Almond Tree, Biot,
60 inches x 70 inches, Oil on Canvas, Private Collection, © Leslie Parke 2008
It is no secret that the years following the Crash of “08 were a blood bath for many artists, but hey, it was a blood bath for most people. I’ve been around long enough to know that every time the market drops 2000 points I’m in for about two years of no sales. I know this because I went to SCORE, which despite its name is not a stripper bar, but an organization of retired businessmen who advise you on how to get your business back on track. Well, they made me track my sales against the stock market, and shockingly, at least shockingly to me, it tracked almost exactly with these exceptions: When the market crashes, it takes about six months for my market to crash; and when the market comes back there is also about a six months lag before my market comes back. So, when the world almost ended, I knew I was about to enter a market induced coma.
What to do? Having been through at least one other serious crash, I knew that it was important to keep working. Eventually the crash would end and that is the moment you want to leap into the market with a big body of work. To do that is completely counter intuitive, of course. You feel like the Captain of the Titanic waiting for the iceberg to melt. Fear overwhelms you, self-doubt consumes you, and diminishing funds scares the crap out of you. BUT, and there is a BUT, artists will often take moments when their back is against the wall and use that as a spark to their creativity. I don’t want to get romantic about this. Plenty of artists face real hardships due to the sacrifices they make to do their work. But they can also take those challenges and spin, if not gold, at least some remarkable experience out of them. I believe that this happens often enough, there even can be a little fear that without that edge, the artist won’t be able to produce. Happily, these days, we have plenty of extremely productive wealthy artists, who we can model ourselves after, rather than thinking that only great art comes from poverty.
When the wrecking ball hits, and no amount of effort, marketing, or connecting, will move your art work out the door, the trick is not to get extremely depressed, detach from the situation, and take it as yet another creative challenge.
Leslie Parke, “Montell”, oil on paper
“I never work with people who don’t work for themselves. Can’t trust them,” Cus declared. “You’re your own boss? OK, I’ll work with you.” Michael visited Cus D’Amato, the famous boxing trainer in Catskill, New York at the request of his German producer. He saw an article on Cus training some promising kids, and he wanted Michael to check it out.
With approval from both Cus and our producer in Germany, the next day I found myself in Camille Ewald’s kitchen. Camille was the wife of Cus’ now dead brother. She owned a large Victorian house on the western side of the Hudson River, where Cus lived with her and several of the professional boxers he was training.
Camille was cooking ziti and a large pot of sauce. Cus led us to the livingroom that spanned the length of the house. Two fighters sat in the darkly paneled room watching Judge Judy on the television. As soon as Cus entered the room they stood up and came over and introduced themselves to us.
I knew who Cus was, of course. I grew up watching the Gillette Friday Night Fights. Cus’ fighter Floyd Patterson was one of the first fighters I watched. I was lucky enough to start following boxing during the Golden Age. In the first fight I saw, Sonny Liston flattened his opponent. In the post-fight interview with Howard Cosell, it became evident that Sonny Liston didn’t speak English or any other language. He communicated with his fists and he did that very well. Liston, the then Cassius Clay, Patterson, Foreman, Frasier, Spinks both Michael and Leon, who wouldn’t love watching these guys? In a barely heated glassed-in porch my friend Suzie and I, with pillows on the floor, leaped around, punching the air and screaming, while we watched the fights. We wondered, too, when we would get to sit on a Gillette electric shaver and slide down a snow-covered hill. Now, twenty years later, I was in the house of Cus D’Amato, whose fighter had beaten Johan Johansson. Paterson was a quiet fighter, shy and introspective, and he was the only heavy weight that the mob didn’t own.
This was a problem. A problem for the mob, and a problem for Cus. He told us that for the entire time that Patterson fought, Cus never slept in the same room twice. If Cus was in a hotel and his room was on the third floor, he took the elevator to the seventh floor and walked down. He carried a knife with him folded into a newspaper. Even when he stayed in Europe, the mob sent prostitutes to his room followed by a photographer. If Cus were caught in flagrante he would be barred from the game. Cus trusted no one.
