An exhibit of Vermont Artists of Essex County to be held in the beautiful meeting house on the county green, next to the courthouse in Guildhall, Vermont, on June 6 from 2 - 6 p.m.
Four of my photographs will be on view in this wonderful show organized by Stephen Stinehour. It is especially wonderful as it is the first known show of Essex County artists.
Essex County is the least populous of all counties in Vermont. Driving to this region from cities below, one can palpably feel the gradual slipping away, the shedding, of established human settlements. It is a place sometimes referred to as The Northeast Kingdom of Vermont, and its lush, wild beauty is inhabited with richly talented humans. I am delighted to be showing alongside a group of artists who are my neighbors and friends. The show includes painters Karen Abbruscato, Debbie Crochiere, Sandy Kamins, Brenda McKenzie, Bruce Richardson, and Isaac Stinehour, equine artist April Repotski, photographer Roger Irwin, and jewelers Peggy Cooper Cahill and Mary Mazeonna. It will be lovely.
Art in the Making
Essays by Artistis about What They Do
I am honored to be among the eighty artists represented in this book conceived and edited by brothers Christopher and Nick Benson. With essays and examples of work from artists and makers from around the world, Art in the Making is gathering funding for publication through a Kickstarter campaign which has received their distinction as one of the Projects We Love.
The artists represented in this 350 page book are from diverse backgrounds and disciplines, with insights and work from lyric and performing artists, artisans, painters, sculptors, photographers and new media artists, and finally, in homage to
the origins of so many artists, the teachers and mentors—- the makers of human beings, as Christopher Benson insightfully calls them.
How did you come to what you do?
How do you do it?
Where do you see the distinctions, if any, between your art and your craft?
Why do you do it?
These are the questions posed to each of contributors. Their responses help to enlarge our understanding of what it is to be human, and what is truly our deepest calling--the urge and necessity of making things, making beauty, making life-- in a technological age, in the midst of a pandemic, crisis, and catastrophe. I am so looking forward to reading the responses.
The Contributors to Art in the Making
Lyric and Performing Artists ~ Rulan Tangen, Nathaniel Tarn, Jack Madry, David Jones, David Doucet, Josephine Wiggs, Tori Reynolds, Nico Muhly, John Davis ❦ Artisans ~ John F. Benson, Deborah Madison, Mark Luzio, Florence Pénault,
Jeff Greene, Katie Pasquini Masopust, Judith Schaechter, Stephen Faulk, Alice Medrich, Michael Kautter, Chef Demetiek Scott, Caleb Kullman, Will Benson ❦ Painters and Sculptors ~ Helen Park Bigelow, Maurice Burns, Woody Gwyn,
Patrick McFarlin, Phillis Ideal, David Frazer, Howard Newman, Nancy Wilson Fulton, Ann Arnold, Tony Abeyta,
Leslie Parke, Pete Jackson, Sheila Miles, Carola Clift, Kathy Butterly, Brian Rego, Christopher Benson, Sarah Shaw, Fédéric Vangeebergen, Paula Wilson, Sue McNally, Chelsea Gibson, Will Clift, Risa Benson ❦ Graphic and Book Artists ~ Leonard Baskin, Raphael Boguslav, David Lance Goines, Burning Books, David Macaulay, Ken Rinciani, Guy Billout, Thayer Carter, John Seed, Peter Koch, Barb Tetenbaum, David Frazer, Russell Maret, Christopher Lee
❦ Photographers and New Media Artists ~ Paul Caponigro, William Clift, Edward Ranney, Robert Benjamin, Lois Connor, Elvira Piedra, Krista Elrick, Patricia Lagarde, Andrea Modica, Zoë Zimmerman, Arduina Planca Caponigro, John Paul Caponigro, Atticus Berry, Dana Newman, Hamish Fulton, Diane Armitage, Luis Palacios Kaim, Christopher K. Ho,
Nick Benson ❦ Teachers and Mentors ~ Bill Meyer, Mark Edmundson, Robert V. Hansmann, Cybele Leverett
❊ ❊ ❊ ❊ ❊ ❊ ❊ ❊
Please take a look at the Kickstarter for Art in the Making, and support the project if you can. The book is scheduled to arrive in August, but only if it is fully funded. The deadline is Tuesday, March 15, at 8:30 p.m. EDT. As the publisher emphasizes, this is a radical approach to publishing-- to accomplish it independently, to circumvent the now conventional channels of production and distribution, and to keep the proceeds with the creators, which results in supporting an extended community. Artists are often among the first responders in a crisis, creating fundraisers for disaster and crisis relief, and they are also the ones to whom we turn first when we are faced with difficulty. It is art which provides meaning and sustains us through the hardest and most painful moments. I am hopeful that the richness of talent in this book will attract the support of many who follow these artists’ work, and recognize that creating something like this independently is a small and important step towards change. As a small incentive, I am offering a giveaway of a copy of the book to give as a gift. Send an e-mail to elvira@elvirapiedra.com with proof your $55 pledge to the campaign and I will enter your name in a drawing for a chance to win a second copy of Art in the Making. It will be signed, with a little something extra.
