Changing Scene

Late October can really creep up on you. Where did the summer go? Where did fall go? It snowed the other day.

Photo: Jeremy Clowe / Norman Rockwell Museum

As the seasons turn, I am reminded that our exhibitions will also be changing at Norman Rockwell Museum. This is your last weekend to see Rockwell and Realism in an Abstract World, which ends on October 30.

This exhibition has examined the shifting trends in the art world during the twentieth century, when traditional narrative painting fell out of favor for more conceptual work. Abstract expressionism really took hold in the 1950s, with artists like Jackson Pollock and Mark Rothko becoming the new gold standard. Illustrators, on the other hand, attracted even more criticism, and perhaps none more so than Norman Rockwell. Over time the prejudice has faded, and realism has found a place again in the contemporary art scene (fortunately for our Museum). 

My father, an industrial designer, was a big fan of Rockwell but also tried his hand at some Pollock-style paintings back in the day. I don't know that the shifting fashions of the art world, largely fostered by art critics, really bothered him during the AbEx movement. 

Personally, I am attracted to strong expression and concepts in visual art, but equally impressed by a realist approach. This has been an interesting show, inviting visitors to think about what they consider art, and view a style of work not normally on view at our Museum.

I was tasked with creating a video for the exhibition. Once again, I had the pleasure of visiting a handful of artists in their studios (Marshall Arisman, Robert Cottingham, Eric Forstmann) and learning about their background and work. It's quite a window for me, and useful in my own knowledge of the creative process.

The challenge comes in putting it all together. Not to overstate things, but it is like approaching a blank canvas. In this case, the video was narrative, so I needed to figure out how to connect the artists' various stories. I enjoy letting personalities come through, and have been told that I have a knack for making people feel comfortable in front of the camera. Indeed, Robert Cottingham became so relaxed, that I just kept rolling as the photorealist settled into painting in his studio (it's my favorite part of the finished video). 

Sound + vision: interviewing Marshall Arisman in his NYC studio, May 2016. 

Happy with the material I collected, I faced a bit of a creative obstacle when it came time to edit. As I separated the audio channels, I discovered that the lavalier mic I had been using was spotty. In most cases, the on-camera mic was a suitable backup, but some of the rooms proved less conducive to our recording. A hard lesson to learn in the middle of post-production. Oy. 

Making the most of a stressful situation, I got a crash course in audio sweetening. Delving into my Adobe Audition and old Soundtrack Pro software, I learned a thing of two about EQ, compression, and high/low pass filtering. I appreciated the help from experts who explained possible solutions. Once I worked out some of these kinks, I was able to find a couple great jazz tracks that helped the flow and really brought the piece together. 

Onward! Our next show should be fun: a look at the art of animation studio Hanna-Barbera. I grew up with those cartoons, and had the opportunity to conduct a promo video with two of the original animators. Stay "tooned." 

In other news, the Museum recently received a generous grant from the George Lucas Family Foundation to support its multimedia efforts, and has initiated a feasibility study to look at expansion. A wise philosopher once said: "There is nothing more constant than change."

View from the office. Photo: Jeremy Clowe / Norman Rockwell Museum

Getting Real for the Rockwell

Today my short documentary for the exhibition "Roz Chast: Cartoon Memoirs" debuts as part of the show's opening at Museum of the City of New York. Along with my video and Chast's original New Yorker artwork, another highlight of this new venue will be a large mural that the cartoonist created onsite to celebrate her New York roots. The show is good fun... I recommend anyone visiting the City through October 9, 2016 to check it out! 

Robert Cottingham in his Newtown, CT
studio, April 2016. Photo by Jeremy Clowe /
NRM. All rights reserved.

This week I continued work on a video for a new exhibition we have opening at Norman Rockwell Museum this summer. Rockwell and Realism in an Abstract World will examine the forces that inspired the relegation of narrative painting, and especially the art of illustration, to a lesser status by mid-century. Illustrators working on the edges of abstraction and personal expression sought to meld both worlds, but cultural distinctions between fine and applied art remained. The exhibition will examine this fractured history and explore the resurgence of realist painting during the latter half of the twentieth century.

One of the contemporary artists to be featured in the exhibition is photorealist painter, Robert Cottingham. I had the pleasure of traveling to Newtown, Connectict this week to meet with and film Cottingham in his home/studio. Focusing on light/perspective, Cottingham has become known for dramatic, almost abstract works of such urban subjects as store signs. He was a good interview, and I think we had an even better time filming him painting; after we were done, he remarked to me that "you're the right guy to do this!" I enjoyed learning more about his work, which is stunning.

