A Retrospective Glcc/Pittsburgh June 2011

A RETROSPECTIVE GLCC/PITTSBURGH JUNE 2011 I thank Dan Iddings and the board, staff, and volunteers of GLCC for their invitation to present a “retrospective” exhibit, a term that sounds quite grand.

But if it means a look back, then that is what we’ve assembled. A first-time look back at some of my work—a first for everyone, myself most of all.

Thanks! Much of the work in the exhibit is available for sale.

JAMES GALLERY, in Pittsburgh’s West End, represents the work of Val M Cox. Please contact Paul Cicozi, 412-922-9800, [email protected] about the available work.

Prints of many of the works in this exhibit are available at http://valmcox.imagekind.com

A portion of all sales of paintings, as well as of books and prints sold at this exhibit, benefits GLCC.

In the pdf version of this catalog, click images and underlined links to view online content. My painting started by...starting to paint. The first was a form# 2.004, landscape predictably adolescent and clumsy. About six 1 oil on canvas, 36x30 (1967) months after the first came this painting, the first “real” one in my view.

Form# 2.004 exhibited right after it was done—juried form# 5.001, into the Laguna Gloria arts festival exhibit in Austin. 2 oil on canvas, 20x28” (1970) Form# 5.001 was the second. A medalist in a student exhibit, New York.

By late teens I was on track to paint—exhibiting fairly form# 19.019, regularly and set. But a fortunate detour came when I oil/canvas/space, 144x768x3” joined the Taliesin Fellowship for nearly 15 years. Once 3 (1986) back to independent, full-time painting, this was my first

VAL M COX form# 19.019 (1984) oil/canvas/space 144x768x3" commission—mural in a department store.

Back in the studio, the paintings wanted to be something form# 20.007, other than flat surfaces on a wall. My ongoing series, 4 oil/canvas/space, 40x18x2” form/unformed, started with this painting. Two flat (1985) canvases joined to make one—multiplanar form.

Form/unformed continued from the composite canvas form# 24.042, start of form# 20.007 to the shaping of the canvas 5 oil/canvas/space, 30x30x4” surface itself as in this painting. Sculpted surface and (1990) painterly gesture are combined. Early work included a variety of subject matter, including form# 6.001, figurative work as in this portrait. All had an abstract 6 oil on panel, 24x20” (1971) bent and favored the flat planes of color that have continued to the present.

form# 21.037, Numbers 7 through 14 show work on paper—something gouache on paper, 14x17” that has been part of my work all along although seldom 7 (1998) seen. Some of it has been for publication but most done just for its own sake.

form# 31.045, gouache on paper, 11x7” 8 (1996)

form# 26.003, 9 ink on paper, 6½x8” (1991)

form# 26.004, 10 ink on paper, 6x11” (1991) form# 26.006, 1 1 ink on paper, 14x11” (1991)

form# 27.002, mixed media on paper, 11x8½” 12 (1992)

form# 26.014, mixed media on paper, 11x8” 13 (1991)

form# 28.004, 14 pastel on paper, 11x14” (1993)

THE HOUSE OF SYMPHONIES by Christopher Lantz

THE house ymphOF Words and working with language have been an adjunct on BOOK COVER front ie back CHRISTOPHER LANTZs form# 41.001;

6 THE HOUSE OF SYMPHONIES / Book One Praeludium in C Major 7 LANTZ LANTZ THE “I‘m no longer sure we all die.” TrueTrT uue storysto of a magical house and the ish, obscene, perverse scenes ever crafted. Or at least I But allow me to add: I tell you all this as a preamble. houseOF THE HOUSE OF HOUSE THE didiscoveryscovve of a new music never heard OF HOUSE THE S beforebefore.e. thought so. They are the politics of lust, the lurid unravel- Because the fellow you asked me about, to some degree, is ymph A series of interviews with individuals whose music making unearths worlds both devastating to the painting, always. I have written and edited for o ni and sublime. With music as their travelling craft, lings of the dreams of man. Ha! See, even in your imagi- responsible for the closure of my theater. CHRISTOPHER LANTZ s shaman dreamers stretch imagination to AUTHOR’S VOICESCRIPT—”RAW, ORIGINAL, VITAL” its outer edges.