T H A N K Y O U
An ode to the Census, an ode to 2010, and 2020
The flower of the 2010 Census returns, with a little delay, for 2020
Ah, the Census !
The 2020 Census is winding down field operations, and if you haven’t yet responded, take heart— there is still time to be counted. But not much. If you can’t find the invitation your probably received back in March, don’t worry— you don’t need it, and there’s no time to spare with the post, AND it couldn’t be easier to complete the questionnaire.
Telephone: 1-844-330-2020 . My personal recommendation. This allows you to speak directly to a 2020 Census representative. In these strange times, it’s so nice to connect with another human, and especially to hear the voice of someone who is really glad to hear from you. It takes less than five minutes for a small household. You can refuse to answer any of the questions you don’t wish to, and feel free to offer them feedback on particular questions or the survey in general. This is important information that will help shape the questionnaire of 2030 and other surveys conducted by the Census Bureau.
Online: https://my2020census.gov.
If you don’t have your 12-digit number from the paper invitation, you will find a link for proceeding just underneath the login information.
* * * * U P D A T E * * * *
U. S. District Judge Judy Koh issued an order on 2 October
and counting continues until 31st October, for now at least
( In order to be counted, you must respond by October 5th. )
It is vital, for all of us, to assure the most complete count possible and I ask that you reach out to family, friends and colleagues to confirm that they have responded, and if not, to encourage or assist them in completing the 2020 Census survey. It’s not too late to be counted.
To all of you who have already responded: Thank you !
The 2020 Census rolled out at a particularly fragile time in the United States and the world. Field operations were delayed due to COVID-19, while the population was shifting— many individuals and households were displaced, and became fluid or unstable due to the pandemic— and communications within and from the Bureau were, and are, abrupt and at times confusing. Many who responded early by mail received follow-up visits nevertheless, as those envelopes reached the Census Bureau as its personnel were leaving the offices, leaving envelopes to pile up, unopened. It’s rather easy to imagine the disorder with which the census began. For those who received multiple visits, I am sorry.
I began writing a kind of ode to the Census in late March, and it’s been enlarged and revised and contemplated since in response to Census news, and through my experience working as an enumerator on the 2020 Census. I have deep enthusiasm for this event— what could be called a party of enormous significance— which takes place just once a decade, and to which E V E R Y O N E residing in the United States on April 1st is invited. The questionnaires which were mailed out hinted at this; they were Invitations to the 2020 Census. Participation in the Census is in my view perhaps more important, more influential, than casting a vote. It is the foundation of American democracy; it is the first step in establishing representation. So critical, it is indeed a mandate written into the Constitution and its basis is to determine the number of seats each state is allocated in U.S. House of Representatives. And while the decennial census shapes how your state is represented in Congress, your response has a profound impact on your neighborhood, helping to assure proper allocation of federal funding — nearly 700 billion dollars— for services meaningful for you, for all of us, things which will shape your community the next ten years.
Democracy is precious, and is an evolving experiment, in constant flux, and ideally, always being further refined, becoming more true.
Voting is yet a right, not a requirement of a citizen, and remains a right too infrequently exercised, and is still inaccessible to some, including felons and children. The mandating of a decennial Census, though probably never fully a complete count, is still an influential demonstration of American democracy, for it attempts to count everyone who calls this country home, if only for a brief moment, even if they are not citizens, do not own a home or are homeless, and to make provisions for their benefit. There are many people who feel that no system of government is right— those who are marginalized, many youth and anyone who has experienced the wrongs of an imperfect society, who feel disenfranchised, and don’t feel the Census matters to them. They feel fundamentally that they don’t count. For to say that one counts is also saying that one matters and is valued. I see the count of the Census like a roll call, and your responding, Here! is a powerful proclamation: I’m here. I am. I count.
Everyone Counts ~ no matter where we come from, how we worship, or who we love
I found myself very moved by the films produced for the 2020 Census. It’s an effort to show the diversity of all of the kinds of beings that make up this country, and the moments of joy in being. To be depicted, to be seen in this light, is the beginning of representation.
The mandate in the U.S. Constitution calls for a census of the population to be made every ten years, and EVERYONE living in the United States on April 1st—Census Day— a former era, nearly, yet not so long ago —needs to be counted. So if you were here on April 1st, you are to be included in the count. It does not matter whether you are a citizen or not, documented or not, whether you vote or pay taxes, or if the U.S.A. is only a temporary home, or even, and especially if you do not have a home. The Census Bureau conducts many surveys throughout the year, all valuable data that is utilized through the Department of Commerce, but this is the one which affects how hundreds of billions of dollars are distributed to all of our cities, and has such far reaching political implications— at federal, state and local levels— through how district lines will be drawn for the next decade. It’s because of how long lasting the consequences of the count are that I would argue that being counted is more influential than voting. That said, I hope that you will, dear reader, take the time, and a leap of faith, to vote this November 3rd.