Photo: Jeremy Clowe / NRM

Also featured in the exhibition and joining us for an interview was realist painter Eric Forstmann, who has created some exceptional still life works over the years. Both Forstmann and Cottingham's work are exhibited at Eckert Fine Art of Pine Plains, NY (we interviewed founder Jane Eckert for the video as well).

Rockwell and Realism in an Abstract World is set to open June 17 at the Museum.

Related Links:

Eckert Fine Art

www.artsy.net/artist/robert-cottingham

www.artsy.net/artist/eric-forstmann

Museum of the City of New York

Fine-Tooning

Roz Chast details the fine art of blogging...
Courtesy: Roz Chast. All rights reserved.

The busy fall foliage season is winding down at Norman Rockwell Museum, and we celebrated in grand style yesterday with our "Back in Time" family cruise-in, featuring a classic car show and tribute to the 30th anniversary of Back To The Future. I was responsible for the latter, and couldn't be more pleased with how the event came together...it was one of the best days I have had in some time. I'll talk more about this, the other unique event I experience last Wednesday ("Future Day"), and provide a more thorough post about my all-time favorite movie, in the days to come.

For now, we bid farewell to Roz Chast: Cartoon Memoirs, which closes tomorrow, October 26. It has been a lot of fun working on this exhibition—not only creating the video (which one of my co-workers rather sincerely and kindly called, "a work of art in itself"), but spending some time with the artist herself. I had, once again, the unique opportunity to get to know a successful and influential artist, working in a medium I am passionate about. 

Last August I spent the afternoon with the cartoonist, driving her to New Haven, CT, for a special radio interview I arranged for her with my friends at WNPR Radio. Roz is not a big fan of driving, so I acted as her chauffeur for the day; I also appeared as a guest during a portion the segment, which you can listen to here. 

Keep Calm... and Mind The Cartoonist!
With Roz Chast and WNPR's Colin McEnroe.
Courtesy: Lydia Brown/WNPR

That late summer radio interview went well, gave us some great publicity for the exhibition, and I totally enjoyed Roz's company for the day; what I did not anticipate was feeling like I was in one of her cartoons! 

Before arriving at Roz's home/studio in southwestern Connecticut, I inadvertently drowned my smartphone (don't ask). Previously running ahead of schedule, I now found myself frantically trying to mop up the thoroughly drenched device...as the minutes began ticking. Trying my best to look upbeat, I finally arrived at the artist's home, and we hightailed it to New Haven. 

But the fun didn't stop there... suddenly we found ourselves stuck in mid-afternoon traffic, and the grey clouds started to form over my head, as I crossed my fingers that we would make it in time for the live interview. It worked out, with moments to spare, as we dashed from the nearby parking garage into the nearby studio, and proceeded with the interview. All went well and we caught an enjoyable lunch together, but when we returned to my car, I couldn't figure out how to get out of the garage...the gate was not accepting my credit cards, and there was no attendant in sight! We eventually tracked one down and got out of the "prison cell," and made our way back to Ridgefield. 

Not so fast, mister... after a few miles, we realized that my GPS was taking us in a completely wrong direction, and pulled over to attempt to reroute ourselves. At this point in the day, I wondered if I might find myself pictured in one of her quirky, New Yorker cartoons in the weeks to come... it was so neurotic... and totally me, not Roz (who was understanding, good-spirited, and funny as always). It reminded me of a question I had asked her last winter during our interview for the exhibition video. Here is an edited clip, where you hear me ask her about people recognizing themselves in her work:

Don't get me wrong... I was honored to spend the day with the artist, and we spent most of the afternoon talking about cartoons and comic art, which was my first real artistic passion and what I saw myself doing as a career in later years. What a wonderful opportunity and insight...it made me want to pick up a pencil and paper, and get cartooning again myself.

Related Links:

Roz Chast's website

"Roz Chast: Cartoon Memoirs" exhibition video

"Getting Graphic With Roz Chast," The Colin McEnroe Show, WNPR, August 19, 2015

Exhibitionist

A reminder that you can see examples of my exhibition video work for Norman Rockwell Museum at both the museum in Stockbridge, MA (Roz Chast: Cartoon Memoirs), and at the United Nations Visitors Centre in New York City (We The Peoples: Norman Rockwell's United Nations). 

