September 11 Anniversary & Challenges Facing the First “Post-9/11” Generation

Artists are known to like blank canvases. They don’t fear a blank sheet of paper. They summon creativity, courage, and insights in ways that they themselves often don’t understand. The best of them tend to be open to new ideas and influences from anywhere. Their most successful outputs tend to be surprising, breaking the mold. In my thoughts about 9/11 this morning, I realized that these challenging times call for the natural strengths, if not the natural predispositions (since many eschew “politics”), of artists. I indulged myself in thinking this through while enjoying my morning coffee today, on the 18th anniversary of 9/ll. I have a niece who turns 18 in a few weeks, and I’m thinking about what her generation faces. In many ways, though, the issues raised here are similar to those we considered in depth in an interdisciplinary seminar I co-taught in recent years on Climate Change and National and Global Security. The similarity is due to the fact that the issues are the same, only getting bigger and more challenging especially in the absence, or near-absence, of suitable public policy (the area of my professional education).

(08:05 am First cup of coffee musings…)  It’s the morning of September 11th, the 18th anniversary of “9/11,” and everything is far from normal in America and our world.  (True enough, it’s never been “normal’ but I refer to a pervasive unease about the dis-ordering of basic assumptions that have informed most of international relations since the end of World War II.) An entire global generation is reaching adulthood this year without ever having lived in a non- “post-9/11” world. Other countries around the world had their own “9-11” tragedies subsequent to ours–Madrid, Bali, Mumbai, etc.–but the point is that the world itself was transfigured by the aftershocks of 9-11. Perhaps 9/11 has become normalized to the point of not needing acknowledgement. But it’s not normal for me, so maybe readers not expecting this fare here will tolerate a diversion today.

Based on a quick review, there is no mention of 9/11 in The Washington Post today, a major national newspaper, only the usual unusual sub-header, to which we’ve become accustomed in these times: “Democracy Dies In Darkness.”  The front page focus is on the firing/resignation of John Bolton, the U.S. National Security Advisor, who is known as a war hawk and who “helped” the US get into war with Iraq–which had nothing to do with 9/11–as America’s military response to the terrorist attack. (Let’s not forget:  He still supports that action, which was based on false premises, also known as lies.)  Bolton is out reportedly due to many “policy” differences with the administration, only a few days–surely not coincidentally–after the President tweeted out that a secret meeting at Camp David between the administration and Taliban leaders from Afghanistan was cancelled.  The policy contradictions of this administration are a towering mountain range by now, with regular avalanches of all kinds of cognitive dissonance-causing boulders. But it’s year three, and the daily contradictions barely deserve a footnote. Indeed, it appears that they are a feature, not a bug, as the saying goes: mind-crushing absurdities can also be spirit-crushing.  An aside, however, is warranted and that is:   absurdities that are simultaneously ridiculous, deadly and deeply disturbing  are part of the genre of this type of rule (which is not really governance, at least not the type called for in the U.S. Constitution).

Today, the paper reports, the President’s focus is on raiding another population of helpless people, a tactic favored by shady landlords.  This time it’s homeless people. This doesn’t mean that the administration is done with terrorizing terminally ill children who are here in the U.S. on special visas so that they can receive the life-saving medical treatment they need.If you haven’t been paying attention to this story, it basically involves sick or dying children from other countries who are receiving critically necessary medical care in the U.S., some of them invited here by medical researchers due to their rare illnesses that need further study. The U.S. administration wants to send them home where they will die.  The latest twist is that the administration backed off when the story became public but is now requiring the children to apply for new visas entering the same prolonged process now well known to readers paying attention to what is happening along the southern U.S. border.

Eighteen years have passed since the horrific attacks of 9-11, the first time America was attacked by foreign adversaries, even if nonstate ones, on the soil of the continental United States.  Americans rallied together against a common if ill-defined and elusive enemy, and NATO invoked Article 5 for the first time ever, which directs NATO member countries to aid an allied NATO member under attack.  The point of the attacks seems to have been to target symbols of American power–Wall Street, the Pentagon and possibly the U.S. Capitol.   Most of us know what happened thereafter:  a massive counter-terrorism movement, and new wars in Iraq and Afghanistan that have changed the geopolitics of the Middle East and South Asia and neighboring regions but not to anything noticeably better.  An entire national security industry was immediately directed to combat terrorism, and ballooned in size as if on steroids, which it was in the form of defense contracts.

In 18 years, a little-remarked upon impact has been the privatization of so much that was once considered the realm of government, or public sector, work.  This includes the job of making sense of what has happened, is happening, and may happen in the future. At least the terrorist attack on what were seen as the pillars of American society–the economy, the financial sector, and the defense sector–seemed to have failed, if judged by their size and wealth today.  But what other factors underlie American strength and prosperity?  This is the key unexamined question on this 18th anniversary of 9/11, and it must be asked in the context of a starkly altered environment both on a national level and a planetary level. And yet, these questions are barely asked today. Why aren’t they? Is it because there is no money in it?

In 2019, America is facing unprecedented challenges on all fronts which already are converging into that dreaded “perfect storm.” These are inexorable developments that will happen no matter what, so they can be said to be “beyond politics.” Into this wide category of “beyond politics” happening-no-matter-what are greater migrations of people, harsher climate crisis realities, and accelerating technological advances, to name a few. But, given today’s realities, is this what success looks like after so many people have died in battle in Iraq and Afghanistan? Are we more “secure?”

Almost two decades focused on counter-terrorism have left this country so weakened that most Americans are not even sure that a long-time foreign adversary – Russia (and perhaps others, even) – is not calling the shots in the White House.  Could it be that the singleminded resolve of our nation’s top security institutions to defend this country against a repeat of a 9/11–successful so far–left the United States dangerously exposed to and unprepared for equally deadly challenges?  What are those deadly challenges?  Who is even mapping them? The problems are bigger than anyone’s in-box, bigger than an institution’s capability to handle, even bigger than the United Nations…

In a way, the US Administration’s response this week to desperate Bahamians fleeing their island homes now laid waste by Hurricane Dorian encapsulates in a microcosm the United States’ complete lack of readiness for the world in which we already live.  People are migrating in larger numbers all over the world not because they really want to abandon their homes but because for many of them it’s not optional. It’s life or death.  The perils come in different guises, often overlapping and aggravated by wars and ethnic conflict.  These include ‘unnaturally’ enhanced ‘natural disasters,’ drought, terrorism, government brutality, malnutrition, gang violence, drug cartels, and extortion–but the result is the same:  when people’s lives are in danger, their children cannot be children and their very survival is at stake. Can a nation founded on the principles that “all men are created equal” with “men” now signifying humanity (men, women, and children) remain secure and turn its back on most of humanity? And what is a human without humanity?

A common refrain is that America is not responsible for the world; i.e., we are not the “world’s policeman” and should mind our own business, and thus (it’s implied) be more successful, without draining our resources and putting our soldiers’ lives at risk in others’ wars and calamities.  We are not responsible for failed or failing states, goes the argument. This is a long-standing American debate that needs to go on, with new public policy formulation democratically achieved as the goal.  Every day, and especially in the aftermath of Hurricane Dorian, we see the need for this.

(Second cup of coffee musings…)  With no warning earlier this week, the U.S. turned back a ferry carrying desperate people from the Bahamas, their children in their arms, who were seeking refuge from their destroyed island nation, where there is no shelter, food, water, or medical assistance.  The reason: they lacked a visa–a visa that had not before been required, until this very minute, for Bahamians with a passport and no criminal record.  Suddenly, people with only the shirts on their backs had to go to the Embassy to apply for a visa.  A father is shown on video, with a toddler in his arms, explaining that he must now go back to his devastated land where he cannot, obviously and through no fault of his own, take care of his children. (This current story has some obvious echoes with the more famous and tragic one of a German ship, the St. Louis, filled with German Jewish refugees refused asylum in 1939 at the port of Miami and forced to return to Europe where reportedly a quarter of them died in the Holocaust.)

There are threads running through the vignettes of post-9/11 America today that make a sufficiently awake (caffeinated, if necessary!) person wonder where we went wrong, and whether we can recover lost time, credibility, and foresight rapidly enough to regain our national footing in this radically altered world.  Young people turning 18 in 2019 represent the first fully post-9/11 generation who have known nothing else but a national security ‘industry’ focused on wars in Iraq and Afghanistan somehow tied to the counterterrorism battle.  What do they conclude when they consider their own opportunities in a county that is so divided at home that their compatriots cannot even agree on what is worth fighting for?

What values will America need to embody in a world transformed by tens of millions of people on the move, not out of choice but out of desperation?  How can we think bigger, better, and with more nations’ people–together–to come up with some appropriate policy responses to these new challenges?  If our undeniably bloated defense industries and overly bureaucratized academic systems do not help us to rapidly make these needed changes, what can we, Americans, do about this?  Why are defense industries making $750+ per day, per person held, incarcerating refugees and asylum seekers?  Is this the needed policy response and agreed upon by U.S. taxpayers who are footing the bill? Why are children in these detention centers? Why is the U.S. detaining people coming here for help and, according to numerous credible reports, treating them in a way no one would treat their dogs? Why can we not provide them with even a flu shot, sufficient diapers, or feminine hygiene products at a rate $750/day per detained person? Why are we incarcerating human beings who have asked for asylum?  Who gains and who loses? What is the point? This is what I am asking in the post-9/11 era but I am not an American post-9/11 teenager, and I wonder what they think.

(Sip of now tepidly warm coffee…)  Winston Churchill is thought to have said, “Never let a good crisis go to waste.”  He allegedly was referring to the conditions after World War II that were ripe for the formation of the United Nations.  What type of response(s) are necessary in the world today?  Is the first post 9/11 generation equipped to craft them?  Where is the epicenter of needed new thinking about how to deal with the “perfect storm” already here?  Won’t the future of our youth be affected very consequentially by our choices and even by the things we’re not paying attention to today? After all, the people now trying to flee the Bahamas were not refugees as recently as a week or so ago? Who among us can be sure today that he or she will not be a refugee in the future?

 Is it not actually a form of “security”–even if not debated and vetted by public opinion–to choose and prioritize what matters in these turbulent times? Whose needs would such a prioritization focus upon: the needs of the post-9/11 generation, for instance, or their children not yet born? Should not the public be very much more involved in choosing public policy responses to these issues? Do you as a citizen want to be left out of these consequential policy decisions even if they will put your children on a course that may be soul- and opportunity-shrinking? Who is questioning how our priorities are set, and will we do it in time, time that is so clearly running out?  How will we deal with inter-generational and international inequities that are becoming starker by the day, aggravated by the inevitable weather disasters made more dangerously intense by climate change?  What is “security” in a climate change-disrupted world and who should define it; those who are already incarcerating vulnerable people or people who are questioning that approach and its hidden threats to our nation’s viability and stature in the world?

