Pitch Perfect

Left to right: Sherm Safford, Norman Rockwell's
original "Rookie," ready for his close-up with
CBS correspondent Lee Cowan, during visit
to Norman Rockwell Museum, May 15, 2014.
Photo by Jeremy Clowe for Norman Rockwell
Museum. All rights reserved.

Last week producers from CBS News visited Norman Rockwell Museum to film a segment I coordinated and originally pitched (no pun intended) regarding Norman Rockwell's 1957 painting, The Rookie (Red Sox Locker Room). You can read more about the origins of the shoot in this extensive Berkshire Eagle article, which I was interviewed for.

This Thursday, May 22, watch CBS Evening News to view the segment, which will include interviews with the painting's original model, Sherm Safford, and tours of the Museum's galleries, archives, and Rockwell's Stockbridge studio, located on our grounds. 

I will write more about the show, the Christie's auction of the painting (to be held on the same day), and my continued efforts as a spokesperson for the Museum. As they say, keep your eye on the ball... and watch this space!

Related Links:

CBS Evening News website

"Rockwell's 'The Rookie' to be featured on CBS News," Berkshire Eagle, May 19, 2014

Spring Training

This week went by fast, and seemed have a common thread... at least when it came to my day job.

Coming up for air... ©Jeremy Clowe. All rights reserved.

It actually started late last week, as I received a call from a writer with The Detroit Free Press; he was looking for a comment from Norman Rockwell Museum about Jackie Wells, a woman whose portrait Norman Rockwell had painted during his time in Massachusetts. It was around the late 1950s when Rockwell started attending Peggy Best's Sketch Club in Stockbridge, and one of the models the class was to paint/draw from life was Ms. Wells. Not being one of the illustrator's commercial works it seemed a rather obscure inquiry, but having been at the Museum for so many years, it didn't take me long to know exactly who the reporter was referring to.

Wells' portrait is one of the few nudes that Rockwell is known to have created during this mature point in his career; the fact that the model was African-American also makes it stand out during a time when few of the subjects he depicted for the conservative Saturday Evening Post featured people of color (they actually denied him that opportunity). I enjoyed speaking with this reporter, who made me consider how the work prefaced Rockwell's depiction of more diverse subjects during the following decade—I felt I had a lot to offer in terms of thoughtful reflection, and it was interesting to learn about how the model herself went on to inspire people (particularly those battling cancer in the Detroit area). 

Norman Rockwell (1894-1978), "The Rookie (Red Sox
Locker Room)," 1957. Norman Rockwell Museum
Digital Collections. ©SEPS: Curtis Publishing,
Indianapolis, IN

This week began with the news that two of the models for Rockwell's humorous Saturday Evening Post cover, "The Rookie (Red Sox Locker Room)" had been celebrated as guests of honor at Boston's Fenway Park. The occasion was to highlight the upcoming Christie's auction of the painting, and what better place than the landmark stadium used by the Red Sox? I knew the painting was to be displayed this week at Fenway, but had I know that the two living models—Sherm Safford and Frank Sullivan—would also be there, I might have insisted on attending. 

I had the pleasure of meeting Mr. Safford a couple times; the first being my August 2011 lecture at the George Eastman House on the topic of my videotaped oral histories with Rockwell models. Safford was the main character, "the rookie" in the 1957 painting, and a high school student from Pittsfield when the artist called on him to pose; he now lives in my hometown of Rochester, New York, and was kind enough to do a live interview with me during the lecture. We have kept in touch, and reconnected during the news about the upcoming auction.

I called Safford the day after the Fenway event, after seeing articles about him and Sullivan (a former Red Sox pitcher) during the event. Interestingly enough, the two had never met before, as Rockwell posed Safford separately from the Sox players who also traveled from Boston to his Stockbridge studio. It sounds like he and Sullivan a grand time at Fenway, and it's always nice to learn how these former models are treated. I had been meaning to get in touch with Sullivan, who now lives in Hawaii, and the event made me realize that there was no time like the present.