nation you’re trying to sneak a glimpse of this outlandish When did I meet him last? I’d been here a short time SYMPHONIES S SYMPHONIES 1• Musical Prelude ……………………………………………………0:22 morbidity. So—you too are the bee to my honey. when I heard through gossip of a few locals in the region BOOK ONE • CHAPTERS 1−4 2• I/1Praeludium in C Major ………………………………………… 13:00 3• I/2Praeludium in F-Sharp Major ………………………………… 19:30 Do you see I’ve created these as my enticements to that someone had acquired a parcel of land not far from 4• I/3The Little Fugue in A Minor ………………………………………7:42 5• I/4Adagio and Allegro for Strings………………………………… 16:50 draw in my audience? Busloads! Anyone! Everyone who my shack and web. I could actually see it on the rise across TOTAL TIME 57:24

drives up that damnable dirt road comes here! But see the meadow. The news had no effect upon me until one DISC DISC 1 ISBN-13: 978-0-9791574-0-0 how they respond—their disgust, their horror, their long- morning I happened, during my usual constitutional Cover painting: Christopher Lantz, 1 Bird Goddess (detail) photo: Jessika Trancik ing, their lust they so suddenly reveal? walk, to cross over that direction. Sound Channel Engineer: Deerwomon HOSP Album design: Val M. Cox HOSP House and author photos: Val M. Cox & 2007 House of Symphonies Publications (HOSP)

And so the play begins . . . with my . . . if I may say so. . . When I reached his property, I came upon what I can DISC 1 of 13 christopherlantz.com my cunning insight, my stage presence, my wit and (don’t only describe as an incomprehensibility. It was a rambling editing, publication design, graphic forget!) my paintings. With my invisible, surgical scalpel I ditch. A ditch about three or four feet deep and maybe then go about dismantling their precious illusions. Disem- two feet wide. There was no machinery about. Just a shov- AUDIOBOOK CASE front balming their self-identities, and I cast them offstage and el, a pickax, lying nearby. Nothing about this ditch made back wait until the next charter bus arrives. any rational sense. It curved around aimlessly this way

Have I no remorse, you ask? Not in the least! I’m doing and that. From a bird’s-eye perspective, I think it would THE

my discarded players a service. Don’t you see? It’s just at have looked like a lying dead snake. Not curled. More like houseOF

such times as these—their lives are disembalmed, disin- roadkill. Flung aimlessly to the side. It was, as we like to S

n ymph

h on

tegrated—that their souls are revealed even unto them- say in the trade, without rhyme or reason. a i n e

CHRISTOPHER LANTZ

l AUTHOR’S ORIGINALs VOICESCRIPT

E n

selves. But lest I belabor the point, I do this performance On my next visit, the ditch was ﬁlled in with concrete. g

e r

: S

for no altruistic reason. I do this theater to afﬁrm my posi- Small lengths of rebar jutted up here and there on its ﬂat e

r w print, broadcast, and more. My part in form# 41.001 o

tion as director of my own reality. To me, all that exists surface. Was this the foundation for walls? At the time I n

A l b u is . . . is this life. Beyond is simply the void. Allow me to honestly couldn’t tell. m

d e s ig n DISC : V expand the point. It was on my third crossing over that I finally met him. a 1 l M m . o C c o z. x t / n You, I, everyone makes choices. Either you are of the There he was beside his maze, bent over a wheelbarrow, la & r e 2 h 00 p 7 H IS to ou BN is se :9 hr of S 78-0-9 4-0-0 c theater, or you are not. If you are not, notice this and act mixing cement with a hoe. I must admit I was somewhat ymp 79157 P) h S onies Publications (HO 15 accordingly. You’ll be unceremoniously cast out anchor- disappointed. I’d envisioned something like a fire-breath- less and adrift—the pitiful players of the true players of ing ogre, perhaps. But there he was—an average, midsized the stage called Life. Truly said, all the world’s but a stage, man. Nothing more. Nothing less. We exchanged saluta- but there’s only one stage center for each of us, and we in- tions, pleasant small words mostly about the weather as I dividually must find it and hold center and this . . . this un- recall. And that was that. design; (2006–present) godly, divinely beautiful, wild land (all of it!) is my stage. My visits became more frequent as the walls rose upon That’s right. So I just— this rambling snake. I can’t say I got to adequately know I digress . . . the fella. He never stopped building long enough for ei-

