I watched Poltergeist again this year, and am still so impressed with it. There are a lot of reasons, but a few things really stand out.
It’s not just the expertly crafted and paced music (Jerry Goldsmith).
It’s not just the practical, in-camera, optical effects (Richard Edlund, John Bruno, Nilo Rodis-Jamero).
It’s not just the fantastic physical and emotional presence of JoBeth Williams (an absolute classic performance that should have been rewarded).
JoBeth Willams as Diane Freeling
It’s not just the introduction of one of the most compelling characters in all of cinema (Zelda Rubinstein as eccentric medium Tangina Barrons).
Zelda Rubinstein in Poltergeist.
All of that is great and worthy of note.
But it’s also that the children and women are centered. They’re not “hysterical” nor are they “irrational.” They see and know deep realities, even if they can’t understand or entirely describe them (a theme borrowed from Spielberg’s Close Encounters of the Third Kind). These characters are the central interpreters. They stand in for the viewer. We don’t dismiss the father as a moron, but neither do we have to make him the hero. Furthermore, we don’t have to MANUFACTURE the heroism of the Carol Anne, mom Diane, or mystic Tangina. The film naturally makes them function in ways that stimulate the narrative arc without BS or montage-based tropes. They don’t miraculously and instantaneously become triumphant; they live through a trajectory of growth. They don’t automatically know everything; they use their innate characteristics to attend to the film-reality in specific and logical ways.
Heather O’Rourke, JoBeth Williams, and Craig T. Nelson in Poltergeist.
Sure, there are other examples of these qualities in popular (and more niche) media. But an average suburbanite mom coming into contact with a situation so physically and conceptually counter-intuitive gives this movie a sense of genuine humanity. Its influence is still palpable in the the horror genre some forty years on, and it’s an experience always worth a revisit.
See it if you haven’t yet (it’s available on MAX)!
This past week I gave a talk for The Honors College at The University of Missouri. The theme this fall was The Art and Science of Living, and they asked me to give a guest lecture about the nature of the body in the context of my work. I chose to focus on a number of artists who have shaped my ideas about the meaning of the body. – from Anne Harris and Robin F. Williams to Kathe Kollwitz and Charles White.
To hear the talk and see all of the artists and images I explore in the presentation, click the link here.
I had the opportunity to sit on a panel at The Columbia Art League on October 12, 2023. Moderated by Diana Moxon and including CAL Executive Director Kelsey Hammond, the wide-ranging talk engaged with a lot of what artists are thinking about in the age of AI. Watch the video below to see a visual presentation of our research, examples, opinions (and humorous asides) as you follow along with the discussion.
Late last year I talked about how Geo and I were working back and forth with some artwork/carving/A.I./carving/artwork-type collaborative stuff. The process has continued.
Smelling the newly carved oak from Geo!
I know, I know. You see the initials A.I. and you’re skeptical. As you should be. I’ve been doing a lot of research on A.I. generated images, and while I think the majority of the A.I. space is trashy, there are a few people doing some amazing exploration. Joey Borovicka over in The Timeout Zone is doing quite interesting “synthography” using A.I. models. Wolfe von Lenkiewicz is also making intensive forays into image-making with precision A.I. models.
I have been interested in using image-generation tools in a limited way. Basically, I’ve been incorporating them into the workflow. This means we start with ideas, images that we’ve made ourselves, or carvings that Geo has made. Then, uploading the images as a baseline source for the A.I. generator to use, we add text prompts to encourage various modifications. In this way we use our own images in the A.I. system and calibrate them using the wording we input. Obviously, since the models have been trained on images borrowed from the wider world, we’re viewing this as a limited experiment, but I think it’s worth it.
Here’s a sequence of explorations that we’ve done with imagery of the acanthus and my own artwork: first, I used some wording from Geo in the Dream by WOMBO A.I. app, then I loosely drew over the generated images. After making a various edits and selecting one of the versions that I’d drawn, I sent a copy to Geo, who used it as a basis for his carving.