I gave the Red Sox Hall of Famer a call, inviting him to visit the Museum in Stockbridge if he had the opportunity during his week-long visit in Boston. Unfortunately he was not able, so I inquired about the idea of meeting him in Beantown to record his story, to which he was agreeable. It seemed like a worthwhile pursuit, since a videotaped interview with this former Major Leaguer would add to our important collection of historical recordings, and Boston is a hell of a lot closer than Hawaii.

Cutting to the chase, it didn't happen. During the time it took to seek approval on the meeting, Sullivan went ahead and made other plans (sometimes I wonder if I misunderstand the organization's needs or expectations). Too bad, because the research I conducted on him seemed interesting, and I enjoyed our brief chats on the phone. We might still have the opportunity to talk down the road, but I imagine this may have been my last window to do so in-person. Certainly the news of the upcoming sale of Sullivan's painting will be keeping me busy in the weeks to come.

Norman Rockwell (1894-1978), "Willie Gillis in Convoy," 1941.
©Norman Rockwell Family Agency. Courtesy of Sotheby's.

At the same time, out of nowhere, I received an inquiry about another painting going up for auction this month. This time it was a work I wasn't really familiar with, at least not in finished form. In 1941, Rockwell created a new illustration for his popular Willie Gillis series for the Post. Centered around the escapades of the fictional World War II recruit, I knew the series and had even interviewed the original model Bob Buck; I also knew that there was one unpublished illustration for the series that existed as a detailed charcoal study (the image in question).  What I learned was that Rockwell had also completed a fully rendered oil on canvas painting of "Willie Gillis in Convoy," and that it had been in the possession of Gardner High School since the 1950s. A beautifully executed work, this was quite the discovery, and a nice story about how the town is looking to auction off the work for needed funds to support a school scholarship.

Lo and behold, I'm doing more radio and print interviews, and on the front page of today's Boston Globe, talking about the painting and Rockwell's lasting legacy. It was a nice feeling to see my name and title appear so prominently in this major metropolitan newspaper, and one of the other interviews has been circulating through national publications courtesy of The Associated Press.

It felt good to offer my insight and interest for all of these intriguing stories... so why did I end the day feeling largely unfulfilled at work? 

Catching it while I can...
Photo ©Jeremy Clowe. All rights reserved.

My "moment of Zen" this past week was found away from my desk, running around photographing and filming the spring flowers starting to bloom on our campus. With all my other obligations, it is hard not to feel self-conscious about taking some time to attend to my own creativity. I'm not sure some of my colleagues get it, but it does require special focus to get it right, even for projects intended to benefit the Museum. The magnolia trees are beautiful but fleeting, so I knew I had a short window of opportunity to capture them; the idea is to include a few shots in a planned promotional video highlighting the Museum's year-round offerings... it was nice to give myself the time, and there must be a way to operate similarly in the coming months... who knows what the following day will bring? 

Media Collection:

"Rockwell Painting Kept in Storage in Gardner Heads to Auction," Boston Globe, May 8, 2014

"Norman Rockwell Painting Found at Gardner High School Heads To Auction," WBZ-Radio, May 8, 2014

"Adventurous Spirit of Woman Who Posed for Norman Rockwell Inspires Cancer Survivors," Detroit Free Press, May 6, 2014

"Rockwell Painting Shown at Fenway," Associated Press, May 5, 2014

We've Got Game!

Clue: This popular arts organization will be highlighted as one of the categories on this Wednesday's episode of Jeopardy!

If you answered "What is Norman Rockwell Museum?" You are correct! If you also guessed that yours truly was responsible for landing the Museum on the popular, nationally syndicated TV game show, you have made it to the bonus round, my friend!

This is "Jeopardy"... live from Norman Rockwell's studio!
Photo by Jeremy Clowe for Norman Rockwell Museum. All rights reserved.