These are the very questions we considered in an international graduate-level seminar I co-taught from 2014-2018, and all of us in class learned a lot. We were all students because, aside from basic facts such as we gain from science, there are no facts to teach about how we will surmount these challenges. It was an entrepreneurial approach to learning in a world that is no longer familiar. Education itself must change under these circumstances. It’s an exciting time for the intellectually curious and anyone who wants the best for his or her country and future generations including the first post-9/11 generation coming into adulthood this year.

In conclusion, it seems to me that we need to reach out not only for the best ways to ask new questions and think new thoughts, but also identify those who are doing needed work in this area. I’ll mention that yesterday I heard an inspiring talk given by Dr. Michael Crowe, President of Arizona State University, at a thought-provoking conference I attended on 21st century challenges involving “deep space” and “deep fakes.” Crowe’s focus on was rethinking education in our altered world and it was and is very much on point with the types of questions and concerns I am raising in this post. (If he shares his slides, I will attach them through a link to this post.) We need to emphasize what is going right and where this is being done and how, in order to get to new ways of thinking and dealing with the challenges of our world in time. For those who like challenges, and even big blank canvases without so much as an outline as a guide–like most artists around the world!–one message of this long post is the world needs you more than ever. Unfortunately the processes of the artistic mind (literally, beyond analysis) are not well woven into most academic training or, certainly, analytic (or sense-making) processes, so this is yet another frontier to explore in this exciting and consequential new era.

(09:30 a.m., Author’s note:  I am working on a book about the above issues but I’ll be back to sketches and watercolors very soon, including of some incredibly beautiful places–(hint: famous ports and beaches)  not covered previously on this blog! )

Lessons Not Learned in a Pile of Books

There’s no art work in this blog post.  That’s partly because it’s that time of year for one last push to clear the house of extra things that might be useful for someone else–and thus could be donated to charity–and I inevitably get side-tracked in the process of sorting.  This year it’s a whole lot of books on my bookshelves dating back from, well, not so long ago that are distracting me.  One by one they fall into my hands, like this one called Superpower:  Three Choices for America’s Role in the World by Ian Bremmer (Penguin Random House, 2015), and I can’t help but take a look at the first page.  It reads:

“America will remain the world’s only superpower for the foreseeable future.”

Reading this in the context of the photos simultaneously coming in from the G-20 meeting this past weekend (December 1-2)  in Argentina made for some cognitive dissonance. I thought: when we did begin to see things differently?  Less than two years after the publication of this book, it seems to me.

Right next to it on the shelf was this book by the former Prime Minister of the UK, Gordon Brown, called Beyond the Crash:  Overcoming the First Crisis of Globalization (Free Press, Simon & Schuster, 2010).  Ignoring the cardboard boxes of boots and old frames precariously stacked beside me, I opened this one too.  Here again we have someone –a former British Prime Minister–reflecting on the tattered concept of “efficient markets” in the aftermath of the global financial crisis.  He writes:

“And now in the first decade of the twenty-first century we have come to realize again that markets too can be shaped by vested interests, that economic players are not always rational, that markets are not self-correcting, that employment does not automatically recover, and that a wholly deregulated, passive model of capitalism and of absentee government cannot cope with extreme fluctuations and the shocks of the sort we saw in the banking crisis.”

This book could just as easily have been tossed into the box with raggedy old sweaters that have seen better days but instead, for some reason, it is the book out of the many on the shelf that I chose to consult more closely later that day on a train trip into town.  What were the lessons that Gordon Brown derived from the Financial Crisis and how do these lessons read in the light of today’s very different era?, I wondered.

Here was another one, for heaven’s sakes:  The Breaking of Nations:  Order and Chaos in the Twenty-First Century, by Robert Cooper (Atlantic Books, 2003).  Going down memory lane now, I decided to sit down and look at this one.  “To understand the present we must first understand the past,” Cooper writes in the first chapter.  Later he foreshadows trouble for the European Union, writing:

“It is striking that monetary integration has been achieved precisely by removing monetary policy from the hands of politicians and handing it over to the technocrats.  This may be no bad thing but, in the deeply democratic culture of Europe, the development of the European Union as a continuation of diplomacy by other means rather than the continuation of politics by other means may in the end exact a price.” He explains:  “International institutions need the loyalty of citizens just as state institutions do; and that can be achieved only by giving the citizen some more direct involvement in their management.”

And, finally, this one from 2014:

“Climate change has never received the crisis treatment from our leaders, despite the fact that it carries the risk of destroying lives on a vastly greater scale than collapsed banks or collapsed buildings.  The cuts to our greenhouse gas emissions that scientists tell us are necessary in order to greatly reduce the risk of catastrophe are treated as nothing more than gentle suggestions, actions that can be put off pretty much indefinitely.  Clearly, what gets declared a crisis is an expression of power and priorities as much as hard facts.  But we need not be spectators in all this:  politicians aren’t the only ones with the power to declare a crisis. Mass movements of regular people can declare one too.”  This excerpt is from This Changes Everything:  Capitalism vs The Climate by Naomi Klein (Simon & Schuster paperbacks, 2014).

Within the last few hours, my pile of charitable donations has been picked up outside my house, but I could not discard these and other books from the last decade or more.  It seems to me that there are some lessons we haven’t quite absorbed from the past that they cover, periods of crisis in the years since the end of the Cold War.  I’m thinking, as I put these books back on the shelf, that finding our way collectively to a better future might involve some real shifts–perhaps to more inclusive concepts of economic wellbeing or security (even “national” security!!).  At the very least, there might be some clues in this pile of books to how we got to now, which our social media-fueled Twitter-verse is usually poor at explaining.  (Without disrespecting the fine minds truly evident out on social media, there surely will be serious consequences if we do not tear ourselves away from Twitter now and then to dig deeper into questions regarding mankind’s current plight today.)

I am going through these books now with our present in mind.  It occurs to me that I cannot imagine a single book coming from the hand of any of our current US policymakers (at least at the cabinet-level) to explain and reflect on the policymaking being carried out in the name of the US since 2017.  It takes a policymaker or someone who cares about policy and its public impacts probably to even want to write a book.  So, therefore, I’ll look at what previous policymakers said, and thoughtful observers said at the time, and perhaps craft some lessons I hope will prove useful in guiding future policymakers –ones who care about the publics they’ve been elected to serve–at the end of this personal project of mine.  The results of my efforts may, meanwhile, be jotted down on a different blog (as this one has become more an art journal in recent years). If so, I’ll be sure to share the new blog’s name and address as soon as it is active.  I hope some of you will want to follow me over there, even as I continue to share impressions of my art journey here!  In the meantime, all the best for a wonderful Christmas and holiday season everywhere!

 

 

 

Stone Gables B&B soon to open in Virginia countryside

Illustration; “Stone Gables,” approx.  6.5 ” x 10.25 ” watercolor and Uniball white gel pen on Saunders Waterford 300 lb watercolor paper by Black Elephant Blog author (2018)

Last weekend we were hosted for an afternoon get-together at a soon-to-open bed & breakfast establishment tucked away in the rolling hills of Virginia wine country.  Once a barn, this establishment is now more like an estate with lush green fields, hills, a pond and a pool.  A  tall water fountain, the view beyond of outdoor terraces, a screened-porch bar area with tall tables and high chairs for enjoying the view, a gorgeous dining room and enormous well-appointed kitchen are only what greets you when you enter.  Beyond this are six beautiful bedrooms each with a modern well-designed bath, including a bridal suite.   You simply cannot imagine that this was a barn though some of the features of the barn have been kept in the current design.

Best of all, I’ve known one of the owners since she was a very little girl–many years ago in a distant land in Asia–where we both were living as part of foreign service families assigned abroad.  This B&B is a dream of hers and it’s now coming to life.  We were so pleased to get an early bird look at what will soon be available to others.  It’s called Stone Gables B& B and is near Leesburg, VA and a half hour’s drive from the Silver Line Metro station in Reston, VA, from which point it’s only 30-40 minute train ride into the heart of Washington, D.C.  Future guests here are in for a wonderful surprise!

The “Other”, DACA & Diversity Watercolor Studies

Illustration: “Flamingo and chick”, Watercolor and gouache by Black Elephant Blog author (2018)

Thinking about the intense efforts (as, for instance, reported upon just yesterday on the Lawfare Blog, “Beware the Slippery Slope…) by some to paint (figuratively speaking) people as “other” and somehow lesser human beings just because of their birth circumstances and, in the case of DACA young people, because of the choices of their parents, I have forged ahead during some quiet spells recently with some illustrations related to the volume on ‘diversity’ I have in mind.

Illustration: “Green-gold Peacock”, Watercolor, gouache, and gold gel pen by Black Elephant Blog author (2018)

Painting–literally painting–is definitely a way to displace some energy that otherwise would be fruitlessly wasted watching the already-absorbed news, for instance.  It’s also very interesting to consider trying to explain concepts of diversity and discrimination through a medium (drawing) that is addressed to children.

Illustration: “Hippos by the Water”, Watercolor and pen-and-ink by Black Elephant Blog author (2018)

Why now?  It appears to me that current events must capture the minds of those concerned about individual human tragedies, including families being separated, which are being reported in the news.   How a nation treats its own people, moreover, and other nations’ people tells us a lot about its future (and its security).

Illustration: “Flamingos on Rocks”, Watercolor and gouache by Black Elephant Blog author (2018)

There is no better age to gain lifelong appreciation of the world’s diversity and wonder–and to nurture lifelong curiosity and thirst for learning–than  when very young…  Ensuring that children retain their curiosity is essential now more than ever to the survival of the planet.  The issues we face are not in some far off future.  They are here and now.  Already mankind needs unprecedented amounts of talent and imagination to cope with very real challenges we face today–challenges which inevitably will combine and interact in ways we can’t precisely predict.

Illustration: “Giraffes”, watercolor and gouache and pen-and-ink  by Black Elephant Blog author (2018)

 

Goodbye 2017

Illustration: “Blue Hippo” in watercolor and gouache by Black Elephant Blog author (2017)

It’s been a hard year for many people. May the new year 2018 remind us of the potential we all represent to address our world’s serious problems and thereby contribute to helping future generations.  To do this, we’ll need to appreciate what each of us brings to the table–we need to appreciate our differences.  So I’ll end the year on this blog with some hippo watercolor studies I’ve been playing around with for a side project on appreciating our differences. Happy Hippo New Year!

