David Behrman and Okkyung Lee: collaborative improvisations performed at the Graham Foundation, Chicago

Pictured is “back to the future” David Behrman (b. 1937, Salzburg, Austria) adjusting his set up before performing his “View Finder”  (guitar and electronics) and “Freeze Dip”  (violin and electronics). The  concert took place last Saturday night, October 27 at the Graham Foundation in Chicago.

This exceptional musical performance was part of the Lampo performance series. It was an excellent opportunity and rare privilege to listen and see the collaborative improvisations performed by David Behrman and Okkyung Lee. Collectively the performance pieces were strangely beautiful by conveying a sense of ambiguity and mystery. Perhaps the music is best described the way Mikhail Baryshnikov described Merce Cunningham’s dance performances—as “a kind of organized chaos.”

Lampo’s promotional copy for the event mentions:

The music, which cellist Okkyung Lee premiered with the TILT brass ensemble, mixes and alternates the sounds of one or several acoustic instruments with computer-enhanced and computer-generated ones, in an unfolding sequence of situations, some very free, some lightly-notated. 

David Behrman has been active as a composer and artist since the 1960s and has created many works for performance as well as sound installations. Most of his music has involved homemade electronics and computer-controlled music systems that operate interactively with collaborating performers. 

In 1966 he founded the Sonic Arts Union with Robert Ashley, Alvin Lucier and Gordon Mumma. Working at Columbia Records in the late 60s, he produced the “ usic of Our Time” series of new music recordings, which presented works by Cage, Oliveros, Lucier, Reich, Riley, Pousseur and other influential composers. He has had a long association with the Merce Cunningham Dance Company as composer and performer and has created music for several of the Company's repertory pieces. 

Both musicians live in New York. The concert was presented in partnership with the Graham Foundation; organized in cooperation with the School of the Art Institute of Chicago, Department of Sound. 

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California Proposition 34

Pictured are two posters from a series of four produced by artist, activist, and peacemaker John August Swanson in support of California’s Proposition 34, abolishing the death penalty in that state.

Each poster represents depictions of the Crucifixion of Jesus, with a message of transformation and hope.

Capital punishment is an issue that provokes strong opinions on both sides of the issue — empathizing with the grieving families of victims on the one hand while seeing the need for the fair treatment of those on death row and questioning the taking of another life, on the other.

Here in the Midwest I’m proud to say the state of Iowa does not have the death penalty. Several years ago (and to his credit) the former governor of Illinois, George Ryan instituted a moratorium on the death penalty after his administration became aware of how horribly flawed the justice system was for death row inmates.

We are all imperfect and our systems are blemished too. Jesus did say that the first person who is absolutely perfect can throw the first stone. John 7:53-8:11 NIV

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John A. Swanson’s “Let Us Now Praise Famous Men,” c.1970 screen print collage

John August Swanson from Los Angeles was a guest artist at Dordt College on Wednesday and Thursday October 10–11. John spent time discussing his work with students and staff. In this photograph Swanson talks about one of his earliest works “Let Us Now Praise Famous Men” which is a screen printed collage from c.1970. This particular print on display is from the collection of Luther Seminary, St. Paul, Minnesota. By the way, John is wearing the “Fear Is The Opposite Of Faith” T-shirt from Sojourners. 

It was a great privilege to have John on campus for a couple of days.

Much of Swanson’s body of work as well as his early prints are lyrical expressions advocating fairness, justice, and equality. As John states:

When I was starting my work as an artist from 1968 to 1975, I was influenced by political ideas and movements, and the songs and speeches of the 1960s and 70s. I created a series of works similar to newspapers—collages of lettering, artwork, and photos, an “exploding newspaper.

Using my knowledge of photography, and working in darkrooms, I overexposed photographs to simplify them, and create stark solarized images, which I felt complimented the lettering [that I drew by hand or carved from rubber erasers]. I combined the lettering, photos and rubberstamp images with texts that were meaningful to me: the words of the writer, James Agee; the poet, Lawrence Ferlinghetti; and the labor leader, Cèsar Chávez; as well as song lyrics.

The title of the print comes from classic literature, Let Us Now Praise Famous Men. The publication was a collaboration between writer James Agee and photographer Walker Evans. The book chronicles the lives of three sharecropper tenant families in Alabama in 1936, during the Great Depression.