I have been getting some nice compliments on both, and this week The New York Times has recommended the Roz Chast exhibition (and video!) in their "What to Do This Weekend" section. Enjoy... whatever your plans!

Toon-ing in with Roz Chast at Norman Rockwell Museum, July 2015. 
Photo: Jeremy Clowe. All rights reserved.

Peace Offering

Happy Anniversary! Celebrating in style at the United Nations.
June 29, 2015. Photo ©Jeremy Clowe. 

July is a good month for anniversaries (love you, Sarah).

This year I would be remiss if I didn’t also mention The United Nations. Actually, June 26, 1945 was the date that the original charter for the peacekeeping organization was signed in San Francisco.

Nearly 70 years to the date, I had the honor of attending two special events held at the United Nations Headquarters in New York City on June 30. The occasion was to celebrate We The Peoples: Norman Rockwell’s United Nations, a new exhibition organized by Norman Rockwell Museum to commemorate the UN’s 70th year, and I played an active role in coordinating an on-site press conference, and documenting and representing the Museum during an evening reception.

UN's "Golden Rule" mosaic (even more
impressive in person). Photo by Jeremy Clowe.

But it gets better. It turns out that I actually played a significant part in the inspiration for the exhibition.

A couple years ago, Samir Afridi, the UN’s senior communications officer, was giving a tour of the New York headquarters to his six-year-old nephew, who was particularly struck by a large mosaic of Norman Rockwell’s iconic Golden Rule illustration (a gift to the UN from the United States back in 1985). After trying to answer questions from the young boy, he turned to the internet to see if he could find any connection between Rockwell and the organization.

What he came across was a 2009 exhibition video I created and posted for Norman Rockwell Museum, detailing the conservation of United Nations, a little-known drawing created by Norman Rockwell. Inspired by the founding and goals of the organization, the artist began work on the drawing back in the early 1950s, going so far as to travel to New York to visit the then newly founded organization to conduct research and take reference photographs. Ambitious in theme, Rockwell never finished the work, but revisited his illustration of a group of world citizens for the Golden Rule painting in 1960 (removing the UN delegates, who they initially watched over in the drawing).

Both the drawing and painting are part of the Museum’s permanent collection, but the drawing had spent years in desperate need of repair, as you will see in the video (one of my favorites I have created over the years). Don’t try this at home!

My friend at the UN then decided to reach out the Museum, and discussions were underway between the two organizations about exhibiting the drawing at the UN’s Visitor Centre in time for its 70th anniversary. I first learned about the interest when Jan Eliasson, the UN’s Deputy Secretary-General, was slated to visit the Museum in Stockbridge last year to view the drawing and the rest of our collection. I was on-hand to photograph his visit, and it was nice to learn of his admiration for the video, and delight in viewing Rockwell’s artwork in person.

United Nations Secretary-General, Ban Ki-moon tours
the "We The Peoples" exhibition with Norman Rockwell Museum
Director, Laurie Norton Moffatt. Photo by Jeremy Clowe for
Norman Rockwell Museum. All rights reserved.

So, the last year has been spent preparing for the exhibition, which is now on view at the UN Headquarters through September 15, 2015. I don’t know if I have ever been so busy at the Museum: conducting press outreach, creating content, and working with the UN to coordinate our efforts. My work is not done, but I was pleased with how well the press conference and reception came together. I was pleased to have my wife on-hand to help me take photographs and share the experience in New York; we are both members of area peace action groups (I had previously filmed Secretary General Ban Ki-moon’s remarks during a New York Peace Action event five years ago), so it was meaningful for both us to be there. I also appreciated Secretary General Ban's remarks in recent essays that, "Rockwell’s United Nations, as the UN itself, remains an unfinished work." How fitting.

With civil rights era icon, Ruby Bridges at the United Nations,
June 29, 2015. Photo by Jeremy Clowe. All rights reserved.

Also in attendance for the opening was Ruby Bridges, whose historic walk to integrate Southern schools back in the late 1950s inspired Rockwell’s The Problem We All Live With painting; I had interviewed Ruby over ten years ago for the Museum, and enjoyed meeting her again (I was especially interested in talking to her about her cousin, Leon Bridges, a talented soul musician who is generating a lot of buzz lately!). Everyone seemed in good spirits about this event, and it was certainly great outreach for the Museum.