Illustration: “Mother Hippo”, watercolor and pen and ink by Black Elephant Blog author

 

Illustration: “Hippos sunning” in watercolor, gouache, and pen and ink by Black Elephant Blog author (2017)

Illustration: “Mother and child” in watercolor and pen-and-ink by Black Elephant Blog author (2017)

 

Zoo Tranquility

Illustration: “Waterfall at the National Zoo,” watercolor and pen-and-ink in 9″ x 12″ Stillman & Birn Epsilon sketchbook by Black Elephant Blog author

Things must be getting pretty crazy if, oxymoronically, the zoo becomes an oasis of peace and quiet.  On a recent Sunday, however–with absolutely perfect weather in Washington, D.C. (while sadly, elsewhere, the opposite conditions prevailed)–that’s what happened.

Near the Carousel, and opposite the tall rock waterfall of the enclosure for the lemurs on one side and dozens of turtles on the other,there was a perfect patch of higher ground for sketching.  The sound of falling water reduced all other sounds, including that of the Carousel music,  to a background hush, even though crowds streaming past on pathways below and to either side of me became thicker over time.

While the rest of my party was otherwise engaged for a spell, I tried to capture this tranquil scene, amazed really, that the zoo could offer such a peaceful spot with the constant sound of a waterfall.  I found the paper in the Stillman & Birn Epsilon sketchbook initially pretty frustrating for watercolor; it is really for washes (as it says!) so appreciates a light touch.  But if you let your work dry and keep the cover closed on it, the page will smooth out and can accept more color.

Bartholdi Park In DC

Illustration: Watercolor and pen-and-ink, “Bartholdi Park,”  in Canson Montval 5.5 in by 8.5in 140 lb cold press paper sketchbook by Black Elephant Blog author

Weekends are great time for meeting up with other people of all ages and backgrounds who like to sketch, draw and paint–and so that’s what a bunch of us did on a recent beautiful and warm Sunday in Washington, D.C.  Through this artistic connection, I learned of a park I’d never noticed.

It’s called Bartholdi Park, after the sculptor who designed the beautiful fountain the middle of the park.  Bartholdi later went on to design and produce the Statue of Liberty.(A previous blog post on Bartholdi’s home in Colmar, France is here on this blog.)  This park is an oasis of calm in the middle of Washington, D.C.–on Capitol Hill, no less.  The two-acre park is actually part of the National Botanical Garden across the street, but it’s a place where you can sit under any number of shade umbrellas at tables with chairs and enjoy the sound of the fountain and admire the bright flowers and greenery all around!

The Bartholdi Fountain is known as the “Fountain of Light and Water” and was designed  for the 1876 Philadelphia exposition celebrating the 100th anniversary of the United States (see Wikipedia for more info).  Thus its presence in D.C. seems appropriate.  Certainly, its beauty is something amazing to behold.  It’s an ornate fountain that is very hard to capture in a sketch but intriguing enough to make you want to return and try again.

Lake Reflections #2

Illustration: Watercolor sketch on 5.5″ x 8.5″ 140 lb. cold press Montval watercolor sketchbook paper by Black Elephant Blog author

On a day when a U.S. President seemed to threaten nuclear war (%@?*?!X?), further undermining our security relationships and standing around the world, the sanest thing to do seemed  to be to sit on a quiet lakeside beach and watch people on all manner of boats and boards enjoying a beautiful evening out on the water.  I have a whole lot of paintings to complete, mostly still in my head, from the recent trip to Europe.  Following the sudden, unexpected death of a sibling a couple of weeks ago–a sibling who so recently (only a month ago) was enjoying that same trip to Europe…he,clambering up steep cobble-stoned streets, admiring cathedrals, and admiring a replica of a Bronze Age village built on pilings over water on the edge of Lake Constance in Germany– I am finding I must ‘sketch-crawl’ my way back to working in the bright colors I prefer. It may take a while but enjoying the interaction of watercolor with paper seems likely to help me get there.

As I sit lakeside in the twilight of an evening, I do reflect on how uncommonly good people, such as my recently departed brother (who used to read this blog as it appeared in his email), sometimes have uncommonly rare things befall them, and are taken from us uncommonly early in their lives.  It is too soon to find any sense or solace in this.   But it has long been clear:   We must make more space for such people–the ones like him who are driven by a larger sense of global responsibility—to share their abilities with us while they are here in this earthly world.  The world needs uncommonly good people right now, who act in the awareness that we are all part of a larger whole.  Only by having a critical mass of such people exhibiting their genuine caring and leadership to making the world a better place, can we have a chance (in the remaining time left to us as a species) of tipping the planetary scales into a sustainable direction.  Nothing is more urgent these days, but it is restorative to watch people fishing and stand-up paddle-boarding on this evening as if they had no cares in the world. I will probably do more of that today.

Lake Reflections

August often surprises with some beautiful, low-humidity days in this area.  The beauty of nature never ceases to be awe-inspiring and, these days, a source of healing from a recent extraordinary loss and its ongoing shock waves.  So, out walking the dog earlier in the week, I took out a sketchbook again to try to capture the wonderful scene in front of me.  My personal goals included leaving some white on the page, and letting colors blend on the page even as I tried to keep them separate on the palette.  This is a neighborhood scene rich with weeping willows and even lily pad gardens.  Enormous pond reeds framed part of the view as I sat on top of an over-turned rowboat on the shore.  There’s something satisfying about plein air watercolor painting!  Sitting around this lake–never busy with visitors–is always soothing.

Illustration: Watercolor and pen-and-ink sketch, August 2017, northern Virginia by Black Elephant Blog author

Remembering Andy

A glorious trip to Europe in the company of two of the small circle of people most important to me, my husband and my younger brother, ended two weeks ago today.  After returning to the US, jet-lagged, on Monday afternoon, and staying over at my brother’s house (because it was closer to the airport),  I did this watercolor the next morning while we sat together in the garden behind his house.  This garden was a favorite spot of his and faced the garage off to the side and the back of his house.

Illustration: Watercolor on a quarter sheet of watercolor paper, “In the Backyard of Andy’s House,” July 18, 2017 by Black Elephant Blog author

We were just enjoying the early morning sunlight, before a drive back to our own home. I was just dabbling, with the only paints I could find in the outer pockets of my suitcase: brown pink (closer to a yellow) and indanthrone blue watercolor.  While the house is actually white, I thought I could get away with the yellow because of the light morning sun crowning the trees in the backyard.

We’d had a wonderful trip to Europe, and soon we were saying our own goodbyes, as we continued on to our own home in another state.  A week went by–with all of the ordinary contacts now so special in hindsight: emails, a phone call just a week ago, then more emails…And then, quite suddenly, that brother, the younger brother, was taken from us, in a seizure that was not his first.  A father, a husband, a son, an uncle, a brother, and a friend to so many…and everything went haywire in an instant.

Illustration: Andy in Germany, July 2017

The world has thus been turned upside down.  From a joyous trip involving close family and magnificent sights to a gaping hole that can never be filled. My confidant and co-sketching buddy who also had great hopes for our country and our world–despite worrying evidence to the contrary–has now suddenly gone.  Such are the tough times we all must go through, in some way or other, I realize.  This pain is a part of life, and we are all here temporarily.  But, it’s a fact:  Art so far has been (much) easier to do–in generally happy times.  The challenge is to work one’s way through a devastating loss, and to comfort the many people beside myself who also are affected–as my brother would also want.

I have a feeling I will paint again.  My brother would not want me to stop. RIP my soulmate:  I can’t believe it but I must accept it somehow that we won’t again be sitting somewhere in a green field sketching some historic view together.  I am thankful, so thankful, that just a little more than two weeks ago, we were doing so in Germany and France. Rest in peace.  The world is diminished without you in it.

I share this here because I started writing this blog in a spurt of joy and relief in the week after this brother of mine was discharged from a rehabilitation hospital following a highly risky surgery in late 2014. It was called “elective surgery” because you had to choose it, but to not choose was to choose a certainly fatal route. All the family members were very involved.  There were highs and lows.  My younger brother would tell me he liked this or that painting, and he made his own wonderful sketches. His sudden departure left many thoughts still unspoken. He would want me to carry on painting if something like this happened; we never talked about it but I do know that.  I hope he is sketching too.  These are crazy times with intense news cycles that can demand so much of our attention.  But what’s really important is often right next to us. RIP.

Watercolor Painting of Island of Mainau, Germany

Making our way by ferry on Lake Constance, not far from Konstanz, we were able to see the island of Mainau as soon as our ship passed around a small peninsula.

Illustration: Watercolor and gouache, “Bodensee”  approx. 12″ x 16″ on Hahnemuehle watercolor paper by Black Elephant Blog author (2017)

Up ahead on the hilltop of the island, a baroque manor-palace was visible through the tall trees, including palms.  Once we disembarked, we found that the whole island was a park, with a few cafes and restaurants. To get to the palace, you must walk up some steep and winding paths, lined with flower beds. Here and there are…banana trees!  It can be surprising to see banana trees in this area, but their presence attests to the mild climate of the lake region.

Illustration: On-site sketch in small Stillman & Birn “Zeta” sketchbook by Black Elephant Blog author (2017)

The view from the top makes your effort worthwhile. This island is famous as a botanical garden–the whole island–which is why it also is known as “flower island.”  It has many walkways, one of which is a large flower bed designed to show, with plants and flowers, all the towns around the large lake of Constance, or “Bodensee” in German.  There also are sculptures and statues in the gardens, about which it has been difficult so far to learn anything.   (Despite the tourist crowds, this is a highly protected botanical environment–rightly so–so clearly I did not use watercolor paints in this area but concluded the sketches after the trip. Moreover, as many have noted before me, it can be difficult to fit in a sketch when traveling with even a small group of companions.)  From here we soon were headed, again by ferry, to the other side of the lake.

In Colmar, France on the 4th of July

Illustration: Watercolor and pen-and-ink, “Colmar, France Street view” by Black Elephant Blog author (2017)

For those arriving in Colmar, France by car, it can be a big surprise to see a huge replica of the Statue of Liberty at the entrance to the city in the middle of a busy traffic circle.  And never more so, I imagine, for the unsuspecting arriving on the 4th of July, for that was the case for me recently.

Photo taken on 4 July 2017 at the traffic circle entrance to the French city of Colmar, France by Black Elephant Blog author

Thus it was that the next day I headed to the former home of the creator of the Statue of Liberty, Frédéric Auguste Bartholdi ( 2 August 1834 – 4 October 1904).  Now a museum, the Bartholdi home was not yet open for the day

Illustration: Pen-and-ink sketch at Bartholdi Museum, Colmar, France

so I spent some time in the shade of the courtyard sketching the sculpture in the middle, which is known as “Les Grand Soutiens du Monde” of “The World’s Great Bases”) representing “Justice, Labour and the Motherland” which was exhibited at the ‘Salon de Paris’ in 1902.  Unsurprisingly, there were other sketchers present in parks and leaning against fountains around the town.

