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Tag Archives: the arts


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margin iris. margin girl. [kerri’s blog on k.s. friday]

it took me by surprise – the iris in the middle of the cattails. we’ve hiked along these trails and through these wetlands so many times. yet we have never seen an iris here – bravely growing in the margin of the marsh.

we stopped and had a moment with the grace of the iris.

decades ago i was on a rare weekend trip with three girlfriends that ultimately changed the arc of things. our trip re-opened a door that had been slammed shut long ago. suddenly, recording my music rose from deep inside; it had seemed buried forever.

it wasn’t that I wasn’t a musician. i was. i was actively a minister of music at a church. i was teaching private piano lessons. i had been a public school choral director. i was a professional. but I wasn’t the one thing i wanted to be, the thing that felt like me, like my skin, doing what i was supposed to be doing – a recording and performing artist. that had been dashed early on – stolen by the insatiable appetite of a serial predator.

we four wandered around a small town in the corner near where wisconsin meets illinois meets iowa. they picked out an Italian restaurant for lunch – because as we wandered we talked about meatball bombers and good sauce.

but i was a margin girl – because the arts are not held – financial-reward-wise – as other professions and we had a tighter budget than most. so i didn’t feel comfortable with what i anticipated would be the cost of such a lunch at a restaurant high on a bluff in town. being a margin girl my budget was meager. i, instead, insisted on grabbing a meatball bomber at the local subway sandwich shop, encouraging them to stay with their plan to dine out. it has always been my stance that it’s not really about the food; it’s about the company.

i was the only one to buy a sub sandwich and quickly eat it out of its paper wrap at a formica-laminate table in the fast food place. but they kept me company. and then we all went to the restaurant where we were seated outside at a table with cloth napkins on a tree-lined patio. they dined on scrumptious-looking meatballs on crusty italian bread overflowing with sauce and melted fresh mozzarella with lovely stemmed glasses of wine. and i kept them company. i felt silly and out of sync with my friends, who teased me about the quality of their lunch versus mine. there was a $6 difference in the cost of the sandwich and i can’t remember the expense of a glass of wine plus tip for the meal.

i never forgot that day. it was a profound experience for me – a defining margin-moment.

years later, on our way out west, d and i stopped in this town. we did a little walking and shopping and then – very deliberately – we went to the restaurant on the hill and ordered giant meatball subs and a glass of wine. still marginpeople – particularly as artists in our mid-50s – but embracing it, proud of it, working with it instead of against it.

so the small beautiful iris tucked within the cattails in the marsh really captured my attention. a margin-dweller.

we admired her for several minutes and then we hiked on. and i quietly cheered for her. just like i cheer every time we get into our 282,000 mile littlebabyscion.

“you go,” i cheered, “you go, baby!’

*****

GALENA © 1995 kerri sherwood

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read DAVID’s thoughts this K.S. FRIDAY

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one giant meadow. [kerri’s blog on not-so-flawed wednesday]

we have a meadow in our basement. it’s tucked in the northwest corner. indigenous wildflowers, stacked in boxes, cardboard containers of native blooms.

the oeuvre of decades, shrink-wrapped, flowers from seeds of thought-lyrics, of melodic gestures, of teasing harmonies, of simple evocative lines.

waiting, impossibly, to return to a time of compact discs. waiting, impossibly, for the invasives of streaming to get under control, to support independent artists rather than undermine their success, their ability for forward-movement.

the meadow sometimes beckons – like a soft wind through tall grasses – waving to me, begging me to step into the bramble and thick vegetation. like most good meadows, there is no clear path. you simply must walk in and turn – 360° – looking around, stunned by all the wild – flowers and weeds, both.

the broadcast music inc royalty check arrived. it was for $60.72. though it’s likely a few hundred thousand, i didn’t add up all the counts (listens). but one piece caught my attention. its play on youtube alone totalled 15,212 counts of this piece. my total royalties for this: $1.21. (for perspective on this: even if only 5000 people downloaded this piece of music for 99 cents and listened to it as many times as they wished, it would bring in approx $3465 (there are iTunes fees) instead of $1.21. a stunning difference.)