Promptly at four o’clock, we were called to dinner. At the table were Teddy Atlas, Kevin Rooney, Mike Tyson, Frankie from Brooklyn, two other fighters and Camille. As we sat there Camille and one of the fighters brought a large bowl of ziti, bread and salad to the table. Once everything was placed on the table everyone waited for Camille to be seated and served before they dug into the food. Their manners were impressive.
After dinner Cus heated some water and prepared instant coffee for himself and Michael and me. Later as we continued to film with him, we often showed up at the house after dinner, and this coffee ritual became a favorite for Cus and myself. Cus loved to talk, or more accurately, loved to tell stories. I was a new set of ears.
“You know what makes a great fighter?” he asked me one night. Heart, I thought, power, speed. “What makes a great fighter is desire and discipline. He can have all sorts of other qualities, strength, speed, power, talent, but without desire and discipline, he will never make it.” He let that sink in and then he said, “And do you know what the job of a fighter is? To hit, and not get hit and be entertaining. A lot of fighters don’t get that they need to be entertaining. If they aren’t, no one will watch them. “
The gym was an old municipal theater over the police station. On the stage, was the speed bag and large punching bag. The large open floor had a full- size ring and space next to it to jump rope and lift weights. Weight lifting was not emphasized, as it tended to bulk up the fighters and slow them down.
Cus trained the professionals during the day, but at night he trained the kids. As they entered they walked up to each adult in the room and introduced themselves. With Cus they stopped and waited for him to ask about how they were doing in school, did they have homework, how had they done on a test.
At the gym, the fighters all started moving at once and then they all stopped at once. I noticed that there was a light signaling the start and stop. The training was set up as a 15 round fight, three minutes on, one minute off. The timing in the ring became second nature, and over time, how they paced themselves became second nature. Teddy Atlas worked with the fighters in the ring. Before they ever threw a punch they spent months developing evasive moves. Bob and weave, bob and weave. And when they weren’t doing that they were leaping backward and turning 180 degrees in one step. Teddy swiped his arms toward their head and they had to duck or leap out of reach.
Leslie Parke, “Breath”, oil on canvas
On the stage, an old mattress was tied to a pole, with the numbers one through nine written on it and circled. A fighter pressed the button of an audio tape machine, and Cus’ voice, scratchy from over use, called out numbers, at first very slowly, 3-7-1-1-8. This continued for a three minute round. The fighter hit the circled numbers as Cus called them out. If he was able to land all of the punches in the correct order and not get confused, he moved on to a faster version.
One day a man came to the gym who said that he could make fighters punch faster. Cus had his doubts, but let the man explain. He had done this before, but the last time was with a race horse. It seems that he had made the same claim about race horses, that he could make them run faster, and someone challenged him to prove it. They gave him a horse that always ended up in the middle of the pack; he just didn’t have it in him to win. The man carefully studied the mechanics the horse’s motion – what foot needed to be where and when, to maximize its speed. Then he slowly and deliberately reproduced these movements in this horse. What he was doing was imprinting the correct movements on the horse. When the horse could execute the movements perfectly in slow motion he sped up the process ever so slightly. It made sense to Cus. What his fighters needed was the ability to land combination punches, fast. A three-punch combination is common, but if a fighter could land five and maybe even seven punches in the same amount of time, it would devastate his opponent.
They set up the mattress – 1 was a jab, 2 a body punch, 3 an upper cut and so on. Then slowly, so slowly the fighter barely had the patience for it, Cus called out the punches by calling out the numbers. The lightening speed with which Tyson could deliver a combination punch is attributable to this. Years later, when I watched Tyson fight on television; I could hear people in his corner and at times even in the audience, yell, “Give him a three!” Or sometimes I heard a stream of numbers, and as with Pavlov’s dog, it unleashed a torrent of punches. No one had ever seen five and six punch combinations delivered with such speed.