Back out on the streets of Colmar, there was so much to see and do–and taste!  No

Illustration: Street scene in Colmar, France, watercolor and pen-and-ink

wonder there were so many tourists there, mostly from elsewhere in Europe and from Asia, it seemed.  We were on our way to new places much too soon, but so glad to have the experience of visiting Colmar, and knowing that if the opportunity arises, we’ll be back.

Speyer Cathedral in Watercolor

 

Under overcast skies and amid a gentle breeze today it was pleasant to walk around Speyer, Germany, which is famous for its UNESCO World Heritage site, the Speyer Cathedral, and surrounding stately parks.  (This city also gave English the word for “spire” as in church “spire.”)  Speyer is one of Germany’s oldest cities:  located by the Rhine river, this area was first settled by the Romans (a Roman military camp was established here in 10 B.C.).

Illustration: View of the Speyer Cathedral from Maximilian Strasse on July 2, 2017 (Photo)

Just yesterday evening, it would have been impossible to enter this area, due to the funeral services held in this historic Cathedral for former German Chancellor Helmut Kohl, given all the dignitaries, including the current German Chancellor Angela Merkel and former U.S. President Bill Clinton, and security forces here as a result.

But this morning, with the shops closed for Sunday, it was calm and full of people sitting in outdoor cafes feasting from tall ice cream sundays and sipping on lattes.  Although the world came to this place just yesterday, with many eyes on the live coverage of the

Illustration: Watercolor and pen-and-ink, “Speyer Cathedral”, by Black Elephant Blog author, 2017

funeral of a man who is identified with the cause of European Union, today it was possible to feel a bit away from the distractions of the world, to wonder at the vast archaeological treasures of this region represented by impressive displays in a small museum–and to even sit in a cafe alongside the relaxed cafe drinkers.  From one of those cafes, protected by large umbrellas from a misty uncertain drizzle, I managed to sketch out a partial view of the massive 11th century (its construction began in 1030 A.D.!) church in front of me.

It is so big that I ended up sketching just the top half (seen above), with the historic buildings alongside the pedestrian mall crowding into the picture..

Scams, Shams, and (Body) Slams

While preparing for a presentation (and a little book stemming from it), and doing some color studies for sketches to accompany them, the news has continued to be very distracting as it is presumably for everyone. In the last 24 hours alone, from a journalist sent crashing to the floor allegedly “body slammed” by a person aspiring to elected office (or is he already in office?)–to confirmation from the CBO (Congressional Budget Office) that the health of our nation is going to take a huge body blow if the latest health care plan is passed–to disconcerting news about NATO (also “body slammed?”), it is tough to keep one’s eyes on the task at hand.  But perhaps the combination of these colliding impressions is good for something after all…

In sorting through older material, I came across the famous “boiling frog”–a metaphor, of course, for not noticing when there are gradual changes in your surroundings, until it is too late.  According to the metaphor, a frog in a pot of slowly heating water will not react quickly enough to save himself and will eventually die.  (This is literally not true; the frog will jump out if he can, apparently.  I myself have not tested it, but I respect scientists and experts and they have).

Image: Watercolor, gouache, and ink by Black Elephant Blog author (2014)

This is a week too in which we have heard the word “suborn” used in open testimony. It’s a useful word.  It seems related to another one rarely heard:  “inure”, which the dictionary defines as “becoming accustomed to something, especially something unpleasant.”  (Perhaps this is a good time to recommend a currently best-selling new little book, available on Amazon for less than $6:  On Tyranny:  Twenty Lessons From the Twentieth Century,” by Timothy Snyder, a professor of history at Yale.)

With so much coming at us almost hourly, it sometimes seems like the fate of the world is being decided right now.

Illustration: Color study, Watercolor, acrylic and gouache, “Where Do We Go From Here?” by Black Elephant Blog author (2017)

People are tired of being distracted by it but the most conscientious know that too much is at stake to turn away. Much as we might like to, we can’t tune out what is going on because it’s unfortunately true– the fate of the world is being decided right now.  And if we tune out, we will surely not be as fortunate as the sensitive frog who manages to escape the dangers of his warming world.

So, we must not become inured to the bruising pace of the news cycle.  It seems to me essential to find ways collectively to both deal with every incoming distraction and yet look beyond it to make sense in time of where we are going and might wish to go instead.

Momentous times indeed, but I have faith we will prove to be at least as smart as  frogs.  So back to the drawing board…

A Brown Pink Bottle in a Window

While taking a break from work this week (as well as from the always overwhelming news especially with the tragic reports this week from the already unimaginably devastated Syria), I came across four colored bottles perched side-by-side at the back of a shelf in a store.  As they were priced to sell, I bought them with the thought that they’d be great for watercolor projects. Painting glass objects is something I see watercolor artists do all the time–at least online– and many of them exhibit a great deal of talent in their work.  This seemed like a good exercise for me at this point. So I propped them up on my angled drafting table, where they picked up the daylight, and considered what would be involved.

Illustration: Photo of colored bottles in a window

Today I decided that I’d use the new-on-the-market L’Aquarelle Canson Heritage 140 lb. hot press paper.  I’d noticed in the past month that it takes watercolor very well without being too absorbent so I hoped to achieve a more transparent look with the bottle project.  As with any paper, it takes some testing to figure out how much paint to apply for different results.

First, though, I did a draft on a smaller piece of Canson cold press watercolor paper in a sketchbook I’ve come to like for carrying around outdoors; the paper quality is great and the spiral notebook opens flat and is light.   As I did this, I considered how to match the colors of the actual bottles.

The amber-yellow glass bottle in my small collection suddenly reminded me of the largish tube I have of the so-called “brown pink” watercolor paint by Sennelier.  I know that this paint, despite its storied history as a favorite of the likes of John Singer Sargent, is controversial due to its suspected or proven problems with lightfastness. I have not tested it but I did want to use it for this watercolor as I suspected that the “brown pink” shade would come close to matching the yellow-green tint of the glass bottle, and I was right.

As you can see, I do have a lot of the brown pink paint (which says right on the tube “N.R.”, meaning “not rated” (for lightfastness) and, fortunately, I discovered that I like its effects on paper very much.

Brown pink watercolor paint

Today’s experts on watercolor paints would probably advise against using it at all, but certainly for art you are not selling–and art you are doing in the privacy of your own home!–it must be ok.  (The reason experts advise against using such “fugitive” paints is that they have a reputation for not holding their color under prolonged exposure to light.   Introducing paintings into the art market using fugitive paints tends to compromise the ability of other watercolor artists, who don’t use fugitive paints, to get the best prices for their art work, according to these arguments.)

Following some sketching to get a bit more confident drawing the bottles, I turned to the larger sheet of watercolor paper, taped to a strong board.  I used a bit of masking fluid to hold some small spaces white on the bottles, and also used some drafting tape to cover up the surface of the drafting table depicted in the drawing.

Toward the end of the day, my painting looked like this (photo below).  The project held my attention as I am not accustomed to trying to achieve the transparency of glass in watercolor.  The bottles also have some decorative effects which I tried partially to capture.  I will keep the bottles handy to practice more transparent watercolor painting–perhaps even fugitively, with my one or two of my favorite fugitive watercolors.

Illustration: Watercolor, gouache, and pen and ink, “Brown Pink Bottle Et.Al.”,  by Black Elephant Blog author on 9.1″x12.2″ L’Aquarelle Canson Heritage hot press paper (April 2017)

Polar Vortex watercolor

Winter’s definitely here in this region, in more ways than one. Temperatures are now in the teens Fahrenheit, with strong gusts of freezing wind and the occasional brittle limb snapping off the trees…so  it’s definitely not suitable for ‘plein air’ painting. But these wintry scenes, before any snow or ice falls, hold a spell of their own, and are intriguing to try to capture in paint, once you get back inside.

So it was time, after a brisk walk in the cold,  to experiment with some of the techniques I recently learned in a two-day workshop on creating “texture in watercolor.” Who knew we could paint with all manner of tools, and not just brushes? Out came the bits of sponges, the rock salt, the drafting tape (to help mask up spaces on your surface so that you don’t paint over them), the masking fluid (also for covering up spaces), dried leaves, and other treasures for creating different effects, whether for trees or mountain ranges, clouds or water, or something more exotic.

Illustration: ‘Cold Snap”, 10″ x11″ watercolor, gouache, pen-and-ink, a tiny bit of pastel pencil, and acrylic fine gold on Crescent multi-media board by Black Elephant Author

To add to all the experimentation in this painting, I used a scrap of Crescent illustration board as my surface for the first time. It’s actually an off-white cream and I wanted to see what how it would handle watercolor and other media. The board itself curved a bit in the process but can be flattened out.  It was otherwise easy to work with.  I may give this scene another go on it, in fact.  I will return to the issue of texture in watercolor in the not-too-distant future as it’s plainly something best done inside.

Transitions

On what seemed likely to be the last unseasonably warm day of the year, it was great late last week to have some time to get out and sketch along the banks of the Potomac River not far from the nation’s capital. With barely a cloud in the sky, temperatures hovered around 70 degrees–T-shirt weather barely a month before winter’s official start. The scene was placid without even a ripple breaking the surface of the water along the docks of the marina where I chose to sit–something to appreciate for as long as it lasted.

Illustration: “Washington Sailing Marina” in watercolor and gouache by Black Elephant Blog author

Sketch of the Day

Illustration: Sketch adaptation by Black Elephant Blog author of an oil painting (circa 1922) by Mexican artist Adolfo Best Maugard (1891-1969) which is part of the “Mexican Modernism: Paint the Revolution 1910-1950″exhibition currently running at the Philadelphia Museum of Art

The Path Ahead

Unseasonably warm weather and bright light this weekend added to the joys of walking through the fall colors wherever we were.  People strolled in the streets everywhere including in this neighborhood of Old Town Alexandria, Virginia, where the scene (below) in the private garden attached to a historic mansion demanded to be painted.

Illustration: Watercolor and gouache, “The Path Ahead,” on Fluid Cold Press 4″ x 6″ watercolor paper by the Black Elephant Blog author

At every turn in this colonial-era town not far from Washington, D.C., it was impossible to ignore the symbols of our rich history as a still great, if troubled, nation. And it was impossible to forget that this very week,  we will be facing a most consequential election .

And yet, when literally everything is on the ballot, the path ahead  couldn’t be more clear.  As one young voter wrote in an opinion piece today, this moment “can be a moment of all those who  hope for a better future, who believe in American leadership and who know that our best days are still ahead.”  Clearly, current and future generations here and abroad depend on us to engage constructively, and not cynically, with this moment, and thereafter to engage similarly with the process of governing.  There is no other path ahead.