EXCERPT—PRINT EDITION, Chapter 1, pages 6 and 7 © House of Symphonies Publications combines the word and the image in one project. VAL M COX form# 41.001 (2006–present) Editor; publication design; book, audiobook, and ebook design form# 28.009, One of the 16 illustrations I made for Christopher Lantz’s Field Manual-Ovens/City, “children’s book written especially for grown-ups,” The 16 mixed media on paper, 11x34” Field Manual to the Performances of the Forty-Nine (1993) Symphonies.

form# 31.031, As form/unformed continued, shapes of the canvas oil/canvas/space, 21x37x11” surface developed as painterly gesture withdrew as 17 (1996) elements of the work.

form# 44.001, A work exhibited in 2010 at the Carnegie Museum 1 8 oil/canvas/space, 122½x45½15” in the Associated Artists of Pittsburgh’s 100th Annual (2010) Exhibition.

VAL M COX form# 44.001 (2010) (installation views) oil/canvas/space 122½x45½x15"

S 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 -ARCHITECTURE -COMMERCE/TECH/SCIENCE -EVENT -FILM/VIDEO -LITERATURE -MUSIC/DANCE/THEATER -VISUAL ARTS -ARCHITECTURE -COMMERCE/TECH/SCIENCE -EVENT -FILM/VIDEO -LITERATURE -MUSIC/DANCE/THEATER -VISUAL ARTS -ARCHITECTURE -COMMERCE/TECH/SCIENCE -EVENT -FILM/VIDEO -LITERATURE -MUSIC/DANCE/THEATER -VISUAL ARTS -ARCHITECTURE -COMMERCE/TECH/SCIENCE -EVENT -FILM/VIDEO -LITERATURE -MUSIC/DANCE/THEATER -VISUAL ARTS -ARCHITECTURE -COMMERCE/TECH/SCIENCE -EVENT -FILM/VIDEO -LITERATURE -MUSIC/DANCE/THEATER -VISUAL ARTS -ARCHITECTURE -COMMERCE/TECH/SCIENCE -EVENT -FILM/VIDEO -LITERATURE -MUSIC/DANCE/THEATER -VISUAL ARTS -ARCHITECTURE -COMMERCE/TECH/SCIENCE -EVENT -FILM/VIDEO -LITERATURE -MUSIC/DANCE/THEATER -VISUAL ARTS -ARCHITECTURE -COMMERCE/TECH/SCIENCE -EVENT -FILM/VIDEO -LITERATURE -MUSIC/DANCE/THEATER -VISUAL ARTS -ARCHITECTURE -COMMERCE/TECH/SCIENCE -EVENT -FILM/VIDEO -LITERATURE -MUSIC/DANCE/THEATER -VISUAL ARTS -ARCHITECTURE -COMMERCE/TECH/SCIENCE -EVENT -FILM/VIDEO -LITERATURE -MUSIC/DANCE/THEATER -VISUAL ARTS 195SeLecTed WORLd : SeLecTed WORLd 0 : SeLecTed WORLd : SeLecTed WORLd : SeLecTed WORLd : SeLecTed WORLd : SeLecTed WORLd : SeLecTed WORLd : SeLecTed WORLd : SeLecTed WORLd : • Korean War begins • Frisbee invented, Walter Frederick • 22nd Amendment to US Constituion: Freed, US • Queen Elizabeth II succeeds King • Mr Potato Head, introduced, US • Hillary and Norgay ascend Mt Everest • Rosenbergs executed as spies, US • East Germany gains sovereignty • Rolodex invented, H Neilsen, US • West Germany becomes