I sat next to Cus while Teddy worked with a fighter in the ring. “Look at that,” he said, “That kid is a Zen Master.” I looked at him surprised to hear Cus use the term “Zen Master.” Then he yelled, “Johnny, you are the Master.” In the ring was a skinny kid moving deftly around the ring avoiding every punch thrown at him. “He knows everything that is going on in the ring at every moment. He is never taken by surprise. If you see a punch coming, it can’t knock you out.”
Leslie Parke, “Push Off”, oil on canvas
One night at the house I found Cus reading Eugen Herrigel’s, “Zen and the Art of Archery”. “Its my favorite book. Norman Mailer gave it to me. If you are a Master of one thing, you can be a Master of anything. The qualities it takes to be a Master are the same, no matter what discipline they are applied to.”
It was at this moment that I realized that my training had begun. I was going to learn from Cus what was never available to me in school. I was with a Master and I was going to absorb everything he could teach me.
Fighting is just like painting. You face a big blank canvas and your worst enemy is not your opponent, your worst enemy is yourself. You need to put in endless hours of training, study, preparation, so that at the moment when you confront the void you can completely let go, empty your mind and merge with the void.
Michael had a Zen approach to making documentaries. He found a situation, like this one, of an old trainer working with young fighters; he immersed himself in the situation and filmed everything until the story emerged. He was devoted to letting his subjects reveal themselves without the aid of a narrator. For eighteen months we went everywhere with these fighters. Michael and I always worked as a two-person crew. It made us extremely mobile. We could arrive at a location, be out of the car and shooting in less than two minutes. Michael worked the camera and I did the sound. We shot in video and not film, so I also carried a 30-pound video recorder on my back and was connected to Michael with a cable. Michael’s viewfinder limited his vision, so I scanned the scene and made sure that Michael didn’t miss any action outside of his field of vision. With my hand gripping the back of his shirt I could indicate to him to pan one-way or the other. He trusted me and was able create long pans that contained and followed the action without interruption. He also knew that I kept him safe, so that if someone took off down the street he could run backwards in front of them while shooting because as I held of his shirt and I could warn him of curbs, steps and other obstacles. Eventually we were able to run upstairs backwards and through revolving doors shooting all the while.
“Fear is your friend. Being afraid is a sign you are going to win,” Cus repeated this daily. I had to trust that he was right. Michael and I were finally going to film the kids in a real fight at the Apollo Boxing Club in the South Bronx, run by one of Cus’ former champions, Jose Torres. The fight was a “smoker”, unsanctioned, due to the fact that there was no doctor at the fight. I drove, Michael filmed out the window as we followed Teddy, who drove the kids in a van. Teddy had a lead foot, so that even with the pedal to the floor of the Subaru, I could barely keep up. We hit the George Washington Bridge moving quickly against the rush hour traffic. Teddy remained in the fast lane going east on the bridge. Suddenly and without warning, he cut across the all three lanes and went full speed down the off ramp. I did everything I could to stay on Teddy’s bumper. After winding through the bombed out neighborhoods of the South Bronx we pulled up to a bar under the “El”. (This was the New York of John Sloan and George Bellows.) Teddy jumped out of the car and said, “Wait here”. He went into the bar and came out with someone. He pointed at us. The guy went back into the bar and Teddy came to my window. “Its OK, he’ll look after your car.”
We entered a door across the street and bound up the stairs to the Apollo Boxing Club. On the landing a couple was deep frying Empanadas and cooking chicken on a charcoal grill. The stairs were filled with smoke, but the smell was as good as any fine ethnic kitchen.
Mike Tyson came to every fight, but even at fifteen his reputation was such that no one, who didn’t have to, would fight him. You didn’t fight Tyson for practice, which was really the point of these fights; you fought him if you never wanted to fight again.
Leslie Parke, “Peek-a-boo”, oil on paper
The last fight they had at the Apollo, there was more fighting outside the ring than in it. Nothing about these fights was regulated. The audience was filled with local enthusiasts, who came, drank, cheered, and bet. One fellow had too much to drink and was not fairing well with his bets, so he started a fight in the seats. Someone knocked him out with a trophy. I was glad that Tyson would be watching the fights with us.
