potlatch presents iv films

7/28/2019 Potlatch Presents IV Films

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IV


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P O T L A T C H P R E S E N T SIV

C O M M E M O R A T I N GF O U R S H O R T F I L M S B Y

D A N A A R N E T T


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M Y R T L E S T E D M A NS T E V E N M A N N

M I C H A E L R A Y C H A R L E SR O Y B O Y


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A s a m a jo r con f e r ence pa r tn e r o f t he 1 997 B ienn i a l C onf e r enceo f t he A m er i can I n s t i t u t e o f G r aph i c A r t s and un de r w r i t e r

o f t he films ch r o n i c l ed i n th i s bo ok , Po t l a t ch C or p or a t i on p r o ud lyco nt in ue s i t s co m m itm en t to the c rea tive sp i r i t o f the

g r ap h i c a r t s comm uni ty . W e r em a in ded i ca t ed t o p r o v id in g t heh ighe s t qua l i ty coa t ed p r in t i ng pap e r s ava i l ab l e , w i th ou r

u l t im a te s ucces s r oo t e d i n ou r pa r tn e r s h ip w i th yo u , ou r c us tom er ,in the c rea t ion a nd rea l i za t ion of yo ur v i s ion .


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F O R W A R Dby Dana Arnett

The question of reciprocity between culture andthe artist's manifestations within its walls, is afar-reaching o n e. A nd a little like the chicken andthe egg conun dru m . T h e m ost fitting and truthfulapp roach , it see m ed to m e, w as to capture on filmartists in their environment, so that the viewercould retain an essence of how and what theycreate w ithin their context. T h e idea wa s to presentflesh-and-blood profiles as a m icro co sm for d iscu ssion o f our them e here today.


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W h a t you're about to see are snapshots of fourartists whose lives and work are as distinct andcontrasting as their age, race, gender and soc ioecon om ic standing. T h e on e distinction they shareis that none has yet reached celebrity criticalmass . T h is was en couraging in tw o wa ys. It allowsus to glim pse the creative proc ess o f artists w h osesole m otiva tion is an un can ny desire to fan a deepinternal flame, whose lives embody their workand meld w ith it.

I was also emboldened by the graciousnessw ith w h ich I w as invited into their l ives and intothe space where they create. Artists of m ore prom inence may not have been as forthcoming. Yet Ibelieve they have as much depth and richness asany highly visible artist. By b ein g given entree toplum b their w orlds, I w as able to docu m ent, unvarnished, the iconography of four inspired andinspiring w ork s in pr og ress. I am grateful to themfor allow ing m e to w atch th em sw eat, as it w ere.

From a techn ical per spective, all of these artistsm et the unofficial criteria as subjects for this film.But each one came to it from a unique and fresh


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perspective, wildly different in everything fromworld-v iew to front -window v iew. Somewherealong the way, through a kind of serendipity, Idiscovered that view ed as on e bod y of w ork theseartists gave the whole a shape and continuity, aninterlinking thread that I had not anticipated.M ost in evide nce is h ow their w ork has m anagedto capture a certain Zeitgeist , whether from thepast, the present or the future, and that each hasdivined the way and the means to hold fast to itwithout compromise. Here are the untold storiesof these pow erh ou ses of inspiration and industry.I believe that they act heroically in the singularpu rsu it of their art.

Ultimately, it is my hope that these films mightopen up our minds to the meaning and scope ofwhat defines an artist in our culture. If you keepwith you a small glimmer of their energy, I willcon sider th is w ork a su cc es s. I thank Potlatch fortheir support and generosity in underwriting thisproject. And finally, to the artists involved, I saythank y o u . T h es e films pay ho m age to you r spirit,com m itmen t, and to the pow er of your w ork.


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MyrtleStedman


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In an age of digital boundary-pushing, energizingart to new frontiers , there is Myrtle Stedman.Aged, diminutive, graceful, she stands terra firmain unadorned contras t . Her world springs withthe same organic puri ty that dist inguishes thetradi t ional New Mexico adobe archi tecture shehelped champion.

She is a pa inter, a w riter, and an arc hite ct w ithartistic appetites as expansive as a New Mexico sky.At 20 she married "an education," an accomplishedartist, who inspired and challenged her to step outof his shadow to cast her own bright l ight. ForMyrtle, art and life are one seamless adventure tounearth the mysteries of the creative mind. "I amso crazy to un de rs tand ho w the m ind wo rks . I tjust fills me all the time with the things I wantto say and do."

It is a comfort and gift that Myrtle Stedmanlives tucked snugly in the New Mexico mountainsof Tusuque, l iving in the adobe home she buil twith her own hands. She rises before dawn dailyfilled with the rapture to create anew. At 89, sheis both innocence and heir loom.