sovereign • Salk polio vaccine approved • Khrushchev denounces Stalin, USSR invented, Robert Adler, US • USSR launches Sputnik, first human- • A Long Day’s Journey Into Night, • Charles de Gaulle elected president,• First video game, US • Castro takes power, Cuba • Motown record company founded, US • Joseph McCarthy launches anti- Morrison, US 8-year presidential term limit • Liquid Paper invented, B Graham, George V, Britain • Today debuts, NBC, US • Eisenhower inaugurated president, • Discovery of DNA announced • Brown v. Board of Education • Cat on a Hot Tin Roof, T Williams state • Lolita, Vladimir Nabokov • National Guard enforces integration • Giovanni’s Room, James Baldwin made earth satellite Eugene O’Neill Fifth Republic, France • Hula Hoop introduced, US • St Lawrence Seaway opens • Barbie doll created, R Handler, US Communist campaign, US • Rashomon, Akira Kurosawa • Color television introduced, US • String Quartet No 1, Ellio� Carter • First jetliner service, BOAC • Waiting for Godot, S Beckett US • TV Guide and Playboy debut decision, Supreme Court, US • Le Marteau Sans Maître, P Boulez • Rosa Parks protests public-transit • The Night of the Hunter, Charles of public schools, Alabama, US • The Seventh Seal, Ingmar Bergman • “Little Rock Nine” integrate high • West Side Story, Leonard Bernstein • “Common Market” established • The Aﬄ uent Society, J K Galbraith • Alaska and Hawaii gain statehood, • The Elements of Style, Strunk and racial segregation, US school, Arkansas, US • Alger Hiss convicted, perjury, US • Orphée, Jean Cocteau • “Rock & Roll,” coined, Alan • The African Queen, John Huston • First cardiac pacemaker • Singin’ in the Rain, S Donen • Stalin dies, USSR • Tokyo Story, Yasujiro Ozu • First commercial microwave oven Laughton • Wireless TV remote control • Howl, Allen Ginsberg • On the Road, Jack Kerouac • Integrated circuit invented, US • Vertigo, Alfred Hitchcock US White SeLecTed TALIeSIN eVeNTS/fLIW bUILdINgS/OTheR WORK: SeLecTed TALIeSIN eVeNTS/fLIW bUILdINgS/OTheR WORK: SeLecTed TALIeSIN eVeNTS/ fLIW bUILdINgS/OTheR WORK: SeLecTed TALIeSIN eVeNTS/fLIW bUILdINgS/OTheR WORK: SeLecTed TALIeSIN eVeNTS/fLIW bUILdINgS/OTheR WORK: SeLecTed TALIeSIN eVeNTS/fLIW bUILdINgS/OTheR WORK: SeLecTed TALIeSIN eVeNTS/fLIW bUILdINgS/OTheR WORK: SeLecTed TALIeSIN eVeNTS/fLIW bUILdINgS/OTheR WORK: SeLecTed TALIeSIN eVeNTS/ fLIW bUILdINgS/OTheR WORK: SeLecTed TALIeSIN eVeNTS/fLIW bUILdINgS/OTheR WORK: • Fellowship operates Midway Farm • 60 Years of Living