Teddy was able to get a fight for Frankie. As the “El” clamored by on the second story level outside the window, Frankie swooped into the middle of the ring, his arms flailing through the air. “Frankie, Frankie”, Teddy screamed, “Slow down, you’re going to knock yourself out”. In a case where the judges must have awarded points for effort, since almost no punches on either side actually landed, Frankie was awarded the fight. You would have thought he had won the Olympics, the way he strutted around the ring beating his chest.
The following week we were supposed to go to a fight in Queens. I had a horrible feeling about it; something was screaming in my head not to go. I never had such feelings before and wouldn’t dream of interfering with a shoot, but I couldn’t shake it. After much whining and pleading on my part, we didn’t go. When we returned to the gym on Monday, Teddy told us that there was a shooting at the fight. Worse than the gun-shots were the people running for the exits. Michael turned to me furious. “You made us miss that!” — Fear is your friend; fear is your best friend. –
He was right. Michael’s job is to run into the burning building, not away from it. My job is to run in with him. It was the only time I opposed his decision.
When you make a documentary, at least when you do it the way we did it, if you miss something it is gone forever. If you have a technical fuck up, the shot is lost forever. If the sound is bad, light is wrong, cable loose, you have lost it forever.
Leslie Parke, “Holding”, oil on linen
My job was to be sure that when something important happened the sound was perfect. There is no over dubbing in this sort of documentary, but people are used to perfect sound on TV and if you don’t have it, you will lose your viewers fast. When I walked into a room I surveyed it for errant sounds. If there was music, a radio, or TV playing, I turned it off. You can’t have part of a conversation with Judge Judy in the background and another part with Jeopardy – you can’t edit and have the conversation undermined by this contradictory sequencing in the background. More insidious are ambient sounds; the humming refrigerator, buzzing flourescent lights or sneakers thumping in the dryer. It was my job to go into someone’s home or a public space and as far as possible, eliminate these sounds before we started. This is where detachment or even out of body experience can help. In fact, if I could have worn a uniform that would have helped me assert my authority in these situations I would have been grateful. But knowing how bad a scene looked with lousy sound, to say nothing of Michael’s explosive temper, was enough to give me the courage I needed to invade someone’s home, unplug the refrigerator, remove light bulbs and turn the key on an idling ignition.
Leslie Parke, “On the Ropes”, oil on canvas
People asked how I could stand working with Michael. He screamed at me, kept me from going to the bathroom, or taking a break. But I learned early to listen to the content of what he was telling me, and never the tone. This was his work. This was the most important thing to him and if we missed a shot, it was gone forever. As far as it was humanly possible, it was my job to facilitate that. Some days we were in sync, moving through space together like tango dancers, whipping, turning, spinning, and never missing a thing. Other times we were more like figure skaters that had missed our jump and gone careening into the wall. I lived for the good days, where we were in the zone and we shot what we needed and it was better and more surprising than anything we could hope for.
Leslie Parke, “Knock Out”, oil on paper
I always saw this as Michael’s work. It was years before I even acknowledged to myself that I had anything to do with the production of these films. It wasn’t until I described this work to an actor friend and I told him about knowing what Michael wanted, and having an understanding of his vision, so that when I had my hand on the back of his shirt and I’d tilt it so that he would pan, my friend said to me, “You mean you were directing.” It stopped me short, and I protested and insisted that, “No, this was all Michael’s vision.” But later I thought about it and was reminded of how, when we finished shooting and Michael started editing and I returned to the studio, that he called me and asked me to lunch and as we sat in the diner he said, “And how should it start?” And as we talked through lunch I outlined the film on a napkin. Michael did all the editing, and to me, that was making the film. I always saw my role as a passive one. But perhaps it was in that passive role that I was best able to see what was there. As the sound person, no one interacted with me. I was the ultimate passive observer. In fact, I found that in this role I could see people as they were. I saw them as others saw them, and I saw them as they saw themselves, and I saw them just be in the world. And I always, always, fell in love with them, whether they were boxers or socialites, Holocaust survivors or composers, to know someone as they are, is to love them.
