I felt honored when Shambhala Sun asked me to create a cover photograph of  Two Dudes (Jeff Bridges and Bernie Glassman) at The Four Seasons in New York.
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The purpose of a cover picture is to sell magazines, the restriction is you have to leave room for the title and type.

DSC04395They also asked me to supply photographs of Bernie’s work over the years; they published pictures from his work in Auschwitz, his work founding the  Greyston childcare center, and from his formal Zen studies with Maezumi Roshi.

DSC04400 DSC04397Bernie and Jeff have just published a book entitled “The Zen Master and The Dude”, it’s drawn from conversations between these two friends.  Most of the talk was conducted face to face or walking side by side, but the last conversation was held over a skype connection between California and Massachusetts.

IMG_0005In addition to his skills as an actor, musician, and draftsman, Jeff is an accomplished photographer, he works on his movie sets with a widelux camera and currently has an exhibition at ICP in New York and a book of his photographs. In my best move of the session, I handed my camera to him:

P1000536IMG_5754I’ve been traveling with Bernie for over 30 years, I’m always the one behind the camera, so I’m pleased to have our first picture together. Thanks Jeff!

Richie Havens and George Jones, an unlikely pair, both gone in the same week. Their lives differed geographically, racially, and creatively, not to mention in their choice of intoxicants. They played for mostly different audiences, but play they did, for entire full lifetimes.  Both live on as Gods in the American Pantheon.

George Jones richie havens

I wonder if they ever met.

These are murals of The Great Mexican Immigration. Mission   7472

Painted on the walls of The Mission District of San Francisco, the best of them inhabit a vision of humanity not unlike the Christian-themed paintings byTitian in the churches of Venice.

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And like the relatively cartoonish iconography that evolved in American churches, the second generation murals in The Mission seem to lack the depth of their first generation ancestors.

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Style without soul, personal expressions of people without much personal experience outside of television and video games, without much to say. Like the art and literature of Jews who escaped Germany, the murals that are generated from direct personal experience  embody the horror of a repressive, corrupt, and violent heritage  as well as sweet nostalgia for a pure rural lifestyle.  The people I met who live on 24th Street, all immigrants, were proud of these painted expressions, which function as art should to integrate dreams (including nightmares) with daily reality. The city of San Francisco was wise to encourage and preserve this expression of it’s peoples’ history.  

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Ten years ago today, the Bush-Cheney American government invaded Iraq.  Some believed Mr.Hussein was a threat to the American homeland, but the millions of people who marched in the streets that Fall and Winter disagreed. They believed they were being actively deceived by disinformation and manipulated by fear mongers.  Artists did their best to tell their version of truth.

These posters were drawn by Lisa Herman Cunningham and glued to popsicle sticks. I took them on my bicycle around New York matching them to backgrounds; I’d just hold the popsicle stick at arms length and make the picture with the other hand; we made postcards which were distributed around the country that winter as well as a website and a film.  I think our phrases stand up pretty well after ten years, but they failed to stop the invasion.

The night the bombs fell on Bagdad I kept repeating the phrase, “I really hope they know what they’re doing”.  They didn’t.  The fact that Mr.Bush, Mr.Cheney, and Mr.Rumsfeld didn’t even have a plan for the day after shock and awe was a criminal failure of leadership. I knew they were mendacious but still can’t conceive of how they could have been so incompetent.  I suspect they still have a psychological condition that robs them of the capacity for shame.

POSTER   Instructed to respect library silence, in seventh grade I learned to giggle in this building.  At age 18 I left Lincoln, and after college I picked up a camera, then I spent 40 eventful years in Manhattan as a professional photographer. With this playful exhibition I return to the place where I first learned to play.

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It began as a whim. Struck by the memories and the beauty I rediscovered in this library, I wondered what would happen if I presented a series of images that were all found within the building that housed the gallery where the prints were to be  shown. I’d call the show HERE to illustrate the basic principle that beauty is always ready to be discovered for those who can see under their feet and beyond their nose.  The secret, an open secret, one that we all know, is to consistently step into the ever-changing present with open eyes and a ready heart.lincoln library  7496

Over the years I’ve learned that seemingly simple ideas can invoke an arduous path to completion, so it was a surprise to me that this project seemed effortless: all the hours of creation, photographing, pairing, printing, framing, hanging, even writing this paragraph, went by naturally, like breathing in and breathing out.  That’s unusual, but is probably so because I had spent all those many years developing the skills of my profession;  now I could return home and what might have been perceived as hard work became, for me, carefree play.

