Studio Pan Poetry

A bar on the beach
A rubber check
A soiltary lunch
A long walk home
Too ill for pills,
Far Gone for the cure
Only this
Knowledge to comfort me:
That the spirit
Ascending at the end
of our lives is a sure

John Wieners
from Money to Burn
Paris 1973


Friday Song

The Hourly Radio has a sound that draws many references and yet remains completely original and unique.
Singer Aaron Closson has a great voice. In Means To An End, it sounds as if he's channeling Geddy Lee of Rush. During First Love Is Forever, the tension in the composition is fantastic and as the song progresses you get a aural release that for my money, mirrors My Bloody Valentine. I'd definitely recommend this if you're a fan of Placebo... or in a mood to brood. I always like brooding, so you can count me in as a fan. Fitting, I feel, for a the end of the week.

The Hourly Radio - Means To An End.mp3

The Hourly Radio - First Love Is Forever.mp3



[details of a couple of the new paintings that are starting out of the gate here in the studio]


Valentine Song

I'm going to keep it simple for this Valentine's Day...

Lily's - February Fourteenth.mp3

14 Iced Bears - Inside.mp3

the Aisler's Set - The Walk[Peel Session].mp3

The Jesus and Mary Chain - You Trip Me Up.mp3

My Bloody Valentine - (Please) Lose Yourself In Me.mp3

The Magnetic Fields - The Book Of Love.mp3


Poem For A Sick Day

nothing is as effective as defeat

Always carry a notebook with you
wherever you go, he said,
and don't drink too much, drinking dulls
the sensibilities,
attend readings, note breath pauses,
and when you read
always understate
underplay, the crowd is smarter than you
might think,
and when you write something
don't send it out right away,
put it in a drawer for two weeks,
then take it out and look
at it, and revise, revise,
REVISE again and again,
tighten lines like bolts holding the span
of a 5 mile bridge,
and keep a notebook by your bed,
you will get thoughts during the night
and these thoughts will vanish and be wasted
unless you notate them.
and don't drink, any fool can
drink, we are men of

for a guy who couldn't write at all
he was about like the rest
of them: he could sure
talk about

- Charles Bukowski


Joseph Park

Thursday February 8, 2007 - Joseph Park - Microsoft Campus Lecture at the MSCC Building - Mt Baker Room - 6 PM

Joseph Park's paintings depict narrative situations which are drawn from the collective well of American and Asian pop culture. Using traditional oil on linen, Park's paintings explore the canons of historical painting, infusing them with ideas of cinematic space and pictorial realism. Park was born in Canada, graduated with a BA from Cornish College of the Arts, Seattle, WA and with an MFA from Cal Arts. Park received a Fellowship for Visual Arts from Artist Trust in 2004. He is represented by Howard House in Seattle, and the Rena Bransten Gallery in San Francisco, CA.

Be there!



echos myron

tower to the skies

an academy of lies
and what goes up
surely must come down
and we felt the mighty blow-up
with the walls coming down
or something like that

most of us are quite pleased
with the same old song
and all of a sudden I'm relatively sane
with everything to lose and nothing to gain
or something like that

man of wisdom and man of compromise
man of weak flesh in an armored disguise
all fall down

";if it's right you can tell"; echos myron like a siren
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
and we're finally here and shit yeah it's cool
and shouldn't it be - or something like that

Guided By Voices[live in Athens Georgia] - Echos Myron.mp3


Location, Location, Location...

I've been thinking and lamenting lately about the desires of the contemporary art audience. This could be in part my proximity to contemporary art collections that I work around due to my job. I've come to think that the direction and desires of current collectors is towards novelty and contemporary artists want to make art that's considered novel. I wonder at times if most artists like to think that their urge to be original comes first, and that the audience simply follows along at a lag time of somewhere between three months and ten years. I think that may have been true in 1912 or even 1950, but as long ago as 1965--when I was born--the game was up already. When I was in college, my peers and I knew that there was an audience out there, we just didn't think of it as an audience. We thought it was a kind of select, semi-secret society consisting of our favorite critics, a few big time collectors like Virginia and Bagley Wright, Paul Allen and Richard Hedreen, and an occasional new initiate, such as a friend or new contact in the Microsoft Millionaire Club with enough money and pity to buy something we made. Anyway, the audience that wants originality or novelty or doesn't know the difference, has moved on from Abstract Expressionism to Pop Art and Minimalism to Post-Minimalism to Neo-Expressionism and Neo-Conceptualism, and now wants a novelty that 99.9% of painting cannot provide.