Last summer I was watching the show at my local gym, and noticed that the next category was "Walt Disney"—I took note, since we were showing an exhibition at the Museum on the art of Disney's Snow White and The Seven Dwarfs. The clues in this category were unique, since they were filmed on-location at the Walt Disney Family Museum in San Francisco; that had me even more intrigued, since they were the ones who had organized our summer show. 

So I reached out to the Disney Museum, to see if they might have a contact at Jeopardy that I could try and get in touch with, and pitch the idea of a category on "Norman Rockwell." As I explained, the nature of Rockwell's illustrations; inspired by history, current events, favorite pastimes, and art; and the way that the artist's popularity has endured over the years made it seem like the perfect idea for a category—I was happy to hear that the game show's producers agreed.

Sarah Whitcomb Foss and Jimmy
McGuire, members of the "Jeopardy!"
Clue Crew, observe Rockwell's
"Golden Rule" at Norman Rockwell
Museum, December 2013.
Photo by Jeremy Clowe for Norman
Rockwell Museum. All rights
reserved.

Last December producers and members of Jeopardy's Clue Crew visited the Museum and filmed several segments in the Museum's galleries. The clues, which I helped create, were staged in front of many of Rockwell's iconic paintings from the Museum's permanent collection, and in the artist's original studio. It was a very professional crew that visited that day, and the production was quite streamlined (I only wish that Alex Trebek, an apparent art-lover, could have made it out to Stockbridge). I learned a good deal watching the crew, and conferring with the show's dedicated researchers. 

So this Wednesday, April 30, I get to see how this entire shoot, which I helped coordinate, plays out in the context of the show (I can already hear the theme music). This is actually the first of several categories filmed at the Museum that will air over the next few months. As they say, "check your local listings"... 

And if you can't wait until Wednesday, check out this interview I conducted today with WAMC Radio. Let me know what you think of the show, and how many questions you get right at home. Cue the theme music, Alex...

Related Links (updated 4/30/14):

Jeopardy! website

"This Is... The Norman Rockwell Museum To Be Showcased on JEOPARDY!" WAMC Radio, April 28, 2014 

"Rockwell Museum to be featured on 'Jeopardy'," Schenectady Gazette, April 30, 2014

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

Local Roots Rock!

The North & South Dakotas... waking things up in Saratoga!
Photos by Jeremy Clowe. All rights reserved.

Things are starting to wake up around here after a long, harsh winter. This afternoon we had brunch and delicious crepes at a fine little cafe here in town (Tesoros), and made it to the Spectrum, our favorite movie theater, to catch the charming Grand Budapest Hotel (highly recommended!). To top that off, we said hi to Moses and soaked in the sun with a stroll around Albany's Washington Park. This weekend it sure has been nice to keep it local.  

To reinforce this theme, last evening we headed out to Saratoga Springs to catch a local band called The North & South Dakotas. We first heard the band on one of WEXT's live in-studio performances, and were quite impressed—the Dakotas have a lively Appalachian, bluegrass/roots-rock sound, with infectious tunes to match ("Troubles of Mine" is one of my early favorites). Last night's concert, held at the Putnam Den, was a CD release party for their newest album, Honey.

True blue: Zack Hay, founding member
of The North & South Dakotas.

And how sweet it was... the venue was inviting (with pool tables, atmospheric lighting, and a bouncer who looked like CeeLo), and the sound quality was good. Even before the show, lead singer Zack Hay made a point of introducing himself to me and Sarah, and by the time the band took the stage, it was evident that he had a pleasant stage presence and manner with the rest of the crowd. Eventually the venue felt like a right old hootenanny, with the audience tearing up the dance floor—as I expected, the band knew how to start a party.