and we have another meadow in the basement. the canvases of bloomed paintings stack against the west wall; the easel stands in the northwest corner. the digital age of download and print has entered the art world of hanging wire and levels.

canvases, paint, jewelcases, polycarbonate plastic, discography – our wildflowers in the basement. the meadows are cultivated in fields of artistry, of color, of sound, of words and notes and splashes.

robust meadows self-seed. as do artists. we create despite roadblocks, despite the undervaluing of our work, despite the stacks of antique-store-someday-bound cds and canvas. despite it all.

but just like meadows need help – to more than just exist – to eradicate the invasive species, to grow, to prosper, to thrive – so do artists.

at long last – and truly for reasons of existence – we are contemplating a patreon account – a subscription donation platform to help support artists to continue to do the work you value, the work that has moved you, the work you turn to – as we gratefully acknowledge those of you who have contributed to our buymeacoffee tip jar. this simply means a monthly donation – as low as $2/month – that helps to make up the difference that the world has thrust upon artists. some readers may consider this timely, an avenue through which they may participate. some readers may consider this self-serving. either way, we are interested in your thoughts. feel free to email us: kerrianddavid1111@gmail.com. and watch for this – a patreon – one of these days.

we gaze over at the basement-meadows and ponder what is in our hearts, what is left for us to do, what is ours to do. we are each true to our work and, in the spirit of the fault in our stars, we know that we have – indeed – done good work if we have touched even one person along the way.

“do the best you can until you know better. then, when you know better, do better.” (maya angelou)

it’s all a journey in one giant meadow. and the difference between hardly existing and thriving.

*****

read DAVID’s thoughts this NOT-SO-FLAWED WEDNESDAY

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sans filters. [kerri’s blog on two artists tuesday]

the colors intensified as the day drew to a close from our little spot on the deck. i didn’t take any more pictures. instead, i watched it. sometimes, in the taking of photographs, it is possible to miss it, the moment. usually i take my chances with this, but not this particular evening. i just needed to hold tightly to the summer night’s glory, the east bounceback of the setting sun, the quiet.

though i appreciate all the filters out there – on my iphone, on photoshop, on snapseed, really on anything that edits images – i never use them. i come from a practice of manual 35mm cameras, sans filters – though they were available and you could screw them onto the end of the lens. i was always more of a purist in my photography. no filters.

and i’m from new york.

the other day we were talking with friends about people asking other people questions. we live in the midwest so that’s not a simple matter. there’s a silence, a reticence to question here. even in some pretty disconcerting circumstances, confusing circumstances, circumstances that beg investigation, people hesitate to ask questions. they are even question-averse.

i’m from new york, so i don’t get it. different rules apply.

six days a week now, d and i blog. i’m quite certain that there is no one on earth who wishes to read every single word we write – sometimes a mountainous plethora of words-words. we have completely different styles of writing and, once you’ve read a few blogposts, you can recognize our individual voices. david’s posts tend to be informative, filled with teachings and learnings from writers, scholars, philosophers, artists. mine tend to be a bit smushy – thready – experience-based stories, like i’m tawwwking to you, my leading heart wide open. but both of us are sans filters. he spent years on the west coast and, remember, i’m from new york. so, yeah, no filters.

i would imagine that there are some readers reading who think, “whoa! that’s too much information! waaaay too much information!” and yes, i would say we can be pretty transparent. perhaps people would prefer filters (or less words or even opaqueness).

but this is art and the work of an artist is to be open, to communicate, to elicit emotion, to provoke thought. it’s to be vulnerable.

without filters.

otherwise, you will wonder every time you look at a photo of a sunset: is this real?

*****

read DAVID’S thoughts this TWO ARTISTS TUESDAY

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we are all in our underwear. [not-so-flawed wednesday]

with great fervor, he said, “we are all desperate to make sense out of this life.”