The decennial Census is an agent of this nation’s legacy, a way of seeing how our population and society have changed, how people have migrated, and the collected data is one of the great tools for researching one’s personal lineage, that is, once the records become public. Confidentiality, the privacy of your information, is a part of the Census. All of the personal data collected from the questionnaire is protected and remains confidential for seventy-two years, specifically what identifies a named individual at a particular location and all responses attached to this individual. This is the law. Enumerators take an oath to protect the information they collect and the training emphasizes a commitment to data stewardship. Private individuals and organizations are not granted access to this personal data, neither is law enforcement nor any other department or agency of the government. Responding to the Census does not open you up for any kind of investigation.
It’s important to understand that filling out the census form completely is not mandatory. So if that’s an obstacle, don’t let it be. It’s of course desirable, and would be very helpful. For the sake of your community and your state. That you are counted once, and in the correct location, is the most basic response to the Census. But answering all of the questions will make it work better for you, and for your community, as well as for your descendants. You do not need to provide your name if you choose not to, but please consider providing the number of occupants at a physical location, ages, ethnicity and/or race, and gender. The 2020 Census is disappointingly lacking in a response beyond male or female, and I trust that with your participation, this will be corrected by 2030, and perhaps soon for the Census Bureau’s ongoing surveys. These responses assure specific kinds of provisions— women’s health services, adequate and subsidized housing, resources for elders and children, libraries, roads, fire departments, social services, and so many services and programs which relate directly to the unique community in which you live. The questions asked, and the number of them, have varied from one decade to another *, but this year’s survey is very basic. Responses to the questions regarding gender, racial and ethnic backgrounds, combined with housing or the lack thereof, and all of the ways people are sheltered, will make for a fascinating picture of the United States in 2020. I urge you, please, to leave some traces. Do this for the ancestor you will become, for those who might find you in the future.
What happens when you don’t fill out the form? It usually means that a Census enumerator visits you to fill the form out with you in person. This is part of the operation known as NRFU— the Non-Response Follow-Up. Pronounced Narfu. This year, especially due to COVID-19, the Census Bureau encouraged people to complete the form online, through the mail, or by telephone. They also delayed the launching of all field operations, including NRFU, to protect the health of everyone involved. The schedule was altered and delayed multiple times. Organization and training were not as well coordinated as one could have hoped. Calls and in-person visits might have been experienced as excessive. Census fatigue became a thing. If you were among those visited by an enumerator, or several, I hope you remember the experience with some humor. They might have been there to ask about your household, but maybe it was actually about an address near to you which didn’t respond to the Census, and you might have become a proxy, and perhaps the only available person to provide reliable information to them—even if simply to affirm that an address was not occupied on Census day. Yes, they do request a telephone number for the person who provides this information, as they do on the original form that gets mailed to each household. Rarely is anyone called, but this number permits a confirmation that your data is correct, and again, as with all the information you provide, your telephone number is confidential, and protected information. I came to understand in my work as an enumerator that collecting the data is not a final step. It’s also necessary to confirm the data and multiple verifications are part of the Census. My experience has led me to see it this way: The Census places the highest priority on confidentiality, then accuracy. Efficiency is… somewhere…around the corner, or at least, a bit down on the list of priorities.
The 2020 Census felt and looked differently from the 2010 Census. We used smartphones in addition to paper forms, and wore masks. They gave us a clipboard. COVID-19 affected how enumerators could contact respondents. And the effects of COVID-19 in displacing significant numbers of people and groups, and isolating others, have posed significant challenges to obtaining an accurate count, and to counting people in the correct place. This has always been true for counting marginalized communities, and is this time especially true. Also problematic this year is counting college students, the elderly or hospitalized, those experiencing homelessness, and all of the individuals who live as house sitters and the otherwise mobile individuals who found themselves in places they never intended to be, in order to ride out the waves of the pandemic.
I am very glad and grateful if you have had the good fortune of working on the 2020 Census. It is work I would recommend to anyone. Things are interesting in the field, because you are dealing with people— the ultimate source of confirmation for all the information you are asked to gather, and people are endlessly interesting. This work attracts all kinds of people to it, fortunately, just like our population, and many unusual and quirky people get involved in it — I think this work actually favors the unconventional. If you are detail oriented, somewhat patient, enjoy some detective work, and — especially! — can enjoy working independently, it might be the best Summer job one could have. With flexible hours, decent pay (not quite as it was in 2010 when it was part of President Obama’s stimulus package), it offers insights into one’s community, and nation, in discovering the simple details of the lives of the people living closest to you.