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Please enjoy the pictures.  Those of you who are physically inside the library, see if you can find the spots where these  images were found, then see if you can find a few more that I’ve missed, I do that myself every time I return, it’s a quest without end.

lincoln library  7459lincoln library  7479More Photographs from the Exhibition here

YouTube video here

Press

Buy Prints here

Buy Book here

The Lincoln Academy Lecture

The United Nations

My father was a cloud physicist, he was excited by unusual weather patterns and always rooted for the oncoming storm.  Anton Seimon is like my father in that way, but as Sandy made it’s way across Haiti and as the Pacific jet stream ominously shifted, he was early to foresee what was about to develop and, to my surprise, expressed  fear for the humans waiting below.  As I write this, Sandy has passed, 30,000 people are without homes and winter cold is moving in. Compared to their suffering, my experience, plunged into the Dark Zone of lower Manhattan for four days and nights, was a mere inconvenience.  I did, however, become acutely aware of how all of us have come to depend upon a steady supply of electricity and gasoline, and also of how the continuous flow of information over our digital devices is not just an addictive social entertainment, but is essential to our safety in an emergency. We feel powerless without awareness. particularly when we are also without actual power!

I chose not to operate as a documentary photographer during the crisis days, I left that function to my professional colleagues, but I did go out in the street with my small camera and its expiring battery where I focussed on the shapes, colors, and emotions that were left in the wake of  wind and water.

Those of us still safe within our darkened houses were reminded of simple basic pleasures : silence, candles, walking; new shadows, old landlines, battery radio; ice-cream that must be eaten, a blessed internet sabbath, and being needed by neighbors.

WNYC radio was our only connection to community in that darkness, those of you who are grateful can thank them before they ask.  More pictures are here.

Note: The World Trade Center tragedy also occurred on an election day, a local primary which lead to the transition from Giuliani to Bloomberg; that election was postponed.

I have personally witnessed six generations come or go on Grand Manan, I’ve witnessed 19th century hymn-singing culture as it morphed into 21st century Facebook culture. I often catch myself dwelling on what has been lost, at the cost of not remembering the vibrant dramas that unfold every day on this constant, but ever-changing island.

Today my friends on Grand Manan are heading out to sea, planting potatoes, playing basketball, and freezing a hockey rink; preaching sermons, digging graves, and bearing children; they are building weir, making beds, running stores, hunting, dulsing, getting married or divorced; they are driving giant trucks and tiny tricycles, heading out to Alberta or returning home; dreaming and doing.

This place is going through hard times, but it’s still a place teeming with human life, a fact not to be missed by those of us who might get lost seeking answers in the fog of the future or the twilight of the past.

The preceding paragraph is the last (and most optimistic) of ten chapters in my  book&exhibition project, “Dead Reckoning: Stories from Grand Manan Island”, which is temporarily available in full preview.

In 1968, the year John Carlos and Tommie Smith raised their black power fists in Mexico City, I was only a foot away from making the American Olympic team. The joke is that in the hundred yard dash one foot would be very close, but in the HIGH JUMP it might as well have been a thousand miles!

Success and failure have contradicting yardsticks.  By Olympic standards, I was a failure, but by local standards I was a success: jumping four inches over my own height was enough to make me a state champion and the undefeated co-captain of my Wesleyan University track team with Bill Rogers.  There’s a photo of all the team captains smiling at the camera in coats and ties, except for me, the radical, who wore beads…. over his tie.  What can I say, it was 1968, neither one era nor the other, caught between, my favorite position.

Another measuring stick is psychological.  As a teenager I was very good at many things, but not the best at any one thing, I needed that, I needed to be best at one thing.  I have sympathy with current athletes who are tempted to take whatever substance will give them an edge; my version was to make a verbal deal with the devil, I said that if I can make the next height I’d be willing to give up 3 years at the end of my life – it seemed very far away at the time.  It worked, I got what I needed and my life unfolded in unexpectedly rich ways. I am very grateful, as I didn’t plan any of it.  Individuals’ paths actually work out unpredictably, one event bending into another, dreams shattered becoming a fine place to start dreaming, each corner revealing a new vista.  Advance plotting seems to function well for novelists, but a novelist plays the role of God in relation to the work, and when it comes to our personal destiny, we are not God.

For me, the devil now seems to be having his (or her) last laugh: 

At least I hope it’s her last laugh.  Life doesn’t go as we might will it, but it does seem to have a certain balance in the end.  I landed on hard sawdust many many times and there is a price to pay.  My hope is that this replaces the 3 year arrangement.