“play the fool,” ethan hawke’s words of wisdom.

every day of this mysteriously unknown-unrevealed-unmapped extended journey of life we have been granted – we are seeking to make sense.

and – in the moment of moments – the ones when the abyss is evident or the peak is present, the ones when confusion reigns supreme, the ones when you cannot imagine any more bliss or any more dread or any more ardor or any more devastation, the ones when complexity is the starting gate, the ones on the roller coaster you wish someone would stretch out flat – in those moments none of this – any form of art – any medium, any life-giving expression of creativity – is a luxury. it surely does sustain, heal, breathe life into the motionless heart of fear or sadness. it is the music, the paintings, the photographs, the lyrics, the poetry, the clay pot in your hand, the dance. it is what the pads of your fingers touch just simply by seeing, hearing, reading, smelling, tasting, watching. necessary. of the essence. crucial. fundamental.

“give your heart to everybody you meet. the rest is pretense.” (e.h.)

and – the creators – each of us – stand by, fools all of us. humankind. finding who we are, what we love, expressing, connecting.

“showcasing a piece is allowing it to come to full bloom, to let it breathe in the world, to share it. but showcasing a piece is not for the meek at heart.

in the way you would likely feel standing in your underwear in a town square, introducing the world to some new piece of your heart is raw. on old wooden stages with a piano and a mic, centered on a wall with a tiny price tag placed nearby, during poetry-reading night in the corner of the general store, sharing with the novel-writing club every first thursday, skating the first performance on ice, tapping “publish” on a blog each day … pieces of your heart float shakily about as you try to hold onto sisu and stay grounded. it matters not how many times you have done this. your heart has been unbridled and you are allowing others in. each and every time.” (the underwear moments* – kerri sherwood)

“but then i thought about beauty. i thought about how artists dive below the surface, try to find the depth of meaning, try to hear and see that which others might pass by, not noticing. i thought about stages and boom mics and connection and standing in front of a diebenkorn – or a robinson – deep inside, marveling. i thought about arvo pärt and his absolute tug on my heart. i thought about john denver and simplicity. i thought about recording studios and soaring string sections, cello lines that make clouds rearrange to allow in light. the weaving of intricate relationship between people and nature, between people and art in any form.

there have been moments – and i can actually remember them – when i have been driving and listening to a song and i weep or hiking and seeing something so stunning i stop and cannot move. these moments when i know, without a doubt, that it was right to turn down the business-school-accounting-program acceptance. these moments when i know, without a doubt, that i will not have the same security as the person-i-would-have-been following that route. moments when i feel a sense of pride to be a tiny part of the tapestry of what people turn to in time of rejuvenation, of rest, of crisis, of pure bliss. these moments when i know, without a doubt, that somewhere along the way what i have done with my time has touched someone, has opened them, has taken them diving with me. below the surface of this great big world – to beauty.” (the gig economy tapestry – kerri sherwood)

“…boldness. the uninhibited freedom of expression – artistry come to fruition in the moment of utter sharing. terrifying and liberating. raw and real. the underwear moments.”(*)

this great big planet earth. sedimentary layers of beauty. we are all in our underwear.

*****

read DAVID’s thoughts this NOT-SO-FLAWED WEDNESDAY

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we are naked trees. [two artists tuesday]

it is entirely and utterly exfoliated. delaminated. naked.

the slender tree stands alone in the marshland, like a graceful ballerina in allongé. barely a side branch, it is stunning against a blue blue sky.

and, yet, in all its raw nakedness, its vulnerability, it stands proudly, stalwart, determined. it is still alive.

we stand next to our canvases, in front of microphones, in recording studios, on wooden stages, at qwerty keyboards, poised in front of 88 keys, with ballet shoes or tap shoes or jazz shoes, behind the cine-camera, in front of the cine-camera, at the potter’s wheel, baton in hand, holding sculpting tools or playscripts, focusing lens and aperture, holding written words in our fingers.

we are naked trees in the marsh. we stand – vulnerable to the elements – unprotected. we brave lack. we brave abundance. we withstand the inbetween.

we are exfoliated every single time we put it out there. we are artists.