Painting Pan & Avoiding Panic

Painting in the outdoors, or “plein air,” is a popular past-time for artists and great practice for everyone who wants to learn to appreciate their surroundings with new eyes. I am most likely to be found doing this on weekends when I have painting pals who want to be outdoors.  But a few (most, actually) of the people with whom I correspond do not have much time to paint whether in or out of doors, so I thought I’d write a post about what art is teaching me about readiness for the unexpected.

The other day, I found myself in a setting devoted to sustainable gardening and wild meadows where my subject turned out to be a small garden statue of the ancient Greek god of the wilds, fields, and flocks, Pan, with his man-like body and a goat’s hind legs.  The word “panic” is derived, I’ve since learned, from Pan’s name.

Illustration:  Photo of garden statue of Pan at the River Farm, Alexandria, Virginia

This subject promised to be challenging, especially given changing circumstances. Sunlight vied with overcast skies, changing the shadows on the figure every few minutes.  In addition, a wedding was scheduled for these very grounds in a short time, so planning ahead was of the essence.  First off was a quick sketch to familiarize myself with this scene, and gain some idea of lights and darks.

Illustration:  Quick sketch in terracotta watercolor pencil by Black Elephant Blog author

Such a sketch can boost confidence for the next step, though it is true that you never know how a sketch is going to turn out and many sketchbooks, like diaries, are private partly for this reason.  Nor, increasingly, do we know what we will face, so sketching (or  a rehearsal or a “scenario”of any kind) is a way to increase our readiness for the unexpected, a subject that received more attention in the early days of this blog.

Seeing Things Differently and Avoiding Panic  Learning how to see in different ways, sometimes very quickly–including connecting with others who see things differently–is fundamental to survival, not only for the artist.  It has been called various things including cognitive agility, mindfulness, and “rapid reflection.” But I’ve observed that it often doesn’t get the attention you’d expect for something so critical.  In fact, in too many places, people are incentivized to ignore the unfamiliar and to treat it as irrelevant until an altogether too-obvious change in the status quo forces (some of) them to reconsider…and sometimes that is too late.   (Even in the absence of crisis, such a disinterest in the world can harden into a lack of curiosity which calcifies one’s situational awareness at a dangerously low level.  This has proven in the past to be particularly bad for living species of all kinds–not to mention modern-age businesses–and is especially risky in today’s world where we–and all our things, such as watches, cars, and phones–are more interconnected than ever before.)

Illustration:  Watercolor on Arches Hot Press by Black Elephant Blog author

Topping off this day  of plein air painting was the opportunity to see the movie, “Sully,” on the inspirational pilot and the first responders on that incredible day when a fully-loaded passenger plan had to land on the Hudson River.  From painting Pan in the wilds, I was confronted with wild scenes that would leave most of us panic-stricken if we were in the midst of them.

Illustration: Photo from indiewire: http://www.indiewire.com/

But this is a film of human strength and prowess, strong team work, and genuine leadership.  From the pilot and his co-pilot, to the crew, the ferryboat operators, air traffic control, and many other responders, the rapid response to this unprecedented event demonstrated the value of consciously preparing (across disciplines, stovepipes, and other boundaries) for the unexpected.    In this case, one imagines that such pre-crisis teamwork contributed to enhancing preparedness for an unprecedented situation.  Remembering the importance of the  “human factor”, as per Sully when he explains himself to the NTSB (National Transportation Safety Board), is the critical difference.  His performance seems to be an example of “rapid reflection” crisis management in action; this film carefully adheres to the facts of the crisis as it actually unfolded and, therefore, truly is a “must-see” for all those in top management, whatever the field.

I’ve been reminded regularly that true artists respect unintended consequences  whereas experts of other stripes too often don’t.  Artists regularly experiment with techniques and materials, and absorb others’ approaches like sponges; many experts of other stripes too often don’t. There is seemingly an important paradox in this.

In an age when many clearly believe it is more acceptable to bash experts than to emulate them, the aspiring artist knows that study of others’ solidly perfected techniques–and, beyond this, historical appreciation as to what has been humanly possible and achieved over time–leads to greater consciousness of our individual shortcomings and more rapid recognition of the truly exceptional (as the film, Sully, also reminds us).  Recognizing these gaps can inspire us to be more curious and to learn more.  At the same time, experts themselves must prepare for circumstances never before seen (and, thus, for which there is no sketch, textbook or field of expertise). Indeed, a certain cognitive and doctrinal flexibility seems necessary, at a minimum, lest very deep expertise lead us to think that everything can be scripted, measured, and predicted ahead of time–as the differences between the NTSB and Sully demonstrated in the film.

The artist with skill in applying paint (or ink or any other medium) to paper or canvas–and expertise such as pilot Sully’s extraordinary tacit knowledge of the limits of his airplane, his ability to derive quickly from different inputs the most sensible course of action, as well as his abiding awareness of the value of human life–demonstrate human capacities  that total reliance on computers, for instance, or checklists can never achieve.

So, while it is true that you generally don’t want the pilot of your commercial jet to be creative in getting you from point A to B, the movie, Sully, does show us that adaptation in the face of the unexpected requires a degree of mindfulness  (and openness to ongoing learning) that cannot be assumed.  At their best, therefore, artists and experts of all types, whether commercially successful or not, seem to combine deep knowledge with a degree of cognitive flexibility that is hard to sustain from deep within “stovepipes” of all types, from academia to industry.  Dealing effectively with this conundrum seems to me to one of the most important things we could do these days.

Plein Air and Great Service at L’Auberge Chez Francois

During a plein air competition this week hosted by The Arts of Great Falls, Virginia, I had the opportunity to work on the grounds of one of the top French restaurants in the Washington, D.C. area, L’Auberge Chez Francois.

Illustration: Photo of “plein air” watercolor as a work-in-progress by Black Elephant Blog author

Braving unseasonably hot days (over 90 degrees!)  was made easier by the very attentive staff of this deservedly highly-rated restaurant, who came outside to the patio dining area several times to offer a cold glass of sparkling water or iced tea. This was very thoughtful, and probably outside their job description as their paying customers were inside the air-conditioned restaurant.   As it happened, I had my own ice water with me so did not need to accept their offers but their hospitality made what could have been a somewhat uncomfortable setting (due to the heat and occasional biting bugs) more pleasant.

The competition continues (and ends) today but a day already in this heat has left me content to submit only this one watercolor now on sale at the sponsors’ art gallery.  (There is something satisfying about going straight from the field to a gallery even if it is not a juried exhibition!)

Illustration: Watercolor as a work-in-progress by Black Elephant Blog author

This experience is yet another reminder that ‘plein air’ is dominated by oil painters, it seems.  The history of watercolor’s admission into the ranks of accepted mediums for serious art is a fascinating one on which I started a blog post some months ago, and may try to finish soon.  These on-site ventures out into the world of artists (and gracious restaurant staff) are fun tests of one’s ability to frame and execute a concept quickly.  My approach was to go out one day and scout the place for a scene, and then to sketch it in pencil.  The following day I set aside three hours to do the watercolor.  My hope was that the white tablecloths of the scene would provide a brighter contrast; the end result was less effective in this regard than I wanted, but dissatisfaction can be a powerful motivator.  In any case, I popped it into a frame and the sponsors now have it on display.  How fun!  And I will be happy to take it home again, if it doesn’t sell,  as a memory of this experience.

Pictures at an Exhibition: From Sketches to Paintings

As the summer winds down, it’s time to prepare for an opportunity extended to local artists to submit about 10 paintings each to a “solo exhibition” through an Art-in-Public-Places program.  Of course, nine or ten pieces are quite a lot when most of your work is inside sketchbooks.  So, I’ve decided to see if I can convert some of my sketches from earlier in the year into a piece or two which could be included in the final selection of pieces to display.

Inevitably some of the “freshness” (and free-style/sloppy look) of starting a sketch right on-site, especially in a spot so beautiful as the one below, gets lost in the translation process to another sheet of paper far from the scene.  Though, it must be said, there are advantages too of this post-sketch revision, including no exhaust fumes from the local bus lines laboring up the steep road behind you, no tourists impatiently waiting to take your spot, and no surprisingly rapid drying of your watercolors in the heat of direct and intense sunlight.

Illustration: Photo of painting in progress

In any case, here to the right is a photo of a recent attempt to re-do a sketch into another piece.  The sketch at the top of the easel is in a sketchbook and crosses the dip between pages.  It is from  earlier this summer when overlooking the Mexican town of San Miguel de Allende .  Below it is the work-in-progress.

This latter attempt  is seen in a  more finished state in the photo at the bottom of the post.  This is on Saunders Waterford paper (a popular U.K. brand) which I’m finding appealing but seemingly a tad more ‘thirsty’ than the Arches brand, relevant when it comes to issues of transparency raised in the previous post.  (Update: I am close to completing a v2 of this view on Arches hot press.)

As time goes on, I try to factor in lessons I’ve picked up from the reading I’m doing.  For instance, finding those dark values is the first order of business, according to Charles Reid in his book Watercolor Secrets, and then you can move to the lighter values.  This makes sense but is still counterintuitive and even contradicts what I’ve learned in some classes.  (If you need to go back and pump up some lights, there is also a fairly expensive liquid Arches “paper” as a form of white-out for watercolorists–it comes in most shades of watercolor paper whites. It seems a bit like cheating until one reads that John Singer Sargent no less resorted to white gouache rather liberally for similar reasons.  More on gouache and “body color” (and British and American watercolor practices in history) in an upcoming post.

Achieving a balance of transparent and opaque watercolor effects requires skill not only with a brush but also familiarity with the interactions between the types of paper, the amount of water,  and the characteristics of the paints you’re using.  Jim Kosvanec’s book on Transparent Watercolor Wheel (discussed in the previous post) is sure to sensitize any reader to the different qualities of both papers and paints (as of the book’s time of publication in 1994).  And, a heightened awareness of the “staining” and “attacking” qualities of some pigments when they are mixed with transparent ones brings to mind at least metaphorically some real-life situations.   Whether we are dealing with pigments or policies, it seems we must concede (in plain English) that some things just don’t mix: they create “mud.”  Come to think of it, such interdependencies are the stuff of life itself, ever more so given the interconnectivity of everyone and everything on the planet these days. (Who knew that the art of watercoloring might translate to a still larger stage?) Maybe the next time I’m at this overlook, I’ll be able to apply what I’ve learned so far right there in ‘plein air’.  That would be terrific!