Architecture • Taliesin Playhouse rebuilt after fire • Dance performance, Unitarian • Usonian Exhibition House on • In the Cause of Architecture, FLlW • Dance performance at Goodman • The Natural House, FLlW • An American Architecture, FLlW • The Struggle Within, OLlW • “Frank Lloyd Wright Day,” Chicago • Farming moved to King Farm • Taliesin Festival of Music and Dance • Living City, FLlW • Taliesin Festival: New Work/ • Dance performance at Wisconsin • Frank Lloyd Wright dies, April 9 exhibition • Hillside Dining Room rebuilt after Church, Madison Guggenheim site Theater, Chicago • A Testament, FLlW Gurdjieff Movements Union Theater, Madison • Taliesin Associated Architects fire • The Future of Architecure, FLlW • Permanent telephone installed, formed Taliesin West • Our House, OLlW • WILLIAM PALMER HOUSE • DON SCHABERG HOUSE • CABARET THEATER, Taliesin West, HOUSE (project) • PRICE TOWER • RAOUL BAILLERES HOUSE • RIVERVIEW TERRACE SOUTHERN COLLEGE • BETH SHOLOM SYNAGOGUE • MAX HOFFMAN SHOWROOM • DALLAS THEATER CENTER • RANDALL FAWCETT HOUSE • PAVILION, Taliesin West, completed • MAX HOFFMAN SHOWROOM • MARIN COUNTY CIVIC CENTER • BAGHDAD OPERA HOUSE, • GEORGE ABLIN HOUSE • PILGRIM CONGREGATIONAL • GRADY GAMMAGE MEMORIAL • DELANO MORTUARY, William • DAVID WRIGHT HOUSE • ROBERT BERGER HOUSE completed • AK CHAHROUDI COTTAGE • QUENTIN BLAIR HOUSE (project) RESTAURANT, Spring Green • JOHN DOBKINS HOUSE • HAROLD PRICE SR HOUSE • FLlW PLAZA APARTMENT • MAX HOFFMAN HOUSE • ROBERT SUNDAY HOUSE • MILE HIGH ILLINOIS (project) • FRANK BOTT HOUSE • ARIZONA STATE CAPITOL OASIS UNIVERSITY AND CULTURE • LOCKRIDGE MEDICAL CLINIC CHURCH AUDITORIUM Wesley Peters CENTER (project) • RAYMOND CARLSON HOUSE • HENRY J NEILS HOUSE • BENJAMIN ADELMAN HOUSE • PATRICK KINNEY HOUSE • GEORGE LEWIS HOUSE • ARCHIE TEATER STUDIO • JORGINE BOOMER COTTAGE • USONIAN EXHIBIT HOUSE • HAROLD PRICE JR HOUSE • I N HAGAN HOUSE • GERALD TONKENS HOUSE • HERITAGE-HENREDON • ANNUNCIATION GREEK • KENNETH MEYER CLINIC (project) • COTTAGES FOR SETH C • DON STROMQUIST HOUSE • GUGGENHEIM MUSEUM • JAMES JEFFORDS RESIDENCE, • WYOMING VALLEY SCHOOL (completion) John Howe • JOHN GILLIN HOUSE • SEYMOUR SHAVIN HOUSE • KAUFMANN BOULDER • GABRIELLE AUSTIN HOUSE • ARTHUR PIEPER HOUSE • LEWIS GODDARD HOUSE • MUSIC BUILDING, FLORIDA • LLWELLYN WRIGHT HOUSE • DAVID WRIGHT HOUSE • ELLIS FEIMAN HOUSE • DON LOVNESS HOUSE FURNITURE ORTHODOX CHURCH • GOLDEN BEACON (project) • DUEY WRIGHT HOUSE PETERSEN • PAUL OLFELT HOUSE