Hailing from Saratoga, the North & South Dakotas were created in 2011 by Hay, guitarist Mark Retajczyk, and bassist Colin Hunt. According to their website, the band's harmony-rich sound "pays homage to the spirit of old-time American music, mountain folk traditions, and the golden age of the singer-songwriter." Their music developed further with the addition of Mike Graves (who seemed to be having a ball behind the drums last night), and Nayt Patenaude, who really sweetens the mix with his exceptional skill at playing mandolin and dobro.

Nayt Patenaude- music to our ears!

An older gentleman, who was to the side of us filming last night's show, turned out to be Patenaude's father, and we enjoyed learning a little more about the band's history, and his son's musicality (it really was a treat to hear him play). I'm really finding myself drawn to roots music lately, and feel so lucky that we have a band like the Dakotas in the area—we will definitely check them out again.

I have to say that things are looking up for "the 518"—I'm becoming more aware of the many talented artists and musicians in the area (thanks in part to WEXT, which is dedicated to playing local music), and there are exciting new venues popping up like the Low Beat (formerly Valentine's), which just held their grand opening in an area we have more than a passing fondness for (Albany's Central Avenue). 

Locally grown!

So the term "locally grown" continues to mark quality... it should be exciting to see what else comes to life in the months ahead.

Related Links:

The North & South Dakotas website

"Valentine's Music Hall finds new home, new name," WTEN-TV, April 4, 2014

*Special thanks to Zack Hay for letting me photograph the gig—we had a blast!

Preserving Musical Heritage

The sound of Shearing... created through the
artist's home Bösendorfer piano!
Photo ©Jeremy Clowe. All rights reserved.

So, you'll be happy to hear that my musical education has continued to grow this past month. 

During my big video production weekend (see last post), I trekked out to New York City to film an interview with Ellie Shearing, the widow of famed jazz pianist, Sir George Shearing. Conducted near New York's Museum Mile, the gig came about through a good friend/mentor from Massachusetts, who is helping out with the upcoming Berkshire Gateway Jazz Weekend. This year the festival will be highlighting "The Sounds of Shearing," and they thought that a videotaped interview would make for a nice compliment to live performances from original members of George Shearing's classic quintet.

I must confess that I was not familiar with George Shearing before being approached to help out with the project. When my friend mentioned his jazz standard, "Lullaby of Birdland," that old number from 42 Street is all that came to mind ("broadway" not birdland). As I discovered, Shearing was, in the words of The New York Times, "a British piano virtuoso who overcame blindness to become a worldwide jazz star."

Tea and talk- post-interview.
Photo ©Jeremy Clowe. All rights reserved.

As I have done with all of my music interviews over the years, I spent a couple weeks of heavy research, learning all I could about the pianist. His autobiography (released several years before his death in 2011) was helpful, as were the various radio tributes and YouTube clips I was able to put my hands on. It turns out that he composed over 300 titles, and recorded multiple best-selling albums from the 1950s to 2000s; he was also knighted for his services to music in 2007.

I don't pretend to be an expert on jazz, so it was fortunate that we had a jazz aficionado along during the interview. A musician in her own right, Ms. Shearing recalled several interesting stories, including tales of such jazz greats as Benny Goodman stopping through their beautiful Manhattan apartment. Also interesting and relevant, George and Ellie had a second home for many years in Lee, Massachusetts (maybe that's why she looked so familiar). I thought the interview went well, and it was a treat to get a little "behind the scenes" in the life of such an important jazz musician-- I couldn't help wondering if my father, an accomplished pianist himself, knew of Shearing's unique style of playing?

Hamish's Celtic art on display-
at the merch table, Albany, NY.
Photo ©Jeremy Clowe.

A few days later, we received a special guest at Norman Rockwell Museum—Hamish Douglas Burgess is an illustrator in his own right, specializing in traditional Celtic art. Burgess happened to be driving through the area, on route with the Irish/Canadian band, The Irish Rovers. The name sounded familiar yet, like Shearing, it wasn't music I could put a finger on. Burgess seemed quite impressed with our art and hospitality at the Museum, and generously offered me a couple tickets to see the Rovers perform the following evening at the Egg in Albany... it was a couple weeks past St. Patrick's Day, yet my luck seemed to be holding out!