Peaceful display at the UN. Photo by Jeremy Clowe. All rights reserved.

Regarding the exhibition, our curatorial team has done a great job with the display, and I was really pleased to see my video included in the exhibition. There have been many meaningful efforts that I have been involved with at the Museum over the years, but I must say that here is an instance where it all came together (creativity, communications, artistic appreciation) and supported a cause that I wholeheartedly believe in. 

Peace.

Related Links:

Norman Rockwell Museum's United Nations exhibition site

"Museum Celebrates 70th Anniversary of The United Nations," Jeremy Clowe, Norman Rockwell Museum website

Peace Action New York State

United Nations

Tooned In

Roz Chast and her husband, humor writer Bill Franzen
at the opening. Photo by JC for NRM. ©NRM

Our new exhibition, Roz Chast: Cartoon Memoirs opened this past Saturday at Norman Rockwell Museum, with the artist on hand to help celebrate. Roz was gracious enough to conduct a couple press interviews for me during the day (with some reporters very appreciative of her work), and offered a walkthrough of the exhibition for those attending an evening gala. Click here to view some of my photos from the sold-out event.

Those visiting the exhibition, which is on view at the Museum through October 26, will also have a chance to see the video that I created for the show. Or... you can view it below. I'm pretty satisfied with this version, but do hope to go back in and make a few updates...bird is the word.

In the meantime, no rest for the weary! it's off to the United Nations... more details soon.

Related Link:

"Flights of Fancy," written by JC, Norman Rockwell Museum website, June 2015

Exhibition press release, written by JC, Norman Rockwell Museum website, May 2015

Cartoon Networking

Roz Chast in her Ridgefield, CT, studio, March 2015.
Photo by Jeremy Clowe for Norman Rockwell Museum.
All rights reserved.

Last week I had the pleasure of meeting cartoonist Roz Chast, whose humorous works have been appearing over 35 years in the pages of The New Yorker. Along with Norman Rockwell Museum's chief curator, I traveled to the artist's home in Connecticut to film an interview to be featured in our upcoming exhibition, Roz Chast: Cartoon Memories. Although it was Friday the 13th, I think we all felt lucky: the weather was feeling more comfortable, and I looked forward to another opportunity to create an exhibition video for the Museum.

Chast was also in good spirits: her memoir, Can't We Talk About Something More Pleasant? had just won "Best Autobiography" the night before from the National Book Critics Circle. I was told that this was the first time that an illustrated book has won the prestigious NBCC Award, and this added to other honors that Chast's graphic novel has picked up over the past year.

Leading up to the interview, I did a bit of research on the artist, whose work I was not familiar with (we only recently were gifted a subscription to The New Yorker). A longtime fan of comic books and cartoons (and practitioner of the art form myself), I wasn't sure what to make of Chast's quirky illustrations at first; she draws in a rather hastily, scribbled style, with liberal doses of sarcastic humor. By the time I was pouring through the fourth collection of her cartoons, I unfortunately had come down with a pretty nasty cold but suddenly found myself appreciating the style, which I learned was inspired by Charles Addams... it was sort of a release, if that makes sense. I asked her during the interview if making cartoons dealing with frustrating themes was therapeutic, and she heartily agreed.

Can't We Talk About Something More Pleasant? is Roz Chast's tale of caring for her parents  in their declining years. We talked a bit about her work on this more personal work, as well as her long history with The New Yorker. It was actually quite inspiring to hear her identify her limitations as a draftsman, followed by the surprisingly confident statement that she did not really care, and if she wanted to create cartoons she was going to. I thought this was unique to hear from an artist; you would think any hint of criticism would deter those of a sensitive bent. As I have gotten older, I have found myself getting much more perfectionistic about my drawing, which has unfortunately taken away the ease and enjoyment that I used to have when I was a kid, churning out mass numbers of doodles and comic books. Maybe working on this video documentary will be useful for me in other ways I had not expected...

Birds of a feather: Roz and her pet parrot.
Photo by Jeremy Clowe for NRM.

Of course, the rest of my preparation for the interview was getting used to the Museum's new HD video camera, light kit, and accessories, recently made possible through some generous members of our National Council. I assembled a nice three-point lighting set up, and was pleased with how it all looked in my monitor. I'm never sure how the subjects will be in front of or behind the camera, but Chast was quite pleasant, and immediately offered to give us a tour of the house (including her two animated parrots), which I also filmed. We ended up in her studio, where I took some footage of her working on one of her latest cartoons.  All in all, it was a great day and all my preparation paid off considerably. I am now looking forward to the post-production, and have some ideas about incorporating some animation and other elements that could be fun.

