, ?Our meeting we yet may renew:?
With this dream of deceit, half our sorrow’s represt,
Nor taste we the poison, of Love’s last adieu!

Oh! mark you yon pair, in the sunshine of youth,
Love twin’d round their childhood his flow’rs as they grew;
They flourish awhile, in the season of truth,
Till chill’d by the winter of Love’s last adieu!

Sweet lady! why thus doth a tear steal its way,
Down a cheek which outrivals thy bosom in hue?
Yet why do I ask?—to distraction a prey,
Thy reason has perish’d, with Love’s last adieu!

Oh! who is yon Misanthrope, shunning mankind?
From cities to caves of the forest he flew:
There, raving, he howls his complaint to the wind;
The mountains reverberate Love’s last adieu!

Now Hate rules a heart which in Love’s easy chains,
Once Passion’s tumultuous blandishments knew;
Despair now inflames the dark tide of his veins,
He ponders, in frenzy, on Love’s last adieu!

How he envies the wretch, with a soul wrapt in steel!
His pleasures are scarce, yet his troubles are few,
Who laughs at the pang that he never can feel,
And dreads not the anguish of Love’s last adieu!

Youth flies, life decays, even hope is o’ercast;
No more, with Love’s former devotion, we sue:
He spreads his young wing, he retires with the blast;
The shroud of affection is Love’s last adieu!

In this life of probation, for rapture divine,
Astrea declares that some penance is due;
From him, who has worshipp’d at Love’s gentle shrine,
The atonement is ample, in Love’s last adieu!

Who kneels to the God, on his altar of light
Must myrtle and cypress alternately strew:
His myrtle, an emblem of purest delight,
His cypress, the garland of Love’s last adieu!


British pre-Raphaelite barn owl painting discovery

British pre-Raphaelite barn owl painting discovered
William James Webbe (fl.1853-1878), The White Owl, 'Alone and warming his five wits, The white owl in the belfry sits,' signed with monogram and dated '1856' (lower left), oil on board, 17¾ x 10 3/8 in. (45 x 26.3 cm.) © Christie’s Images Limited 2012

From the Huffington Post:

Attic Owl Painting Sells For Nearly $1 Million At Christie’s Victorian Art Sale (PHOTO)

Posted: 12/17/2012 12:31 pm EST  |  Updated: 12/17/2012 12:31 pm EST

Everyone dreams of finding that one priceless item hiding in the corners of a dust-ridden attic. One UK teacher recently experienced the joy of rescuing such a forgotten antique, all thanks to an old owl painting that turned out to be worth nearly a million dollars.

Jane Cordery, an art teacher in Hampshire, discovered the detailed bird portrait in her attic after attempting to clean the space for a plumber. She’d never seen the ornate owl, but the painting’s intricate brushwork caught her eye and she decided to e-mail a photograph of the find to Christie’s auction house. According to the Daily Mail, One look at the owl and art expert Brandon Lindberg knew that that the work was worth much more than anyone suspected.

The auction house determined that the painting, titled “The White Owl,” was created by pre-Raphaelite artist William James Webbe, and experts valued the work at £70,000 ($113,449). Beyond the British masterpiece’s hefty price tag, it was also revealed that the UK’s Royal Society had exhibited the owl in the mid 19th century, exposing the piece to leading art critic, John Ruskin, who described it as “a careful study” with excellent brown wings.

The attic artwork hit Christie’s auction block last week, far outselling its estimated price — the winning bid was £589,250 ($951,050). Cordery maintains that she had never even seen the painting before her impromptu winter cleaning, while her partner, James Ravenscroft, remembers receiving the work as a present from his mother. “It’s a complete shock,” Cordery told the Daily Pioneer after the sale. “We were not imagining that in our wildest dreams.”

The owl depicted in the painting is a barn owl.

The motto of the painting is inspired by this poem by Alfred Lord Tennyson.

Related articles

Re-posted from ( who nominated this blog for 2012 Best Blog!

Thank You. I am honored by this wonderful blogger! Of course I don't have all six stars, but as you can see by the re-post above why am so appreciative.

Thank You. I am honored by this wonderful blogger! Of course I don’t have all six stars, but as you can see by the re-post above why am so appreciative.

Denise Burge: Original Dirt (May 14 – September 4, 2011)

Denise Burge: Original Dirt (May 14 – September 4, 2011)

Denise Burge, Louise's Tree's, 1999

Denise Burge, Louise’s Tree‘s, 1999

Cincinnati based artist Denise Burge, approaching quilting from a painting background, views the creation of her work as its subject as well as its medium. Using the storytelling tradition learned in her community while growing up in the foothills of the Smokey Mountains, Burge uses her works as a commentary on everything from her family to the natural environment.
The Appalachian region has a history of folk artists concentrating on storytelling featuring aspects of religion, poverty, and the natural resources of the land. By using the quilt as her medium, Burge interprets what, to her, is a nostalgic and functional form of expression. Exploiting patchwork and sewing techniques as a vehicle for ecstatic pattern, Burge seeks to suggest her compositions as and analog to natural patterns of existence. Her work is constructed with a variety of materials and methods, both recycled and new, suggesting aspects of physical growth and renewal through the process. Shredding, slicing, layering, and turning forms and patterns inside-out, the artists sees her creations as a way to reenact and connect with the transformations that the earth constantly undergoes. Her nostalgia leads her to a romanticized conversation about attachment to our landscape. In the Appalachian landscape, people often see the brutality that can be exerted upon the earth, but also become viscerally connected to land and place as a natural resource and source of vitality. Burge uses her work to contemplate this contradiction and question the complexities of our relationship to our natural world.