Illustration: Watercolor and pen-and-ink, “San Miguel de Allende (v1)” on Saunders Waterford paper by Black Elephant Blog author

 

A Tiny Sketchbook To-Go (To Meetings With…)

At last, while rummaging around in an art supply coop in Montreal last week, I found a tiny sketchbook that is proving to match, or beat, the Stillman &Birn sketchbook series for on-location watercolor sketching.  This is the Pentalic  3.5 by 5.375-Inch watercolor journal, which opens up, as you might figure, to about 10.5 inches.  (It has a tiny loop at the top for a tiny paintbrush too.) As someone who has experimented with many papers (including Arches, Bockingford, Saunders, Fabriano, Moleskin, Stillman &Birn, etc.), and continues to do so, this one has been a pleasant surprise relative to all other sketchbooks I’ve tried, including Moleskin and Stillman & Birn. It has 140 lb. cotton rag cold press paper with a nice light texture; really comparable to the big names in the field, so far.  It also has a nice quality hard binding, opens flat, and has an elastic band to secure it when closed.

There are huge advantages to going small when sketching, moreover, and–if you’re using water-based media– all kinds of good reasons to choose the best paper (as any serious sketcher will confirm).  This is a sketchbook that can literally fit in your pocket or a pocket of briefcase.  (You could even take it to a meeting without drawing (oops!) much attention, and sketch the participants as a way to pass the time.)

Illustration: Watercolor and ink sketch, “Market day,” by Black Elephant Blog author

Drawing small sketches can compel you to try to get those shadows on the faces or in the pulled-back hair of a figure with merely a dot of paint.  Drawing small leaves you with more energy for the larger pieces done later inside when it’s raining. So far I have three little watercolor sketches in my tiny Pentalic watercolor journal using M. Graham, Daniel Smith, and Yarka paints, as well as ink.  (It’s been very  hot and humid in this area lately so that people (and animals) are moving slower and generally are easier to sketch.)

Illustration: Watercolor and pen-and-ink by Black Elephant Blog author

The paper handles washes and heavier watercolor applications perfectly, so I thought I’d jot this down here while thinking about it. The sketchbook is only a bit bigger than my small travel palette, which measures 4.75″ x 3.75″.  So between the two of them and a paint brush, a bit of paper towel and some water, there’s a complete studio-to-go, unbelievably small and light-weight but with no compromise in quality.

Anyway, a small sketch kit is sure to make those meetings at work more interesting!  And hopefully the day is not far away when sketching in meetings will be regarded as a sign that you’re paying appropriate attention to the proceedings.  Sketching is a form of seeing, and clearly can enhance our powers of observation and sensitivity which anyone could tell you these days we all could use more of…

18th c. Watercolor Studies as a Source of Inspiration

Illustration: Painting of Hubert Robert (22 May 1733 – 15 April 1808) Source: Wikipedia

Inspired by the outstanding exhibition now on at the National Gallery of Art in Washington, D.C. featuring the ink sketches, watercolors, and oil paintings of French 18th century painter, Hubert Robert (22 May 1733 – 15 April 1808), I’ve gone back to experimenting with waterproof inks and watercolor more intensively than ever (as per examples included at the very bottom of this post.)

Illustration: Watercolor by Hubert Robert, 18th century painter (Source: Wikiart)

Hubert Robert’s fantastically detailed watercolors (including use of gouache) are astounding.  Accompanying  placards in this exhibition note that such watercolors tended in those days to be sketches done for more finished oil paintings.  In Robert’s case, however, the watercolors often were at least as detailed as the oil paintings he later produced based upon them.  (Modern urban sketchers will appreciate the fact that Robert filled dozens of sketchbooks (I’ve forgotten the exact number) and one of them is on display in this exhibition; every page, front and back, is filled with wonderful ink sketches done in a deft but loose style.)

In another innovative departure from the times, Robert inserted human figures in many of his paintings–to help give a sense of scale to the structures–and adapted the  fantastical “capriccio” style (or painted architectural fantasy) for his technique of juxtaposing paintings of ruins with other statues or bridges not actually co-located with the ruins in real life. In addition, he included more modern scenes,  including those of contemporary laborers, artists and sketchers, and occasionally probably even himself, at work in the ruins.

Robert grew up in the midst of formal world-class art instruction from an early age, and it certainly shows. During the French Revolution, when he was thrown in prison due to his professional associations with his aristocratic clients, he managed to keep painting (and also managed to survive the ordeal); one of his dinner plates from prison is in this exhibition, with the surface painted with an ornate landscape. In addition, his paintings provide a visual record of life in the prisons during the Reign of Terror; the exhibition includes his paintings of a prison warden, a member of the aristocracy in his cell, and families entering the prison to bring their relatives food.  Seeing paintings from this horrific time cannot help but remind one of the power of art, and wonder how much power still remains untapped in our modern times.

In addition, seeing such sublime art might make one want to throw in the towel, or the paintbrush, as it were.  But it’s just as likely to make you want to learn more…and more…

Illustrations: Ink and watercolor sketches, “Guanajuato with El Pipila Statue on Hilltop”, and “Washington, D.C.” by Black Elephant Blog author

Illustration: Watercolor and pen and ink, “Woman Adjusting Potted Plant on Her Deck” by Black Elephant Blog author

 

Even if most of us can never achieve a tiny fraction of such mastery, it is still wonderful to experiment with the elements of such imaginative painting as Robert’s, and envision the possibilities down the road.

Plein Air Sketching in Frederick, Maryland

Illustration: Photo of Bell Tower in Baker Park, Frederick, Maryland

When it seems like water may pour from the sky at any moment (as it has done for nearly the past 10 days in this area), having all your watercolor kit out in the open may not be the wisest move. So in a recent gathering of sketchers and painters in a Maryland park, when the skies and winds suggested rain, it seemed safer to stick with a pencil sketch–at first.

Illustration: Pencil sketch of Bell Tower in Baker Park, Frederick , Maryland by Black Elephant Blog author

The subject in this case was a functioning bell tower–complete with enormous bells  ringing out not just the hour on the hour, but various melodies all day.  To be working on a sketch or a painting in the open air, with breezes, and flowering trees all around, while enjoying the sound of bells ringing out even the national anthem (Francis Scott Key  of Frederick wrote the “Star-spangled Banner” national anthem in the early 1800s) is a special treat indeed.  But here we were in the midst of a well-maintained park which also features a covered bridge and a theater pavilion in the historic district of Frederick, Maryland. The bell tower dates from 1941 and is named after one of the leading citizens of Frederick, Joseph Baker, whose philanthropy helped to ensure the creation of this beautiful park.

The iffy weather discouraged many from participating in this plein air event, but those who made it were amply rewarded when the skies cleared, and the entire lawn was lit up in the colors of a brilliant spring day.

Illustration: Watercolor and pen-and-ink sketch, “Baker Park Bell Tower,” on Arches watercolor board by Black Elephant Blog south

Urban Sketching in Pastel

University classes are just about done but, just across the river, students in my pastel class are still in high-gear, clearly in no hurry to have this series of classes end.   Here is a practice pastel worked up in the studio class after some sketches made not long ago.  In the ever-expanding armory of art supplies, NuPastels have been joined now by Sennelier half-stick pastels in 120 colors.  This is a messier medium than watercolor, for sure, and a whole lot more “forgiving.”  It is just about as different as it could be, in fact.  But, how do people go “urban sketching” –especially if traveling abroad–with such an array of tools–hard and soft pastels, paper of all kinds, etc?  More “problems” to solve! 🙂

Illustration: Pastel sketch, “Japanese Garden at the Hillwood Estates, Washington, D.C.” by Black Elephant author

Valuing the Value Study

There’s nothing like being reminded for the umpteenth time to do a “thumbnail.” For those who don’t know, this is a (usually small) simple sketch or two before attempting to dive right into drawing or painting the work you have in mind. Often it takes a teacher to get through to you on this; for those more accustomed to “multi-tasking” and thinking it is doing some good, it requires a bit of discipline to keep slowing down.

Illustration: Value study sketch (Hillwood Mansion grounds) by Black Elephant Blog author

In my experience, this business of reinforcing what we’ve already supposedly learned is one of the main benefits of keeping anchored in a class or two–so that your habits do not become too sloppy. And of course you keep learning new stuff even as you are reminded about the “old stuff.”

So, in the current class in pastel painting, the teacher handed out this handy little value chart (which I’ve protected in a little plastic sheath–see photo below).

Illustration: Photo of value scale

When we do thumbnails or sketches, one purpose (besides mapping out a composition) is to do a value study–a study of the “values” or the tones or shades of contrast. While it is tempting (and normal) to jump right to the details, I have learned that the details often blind us to the really important things in art (and elsewhere?…) –like values, shapes and shadows. This requires re-training the brain for many of us.  Doing value studies is the most direct form of problem-solving I’ve encountered so far in my art education. (And it seems quite transferable to other fields requiring problem-solving.)

While can be more fun to jump straight into colors (and sometimes, depending on what you are seeking to achieve, it is a good idea!), learning to see the values, shapes and shadows has its own delights. Doing this in different media, including water-soluble graphite…

Illustration: Value study in water-soluble graphite by Black Elephant Blog author

and conte crayon

Illustration: Conte crayon value study of Richard Serra metalwork sculpture (East Wing, National Gallery of Art) by Black Elephant Bog author

also provides valuable learning opportunities.

So during a recent visit to the majestic, privately-run Hillwood Museum and Gardens estate in the heart of Washington, D.C., the grounds were so beautiful underneath a

Illustration: Garden sculpture at the Hillwood Mansion and Gardens, Washington, D.C. –Photo by Black Elephant Blog author

clear blue sky that it was nearly impossible to go inside. Instead the sights of flowering trees and bushes, the gentle slope of the “Lunar Lawn”, and ornate garden sculptures were captivating. Frankly, it was a challenge to detect the “values” in different shades in such a riot of bright color. In addition, the diversity of people, from all over the world, and particularly Russian families, made it an even more memorable afternoon.  (The Hillwood Estate of Marjorie Meriweather Post features the most comprehensive collection of Russian imperial art outside of Russia, according to its website.)

Such a glorious visit to the Hillwood mansion gardens has provided much fodder for future practice in value studies and beyond…

•    A small Japanese garden, for instance, features two   whimsical bridges, leading to a roughly sketched out ‘work-in-progress’ in pastel.

• And, a toddler sitting in the tall grass already has provided inspiration for a series of sketches and value studies…
  

  Illustration:  Sketch of Toddler sitting in tall grass at Hillwood Mansion, Washington, D.C. by Black Elephant Blog author

Sketching al fresco

Beautiful weather ensures motivated sketching and even follow-through to completed watercolors–especially if it all can be done ‘al fresco’.  Keeping a pencil handy can help the hand and eyes stay limber, and make the most of even the unlikeliest compositions. This is a quick sketch for a potential watercolor done during a pause while passing by this restaurant earlier today.   (It is fairly easy to sketch diners who are deeply engaged–as all these people were–in their conversations on a gorgeous afternoon.)