To most of the audience for contemporary art, painting, especially abstract painting[the kind I make], seems like "been there, done that." The rebuttal of, "Well, you haven't been quite there where my painting is at, and done quite what my painting is about" seems nit-picky and weak compared to, say, photographs of a big expensive home hanging off a hillside with no sense of support underneath or a video of an artist cutting their flesh to reveal strange colorful growths. Also, notice how the phrase "abstract painting" doesn't quicken your pulse like "artist cutting their flesh" or "hanging off a hillside with no sense of support" do.

We live in an age of branding and catch-phrases. Even the war in Iraq is branded by the television news networks, each with its own graphically designed catch-phrase. Abstract painting doesn't lend itself to branding or catch-phrases (and if it ever did, the brands and catch-phrases have been heard before). That's not a conspiracy; that's just the audience's appetite for novelty--OK, originality if you want--being satisfied. That's the way things are. We painters will just have to "deal", as the kids say.

There is however a quality in being out of the novel or in one's own zone.

When I'm painting, especially in the beginning or mid-beginning, I notice a lot of nice effects--those shape/paint-application/raw-canvas/drawing orbs that I like. Sometimes I wonder why the hell I don't create and preserve more of them in the finished painting; sure would look a lot more electric, or immediate I realize. But I want to maintain the relative (not absolute) singularity of things within a picture to let it have (not give it) more meaning. It's a choice, more often than not, of sacrificing some degree of fresh good-lookingness for at least a reasonable suspicion of profoundity beyond the esthetic. More electricity, better looks, but less possible profundity; less electricity, ugly or inept-looking, but a shot of meaning something beyond aesthetics (but not a meaning easily stated in words, or maybe not statable in words at all). If I've got any gravitas[Steven Colbert] as an artist, I'll choose the latter. Doesn't mean I succeed but at least I give it a shot.


Seeking Art History Expert...

an ad from Craigslist that I thought I would share, in case any of you want to tackle this one...

Seeking Art History Expert to Host Cable TV Series

Reply to: see below
Date: 2007-01-22, 12:22PM PST

Can't tell your Pollack from Picasso? Your Klee from your Kooning? Don't care? Do programs about "neo-impressionism" and "rococo" get you searching for Monday Night Football? Let's face it, art, as a subject matter, has a long-standing reputation of being, well, a bit stuffy. A domain for the educated, sheraz-sipping set with some renaissance music always in the background.

It doesn't have to be this way. So sit down, crack open a Coors light and cue Van Halen. This is art -- made for TV.

This series will be a modern twist on the popular Sister Wendy series that ran on PBS. Our host will bring art appreciation to the masses using a fresh and unique narrative. Our aim is to demystify art and tell some reallly fun stories at the same time. Our host should be an art historian but have the sensibility of the "Croc Hunter" or Alton Brown from Food Network's "Good Eats"....likeable, charismatic, somewhat kooky or whacky in his or her 30's or 40's with an appeal to middle America. Our host will visit some of the most iconic museums in the world, and shed light on the familiar and not-so-familiar. He or she will bring masterpieces to life, making them accessible, fun and entertaining. From Mona Lisa's smug smile to a Dali melted clock, to Rothko's rectangles of color, our host sets out to see what makes art, indeed, "art".

Filmed in a style similar to "Good Eats" with it's close-up in-your face host shots, to the fun feel of Bill Nye's shows, but without making this a "kid's show".

If this is you or you know someone who fits the bill please send an email (including resume and photo) to dcicasting@yahoo.com

good luck at the casting call!