- In 1982 I was the sound person, assistant camera for Watch Me Now, a Michael Marton documentary about young boxers at Cus d’Amato’s gym in the Catskills fighting their way to the top. One of the boxers featured is fifteen year old Mike Tyson. (PBS and SDR)
Paintings by Pat Adams
Gatherum of Quiddities:
April 1 through June 18
“For sixty years Pat Adams has approached painting with an empiricist’s concern for the nature of visual form and the intimist’s sensibility that addresses the layered complexity of being. With abstract paintings characterized by seductive colors and richly encrusted surfaces, Pat seeks to bring from her “gatherum of quiddities” – that stew of unnamed qualities – a visual situation that bestirs contemplation.”
Pat Adams (b. 1928), That is to Say, 2010, oil, isobutyl methacrylate, pencil and crayon on paper mounted to panel, 19 x 24 inches, courtesy of the artist
From 1973 through 1976 Pat Adams was my professor at Bennington College. Pat already had 20 years of experience as a serious artist, showing in New York and collected by museums. The “landscape” for women artists was not an open one. The art world was both smaller and fairly closed to women. Things were changing, but most advances were hard won. I’m not really prepared to talk about what Pat was up against. All I can tell you is that until the 1980s, I believe, only two women had had a one person shows at the Guggenheim — Helen Frankenthaler and Helen Frankenthaler.
Seeing Pat’s paintings today I wonder why I didn’t know them better; why I wasn’t more aware of what she was thinking; what her process was; what battles she was waging on canvas. This retrospective at The Bennington Museum gave me a chance to experience her work and also see some of her materials: things she was looking at, tiny drawings she compiled endlessly in her notebooks. It was a revelation.
It was the opening night and not the best opportunity to take in the work, but at the end of the evening, when the rooms emptied, I had a moment to look closely at some of the pieces with the director of the museum, Robert Wolterstorff. I was struck by how my eyes were pulled around the canvas, how I flet moments of speed and slowness, of agitation and rest, of chaos and precision — like I was entering the universe. I wondered at the surfaces. How she achieved tiny irregularly shaped dots in a grid, how she painted a curved line that was at once as precise as a calligrapher’s curve, and yet broken in spots revealing the paint surface beneath. There was something so illogical about this line, so confounding, I couldn’t figure out how it was made.
When I was able to speak briefly with Pat during the show, she told me that some of the marks on the canvas were achieved by a kind of printing or transfer process. Painting on mylar and “stamping” it onto the canvas. But I didn’t get a chance to ask her about the lines.
Pat’s paintings are full of texture and unusual materials, mica, sand, pigment, and other minerals. Wolterstorff was most taken by this aspect of the work, which made him think of both Keifer’s straw and Beuys’ lard and felt. I forgot to mention to him that there was a Beuys exhibition at the college in the 1970s.
As we looked at the paintings, the rigor of the composition struck both of us. To me, they felt like mathematical journeys. Jamie Franklin, the curator, had displayed some things that Pat had pulled elements from — postcards of a Gothic Cathedral, the composition of an old Master painting, the shape of a sliced geode. All of these were echoed in the work.
Pat Adams’ Notebook
I believe that in the misogynistic days of the 1970s, these elements were at times dismissed as decorative. Seeing them now I know that they were no more decorative than the letters of a formula. What, after all, can be eliminated from E = mc 2 .
If you go:
75 Main Street
Bennington, VT 05201-2885
June through October:
Open daily 10 am to 5 pm
Closed July 4
November through May:
Open Thursday through Tuesday (closed Wednesday)
Closed month of January, Easter, Thanksgiving Day, Christmas Day
Closes at 1 pm on December 24 and 31
A catalog is available. Call the Museum Store 802-447-1571 to order.
This fall, as I mapped out the coming months in terms of exhibitions, grant applications, work projects, writing projects, and social media campaigns (or general PR), I found that working just on my computer was hopeless. I needed to SEE what had to get done. One of my favorite tools is the huge post-it notes you can get at any office supply store.