FRANK LLOYD WRIGHT  OLGIVANNA LLOYD WRIGHT (MeMbeRS ARRIVINg IN 1950s) TALIeSINSTANFORD ADAMS feLLOWShIP ROBERT BEHARKA ROBERT CLARK DAVID ELGIN DODGE BURR GARMAN HENRY HEROLD JEAN CAMERON JONES DAN LIEBERMANN WILLIAM MILLER CHESTER PERSBACKER HANS RUDOLPH PAT STEIGER LEE WARD INIGO ADAMSON MYRTLE BENGSTON DERICE PFEFFERKORN CLUSIN GIOVANNI DEL DRAGO NOAH GENZ MARK HEYMAN MARY JONES SUSAN JACOBS LOCKHART FIROZ MISTRY JIM PFEFFERKORN STEPHEN RUSNYK PETER STEIGER JOHN WATSON RAJA AEDERI LARRY BERNSTEIN PARVEZ COMMISSARIAT ANNA DURCO GRATTAN GILL MYRA HEYMAN RICHARD JURKUS ANTHONY LOGUE MINERVA MONTOOTH MAXINE PFEFFERKORN RON SALISBURY ARTHUR STOPES DAVID WHEATLEY TARO AMANO RICK BETTY MICHAEL COURT EDWARD DWEK BURTON GLASS CHRISTOPHER HILL HAROLD KAHN BILL LOGUE WILLIAM MORRISON VIRGILIO DE LA PIEDRA WESLEY SALTER MILTON STRICKER DENNIS WHELAN JOHN AMARANTIDES WARREN BIDDLE RICHARD CRAIG ARTHUR DYSON SANFORD GOLDMAN HECTOR HINOJOSA RICHARD KEDING REMINGTON LOGUE BERNARD MULVILLE ANN POND MARK SAYTON FRITZ STUCKEY ALVIN LOUIS WIEHLE NEZAM AMERY ANDREW BINNIE LINDA CRAMER JOHN EARLAND SAUL GORMAN ANDRE HOFFE JOHN KINGSBURY SARAH LOGUE HIDEO MURAKAMI BOB POND JAMES SCHILDROTH NANCY SUMMERS RICHARD M WIELAND KAMAL AMIN PAUL BOGART WILLIAM CRAMER ANNE EARNEST BENJAMIN GRAME DONALD HOPPEN JOHN EDWARD KIPTA WALTER LOGUE STEPHEN NEMTIN DOUGLAS POND ROBERT SCHNEBLY ELIHU SUTTA REINHOLD WIERL MOHSEN AMIN ARMAND BOLLAERT NANCY D’ASTOUS FRANKLIN EARNEST MICHAEL ALAN WOOL GRANT KOHEI HOSHIJIMA WILLIAM KLIDE HAROLD LONG JULIUS (AL) NESTOR PETER POPPER ELIZABETH PFEIFFER SCOTT MICHAEL SUTTON STEVEN WILMOTH ERNST ANDEREGG CARL BOOK ROGER D’ASTOUS ANTONIO ELMIGER ROBERT GREEN DUDLEY HOWE GEORGE KNOWLES DELTON LUDWIG BRANISLAVA NEYMAN BETTY PUTTNAM JAMES SERVICE VERN SWABACK LEHN WOLF CLINTON ANDERSON ELAINE BOOK BRIGITTE D’ORTSCHY RAKU ENDO PETER GRIMM GINGER BAILLERES HOWE MRS GEORGE KNOWLES PHILIP LYMAN BARBARA MORRISON NISBET TONY PUTTNAM GERALD SHAMROCK BEVERLY KIDD TAYLOR JACKSON WONG LYNN ANDERSON DOUGLAS BOYD PAUL DALBERG JOHN ESPINOZA ROY GUDERIAN