Quilt-form based on acanthus leaves. A.I. generated from Weissler prompt wording. Acanthus Quilt. Geo Weissler. Carved oak. 2022.Drapes. Ballou. Tempera and oil pastel on panel. 2021-2023.Hidden Drapes (After Ballou). Geo Weissler. Carved oak. 2023.
Living Carve. Ballou. 10×10 inches. Ink, colored pencil, gouache on paper mounted on panel. 2023. Private collection.
The image above, Living Carve, was built by using words of Geo Weissler in Midjourney, then modified digitally in Procreate on my iPad. I took that result, printed it on a large format Epson printer using Epson Enhanced Matte paper. I then used colored pencils and gouache to develop the image and enhance the richness of color and depth of surface. Below you can see a shot of the piece framed. You can see some of the surface treatment, the sense of the material accumulating to present the image. I like the chiaroscuro and quality of light. There is a subtle feeling of trompe l’oeil to this piece, which is something I’ve only tried to do a few times before. I may try a composition like this once again. If you’d like to inquire about work like this, visit me on Instagram.
I’ve known Michelle for many years now. She’s been a central part of the local art community for all of that time, and a dedicated student of painting as well. Beyond this, Michelle is someone who always has a kind word, and her encouraging, affirming presence is something everyone in our town knows about.
She also used to be my friend Mike, who I drew for this series here. Obviously, I will not try to tell Michelle’s story. It’s not mine to communicate. But I did think it would be appropriate to place a new portrait here in the Becoming the Student group.
Portrait of Michelle R. Seat. Procreate, iPad Pro. 2022.
Since I’m an educator, I’m sure you can imagine that I come into contact with many LGTBQ+ folx. Particularly in the last decade I’ve worked with trans people in a few different contexts, but most often in the graduate program where I teach. Just like anyone else who is human, the trans people I’ve known have exhibited a wide range of personality and affect.
Everyone comes with their own traumas and triumphs, their own unique inflection on life. And the fact is that simply being human is hard. People have to come to an understanding of themselves for themselves, and my primary obligation to those around me is to be kind. While that strategy hasn’t always worked, I think it’s an important guideline. And it’s framed the way I teach and the way I interact with people. It’s not up to me to define anyone else; it’s up to me to be kind and helpful.
DETAIL of Portrait of Michelle R. Seat. Procreate, iPad Pro. 2022.
(That’s central to how I see education. My teaching philosophy includes the concepts of “facilitation, encouragement, and tact.” It’s important for my interactions with people – especially students – to function as opportunities to support and enliven them. I want to aid their ability to understand themselves and help them develop strategies for building creative points of contact. Art – or really any form of communication – is worthless if it doesn’t offer access points for others.)
So, I offer up this new portrait of Michelle in celebration of her humanity and her winsome, joyful presence in our community. I did interview her for this entry in the Becoming the Student series, but I have decided to let that conversation stay just between the two of us. There are as many ways of being human as there are humans experiencing being.
DETAIL of Portrait of Michelle R. Seat. Procreate, iPad Pro. 2022.
…all is transformed, all is sacred, every room is the center of the world, it’s still the first night, and the first day, the world is born when two people kiss, a drop of light from transparent juices, the room cracks half-open like a fruit or explodes in silence like a star, and the laws chewed away by the rats, the iron bars of the banks and jails, the paper bars, the barbed wire, the rubber stamps, the pricks and goads, the droning one-note sermon on war (…)
the invisible walls, the rotten masks that divide one man from another, one man from himself, they crumble for one enormous moment and we glimpse the unity that we lost, the desolation of being man, and all its glories, sharing bread and sun and death, the forgotten astonishment of being alive;
I’ve got a group of works on display at William Woods University in Fulton, Missouri. The show runs through October 6th, and I’ll be giving a talk that evening. For a preview, look below.
This is the third time I’ve shown this body of work, and I’d like to get the chance to show it again. The subject of the work – a “friendly-fire” bombing of a Doctors Without Borders hospital in Kunduz, Afghanistan. If you’d like to see more about this situation, check out my writing about it here.
The card for the exhibition.Back of the card with description of the show.Here are just a few of the works on display, along with some details. There’s a lot to see, so come on by!