In the little oasis where this scene adjoins other restaurants around a fountain and near a lake, the calm is reenergizing and the colors extraordinary–if you have time to look.  Here, in real-life, there were a lot of colors, including bright red tulips standing tall in a circle of yellow flowers in the big cement pots in the foreground, and bright tropical blue pillows on low-slung couches in the rear. Can this scene of colors and calm be captured in a watercolor or a pastel? There’s only one way to find out!  And a bit later, with the help of some (Daniel Smith) Venetian Red, Cobalt Teal Blue, and Raw Sienna watercolors (as well as a few of the magical watercolors from the Sakura Koi pocket set):

Illustration: Watercolor and pen-and-ink on Arches Cold Press 140# paper by Black Elephant Blog author

 

Sketching is Seeing

Illustration: Photo of entrance to Sketching Room at the National Gallery of Art (April 2016)

As the university semester comes to an end, the focus in our class is on tying  strands of inquiry together in an in-class simulation exercise. This week the students received a one-page scenario “sketch.” Scenario practice typically involves multiple (completely contrasting and credulity-stretching) stories or sketches for the purposes of ‘rehearsing the future,”  increasing agility of thinking and planning today, and enhancing readiness for the unexpected.   We do this because our course focuses on unconventional problems which in turn require unconventional approaches to problem-solving, examined earlier on this blog as in here, here, and here.  (The current relevance attached in some circles to the importance of becoming more aware of our decision-making processes, and impediments to solving the complex problems of today, can be seen in projects and events such as this upcoming presentation, “Missing the Slow Train:  How Gradual Change Undermines Public Policy and Collective Action”  at the Wilson Center in Washington, D.C.)

But, our  classroom process differs from standard scenario practice, though the goals remain similar. Having just considered case studies in the importance of “reframing the question” in order to design more effective problem-solving approaches to complex challenges, the students (who come from all over the world) have been given an intentionally unbounded rapidly-unfolding crisis situation in the form of a very sketchy sketch.  This scenario is ambiguous in terms of ‘ownership’ or national or jurisdictional boundaries or  even the exact facts on the ground  (simulating reality).  The students must even decide “who” they are in this simulation, in devising their plans by next week. Time is short, the situation completely unfamiliar, and two subgroups are working, respectively, in pre-crisis and post-crisis modes.  Within these groups people must work together outside of their usual lanes and routines. There is no one in charge, at least initially.  Usually the results are pretty impressive, surprising, and it’s a fun, albeit serious, way to end the semester.  We all learn something in the process.

Sketching something imaginary?

We naturally start with sketches whether we are contemplating building a new deck on the house, designing a new organizational initiative, imagining something which we don’t see, or drawing a cartoon. Sketching has a role in seeing, as emphasized quite dramatically this very week (!) by a whole room devoted to sketching (complete with free sketchbooks and pencils) at the entrance to the National Gallery of the Art in Washington, D.C. So sketches can be something we draw, or practice (as on a stage,) or simulate in a classroom or a video game.

Photo: U.S. Capitol, Washington, D.C. taken by Black Elephant Blog author

Meanwhile a gorgeous Spring has provided the perfect palette to practice sketching in different media.

Illustration: Photo by Black Elephant Blog author

Toggling between so many sketch-able things has produced many “works-in-progress” and aspirations to finish them!

Illustration: Work -in-progress pastel sketch by Black Elephant Blog author

But each one is a step in a path towards hopefully something more polished.  Sketching is also good for incubating ideas, sometimes over a period of many years, in notes, notebooks, doodles, and …sketches… awaiting a moment perhaps involving serendipity when well-honed ideas can finally be implemented.  (Most of us know of people in history who, for various reasons (like survival) kept their own ideas and sketches hidden, like “The Origin of Species” written in the early 19th century, for a quarter of a century or more.)

Illustration: Work-in-progress watercolor by Black Elephant Blog author

It turns out, as many teachers have said over the past year, process matters if we are to make progress on tough challenges (whether in art, education, public health, or security matters) and create better outcomes.  Complacency and routines can be deadly in this regard.

How curiously different is the world of artists from the world of those in many other professions.  Artists must be original in order to have a chance at being successful, much as Georgia O’Keeffe was in adopting her various styles.  But so many other professions discourage originality in part because it’s impossible to manage traditionally. As  more and more challenges at the level of cities, regions, nations, and the world at large demand originality and creativity, traditional organizations are stumbling, although some are trying to adapt.  It’s a tall order for most of them, but necessary.  Would we better off  if creativity and originality were emphasized, rather than stifled, beginning in primary school?  One wonders.  Meanwhile, it’s  no wonder sketching is catching on like wildfire:  sketch away!

Going Pastel

Joining the ranks of the pastel artists can feel like crossing over to another world; upon introduction where one is welcomed with curiosity, we mention our “medium” and this apparently already says a lot about us to the pastel artists.  Like how we approach a piece of paper, and what color our paper usually is (white, in the case of watercolor people).  Everything we have learned is just the opposite in pastel, where among the pros the affection for this medium is a self-declared addiction.

Illustration: Pastel by Black Elephant Blog author

Like every other endeavor, there’s a certain initial outlay that’s unavoidably necessary when seriously endeavoring to take on a new medium.  Pastel has its own papers and tools. I started with a box of 96 NuPastels and was quite amazed at the colors they produced.  But for blending and other effects, the more experienced all have additional favorites, and it can “add up” pretty quickly.  (I was really glad the NuPastels worked so well as I felt less compelled to immediately go out and stock up on the allegedly even better stuff.)  In addition, pastel pencils are necessary for finer details.  There’s lots to experiment with…  Most of the members of the group I’m learning with have a headstart and produced wonderful things some of which seem like frescos ready for display.  There’s another exciting journey ahead!  And another medium, pretty well-suited to urban sketching, by the way, to add to those I’ve already adopted.

Santa Fe Sketches

Illustration: Pastel by Black Elephant Blog author on grey Canson Mi-Teintes Pastel paper

New Mexico in the early Spring: bright yellow flowers in the snow, white drifts on mountain peaks in the distance, terracotta adobe houses hugging the hillsides, a fresh cold air that catches your breath, a startlingly blue sky, a lovely teahouse along Canyon Road…

From museums, churches, markets, and  hundreds of beautiful outdoor sculptures to parks, shops, and restaurants, there’s much to see and do… and sketch. But on this trip the temperatures have generally been too cold for much outdoor sketching.

Even finding the time to complete a sketch can be difficult with all the attractions all around.

Illustration: Sketch on Strathmore Aquarius II paper by Black Elephant Blog author

There’s the Georgia O’Keeffe Museum, for instance, which brings the story of this amazing artist alive, ensuring that one wants to know more.

Illustration: Georgia O’Keefe’s paintbox on display under glass at the Georgia O’Keefe Museum

And the hundreds of years of history on display in the New Mexico History Museum inside the Palace of the Governors on the Plaza.

 

The colors of the hills and mountains that have made this area a favorite of artists for many years did not disappoint.

 

Illustration: Watercolor sketch, “South of Taos” on Strathmore Aquarius II paper by Black Elephant Blog author

With its rich history, intersection of cultures, and mix of ancient and modern, Santa Fe is a mecca for artists of all kinds. It’s easy to see why they call it the Land of Enchantment!

 

 

 

 

 

 

Bridge Over Colored Water

Spring is finally here. This sketch made just yesterday in a bright and glorious sun is of a bridge with its destination obscured.

Illustration: Watercolor by Black Elephant Blog author

In other developments, experimenting now with Strathmore Aquarius II paper, converted into an accordian sketchbook, per instructions generously provided by urban sketcher Marc Taro Holmes on his blog, Citizen Sketcher; the sketchbook is for an upcoming trip out West later this week and will be featured here in the future.

Hellenistic World Bronze Sculpture Exhibit

There’s one more week left before the inspiring “Power and Pathos: Bronze Sculptures of the Hellenistic World” closes at the National Gallery in Washington, D.C. Seeing these exquisitely detailed figures from two millennia ago, and knowing that quite a few of them were discovered only recently, in some cases at the bottom of the Mediterranean, leaves one simply amazed.  As a whole, the exhibit is stunning; the alcove with the bronze statue of Artemis and the stag is so beautifully designed that it almost demanded to be seen, again and again, on multiple visits.

Illustration: Pencil sketch of bronze medallion with the bust of Athena (c. 150 B.C)–the ancient Greek goddess of wisdom–by Black Elephant Blog author

According to the exhibit catalogue, between the late seventh and second centuries B.C., Greek sculpture of the time was most distinctive for “its obsession with ever greater naturalism.” Thirty-four museums in thirteen countries on four continents contributed the sculptures that made this exhibit possible, an example of extraordinary international cooperation involving priceless treasures.

According to the organizers, this exhibition is unprecedented in its scope and ambition. Although marble sculpture was more common in Hellenistic times, bronze sculptures, such as those in this exhibition, were more “highly prized in antiquity.”  Unfortunately, since bronze was “easily melted down for recycling,” many of the sculptures were melted down and repurposed over the years.  Thus, “thousands of spectacular [bronze] sculptures produced throughout the Hellenistic world have disappeared from the archaeological record” and the finest of those that have survived are in this exhibition, say the organizers.  It’s an unforgettable experience for those who have a chance to see it.

Profiles in Watercolor

An out-of-print book, called Watercolor Solutions, by Charles Reid, is proving helpful in slowing down enough to grasp some important concepts related to watercolor painting! The book can be borrowed at a local library or you can pay about $50 for a used copy.  Reid is a highly respected watercolor artist and teacher who has an excellent way of explaining things; there are a couple of his lessons on YouTube.

In his book, he explains things as basic as how to hold, wet, and shake water off a brush. In addition, he explains how to mix colors on the palette and directly on the paper.  There are exercises in drawing profiles, portraits, and figures.   Reid recommends abandoning sketching, and to instead do contour drawings by keeping your pencil on the paper and doing one line (outline), stopping only to check on your location, but not lifting your pencil from the paper.

Here is one practice watercolor I did based on his instructions:

Illustration: Watercolor and pencil sketch on Arches 140 1b CP paper by Black Elephant Blog author

and another based on Reid’s explanation on “Adjusting Values from Photos”.  This latter section inspired me to try my hand at practicing the values by trying to copy Reid’s own method of  painting of John Singer Sargent  at work painting.  What is fascinating in this section is his description of how to “lose edges.”  It means focusing exclusively on shadow shapes and not, for instance, where the edges of an umbrella or neckline or coat are; the purples below thus sort of run together, per Reid’s own painting example on p. 85 of the hardcopy of his book.