The days, they come one at a time, each beginning with banana and cereal, yet each evolving into an unplanned surprise.  Such was the last week in Grand Manan.

The lighthouse across Grand Harbour on Ross Island is fading fast, the entire back wall fell off this month, I walked over at low tide with Phil Ells, the undertaker, and his family:


I was invited to join three octogenarians on a trip to Kent Island to observe them  trapping muskrats, a dying tradition I’d never seen.  I have mixed feelings about the fact that I managed to leave before a single trap was sprung:

Warm April evenings, the evening light stretching itself across the sanded fiberglass sides of land-dry lobster boats

Andrew Russell building his own lobster traps, they wind up costing him just $15 each for materials; Andrew also rebuilds cars: 

Megan Ingalls did a telephone interview with The Toronto Sun about The Sardine Museum and Herring Hall of Fame; they needed a picture for the paper so I met her down in Seal Cove between a shift with her home health care client and her overnight job at the desk of the motel: 

On Wednesday Kirk Brooks’ father Richard was hit by a car blinded by the setting sun while he was feeding his beloved geese, on Friday many of us got on the ferry to White Head to attend the funeral

On Saturday I got a call from Nancy Ross while she was was driving a truckload of salmon to market in New York City, she said she was giving me as a wedding present to her friends who were getting married in the Baptist Community Life Church, so I showed up and found the church filled with friends: 

And finally I had to put off my departure for an extra day because I had to attend Adam Tate’s 37th birthday party with my Grand Manan nuclear family:

A week that really was.


I nearly forgot I was a dancer.  But I tell photography students that it’s best to make pictures with one’s feet, physically participating in the constant change that constitutes this moment; I say that a so-called “zen photographer” may look more like a dancer than like a stone statue. I say all that and I practice it some of the time, but I had forgotten where in my life it  had come from.  Certainly not from a book!

I forgot until this weekend when I met with the ancient people who had been my Wesleyan classmates in Martha Myers‘ Connecticut College experimental modern dance class.  Several of them had continued on to become professional dancers, a couple even forming their own companies, another was a diplomat, another a mediator, a singer-songwriter, a business-woman, an architect,  and one became a photographer. It was easy to pick up where we had left off decades ago, we were trained by Martha in how to be playful, spontaneous, sensitive, and responsive.

Martha’s body has begun to lose its sense of balance, she’s physically fragile, but her mind is agile. 
She asked us to engage in several exercises -”keep going in a straight line until you have to turn” – each an invitation to spontaneous interaction, each with a natural lifespan, 5 minutes, 15 minutes, then the energy turned formulaic or repetitive and died away.  She said that’s how it is with all energy, all relationships, that the energy comes and goes and comes and goes like the tide.  She implied that we’re happier when we recognize this pattern, stop fighting it, and just let it happen.

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“I want to give you a little head” is what Jeff Bridges says when he hands you a small ceramic sculpture, and then he laughs as he does, infectiously.  He recently spent a day with his Zendude buddy, Bernie Glassman touring the Greyston bakery, childcare center and Maitre aids facilities that Bernie founded 30 years ago.  

Jeff is an artist, he can’t stop himself, he works in many media including photography. When asked to simply sign his name on boxes of brownies for Greyston to auction off, he took time and drew complex original creations on each box. His primary social concern is childhood hunger which he thinks can realistically be eradicated.

In his studio, Jeff doodled in clay a series of small heads  including one named “Charlie” who travels and has a new blog; it is Jeff and Bernie’s idea that these “Heads for Peace” will be leased for a year at a time for $10,800. The owner will report online on their head’s adventures and then will pass the head along to a new head-keeper for the next year.

These little clay heads will be feeding children.

Seems like a creative seed to me, and it’s just germinating now.  Buy one: here’s the deal.

 Charlie is currently traveling with a clown in India.

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San Francisco

Lester Tate built this shed in 1922.  Here he rigged his gear to fish tons of lobster, scallops, and cod out of the Bay of Fundy over many years.  His son Myhron and grandsons, Mervin, Paul, and Bobby did the same. Mervin’s son Adam Tate helped rebuild the wharf ten years ago, before the property fell into the hands of the salmon farming industry.  I grew up in and around this shed.In his old age, Lester made model sailing ships here for each of his descendants; Lester’s father and grandfather had been captains of sailing schooners in the 19th century, transporting salt fish and cement to the Caribbean and returning with rum and molasses.  His uncles shipwrecked off Cape Hatteras in the 1980′s and later hosted the Wright Brothers’ experiments with air flight, they served as ballast on the first attempts, making them the first airline passengers.  This drawing of Lester working was published in The New Yorker in the 5o’s.