LU HOWE VERNON KNUTSON THEODORE MANLEY EARL NISBET ROBERT R RASMUSSEN FRANC SIDLER MATT TAYLOR TIM WRIGHT GERI ARAZA PAUL BRADLEY JOY DAVIDSON PEGGY BANKS ETTER SUSAN HACKETT HERBERT L V HUGHES VANYA KREVI DIRAN MANSOUR DAN NOVAK ANNETTE RATHBUN HEIDI SIDLER ROBERT THOMAS MRS ROBERT WU FERDE ASKELL LARRY BRINK WILLIAM DAVIES DIANA FAIDY SCOTT HAMILTON HUME ILLINGSWORTH JAHN KRUYT LARRY MARTYN ERIC NYLAND SANGAROON RATIGASIKORN DENNIS SILVIUS GEORGE THOMSON ROBERT WU DEIRDRE TREACY BABCOCK SUSAN BRINK ANNE SLATTON DAVIS RALPH FIFER HAROLD HANEN WILLIAM JACK ROBERT KUENY SAMUEL MATTHEWS CALVIN OLSON JOHN RATTENBURY JOHN SIPHERD JONE ANDERSON THURMOND JAMES ZERVAS SHREVE BABCOCK MARINA CALERGI CELESTE DAVISON ROBERT FLEURY MARCIA HANEN ELIZABETH JACOBS ANGELO LABATE LESLIE J MAXSON THOMAS OLSON JOHN HOVEY RAUP BILL SLATTON GAYLORD TOMZ ALVIN BADENHOP BILL CALVERT GEORGE DELACEY PETER FROGNER JOHN HARDING CLAIRE JAMES JEROME LANDFIELD ANTHONY MCDONALD JOHN OTTENHEIMER MANUEL RODRIQUEZ JEROME SMENTEK LISA TRACOL JOEL BAILLERES JANIS JONES CARNEY HERB DELEVIE JOE FRYAR NIKOLAUS HARNONCOURT GEORGE JAMES JONATHAN LANE JOHN MCDONELL BILL OWEN RALPH ROLAND CAROLINE SMITH BESS TREMOULIS AUBREY BANKS SHIRLEY OLIVER CASEY NAFTALIE DELEVIE GENE FUHIBRODT THURSTON HATCHER JOHN JAMES FRANK LARAWAY DENNIS MCINTIRE DON OWEN BEA BECKETT RORKE DUKE SQUIBB JOHN TREMOULIS JAMES BANKS THOMAS CASEY MORTON DELSON JANE GALE PHIL (TC) HAWES RUTH JAMES DAMERON LEACH VIRGINIA MEDEIROS MCKAY CHARLES PATERSON JOSEPH F RORKE RICHARD STADELMAN FRANCO D’AYALA VALVA JAMES BARNETT EARL CHESTNUTT DARREL DENZLER NARI GANDHI SHICHIRO HAYASHI STEPHEN JAMES JACK LEE WALTER MEDEIROS JOHN PAUL SHAWN RORKE-DAVIS SARA STADELMAN ROY VARENHORST MARY JOY BARNETT RICHARD CICERI NICK DEVENNEY EDWARD GARCIA JOHN HEIN DUKE JOHNSON CURTIS LESTER RICHARD MILLER MARTHA PAUL ARNOLD ROY JACK STANTON EDUARD VOGT VANCE BARNETT RICHARD CLARK ROBERT DILLON CHARLES GARDNER GARY HERBERGER FAY JONES JAMES PALMER LEWIS RICHARD (DICK) MILLER PAT AMARANTIDES PERCY DORI ROY MARY STANTON LAWRENCE WARD