I’m also pleased to have a small group of my collaborations with Joel T Dugan also on display at the gallery. These Phoneme works are some of my favorites, and there are a number of just finished works included.
A lot of people picked up a new skills and or hobbies during our collective quarantine. Some people got going with a sourdough starter. Some people began learning a new language. Others just worked on their alcoholism.
What I did was decide to watch as many Nicolas Cage movies as I could.
Nicolas Cage in “The Unbearable Weight of Massive Talent” 2022.
While I didn’t make it through his entire oeuvre, what I did do was see a good mix of older and newer movies, both good and not so good. From that exploration I’ve collected five below that I think demonstrate the recent best of Nicolas Cage. I’ll also rank them from #5 to #1.
Nicholas Cage in “Vampire’s Kiss” 1988.
I’ve got a lot to say about each of these films but I will constrain myself to just a few sentences, a few tasty bits of weirdness, to get you in the door. Why try to convince you? Because I really think that these are high-quality Nicolas Cage movies. You may have a sense that Nicolas Cage is not the greatest actor of his generation and, sure, there are some reasons why one might think that. He is a polarizing figure. Whether you love him or hate him, you can’t say he’s boring. I think that if you look at specific moments in the Oscar-winning actor’s career, you will see that he has moments of pure transcendence.
Given that, I’m always down for a foray into cinematic ridiculousness with him.
5) Pig (2021)
Nicholas Cage as a grimy, crazy, disaffected former-chief who goes all Fight Club in an attempt to recover his stolen truffle-sniffing pig. What more do you need? Best part: When our pig hunter shames the hell out of the hoity-toity world of fine dining.
“Pig” movie poster
4) Mom and Dad (2017)
This genre-bender reverses a lot of what you might expect from where you think it is headed, and that’s good. There are classic one-liners, great Cage rage sequences, and some fun camera work and editing. Best part: Selma Blair (i.e. Mom) in a great match up with Cage in a role that plays off his crazy with some crazy of her own.
“Mom And Dad” movie poster
3) Between Worlds (2018)
Ok, listen. This is one weird movie. It’s got an interesting sci-fi premise and would have been a much worse movie in less confident hands. Cage and veteran Franka Potente (Run Lola Run, The Borne Identity) anchor the film with seriousness and earnestness, in spite of how ridiculous parts of it are. And parts are really ridiculous. The scene where Cage’s character is being hosed down while dancing is just next level. And then there’s the scene where the character is having sex while READING A BOOK OF POETRY BY NICHOLAS CAGE. Ok? We’re getting meta here. It’s worth the watch just for the water hose thing.
Nicholas Cage and Penelope Mitchell in “Between Worlds”“Between Worlds” movie poster
2) Willy’s Wonderland (2021)
Imagine walking into an abandoned, decrepit Chuck-E-Cheese’s and being attacked by animatronic characters that have been possessed by evil forces. That’s the basic idea here. Ok, now imagine you’re Nicholas Cage AND YOU HAVE NO DIALOGUE AT ALL. No words are spoken by the star and top-billed actor in the movie. None. This movie is mostly just campy fun, but half of the tension it carries is found in waiting for and expecting words to come out of Cage’s mouth. This full-on indie project must have been someone’s labor of love that just happened to get Cage behind it. It’s so odd and off-tone in ways, yet it works. Come for the epic death blows to possessed animatronics, stay for Cage’s wordlessness.
“Willy’s Wonderland” movie poster
1) Mandy (2018)
Mandy is a work of art. Italian-Canadian Director Panos Cosmatos continues in Mandy the qualities that made his epic Beyond the Black Rainbow so strange and powerful. Atmospheric space and light. Intense color. Aural compositions that influence the space and visuals. The use of chiaroscuro to force viewers to complete the dynamics of action and scenic structure. Absolutely one of the best movies I’ve seen a decade, Mandy embraces its heavy-handed narrative and unanswered questions. Yet the emotion that comes through is palpable and so important to how it remains re-watchable. Andrea Riseborough’s subtle and keenly-felt performance is a wonderful foil to the insanity mounting in Cage’s character. If you see only one movie here, see this one.