Roz Chast: Cartoon Memories will be on view at Norman Rockwell Museum from June 6 through October 26, 2015. A special gala opening will be held on Saturday, June 6, with the chance to meet the artist. I found her to be a charming lady, so it should be fun working with her on this upcoming show.

Related Links:

Roz Chast's website

Roz Chast interview, November 1, 2014, Salon.com 

"Cartoonist Roz Chast Brings It Home," JC's NRM website blog, March 16, 2015

Roz Chast Draws-and Talks to-Alec Baldwin, March 17, 2015, WNYC

History Lesson

Making history: Wendell Minor and David
McCullough at the opening of "Wendell Minor's
America," November 9, 2013, Norman Rockwell
Museum. Photo by Jeremy Clowe for NRM.
All rights reserved.

It was last August when I first wrote about my afternoon filming Wendell Minor in his studio, and promised more details here about the production of the video for the artist's exhibition at Norman Rockwell Museum. Time flies, huh?

Wendell Minor's America has been on view since November, and the Museum has hosted many related programs and events, including a well-attended exhibition opening. Pulitzer-Prize winning author, David McCullough joined us for the first weekend, offering eloquent remarks at the opening and a talk the following day. A friend/collaborator of McCullough's over the last few decades, Minor has created cover artwork/designs for several of the author's bestselling history books, including 1992's Truman (Minor's striking portrait of the 33rd President is on view in the exhibition). I met McCullough before the opening, and was impressed by his firm handshake and thoughtful commentary; he was also kind enough to take part in a press interview I set up that evening. You can view a portion of it here, which I filmed, on the fly, with the Museum's DSLR camera.

Wendell Minor, "First Flights," 2009. ©Wendell Minor.
All rights reserved.

I continued to land decent press for the show and the exhibition video was completed, despite some of the usual obstacles. In order to complete the film in time for the opening and not interfere with my regular duties of managing the press department, I put in a lot of extra time (gratis) outside of regular work hours—transcribing, researching, digitizing and editing. Was it worth it? Of course... I care about the quality of my work, and there's no way around it when you are a one-man band (that applies to both videos and facilitating press requests, apparently). There were, however, unnecessary incidents that continued to pop up, and made me yearn for the chance to work with a partner who truly understands and supports what it takes to make finely crafted, creative productions. By the time of the opening I was exhausted, but mostly satisfied with the way I worked through this latest process.

Wendell Minor, "Heartland (Red Barn Flag)," 1989.
©Wendell Minor. All rights reserved.

There was unfinished business though, and that's why you haven't heard much more about the video until now. 

Prior to last summer's filming, my instinct was to hire an outside lighting assistant, since there is so much more to concern yourself with during a day of shooting (and I could always use the help!). I had, however, previously filmed in Minor's studio (for my 2007 documentary, Drawing Inspiration), and remembered a decent amount of natural light coming in from the artist's window. Since there were concerns about costs, I thought I would just rely on this natural light instead of the skills of an outside professional... ugh... a decision I came to regret.

Hard at work in Wendell Minor's studio.
Photo courtesy Stephanie Plunkett. All rights reserved.

CTSB-TV has continued to be a great resource for me, and the Sony NXCAM I borrowed for the shoot was great. There is a nice clarity to the picture and sound produced on this model, and I know I could continue to get wonderful results. There is, however, a learning curve, and when I returned to watch my footage, I realized that it was overexposed in a few different sections, due to my "brilliant" idea to shoot directly facing the window. 

Compositionally, I liked the set-up: Minor's easel, materials, and a glimpse of nature lurking beyond his studio walls—I felt it lent some visual support for the themes commonly featured in his work: history, science and nature. The problem came when the sun shifted in and out of the clouds, and the lighting changed just enough to make it hard to maintain a consistent tone for the video. If I had been more knowledgeable about the camera's functions, I might have better compensated for it, but in the end I learned a valuable lesson about filming directly towards a window (without any kind of filters, gels or methods to control the changing conditions—don't do it!). Thankfully, I was able to improve some of the footage in post-production.