For Swanson’s poster it’s very striking how he mixes and assembles typographic styles and images and portrays the book title followed by the passage, which is reproduced below in boldface. Agee, writing on a summer night, prefaced the words found in the poster saying:

A man and a woman are drawn together upon a bed and there is a child and there are children: … 

Moreover, these flexions are taking place every where, like a simultaneous motion of all the waves of the water of the world: and these are the classic patterns, and this is the weaving, of human living: of whose fabric each individual is a part: and of all parts of this fabric let this be borne in mind: 

Each is intimately connected with the bottom and extremest reach of time: Each is composed of substances identical with the substance of all that surrounds him, both the common objects of his disregard, and the hot centers of stars:  

All that each person is, and experiences, and shall never experience, in body and in mind, all these things are differing expressions of himself and of one root, and are identical: and not one of these things nor one of these persons is ever quite to be duplicated, nor replaced, nor has it ever quite had precedent: but each is a new and incommunicably tender life, wounded in every breath, and almost as hardly killed as easily wounded: sustaining, for a while, without defense, the enormous assaults of the universe: 

So that how it can be that a stone, a plant, a star, can take on the burden of being; and how it is that a child can take on the burden of breathing; and how through so long a continuation and cumulation of the burden of each moment one on another, does any creature bear to exist, and not break utterly to fragments of nothing: these are matters too dreadful and fortitudes too gigantic to meditate long and not forever to worship. (1)

1. Agee, James, and Walker Evans. Let Us Now Praise Famous Men. New York: Ballantine Books, 1960 / Fourth Printing 1972. 53-54. Print.

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On display at Dordt College, John August Swanson’s art brings stories to life

SIOUX CENTER, IA – The Dordt College Department of Art and Design presents the Richard and Helen DeVos Collection of The Art of John August Swanson, an exhibit of original, hand-pulled serigraphs by Los Angles based master printmaker John Swanson. The collection will be on display in the Dordt College Campus Center Art Gallery from October 10 to December 1.

A master printmaker of serigraphs, lithographs, and etchings, Swanson’s art is about “bringing stories to life.” His creative vision reflects the gift of storytelling he inherited from his Mexican mother and Swedish father. Influenced by the imagery of Persian and medieval miniatures, the tradition of Orthodox iconography, Swedish and Latin American folk art, as well as Diego Rivera and the Mexican muralists, Swanson’s beautiful narrative art explores human values, cultural and religious roots, and his ongoing quest for self-discovery through the visual.

Using up to 89 color stencils to print one serigraph, John expertly utilizes his medium to create rich, images that are filled with great beauty, mystery, and meaning. The serigraphs are unique examples of how art can visually preach the Word and offer creative insight into biblical stories and their meanings. His art brings these familiar stories to life in new and inspiring ways as visual parables of our everyday lives.

Swanson draws viewers into stories that show how everyday lives are filled with God’s love and presence. His work shows that the sacred permeates the ordinary.

In addition, some of Swanson’s earliest screen prints and posters will be on display in the Ribbens Academic Complex lobby and hallway near the Dordt College art department. These early pieces show the strong influence of Corita Kent, a mentor of Swanson’s who is highly respected for her colorful calligraphy and silk screens.

The public is also invited to attend the opening of the DeVos Collection Exhibition and Gallery Tour hosted by John Swanson on Wednesday, October 10, at 7:30 p.m.

On Thursday, October 11, from 4 to 5 p.m. Janaan Manternach of Dubuque Iowa will present “The Art and Vision of John August Swanson.” Manternach is a collector of Swanson’s work and, with her deceased husband Carl J. Pfeifer, founded Life, Love, Joy, Associates and has written numerous religious education textbooks, columns, articles, and books.

Then again on Thursday evening, from 7:30 to 8:30 p.m., Swanson will present “Seeing the Sacred in the Ordinary.” Both events will be held in SB101.

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“The Artist’s Studio” by Franklin McMahon

The Artist’s Studio by Franklin McMahon (1921-2012), ink on paper. Illustration is taken from American Artist magazine, “Drawn Directly with Brush and Ink,” April 1956. 54.