Elmhurst Art Museum
150 Cottage Hill Ave.
Elmhurst, Illinois 60126

Object Imprint artist, Denise Burge

Object Imprint artist, Denise Burge (Photo credit: a stitch in the ditch)

How to Be a Guitar Teacher



1) Determine whether you have the skill level instrumentally to teach others to play the guitar well and properly. Contact a teacher yourself to see if they think you are ready to teach guitar lessons to another.

2) Go to a few guitar lessons and make notes of how they teach. Think about which aspects of the lesson you like and which aspects you disliked. Then integrate the aspects you liked into your own lessons.

3) Begin gathering materials for lessons from music stands, music books, CDs of concerts or examples. Determine where you will have your lessons. Decide if you will rent a space at a music store, teach at a university or out of your garage.

4) Decide on a fair rate according to your years of experience playing and teaching. This rate can vary from city to city. Usually teaching fees range from $10-$200 a lesson, depending on your notoriety and skill.

5) Advertise your services through word of mouth, newspaper classified ads, magazine ads and school bulletin boards. Consider where you advertise and what type of student you want to work with. If you advertise on college boards, you can get anyone from experienced players to hobbyists.

6) Gather a few students and spread your good services through word of mouth. Hold recitals and opportunities for your students to display their talent and your good teaching abilities.

See Original Post At:


MIDI Troubleshooting 101


Original Post From

It’s sometimes difficult to started with MIDI. The communication between all the different components can get very confusing. This article is designed to help you through the process of solving your MIDI problems. The basic chain for MIDI is quite simple. The biggest problems occur in the understanding of what each piece of the puzzle does. In this first example, I’m going to assume we want to record a piano part within Cubase using Kontakt2.

#1) We need a way to enter the MIDI data. This sounds very unmusical, but it’s important for me to write in this fashion to make sure you understand what is really happening within your MIDI sequencer. You CAN enter your MIDI data with a mouse within Cubase and most other software based MIDI sequencers. However, most people prefer to have a little more human element in their MIDI productions and therefor using a MIDI controller (piano style keyboard) is the most popular way of entering MIDI data. You can also enter the data with an electronic drum kit, a MIDI guitar pickup, triggers, or using one of the keypad style gadgets out there. It needs to be said that any old keyboard with MIDI out can be used as a MIDI controller. Just to clear up the part, “entering the data” is the same thing as recording a performance or playing an instrument. In our first example, we are recording a piano part, so we will use the standard piano style MIDI controller.

#2) Now we need to hook our MIDI controller to our computer. The old standard was the 16-pin MIDI cable. Most computers do not have a MIDI cable input, but many audio interfaces do. You’ll need to plug this cable into an audio interface that has built in midi. (If you don’t have an audio interface with built in MIDI ports and your MIDI controller leaves no other options, like USB, you’ll need to obtain a MIDI interface. Most modern midi interfaces designed for working with computers use USB to connect to the computer. No special MIDI interface is required.

#3) Now it’s time to make sure the MIDI Sequencer / Recording software is picking up the MIDI signal. Most will have a meter that flashes when MIDI signal is received. So hit a few notes and see if anything lights up. If nothing lights up, there is probably a problem with your MIDI controller, the MIDI interface (if applicable), or the signal is not being routed properly within the recording software. You’ll want to check the manual for your recording software for specifics.

In our example, when we strike a key on our MIDI controller, we see a meter light up on the Cubase transport. This tell us that Cubase is getting the signal. If we do not see the meters on the Cubase transport lighting up, we have a problem. It’s possible that your operating system isn’t receiving the signal. Make sure your drivers are installed for your device(s). Also make sure that you have properly setup and set as the default MIDI device in Control Panels > Sound and Audio Devices if you are using Windows. Also make sure that you have the device setup in your recording software / sequencer as well.

Now we need to create a MIDI track to actually record the MIDI data and we may have to specific which MIDI input we want to use. (This is sometimes handled automatically). When we strike a key on the MIDI controller, a meter should light up on for that MIDI track. We have the data in the sequencer, but we still won’t hear any sound. Cubase (or any sequencer itself) doesn’t necessarily play sound. We need virtual instruments that utilize either synths or samples to actually create the sound based on the MIDI data we send to it.

So, in Cubase, we’ll open up the MIDI instruments section and load Kontakt 2 (our sampler software of choice) and then select a piano sound. Going back to our MIDI track, we need to send the MIDI signal to that piano sound by setting the output of the that MIDI track to Kontakt 2, on the appropriate channel.