Recently I added the "final" touches to the video, editing in some music for the intro and outro, and tightening up a few areas. It's always nice to revisit a project after the intense period that you are first working on it—I always seem to find areas where I can make improvements, benefitting from a clear set of eyes. So here, at long last, is the final exhibition video (my favorite part is around 10:12, where I filmed the artist working on one of his watercolor illustrations): 

This updated version is being sent along with materials regarding the exhibit, which we hope to travel; and my friends at CTSB will be airing the video throughout the next month, giving a final push to the show which ends on May 26. Wendell Minor as his wife Florence have also expressed their gratitude for the video, and I have plenty of additional footage that you might be seeing in some form or another in the near future.

"Wendell Minor's America" exhibition. Photo (and video)
by Jeremy Clowe for Norman Rockwell Museum. All rights reserved.

Needless to say, there have been ongoing challenges at work. I was feeling a little down about creative opportunities this past week, as I wandered back into the Museum's galleries. My mood began to change as I entered the Minor exhibition, and came across two visitors clearly enjoying the video, entertained and watching intently—as a creative person, that is all you can ask for... it certainly raised my spirits.

You can catch Wendell Minor as his wife/author Florence Minor at the Museum this afternoon (April 26), as they do a tour, talk, and book signing. This is followed by another visit on Saturday, May 10, as the artist joins bestselling author/collaborator Mary Higgins Clark (who has the #1 fiction book in the country) for another talk and book signing. Minor also has a new picture book coming out this summer, which looks at the life of artist Edward Hopper—coincidentally, this seems to dovetail perfectly with the Museum's own summer schedule, when we will be presenting The Unknown Hopper: Edward Hopper as Illustrator, a new exhibition that explores a little-known aspect of the realist master's career.

Photo by Jeremy Clowe for
Norman Rockwell Museum. All rights reserved.

And me? Well, I'm already busy getting the word out about the Hopper exhibition, and learning how to operate our own new Sony HD camera. Yesterday I worked on a little video greeting with our Director, which you will hopefully be seeing in the coming week. I am also making an effort to learn as much as I can this year about professional lighting for video and photography. In addition, there are the encouraging signs of a new national council and staff member, who both have a background and interest in video production. We shall see. In the meantime, I'll keep trying to do my thing, and take note of recent lessons. What do they say? Those who don't learn from history...

Related Link:

Wendell Minor's official website

Piece By Peace

The "Golden Rule" mosaic. UN Photo/Milton Grant.
www.unmultimedia.org

This week the United Nations Headquarters in New York held a rededication ceremony for their large mosaic based on Norman Rockwell's Golden Rule. Created by a group of artists in Venice, Italy, the mosaic was originally presented to the UN in 1985 as a gift from the U.S. by First Lady Nancy Reagan. Five years ago it was taken down for repairs, when it was discovered to contain large cracks that threatened its integrity. I have only been outside of the UN Secretariat Building (for a peace march during the 2010 NPT Review Conference), but several years ago my wife made it in with the League of Women Voters; she says that the mosaic is an impressive sight to behold.  

It is fun to point out that the original Rockwell painting, part of the permanent collection of Norman Rockwell Museum, actually started life as an idea to illustrate the United Nations' humanitarian efforts. Conceived in 1952 and created in 1953, the original drawing included 65 people, representing the nations of the world, standing hopeful behind three UN delegates (USSR, United Kingdom, and United States). Rockwell eventually abandoned this illustration because he felt it seemed pretentious, but eventually incorporated several of its multicultural group of figures into one of his finest works: Golden Rule appeared on the cover of The Saturday Evening Post on April 1, 1961—a colorful and dynamic composition with the inspiring words: "Do unto others as you would have them do unto you."

The restoration for the mosaic was done by Williamstown Art Conservation Center, which has worked on several pieces from Norman Rockwell Museum's collection over the years, including (you guessed it) Rockwell's United Nations drawing. In 2009 I was asked to travel to Williamstown to create a video documenting how the Museum's fragile work was being repaired by conservators. The restoration process for the pencil on paper work included several fascinating steps, including being immersed in an aqueous water treatment (folks, don't try this at home!).

One of my favorite productions I have created for the Museum, here is the final video. It is currently on view at the Museum, along with the restored drawing and final Golden Rule painting.

Related Links: 

“‘Golden Rule,’ iconic Norman Rockwell mosaic, rededicated at UN Headquarters,” 
UN News Centre, February 5, 2014 

"The Golden Rule: Restoring the Norman Rockwell Mosaic at the United Nations,"
Art Conservator, Summer 2013

"Rockwell's 'Golden Rule,'" Norman Rockwell Museum

Made in America

Norman Rockwell Museum video interview with illustrator Wendell Minor.
Photo by Jeremy Clowe for Norman Rockwell Museum. All rights reserved.