Franklin McMahon’s artwork relies on a strong lyrical and personal story for impact, which makes his illustrations fine art. His direct drawing approach and spontaneous contour lines develop work that seems to breathe—one can almost feel McMahon’s compositions inhale and exhale. McMahon, who died this year (March 3, 2012) was an internationally known artist-reporter and illustrator from Lake Forest, Illinois.

By accentuating straight lines and angles McMahon’s illustrations are more than objective renderings. His unique and idiosyncratic style seems like a synthesis of hand-drawing with lens distortion without using the camera.

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John August Swanson: POWER TO THE PEOPLE POSTER

Los Angeles based artist John August Swanson captures the look and feel of art in the streets. Poster, 24" x 36"— © John August Swanson 2008. Images and copy taken from John August Swanson’s website.

It is my hope that this art work might serve as an inspiration and a tool for those working to organize those who have been displaced & marginalized by economic injustice into compassionate communities empowered to implement justice and bring peace. —John August Swanson

In the first panel:
At the left side of my serigraph, there is an employment agency with a long line of people waiting to sign on a waiting list. Our “Unemployed Man” is seen at the moment he writes down his name. He continues into the next panel, where he walks down the street, feeling alone and powerless, as he passes factories and office buildings with “No Jobs” signs posted.

In the second panel:
He is standing outside an overcrowded hotel where he has just picked up a newspaper which announces a march, a gathering of many people, of many communities coming together to address their common problems.

In the third panel:
He is the foreground figure in a huge gathering of people who have come together to call for quality universal healthcare, better schools, affordable housing, living wages, equal pay and job training. Many of their signs promote strength in unity, community organizing, and peace. This large group of people is positioned so that they march toward the viewer as if they are moving forward out of the picture.

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John August Swanson as graphic designer: 1972 Cesar Chavez United Farm Workers Poster

John August Swanson, Struggle for Justice: 40th Anniversary Poster, 2012/1972
© John August Swanson 2012

“It is my hope that this art work [my posters] might serve as an inspiration and a tool for those working to organize those who have been displaced and marginalized by economic injustice into compassionate communities empowered to implement justice and  bring peace.” —John August Swanson

The Dordt College department of art and design is busy preparing and anticipating the next art exhibition featuring the Richard and Helen De Vos collection of John August Swanson's iconic advent series of serigraphs. The exhibition will be installed in the Campus Center Art Gallery from October 10 to December 2.

In addition, we have become inspired by Swanson graphic design work. Compared to Swanson's serigraphs very little is known about his social activist posters. Illustrated above is John's recently reissued poster from 1972 titled "Struggle for Justice” which is a 40th anniversary commemorative piece. Of import is that the poster has as much relevance today as it did in 1968 and the poster is a significant reminder that challenges still exist for racial and economic justice in our society.

About the poster Swanson writes the following on his website:

The poster, STRUGGLE FOR JUSTICE, was first created forty years ago, in 1972 to help raise money for the United Farm Workers. The original printing was limited to one hundred posters. 

As I recall, the union provided me with a statement from Cesar Chavez’s 1968 speech. My idea for the poster design was to use his words to create a “newspaper,” a black and white montage of photos and lettering. For the lettering, I used a variety of typefaces; many of these were rubber-stamp alphabets I had carved from rubber erasers and other materials. His words became my “headlines,” accompanied by images showing the struggles of the United Farm Workers in our agricultural fields and the attacks from the giant agribusiness corporations. I also used other photos depicting labor, race, and economic struggles throughout the 20th century in the United States. I interspersed the words and photo images, hoping that this would be an interesting design and would best communicate the message of our continuing struggle to bring justice for all.

In 2011, I felt the message still resonated with strong grass-root movements: the energetic actions of the Occupy Movement, the growing awareness and participation of the Global Warming and Environmental Movements, the struggle of workers to protect their labor unions, and the renewed effort of the Peace Movement. I decided the poster should be reprinted. The original poster was revised with new images, revised spacing, and adapted text. Now, I hope this poster will bring Chávez’s powerful words to students, to union workers, and to those who struggle for justice. I hope this work will encourage, strengthen, and empower those who seek a just and peaceful world.

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