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ions from the M onotype series, 1997


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A drawing from Rural Architecture, 1985


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S T E V E N M A N N


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PIC VIEW THRO UGH STEVEN MANN'S TETHERLESS "COMPUTER-MEDIATED REALITY" EYEGLASSES.AS HE TURNS HIS HEAD, A COLLECTION OF IMAGES IS SEAMLESSLY STITCHED TOGETH ER, CREATING


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your p o ecuunvideo record of youd your establishmenay be transmitted aecorded at remote


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MICHAELRAY CHARLES


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Take away the media hype. Remove theprotests of the pol i t i cal ly correct. St i l l the angerof a not- insigni f icant segment of the Afr ican-Amer ican commun i t y . Wha t rema ins thenof Michael Ray Charles? One 29 year-old blackar t is t to i l ing in earnest to understand h isher itage and environ m ent th roug h his art .

Since his work hi t the wal ls of the mostprest igious galler ies of Houston and beyond,and the consc iousness of the shocked ar tcommunity, Michael Ray Charles has beentry ing hard not to defend himsel f .

Michael chal lenges the not ion of b lackident i ty with the images of haunt ingly refurbished rubber- l ipped Sambos and gr inningpickaninnies and then brazenly " cos igns " t hemw ith the u l t im ate token sym bol : a penny.

He is an observer of contemporary popculture and a recorder of this country's ignom in iou s pas t. H is wo rk dem onst ra tes howpresent-day stereotypes, though more subt leand sophist icate d, st i l l in form our l ives. "W e'renot looking at grotesque car icatures anymore,we are looking at Deion Sanders smil ing nextto a Pepsi ca n." M odern-day black face. Sp ortsas enterta inment industry equals minstrelsy ofthe '90s. Consumerism propagat ing racism.The past is the present, he w arn s.


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Down the bleak andravaged stretch of roadthat lies smack in themiddle of gritty, ghoulishGary, Indiana, "murdercapital of the world,"there is the Badlands.Lording over it is themaestro of the unrefined.Swallow him whole. Makeno mistake. There is no


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After spotting his first tattoo,a careening search for self-expression began. Timeand again he rose from theashes. Premier tattoo artist.Animal tamer. Photographer,

usician. Writer. Video-apher. Producer. Racecardriver. Flack. In his domainhe is a mythified presence,an outlaw with specialdispensation to freely walktigers and pythons down


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At 5 1 , he has respect. Todayhe is guru to the disenfranchised youth of Gary. Hisillustrated body, once a freakshow aberration, presagedwith bull's eye accuracythis generation's bentfor expression by pushingink across its body. For them,his gospel hits a chord,'lust as a king wears hiscrown, the common mancan experience this, too."


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C R E D I T SPor t ra i t o f M yr t le S tedm an by Jo an ne Ri j mes , 1984M ono type s e r ie s pho tog raphy by Dan M orse , 1997Morada res to ra t ion pho tograph by Don WolfPo r t ra i t of Steven Ma nn by Terry M aday, 199 7Ph oto grap hs o f S teven M an n 's d ig i ta l wo rk by Bar t W i towskiPo r t ra i t of M ichael Ra y Cha r les by Patr ick Demarchelier, 1996Ph otog raph s of Michae l Ray Char les and icons by Sha ron Se l igman . . .Po r t ra i t of Roy Boy by Char les S imo kai t is , 1997Ro y Boy por t fo l io ph o tog raph y by Char les S imoka i ti sMyrtle Stedman's work is published by Sunstone Press, Santa Fe, NewMexico: 800.243.5644 . Michael Ray Charles' artwork is courtesy of theBlaffer Ga llery, The Art Museum of the Un iversity of Houston.F I L M C R E W D i r e c t o r : D a n a Arnett; Produce r : Ka t i Rooney ; Ed i to r :Anne LaPor t e ; D i r ec to r o f Pho tog raphy : Ga ry Ka tz ; W r i t e r : RoseSpine l l i ; Or ig ina l Mus ic : Bob Col ton ; Crew: Mar ia Xerog ianes , CoryBerg , Fa i r e s Ande r son , Lamar B loodwor th , Ch r i s Rye r son , Ed Amer,

e Ya r io , De an D eM at i s , E r i c He l in , D am on M eena , Jo h n Jo l ea ud ,Der r ick Wi l l i ams , Chr i s E icher t , Michae l Becker , Tom Al len , TheresaBuca l l , Ph i l C ur ray , Bo b Lew el lyn , W ayne Be l l , To dd Red i l l a , C har l i eSe l igman , Renee Ga rc i a , M agg ie M agee , Jo e W ins ton . Pos t -p ro duc t ionserv ices supp l ied by Super io r S t ree t , Inc .VIDEO CREW (S teven M ann Segmen t ) Co-Director/Videographer:Ter ry M aday ; P roduce r : R icha rd S ims ; Ga f f e r : Ch r i s G l o m p ; S o u n d :S teve Lebeau .Cover pap er: Po tlatch McCoy Silk, 80-po und coverText pap er: Po tlatch McCoy Silk, 100-pound textSlip cover: Holyoke 16 pt. Black leatherflex, Kidskin finishPrin ted at: 200 line screen on six-color and five-color He idelberg 4 0 " pressesConcept and design by: VSA Pa rtners, Inc .Copy by: Rose Spinelli


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P O T L A T C H


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potlatch presents iv films

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