*****

read DAVID’s thoughts this TWO ARTISTS TUESDAY


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initiative. [flawed wednesday]

(sign on the door of the milwaukee institute of art & design)

a year and a half.

jen told me yesterday that the 1918 pandemic, though most often referred to as a two-year pandemic, actually lasted two and a half years.

two and a half years.

i shudder to think of the toll this pandemic will have taken if it lasts yet another year or more. we have learned so much; we have learned so little. the pandemic has been like a kaleidoscope and like a microscope, both. it has scattered us into constantly changing patterns and it has brought everything into minute focus. yet i wonder where this will take us.

artists aren’t typically conservative in-the-boxers. we take risks, live gig lifestyles, put ourselves out there, are vulnerable and push back against things we consider inequities, ironic double-talk, disinterest in humanitarianism, opacity where transparency is touted. we aren’t quiet, for it is our job to speak – in whatever medium our talent. we are, as artists, there to raise questions, to promote pondering, communicate ideas, tell stories, express emotion, encourage engagement, inspire connection and collaboration, reiterate interdependence of all people.

though this burden does not remain singly on the shoulders of artists, even banksy has participated in making statements about safety and guidelines in this pandemic. i’m not sure how much more blatant it needs to be. encouraging covid-19 responsibility, his work in the london tube in july 2020 was titled, “if you don’t mask, you don’t get.” he spray-paints the words, “i get lockdown, but i get up again” at the end of the video featuring his rats on the tube.

though attendees were 100% vaccinated, the invitation read, “masks required at all times unless actively eating or drinking.” they provided masks, sweet ones with the initials of the wedding couple and a heart. the venues had high high ceilings, exposed rafters and ductwork. the wedding was outside, cocktail hour was outside, dancing was outside.

when the rain came, we all kept dancing. outside, twinkling lights all around, we breathed in fresh air. even with masks on.

“a lot of people never use their initiative because no-one told them to.” (banksy)

initiative (noun): the ability to assess and initiate things independently; the power or opportunity to act or take charge before others do.

the milwaukee institute of art and design has posted signs on all their doors. they have taken a stance.

wearing a mask in public spaces – and vaccination – have been scientifically proven to lower the rate of transmission, sickness and death of a deadly global pandemic. already a year and a half.

exactly what additional kind of initiative do you need?

*****

read DAVID’S thoughts this FLAWED WEDNESDAY


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artists. funambulists. [two artists tuesday]

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between us we have two master’s degrees, two bachelor’s degrees, four businesses, a coaching and consulting practice, various certifications, multiple states of teaching credentials, fifteen albums, four singles, hundreds of paintings, multiple play-scripts, countless productions and concerts and performances and gallery showings, a radio show, four cartoons, books, blogs that contain a few thousand posts, numerous and diverse leadership positions in theatres and churches and educational institutions, too many non-profits to count, long resumes and a combined total of over eighty years of work experience.

we are artists.  and, as you know, that is not the easy path.  it’s gig economy in a corporate environment.  it means piecing things together, working a plethora of jobs at once, purchasing your own healthcare, investing in your own so-called retirement, advocating for your own value, balancing, balancing, balancing.  the tightrope is thin, but anyone doing the tightrope dance (funambulism) is well-acquainted with the balancing pole and standing tall in the center of mass on the rope, necessities in an artist’s life.

in a workplace conversation once, i was asked how i would even speculate about having a second job.  an incredulous moment, as a person who has always had simultaneous multiple jobs, it was ludicrous to me that the person asking this, who apparently has always lived in absolute bullet-pointed stability, could not fathom having more than one job at a time.  were artists to be so lucky.  were any gig workers, in their area of professionalism, to be so lucky.  that is another world entirely.

so we are always on the lookout for additional gigs, so to speak.  education, experience and skills from the wide spectrum of the first paragraph speak well to helping with growth and change processes and insight and honoring students and employees, not to mention the separate and interwoven threads of music, painting, theatre.  these experiences that span decades speak to the arts, that which the world turns to in times of chaos, unrest, dis-ease, periods marked by adjectives like distraught, devastated, frenzied, unprecedented, uncertain, arduous, splintered, divided, distrustful, untrue, exhausted.  the arts – that which feeds society.  yet, “creativity takes courage,” understated henri matisse (painter, 1869-1954).

as many of you, we receive solicited and unsolicited lists of jobs in our email.  we peruse through the obvious ill-fitting options like neurosurgeon or stem cell biological researcher; we look for opportunities to plug our work as artists into the world.  we are also emailed positions that line up with our professional abilities and tenure in the arts.