Illustration: Copy after “John Singer Sargent” by Charles Reid in watercolor and white gouache with pencil underdrawing on Arches 140 lb CP paper by Black Elephant Blog author

 

From this experience so far, it is clear that there are good habits to work on developing, related to how much water is on the brush and how the colors are mixed and used.  Aside from all the lessons in the book, another challenge is not to ruin a library book with paint splatters.  Reid’s explanations are so helpful; it’s clear that complementing class instruction with a book like this is the way to go, at least for me (and maybe for some others!)

 

“Creativity, Inc.”, Innovation, and an “Energy Miracle”

At last, we are underway with our classes at the university, with the onset of a “Spring” semester which, delayed by some wintry weather, has so far not felt very spring-like.  With inclement weather, though, it’s been easier to get some work done on projects related to what we are covering in class, and a chance to compose a blog post on some of this. Hence, this post is a bit less about sketching present every-day scenes and more about designing alternative frameworks for the future.  (The eventual goal is to combine both in an accessible format for different audiences.)

Illustration: Watercolor and pen and ink study for “Waiting for Spring” by Black Elephant Blog author

We have moved rapidly through diverse science and security-related issues and zoomed across the land masses of the planet to understand different climatic zones, the extent of challenges to arable land, and how incidents or policy changes at a local or national level–even on the other side of the world– can have global impacts. Not yet a month into the semester, therefore, we are confronting the realization that past experience will no longer be a reliable guide to managing many looming challenges, including the necessary transition to no-carbon and low-cost sources of energy.  Innovation thus is inescapably urgent.

None other than Bill Gates, who describes himself as an “impatient optimist,” admits that “time is not on our side” when it comes to globally applicable means of reducing carbon emissions to zero.  He puts his hopes on a “miracle” in energy R& D even as it’s plain to see investment in energy research by developed nations remains far below that in other areas.  (Gates says that the scale of innovation needed requires government investment as it involves risks that the private sector is poorly equipped to assume.) Conventional approaches to problem-solving in this area simply will not work.

Illustration:  OECD chart

Already in our class there is focus on the social,  institutional, and cross-boundary aspects, as well as cognitive and psychological facets, of the problem. (It seems that, even this early in the semester, we are beginning to hear more readily the overly specialized or “silo’ed” limitations in the thinking on offer at some conference panels around town.) What does it take to harness innovative ingenuity on a global scale?  What can we learn from those who have studied processes of innovation and creativity?  Where do these subjects enter most conversations and efforts about transitioning rapidly to a low-carbon, or no-carbon, energy system?  While proposals on the global “table”, as it were, have merit, how to ensure that the collective “we” is not “betting the farm” on a strategy that will not pay-off?  Whose responsibility is it to even consider these things?  (Such are the issues we are dealing with in the classroom.)

Innovative approaches to solving complex problems, including developing the “energy miracle” Bill Gates has called for, require more than technological investment and novel financial arrangements.  They require organizations to invest in developing and sustaining creativity and strategic thinking in the workplace.  But who knows how to do this?  And have we any idea on how to be creatively collaborative across myriad institutions?  It seems that much of the material published on these topics is aimed at managers or, less often, educators.  But that may be too late for most people.  The concepts  involved must be introduced earlier in people’s careers so they have time to evaluate and internalize them with their peers. Thus such material is worked into our course at the graduate school level where students typically already have a few years of professional work experience. Understanding the obstacles to innovation–and its “fuel,” creativity–is fundamental to making progress on the complex problems, (especially “super-wicked” problems s0-called because they require the engagement of society as a whole), of today.

In many workplaces, however, the efforts of talented people are typically stifled in “myriad unseen ways,” according to Ed Catmull, President of Pixar Animation and Disney Animation in his book, Creativity, Inc., Overcoming the Unseen Forces That Stand in the Way of True Inspiration,  (Random House, 2014).  Despite constant emphasis (belatedly in many cases) these days on the need for innovation (and creativity, and disruptive breakthroughs), rarely is any thought given to how such creative work is nurtured, evaluated and sustained…to say the least.  So it seems timely to take a few notes from the book, Creativity, Inc., to see how these issues are dealt with in an industry (producer of the films, “Toy Story,” “Up,” and “Ratatouille,” among others) that most everyone assumes exemplifies the best of creative workplaces.

Catmull credits his experience as a graduate student at the University of Utah, where he received his Ph.D in 1974,  with introducing him to the importance of leaders who understand how “to create a fertile laboratory.”  Much of the research in the university’s computer science department was funded by the Advanced Research Projects Agency (ARPA) of the Department of Defense (now known as DARPA).  The university laboratory leaders understood “they had to assemble different kinds of thinkers and then encourage their autonomy.” Catmull writes that the most valuable thing he gained from the university “was the model my teachers provided for how to lead and inspire other creative thinkers.”  One of the lessons from ARPA that stayed with Catmull was:  “When faced with a challenge, get smarter.”  He thus knew that, in order to “attract the sharpest minds,” he needed to put his own insecurities away.  When starting out as the lab director at the New York Institute of Technology while still in his 20s, therefore, one of his first hires was someone who seemed to Catmull more qualified to lead the lab than he was.

Catmull’s book is the story of his journey in learning to sustain a creative work environment.  Nearly every page contains a memorable lesson applicable in other fields, such as:  “Always take a chance on better, even if it seems threatening.”  The challenge for him and his colleagues in the mid-1970s was to solve technical problems involved in applying computer animation to the film industry.  There were a few companies working on these problems and most, Catmull writes, “embraced a culture of strictly enforced, even CIA-like, secrecy.”  By contrast, Catmull and his colleagues decided to share their work with the outside world instead; his view was that “we were all so far from achieving our goal that to hoard ideas only impeded our ability to get to the finish line. [emphasis added]”   (Might this view be relevant as well to the energy challenge mentioned at the start of this post?)  Catmull notes that the “benefit of this transparency was not immediately felt” but that the “relations and connections we formed, over time, proved far more valuable than we could have imagined, fueling our technical innovation and our understanding of creativity in general.”

As his project teams grew, Catmull had to move his organization from a flat team-like structure to more of a hierarchical approach.  He realized that his team at the New York Institute of Technology actually functioned more “like a collection of grad students–independent thinkers with individual projects–rather than a team with a common goal.”  Catmull describes the influence of “Starwars” and George Lucas on the field of computer animation, and traces the trajectory of his own career, and long partnership with Steve Jobs, through the lessons he learned along the way.

To give some sense of these lessons and their broad applicability, here are a few from the book:

1. “There is nothing quite like ignorance combined with a driving need to succeed to force rapid learning.”
2. Books with advice like “Dare to fail” divert people from addressing “the far harder problem: deciding what they should be focusing on.”
3. “Being on the lookout for problems…was not the same as seeing problems.”…”The good stuff was hiding the bad stuff.”
4. “Originality is fragile.”
5. “We realized that our purpose was not merely to build a studio that made films but to foster a creative culture that would continually ask questions.”
6. “Figuring out how to build a sustainable creative culture…was a day-in-day-out, full-time job.”
7. “Ideas come from people.  Therefore, people are more important than ideas.”
8. “The hallmark of a healthy creative culture is that its people feel free to share ideas, opinions, and criticisms.”
9. “…without the critical ingredient that is candor, there can be no trust.  And without trust, creative collaboration is not possible.”
10. “The key is to look at the viewpoints being offered, in any successful feedback group, as additive, not competitive.
11.  “By resisting the beginner’s mind, you make yourself more prone to repeat yourself than to create something new.  The attempt to avoid failure, in other words, makes failure more likely.”
12. “The pressure to create–and quickly!–happens at many companies…and its unintended effect is always the same: It lessens quality across the board.”
13. “When we put setbacks into two buckets–the “business-as-usual” bucket and the “holy cow” bucket–and use a different mindset for each, we are signing up for trouble.”

Illustration: Watercolor wash and pen-and-ink sketch by Black Elephant Blog author

Dealing with “The Hidden”  Catmull’s book is exceptional for its sophisticated treatment of many tough management issues that arise in virtually any field, including learning to see “hidden” issues in the corporation and, just as important, realizing that just because you don’t see them doesn’t mean they do not exist.  He says that one of his core management beliefs is “If you don’t try to cover what is unseen and understand its nature, you will be ill-prepared to lead.” He also emphasizes that our ignorance about randomness affects our ability to face the unknown.  Catmull writes, for instance:

“We are quite adept at working with repeatable events and at understanding bell-shaped variance…[But] how can we think clearly about unexpected events that are lurking out there that don’t fit any of our existing models?  Catmull notes that there is a “human tendency to treat big events fundamentally different from smaller ones.”   This sets us up for failure, he explains, because we fail to realize that some of the small problems have long-term consequences and are, therefore, “big problems in the making.”

In another excellent section, “Learning to See,” Catmull describes how he hired an art teacher to come in to the organization to teach everyone “how to heighten our powers of observation.”   People who draw better than the rest of us, he says, “are setting aside their preconceptions” and everyone can learn to do that.  His point is that there are ways of learning to overcome biases while considering a problem.

In Sum:  It is easy to forget that the lessons in this book are derived from managing computer graphics and animation laboratories and not from the daily occurrences in organizations closer to one’s own experience.  It is thus relevant for people trying to move their organizations into a mode that makes the most of the talent within, and without (!)–or outside–, them. Understanding the forces that block our inspiration and effective creative collaboration both inside and beyond our organizations today  is key to moving forward on the many formidable challenges (some of them metaphorical“black elephants” ) facing the globe. (This is why, earlier on this blog–such as here and here and here— there has been a focus on the work of various experts regarding the barriers we face to even thinking effectively about these problems.)  Facing as many unconventional and complex challenges as we do today, it’s safe to say there are not enough books like this one and, for many people, not enough time to read and absorb them.  Some of the needed changes might not be “news-worthy” but still hugely impactful: Learning to draw, counterintuitively, may be part of the solution at the societal level, to inculcate ways, per Catmull, to overcome our ingrained biases and to sidestep cross-cultural barriers.

 

 

 

 

 

Room with a View

With nearly all the people in this area still inside their houses after the snowstorm of the past 36 hours, a cardinal took a peek into the window today.

Illustration: Watercolor and pen and ink (Kuretake fine point black marker) on Arches Cold Press 140 1b watercolor paper by Black Elephant Blog author

Sunlight lit up the scene outside, creating dramatic shadow shapes on the snow, a real challenge to paint.

After a while, it was time to take a walk outside in this wonderland, following a small path stamped down by others who passed this way earlier. Next on this blog, a look at why  about one inch of snow that fell last Wednesday caused relatively more havoc in this area of about six million people than nearly 30 inches that fell yesterday. It turns out that, like snow blindness, “paradigm blindness” can affect our ability to see, and prepare for, what’s right in front of us.  This is related to material we will commence teaching in the university semester which begins this week, so it is good for me to review it.

Illustration: Watercolor sketch on Arches Cold Press 140 lb watercolor paper by Black Elephant Blog author