Maryann McGeorge, a former VP at Ralph Lauren and now consultant whose expertise is in business systems, taught me how to do a brain dump, where you list everything that you need to do to get a project completed, divide that into doable units, ascribe each of those units to who needs to get it done . (Yes, that is usually me, but can also be my carpenter, photographer, graphic designer, IT person, framer, or dealer.) And then put a deadline on each item. As a fairly severely right brained person, being handed these steps was a godsend. Years ago, when I visited Maryann in her old office in the tower of the Woolworth Building in New York, there was not a piece of paper on her desk. She is someone who can open all the outlet stores for Ralph Lauren in Japan without using a piece of paper. As much as I aspire to that level of organization and understanding of where I have hid my files in my computer, that is not possible for me.
I need to get physical.
I started with the list of everything that I needed to get done this fall. Divided that into categories, grants, projects, etc. Then, I removed the list and started over again. The picture above is what the wall looked like once I redid my lists for grants. I gathered together all my grant materials, marked their deadlines and requirements and then set about organizing each of the parts. Any of you who have done this, know how involved it can get. Artist statements, proposals, resumes of different lengths, bios, work samples – each grant requiring a different size jpg and different way of labeling them, recommendations. All of these materials needed to be updated. The process took about a month.
Even with the work samples, I found it helpful to print them out and pin them to the board. That way, it was easier to see if some piece didn’t fit the purpose of the grant. It also made it easier to show others, who could give me feed back on the selection.
All of the work I am listing here are things that artists dread doing. Making it physical, marking things with colored markers, moving pieces around, better imitated what I do when I work. It gave me a feeling of command over the material. It was more like making art and less like prepping for an evaluation. It helped me find and hone the message of the grant and make all the supporting materials support it.
Artists experience the world differently than others. The more we can approach those aspects of our career that strike terror in us, in ways consistent with our unique way of working, the better.
This is a question that annoys artists, either because they fear that if they say they finished a painting in a day, the questioner will think that it is easy work, or if the artist says it took them several years, they will appear incompetent.
When recently asked this, I asked the questioner, “Do you mean how long did it take me to do the painting, or how long did it take me to execute the painting? ” More and more lately, I find that the real work of the painting takes place for months and even years in my head. By the time I apply paint to canvas, I am executing something that I have already been painting in my head for a long time.
I found a similar description of VanGogh’s process in the recent biography of him by Steven Naifeh and Gregory White Smith. The entire description is too long to quote here, but can be found on pages 616 – 619 of the book. Here are some of the salient points:
Just as his campaigns of persuasion unfolded over many letters, and his letters sometimes went through multiple drafts, his paintings often gestated for weeks or months or even years before brush touched canvas. The image of a vase of sunflowers had been in his head since at least a year earlier when he saw a bouquet of flowers in the window of a Paris restaurant near Theo’s gallery. At the time, he had painted a series of individual blossoms, arranged in a morbid narrative and depicted in the descriptive, backward-looking draftsman’s style of The Hague. In the year since, however, Vincent had discovered the new testament of Cloisonnism*, and the image of sunflowers in his head took new form and new color.
. . . he had prepared for his series of sunflowers with hours of careful calculation: calculations of everything from the size and orientation of each canvas to its exact color scheme and the amount of paint it would consume, color by color. Only through this kind of elaborate advance planning, with his mind “strained to the utmost “could he hope to produce” a quick succession of canvases quickly executed.”
*Cloisonnism is a style of post-Impressionist painting with bold and flat forms separated by dark contours. The term was coined by critic Edouard Dujardin on the occasion of the Salon des Indépendants, in March 1888. Artists Émile Bernard, Louis Anquetin, Paul Gauguin, Paul Sérusier, and others started painting in this style in the late 19th century. The name evokes the technique of cloisonné, where wires (cloisons or “compartments”) are soldered to the body of the piece, filled with powdered glass, and then fired. Many of the same painters also described their works as Synthetism, a closely related movement. [Wikipedia]