and this is what we’ve been sent:  sandwich ARTIST and GALLERY advisor.  it’s hard to know whether to laugh or be insulted.  sandwich artist?  if this is really what subway calls their employees, i would say most of us have related experience since the first time, at like age 3, we spread peanut butter and jelly on our wonder bread.  and gallery advisor?  tesla, really?  car dealer concierge maybe?

it’s a dim future if you cannot see relevance for the arts in a society, if they are secondary to anything and everything else, if they present in sandwiches and on dealership floors.  where are the organizations, the institutions, the employers who recognize the multi-faceted diamonds in an artist’s perspective, an artist’s drive, an artist’s commitment, an artist’s vision, an artist’s project-driven dedication and multi-layered stamina, an artist’s sensitivity, an artist’s heart?

as two artist-funambulists, we’d like something better for the gifted artists giving breath to joy and hope and tomorrow.  from the tightrope of this gig economy, it makes our toes curl to think any differently.

read DAVID’S thoughts this TWO ARTISTS TUESDAY

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where do we go from here? [d.r. thursday]

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“where do we go?  where do we go?  where do we go from here?”

an empty canvas.  a roadtrip with no predetermined destination.  where do you go from here, davidrobinson?

sheet music clean

an empty staff.  a roadtrip with no predetermined destination.  where do you go from here, kerrisherwood?

artists’ journeys, rife with intersections, foist decision-making upon us in our quest to create.  simply starting is sometimes an uphill challenge.  the questions are never easily answered.  the value of what we are doing is never really clear.  or is it – the value assigned to what we are doing is never really clear?

journey synonyms according to google: travel, leg, trek, ride, jaunt, expedition, drive, outing, mush, passage, junket, long haul, circuit, schlep/shlep, digression, transit, pilgrimage, excursion, sashay, traveling, tour, pleasure trip, odyssey, trip. 

i think schlep about covers it.

where do we go from here?

we have a daily decision, a choice to “begin anywhere” (john cage) and speak to the world around us and what we see through artists’ eyes.  we write, we paint, we compose.  we either create or we step away from the canvas, the staff paper, the qwerty keyboard.  we know that nothing we do will change the world.  we know that everything we do, like you, will change the world.

where do we go from here?

last night anderson cooper’s chyron read, “meanwhile, back in the real world.”  the real world.  a world fraught with chaos, trembling with the fever of a pandemic and the disease of racism.  we, as people, turn to the sages of old for words of wisdom.  we turn to art for honest displays of emotion.  we turn to music for expressions of pain and hope, grief, despair, love, action, change, fear, questions.

questions like – where do we go from here?

Every day just gets a little shorter, don’t you think?
Take a look around you and you’ll see just what I mean
People got to come together, not just out of fear

Where do we go
Where do we go
Where do we go from here?

Try to find a better place but soon it’s all the same
What once you thought was a paradise is not just what it seemed
The more I look around, I find, the more I have to fear

Where do we go
Where do we go
Where do we go from here?

I know it’s hard for you to
Change your way of life
I know it’s hard for you to do
The world is full of people
Dying to be free
So if you don’t, my friend
There’s no life for you
No world for me

Let’s all get together soon, before it is too late
Forget about the past and let your feelings fade away
If you do I’m sure you’ll see, the end is not yet near

Where do we go
Where do we go
Where do we go from here?

(peter cetera, chicago – where do we go from here?) 

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read DAVID’S thoughts this D.R. THURSDAY

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exit. stage right. [merely-a-thought monday]

exit

metaphorically speaking, the gravel hadn’t even settled after we pulled out of the parking lot and our newly-created-recently-released website had already been changed.  david warned me about this, telling me how tom m used to tell him this very thing about the moments – even just mere moments – after you leave a position.  you are forgotten, your ideas are left behind in the dust; you are the person who used to do the job.

i had spent hours and hours and hours and weeks and months designing, branding, carefully trying to portray this unique place in a fresh, interesting, vital-to-the-community way.  i painstakingly chose fonts and always included “xoxo” in posts.  i pored over hundreds of pictures i had taken there, looking for the right imagery to represent this performing arts center to which, just over a year ago, i had felt an instant attachment.  TPAC, a beautiful 253-seat theatre on a tiny island.  i added a small heart to advertising, social media posts, communications.  my heart was attached and it seemed apropos to subtly include love from TPAC in everything to the residents who have shared their island with it.