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GUGGENHEIM MUSEUM, Frank Lloyd Wright gRAPhIc deSIgN ANd WORLd eVeNTS TIMeLINe form# 42.011, Projects involving graphic design solely have been part of THE TALIESIN TIMELINE, the work all along. This, an installation commemorating 19 graphic printed on polypropylene, members of the Taliesin Fellowship. Shown as installed at

VAL M COX form# 42.011, THE TALIESIN TIMELINE (2007) (installation views at Taliesin West and 1950s panel) graphic printed on polypropylene 36x768" 36x768” (2007) Taliesin West, Scottsdale, Arizona.

form# 44.271, oil/canvas/space, Present-day form/unformed. 20 26x18½x5½” (2010) l i t y t y r i t u a g o d s p i i t u a l i w i t h o u t c a r n e y RCISE INnot s p i r P-crowd . I am n ind. k e v i n g IS ANRESSION EXE a huma E the n their m mi- rs all i erience. I am he che eir kind r over othe human exp riginates in t ist. BEWAR all of th SPIRITUALY EXPERIENCEAND ARTISTICving a EXP brains. and haveP owerpowe they have no right to claim, irituality o man n athe who FANTAS eing ha at of hu at I am a uni- rough others th eir only aim. bones. Spnd me is th Validation th a spiritual besh and es a no god, force,here is rain activity ch- being of fl cal impuls ivine being, t or love. T hose presi- ls, electri f such b e or wat ays T popes, ca result o tural or d know, ace univers ents and ith the w d prin- One perna hich can ating th n per- prelates and ho/w od or ill, w ings i , cipals. There is no su sible for cre or go aments, mind, etc. w ned, f urricanes Parli par- versal respon er human t be on h ly, parties, somepri ests. ch entity is conc racts with ts. Curious ents, some no su usal ageneven g the prose- r it. No god nor inte tudyin Potentates,ers, pols, ing ove beings, r acts as a caor natural hrase, lytiz after years s the rest... of human ionships, no istorical iarize a p or other h onvictions gic and sonal relat ch c and, to plag ose y , elections es su tory her of th e who ma AIDS rat eit v mystery thetest. n gene hurch his rience. I have not survi meanly de my brai ogy, c expe ll ate ul. Neither do My ultim preache and Bible, theol of religious refore, I winer. They l, rieties ind or a so mal. The promulgat the va not a m cious man ituality? hatred oinsof al us to I am ological ani lf-cons that j s. I am a bi in any se play with spir sovereign r thing food. have rce—ou ical death dance and sou right they’d worm I e “hell”?) onal. I birth my phys to be than rati yield to stiny is ell wouldpletive lik e se to on RFD, “The Country Journal for Queer pall. de y the h hright o an ex ut I am mor that refu e reas So, wh lity in The birth which we n resort t rational. B tuations ciate art. Onationa ose and (Or eve nd infa for througpurp rive to be . I appre argin of r know e, I st ety attacks a creative e too slippery plac hing the o am ays at the merienc somet d has n phobic anxi it pl exp enlight- -crow e. suasion. I that uman ing, p rational ortant is ge. ten right to ac pects of h langua ting, ridicu- and art is imp ress as ious, frigh . Such they objective ctive, exal LIFE order to exp d, myster u nto BLISS most to of ordered ing, destr al and on and on claim the grip n life is profoun fashioned i abhor, Huma inful, healg, paradoxic ed and and poemty e nameue of cilin dance in th g, joyful, pa econ mplexi high virtcream: enin ting, r med, celebratty is a to the co paint s !” be affir ssion they lous, aliena ce. Spirituali sing and of “Don’t score n rical expre st as we l modes e life cries out toexperie ho . Ju . Th e only vir- ul rience ate specia ity But th meaningf ing metap tue they uman expe so we cre spiritual piritual ally serve,h , ut life, giv of life, reta- actu entrencgrip abo ess of h ting which is odes of n sterp Another project involving a combination of writing, is to r false a and richn the wonder a nd ac codified mbjective i ting thei row them gions ( for o so th to express reli hors nst compe urve: ng, speaking metap ded agai c imagini rises when heir d PLAY a be defen ism and the BLISS an and problem istake t must . But and FUCK ssion) m that etween athe error o- H E, expre reality FLY... nflicts b mo logical, as a phil n, B R E A..be T a “no-les tions of d to be co ir episte heism ssio even. ssions. expre expre e out of the etween at atheism count,”cut ho ere are boun , as artistic en in the sky. Th gions mak onflict b betwe f mystery, ssary c tuality Holestals o of claims reli nd spiri conflict por avenuese is no nece ssary acting in there ewpoint, a a nece and magic—wonder th vi ere is tran scends to ing, speaking P-crowd deems sophicalre than th at which tragic. any mo of think t thing t. affirms th as to and balle ty is a modetuality They l Folk Everywhere”; they want you . Spirituali life. Spiri are your nse to find s, s respo root all -crowd against ey’relife’ P s t i c . h s. the o x core t c in cahoot their ways. m a l Pox onv May they mend foment the fanta editing, and image—as the section editor of a journal. Val M Cox, section editor—editing, Shown here, two pages of my design as well as writing, design, illustration; illustrations and writing from the section. (1995–1999) VAL M COX Section editor, RFD, “The Country Journal for Queer Folk Everywhere,” (1995–1999) (illustration and images of pages from two issues) Editor, writer, designer, illustrator

form# 26.011, Paintings 22 through 24 present three works through the oil/canvas/space, 24x60x7” years, all part of the flow of what has happened. 22 (1991)

form# 27.010, oil/canvas/space, 54x 33x9” 23 (1992)

form# 23.001, 24 oil on linen, 42x36” (1988) v a l m c o x . c o m

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