The Egg is a beautiful venue—inside and out; it certainly is striking while driving past the Capital City skyline. I have seen a couple great shows there, including Ray Davies of the Kinks, and They Might Be Giants (who debuted a rather memorable song about the venue that evening!). The Rovers' jokes were cornier than Irish beef cabbage, but Sarah and I had a fun time... the band's festive Irish folk song style was a nice way to wind down the evening. I even knew a couple of their old standards: "The Unicorn" and "Drunken Sailor"- I seem to recall singing those ditties back in elementary school (if you can believe it).

Apparently this concert was part of the Irish Rovers' farewell world tour, and they seemed in fine form (including excellent accordion, pipes, and banjo). Burgess, who has been designing their recent album covers and tour merchandise, remarked that they were having some great, sold-out gigs, and I asked whether they might be having second thoughts about their decision to wind down... I've seen it happen with musicians! It must, however, be a challenge to be out on the road so much—the group has actually been around for over 50 years, with a couple original members still part of the band.. that's a lot of roving.

Band logo by Hamish Douglas Burgess.
All rights reserved.

March 2014 was a cold month indeed, but thankfully, music kept me circulating...

Related Links:

www.georgeshearing.net

http://irishroversmusic.com

www.mauiceltic.com

A Richer Life Through Art

I know, things have been quiet on this blog lately... in reality, this month has been as busy as it has been cooold!

This past weekend I was on a bit of a video production tour, with stops in Connecticut and New York City (not to mention The Capital Region). Last Friday I visited the headquarters of Cortina Learning International, based in Wilton, CT, which recently donated the art and archives of the Famous Artists School to Norman Rockwell Museum. Along with the Museum's chief curator, I interviewed Cortina's owners Robert and Magdalen Livesey about this very generous gift, which includes more than 5000 artworks (including original art by Norman Rockwell), course materials, photographs, and other important objects. The couple, who have led the popular art correspondence course since 1981, shared stories about the program and the many talented artists they have worked with over the years.

Norman Rockwell wants YOU. FAS ad, c.1970s.

The Famous Artists School (FAS) was founded in 1948 by illustrator Albert Dorne and 12 of his peers, including Norman Rockwell. In its heyday, FAS became America’s most popular art correspondence course during the mid-twentieth century. At its peak enrollment in the 1950s and 1960s, FAS served as many as 40,000 students. I actually remember seeing the school's "We're looking for people who like to draw" ads in the back of comic books when I was a young kid in the 70s!

Norman Rockwell Museum has nearly doubled its collection through this new acquisition, which offers a wealth of knowledge and undiscovered materials about Rockwell and the field of American illustration art. The press has taken note, and I even landed a big feature in last Sunday's New York Times about the addition to our collection. As the Museum's press manager, this was a big coupe for me, and I'm very happy for the exposure—thanks to Times writer Randy Kennedy for the great article and interest.

Hilarious 1950s-era commercial for FAS! 

In addition to press, it has been great to play around with our new Sony PMW-100 camera and accessories. I have also been learning a bit more about lighting options for video, film and photo shoots, and will write more about that in the future.

On that note, I'll end here. To satisfy my own "communication needs," I have belatedly started a Twitter page, which should allow me to more easily share info on my current doings... hell, at this rate I should be jumping on Instagram and Tumblr in another year-! I do like the format of Twitter (keep it simple, sucka) and there are some great artists to follow over there. Still figuring out a proper website, so this should be enough to tide you over for the time being... #Ciao!

Related Links:

“The Draw of a Mail-Order Art School,” New York Times, March 20, 2014

“Famous Artists School Archives Donated to Museum,” Westport News, February 21, 2014