for the last year – until the end of the day yesterday – we, two people with lifelong immersion in the arts, have been the co-managing directors of this theatre.  on this island-you-cannot-drive-to, across death’s door from the mainland of door county, we weathered our way through waves of challenges.  we were brought there to create, to bring TPAC into next, to carefully elicit change in a place that pushed back against change.  we made dear new friends; we gauged our days and our progress by the greetings at the grocery store.  my fondness grew.

managing a performing arts center is not for the weak of heart.  it is not, as some would think, simply about booking performers into the space.  instead, it is weaving the place in which it exists into its very fabric, acknowledging the importance of the local arts organizations and forging relationships with their people, listening, working together to make the theatre accessible and intrinsic – necessary – to all.  it is fundraising, addressing personality issues, graphic design, ad sponsorship, strategizing, gently and firmly guiding.  for us, it was seeing the infinite details (i’m the detail one) and the arcing scope into the future (he’s the big picture one).  it was sitting-on-the-edge-of-the-wooden-stage-dreaming at its best and cleaning-the-backstage-refrigerator at its most practical.

we lived in the littlehouse on the water, a place we still cherish.  every morning i took a photograph over the lake; every night we marveled at the million stars in the sky.  we walked on quiet roads and hung out laundry to dry.  in the middle of enacting progressive forward-moving dreams, we had also returned to a simpler place, a simpler time.  washington island is indeed away-away and the ferry that makes it possible to come and go dictated our few comings and goings.

there were moments, as you would suspect, of difficulty, for no tiny place is immune to that, to agenda or powerplay.  indeed, no dense urban city is immune, so a somewhat homogeneous island with generations-long-standing residents proves no different.  when we accepted this position we put on our ‘what’s best for TPAC?’ hats and, with more objectivity than those who have been immersed in the politics and life of a place for most of its tenure, we were determined to leave those hats on, despite all odds, regardless of any pressure to bow differently.  we brought heart to TPAC and we leave pieces of our hearts behind in it.

every journey has meaning.  today i grieve the inevitable exit from this place.  they will continue on, outsiders-be-gone, with one of their own at the helm to take them into next, the island way.  TPAC will continue to grow and change; there is so much potential there.  we can see it.

and today, as i close my eyes and see the traditional red-cushioned theatre seating of the house and feel the wooden stage under my boots, i know my heart will mend a bit as the dust settles.  and the key sticks in the lock of the backstage door just as it always has.

(a farewell video post to TPAC)

read DAVID’s post this MERELY-A-THOUGHT MONDAY

sunsetonisland website box

©️ 2020 kerri sherwood & david robinson

 


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put your fingers on the keys. [d.r. thursday]

putyourfingersonthekeys WITH EYES jpeg copy 2

nine.  i have nine fingers i can use right now.  and, like chicken marsala, i am putting them on the keys and following the music.  two weeks after breaking my wrists i was back playing and directing.  who needs wrists anyway?  who needs all ten fingers?

music can’t be stopped.  it’s in the sound of the sunrise, the sound of your baby waking up, the sound of the clink of coffee cups.  it’s humming as you ready for your day, singing along in the car, laughter shared over the phone.  it’s in the hug you give your children as you drop them at school and the help you give your aging parents.  it’s in dinner you prepare for loved ones, and in the volunteering you do for a local service organization.  it’s in the walk in the woods, a stroll by the water’s edge.  it’s in the quiet weary at the end of the evening, the sighs of a life-day done well.  it’s in dreams and in hope. and it can’t be stopped.

we will always turn to the arts for comfort, for meaning, in joy and in sorrow.  the music follows us; it surrounds us.  it waits silently, ready to volume-up when necessary, hush-down when needed.  it’s background.  it’s foreground.

we need only put our fingers on the keys.

read DAVID’s thoughts this D.R. THURSDAY

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CHICKEN MARSALA ©️ 2016 david robinson & kerri sherwood