“Mandy” movie poster
To conclude, I have to say that the movies Nicholas Cage has made in his mid to late 50s are bending toward a quirky and chaotic quality that can’t be easily dismissed. Yes, there are duds, and perhaps Cage himself is a dolt of a dude. But with roles like the ones I’ve listed above, he’s continuing to show himself to be a capable, if odd, actor more often than not.
Eric L. Sweet left us suddenly on April 6, 2015, at age 44. Sweet was a beloved member of the MU Art faculty, having worked at MU since 2012 as an Adjunct Assistant Professor, teaching Printmaking, Drawing and 2-D Design courses. He was an alumnus of the Art program, having earned both his BFA (1997) and MFA (2011) from the University of Missouri. In 2008, he received an MA in Printmaking from the University of Missouri-Kansas City. Sweet was an active member of the Southern Graphics Council International and the College Art Association.
The “Running Devil” icon that was embroidered on one of Eric’s shirts.
To celebrate Eric’s life and positive role as an educator, Sweet’s wife, Catherine Armbrust, established The Eric Sweet Exhibition & Speaker Series to continue passing on his gift. I have created a series of work celebrating Eric almost every Seize the Sixth, and this year is no different. I will be donating 100% of the sales of these pieces to the Fund. This program was created because he strongly believed in the importance of community accessibility to art and encouraged meaningful conversations about the state of contemporary art. Funding this annual exhibition and speaker series for the gallery is the perfect way to make contemporary work accessible to the MU and Columbia communities, and to honor this special man who made an impact on so many lives. In fact, the initial funding goal was met in 2021 and the very first iteration of The Eric Sweet Exhibition & Speaker Series took place on December 6, 2021. See the exhibition poster here.
Look over my limited series of CNC relief cuts, posted below. If you’d like one, contact me. You’ll get an icon of Eric’s life and students and community members will get to see art because of the donation I make from the sale. As Eric (and his 4th grade teacher) might say, “You don’t HAVE to, you GET to.”
The Artwork
I’ve made eight artworks for Seize The Sixth this year. There is one group of five CNC relief cuts that feature the classic “running devil” icon that Eric had embroidered on one of his work shirts. Below the devil is featured part of Eric’s axiom, “YOU GET TO.” It’s a proclamation of hopefulness and gratefulness. Here’s a detail of the Running Devil carving if you want to see a close up view.
There are three of these – just the Running Devil without the text.
How to get one?
I can take PayPal, CashApp, and Venmo (click each for a link to my info). If you’re local you can give me cash. The cost $50 each for these. Ones with text are 5.25×5.75 inches and those without text are 4.5×5.5 inches. Each piece is made on a PVC sheet and painted in gold spray paint. Each is signed and numbered. The ones with text are numbered 1 through 5 and the ones without text are numbered 1 through 3. First come, first serve. Feel free to email me if you have any questions – balloum (at) missouri (dot) edu.
Why no Sweet Audio this year?
Most of the time I’ve been able to put together a compilation of classic Sweet audio clips. Unfortunately, I couldn’t find any more usable clips this year. There’s a chance I still have some in the depths of my files, but I just couldn’t locate anything for this year. In lieu of that, please head over to SoundCloud and check out the previous years’ offerings!
On February 25, 2022, I had the privilege to meet with students and give a talk over at Missouri Valley College. It’s about an hour away from Columbia where I teach, and the talk was in support of my exhibition at the college, Digital Art: Exploration and Education. I gave a brief overview of my use of digital tools, from nearly 25 years ago through today. If you’d like to watch the talk, I’ve added in all of the visuals I used, but I also worked in supplemental videos and other support information to bring more background to the talk. Many thanks to Mary Linda Pepper Lane, Sarah Fletcher, and Mike McJilton for their hospitality and conversation during my visit.
Below are a number of the works I showed in that exhibition. Left to Right, Top to Bottom: “Young Joe,” “Cardiac ICU,” “Touched Pelvis,” “Color Figure Study,” “Hitt Street Parking Garage,” “Jesse,” “Self Portrait With Neck Girth.”