The shed has not been used for years.  Salmon gear is stored on the wharf and on the land, but the shed has gone neglected.  Last year I wrote a proposal to Cook’s Aquaculture, which they accepted on generous terms:  the Tate family will now be able to restore the shed and pass on a bit of their seafaring heritage to future generations.


The building requires some maintenance, new posts, windows and floorboards, but with a few donations for materials and the highly qualified labor of family members who are fishermen and boat builders, we should be able to keep the structure solid.  Lester was smart when he built it; he intentionally left gaps in the floorboards so on the Spring Tides or in a storm surge, the shed wouldn’t get washed out to sea, it would simply invite the water in for a friendly visit and let it flow away.  The question that remained was:  what would be the purpose of keeping the shed?  Would it simply be a place for old men to have an occasional cup of bad coffee and repeat oft told stories?

Over the last couple of years, the local teenagers (my friends) had been making the shed their private clubhouse, and sometimes those evenings got out of hand, so windows were getting broken out and doors torn off their hinges.  A property that looks abandoned can get treated cruelly; I suppose there’s a parallel with people.  This summer I finally got it through their heads that in future years this was to become their shed, and that it was in all of our interests to keep it standing.  So after some false starts, they took it on as their own project and boarded up the windows, first with duct tape and then more sturdily.  Still, the floor was a mess of years layered upon one another – Lester would have been appalled.  I felt I was the only one left to speak for him. Then, a stroke of luck:  in July, three kittens were born in the shed.


The neighborhood kids, this time the 7-13 year old crowd, started coming down to feed and care for the kittens.  They knew I was trying to clean up; still, I was surprised when they showed up at my door asking for a broom and a shovel.  In the following days, as they worked hard sweeping and nailing, I started hanging some of the “old” objects on the many rusty nails protruding from the walls and ceiling. They soon got the idea, and would carefully go through the trash for anything “old.”  When they found something, instead of taking it from them, I’d tell them to find a place to hang it themselves.  Then one day, a nine year old girl came to me, broom in hand, face lit up so bright, and said, “Peter, Peter, I know what this is!  It’s “THE CHILDREN’S MUSEUM!”

I know a good idea when it’s shouted in my face, and that was it.  That’s what Lester’s shed will become, what it already is:  The Children’s Museum at Tate Shed. Already questions of income and governance. They want to sell lemonade and there’s a dispute over who will have a key.  I tried to pass a rule that the younger you are, the more votes you have, but the 13 year old objected.  What fun to come.

Losing can be beautiful, particularly when it’s total and pure. Is it a coincidence that Fenway Park sits across from The House of Blues?

I’m finding my perception of balance and synchronicity more satisfying than my desire for victory; perhaps it’s a sign I’m finally passing beyond this prolonged childhood,

Those of you who know about these matters will know why my souvenirs, my memories of this baseball year will be of the last day, the 162nd game.  Coupled with the simultaneous game in Florida, it was was a perfect miracle… for the other team. This poetic loss stands in counterpoint to the year the team from Fenway beat the team from Yankee Stadium in impossible fashion.  A pair of miracles.

And then nature blessed my walk in the lovely city park that is the original  ”Fenway” with a ceremony of torrential rain. Perfectly wet, I walked away.


Here’s a toast to all we lost ten years ago, a deep bow to the buildings and the people, my friend Mike for one.  Mike was one hell of a basketball player; I had no idea what he did for a living until after that day.  But we lost more.  As a culture we lost trust, that’s a very big deal, and also we lost control of the narrative of our times:  from that day, the story was controlled by the forces represented by Dick Cheney and those represented by Osama Bin Laden.  The extremists triumphed; the money and discussion flowed in their direction.  Now those if us seeking a conversation between humans live far from the drumbeat of the headlines. That’s a big loss.

 

View of the landfill for the World Financial Center from the top of the WTC, a crowd is gathered for a James Taylor concert.

One month after the attacks, Lisa and I finished this piece: “You Never Know What You’ve Got ‘Til it’s Gone”.  It’s about Greenwich Village, our neighborhood in the days after the trauma.  We were asked to show this piece at the first anniversary ceremony with three chaplans, Protestant, Catholic, and Jewish, who had tended to the living and dead at the site a year earlier. Art and religion serving a similar human function.

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