Yesterday I spent the afternoon starting work on a new video project: a short documentary for our upcoming exhibition on illustrator Wendell Minor. Known for his many acclaimed children's books, Minor's art touches on his love of history and the environment. Wendell Minor's America will showcase original artworks, artifacts, and references from such picture books as Look to the Stars (by astronaut Buzz Aldrin); Abraham Lincoln Comes Home; and America the Beautiful. 

Wendell Minor's studio. Photo by Jeremy Clowe
for Norman Rockwell Museum. All rights reserved.

Along with Norman Rockwell Museum's Chief Curator Stephanie Plunkett, I traveled to Minor's home in Washington, Connecticut, to conduct the interview. I was lucky to once again borrow a Sony NXCAM HXR-NX5U to do the filming. We set up the interview in Minor's studio, which he shares with his wife/collaborator Florence, and it went well. The artist has a decent amount of light coming through the window near his workspace, which hopefully served us well. I used a reflector to warm up some of the background.

During our visit, I found myself appreciating the Minors' decorative sense− sort of a mix between Southwestern and Eastern U.S. This was actually my second visit to the couple's home− the first was back in 2004 when I interviewed Wendell Minor at length for my documentary Drawing Inspiration: Norman Rockwell in Stockbridge (Rockwell was a strong influence on the artist).

Wendell Minor's America opens November 9 at Norman Rockwell Museum. I'll have more details on the exhibition and video in the coming months. In the meantime, here is a promo video that the artist put together for the exhibition, which gives you an idea of his work: 



Related Link:

Wendell Minor's website

Spokesmanship

"Hey girl..." doing my best Ryan Gosling
to impress you. Photo by Ben Garver
for The Berkshire Eagle. All rights reserved.

Ok, it must be pretty evident by now that in addition to writing/video producing, one of my main duties at Norman Rockwell Museum is spokespersoning (Not a word? Should be). Honestly, it's something like performing... and storytelling. I am proud of what I have accomplished in this regard over the past decade, and today comes my second appearance in The Wall Street Journal. 

Norman Rockwell Museum is included in a feature about historic sites/museums utilizing new media/technology to attract new audiences; I was interviewed at length last week about our digital initiatives, and they use a quote in today's paper about our new exhibition, Norman Rockwell: Happily Ever After. This new experiment involves visitors using their smartphones or tablets to access content available through QR codes placed near the paintings. In addition to Rockwell's reference photos, the model videos mentioned in the article were created by me—some are quite old... recorded not long after I started at the Museum in 2001. As you may know, I have been involved with other technological initiatives during my time at the Museum, including exhibition videos, an interactive timeline and Google Art Project, but this is the first effort involving gallery material accessible by portable devices. Anyway, it's a cool idea... we'll see how it pans out. It's also interesting to read about the technological efforts and concerns from other venues listed in the article. On top of that, they use one of my photos on the newspaper's front page (reproduced here)!

Photo by Jeremy Clowe for Norman Rockwell Museum. All rights reserved.

Of course I wish I had more time to create videos, but there is something rewarding about acting as a spokesperson... makes all those public speaking classes pay off. It's also interesting to see how often I am misquoted or my name is misspelled/mispronounced (eh, that's "Clowe," rhymes with "the show")... you have to let it roll off your back, I guess... ultimately, it is all about promoting the venue and work. 

On that note, here is another interview I gave to The Berkshire Eagle a few weeks back for an article about low-cost opportunities at the area's cultural organizations. Perhaps the best quote in the article comes from my wife's cousin Vicki, who has been a long-time member of the Museum (I actually met her years before meeting Sarah!): "I've been to other museums in different states and countries, and a lot of them are stuffy. The Norman Rockwell Museum isn't like that -- everyone is friendly. They take a personal interest in you." 

Well-said.

Grab a chair! Representing the Museum and Norman Rockwell in the
artist's studio. Photo by Ben Garver for The Berkshire Eagle.
All rights reserved.

Related Links:

"Historic Sites Welcome Kids Who Love to Text," The Wall Street Journal, August 1, 2013

"Norman Rockwell Museum: Where 'everybody is friendly," Berkshire Eagle, June 25, 2013