Extraordinary things happened to me on the 2010 Census, simply because I went out to meet people, to help me answer the questions of the surveys. And I think that all enumerators have amazing stories of their experiences in the field, none which can be shared, alas, not really, not precisely, anyway. I had moments which filled me with such wonder at how people had taken the time to help me solve the mysteries of uncounted households, in improbable circumstances. It is work which cultivates initiative, resourcefulness, and sleuthing. I encountered an FBI agent at one location, each observing the other’s badge, who said to me: I think our jobs are rather similar. The work heightened my capacity for discretion, deepened my respect for the privacy of others and it was humbling on many levels. One of the greatest challenges I had to overcome was an awkwardness in approaching strangers. My feeling about that word— strangers— changed in that time, as I came to see that we’re all possibly strangers, some simply better known than others. Wonder, humility and gratitude were themes of that Summer. It was an honor to receive people’s trust, and I met many kind and wonderful people, including my co-workers and supervisors. It can be very intimate work. Some, even many people invited me into their homes, in 2010, to answer the questionnaire, while cooking for their family, sitting with their children, or with grandchildren in their arms. Some people were lonely and welcomed a visitor. There was a man in his nineties; I asked him to repeat his date of birth for verification, because it seemed impossible. An elegant man in a bathrobe who had just risen after noon, he met me on the stoop outside his home. A couple of weeks later I saw him walking down the street in the late afternoon, in a seersucker suit and straw hat— a man of the 1920s— sauntering with the grace of another era. I wish I could remember his name. I took the confidentiality aspect of my work to heart, consciously aiming to release information from my mind after completing a form, and while I recall faces, interiors, houses and streets I visited, conversations, atmospheres and vibrations, both good and not so good, I recall no names or numbers. Some of the most magical things of my life happened in my work on the Census, all because of the people who took a moment to speak to me. It became an almost sacred mission —feeding a higher goal—which I carried out on foot, on bicycle, by bus, metro and car. I was persistent, determined to be able to complete the form for each address, to ascertain its facts, as much as I could verify, occupied or not, and it seemed somehow that Summer, that my efforts were blessed. Each completed form, even if not complete on every line — because, sometimes it isn’t possible to complete things, and because houses and households, or the absence of one, are, like much of life— a little complicated. Each success was a small victory and contained something more— the beautiful experience of being human, of meeting people face to face, listening and exchanging in the wonderful ways that humans do. It was work I loved, and this brought much joy.
A lovely friend, Bill Denham, shared this writing by Johan Maurer, also working as a 2020 Census enumerator. It is filled with tenderness and humanity: https://blog.canyoubelieve.me/2020/10/papers-please-part-two.html
* Questions from decennial census questionnaires of the past:
https://www.census.gov/history/www/through_the_decades/index_of_questions/2010.html
A letter to a friend in the fifth dimension
I began writing a letter to a friend who has been gone for a while. It grows as memories return and new thoughts arise, and as I see him in the context of current events. Strings of words, little notes quickly jotted on paper, snaking trails of thoughts, slippery things like water that I follow, which open up new areas of reflection. Perhaps I thought I could share a remembrance on a particular day. What I hoped was that I could share it on Instagram. But I am really not nimble enough to use Instagram properly, something meant for the instant. And lately my inconsistencies and disorganization keep me from utilizing it in one of its best forms, as haiku, to share these brief moments as they are experienced in the season, or a season of my life. My letter-notes have got trails going off all over now, perhaps because my friend was connected to so many things. I wanted to write some of them down here, because it’s important to keep his memory alive, for me, but also fresh. I’d like you to know a little about him, too, even if it is simply through me, in this public realm, through writing to him— Walter Chappell. It was his birthday on the 8th of June, and his favorite holiday yesterday, the Summer Solstice. It’s still so near, even though it’s been twenty years.
I didn’t miss your birthday. It’s just that I hadn’t publicly acknowledged it. Within, I remembered you and reflected on what my life’s become since you left. It’s you who were missed.
You would have been 95. We celebrated your last birthday twenty years ago, with your family and so many of your friends who made the journey to El Rito. We had salmon and lamb, and cake. I made lemon ice cream, to recreate the one your mother used to make, which your sons took, in the hand cranked maker along with the ice and salt, in the wheelbarrow, down the narrow trail and churned by the river. You licked the dasher, as you had as a child. We were all like children again, elevated in this atmosphere of your birthday. It was such a happy day. You were loved very much.
It was a drought that Summer (a word which you pronounced drowth), as it is here this one. The yellow iris were blooming, the ones which you used to say “smell like ancient Persia”. They were blooming here, too, in Lunenburg, Vermont, at the same time, yet the scent was not quite the same this year. Things change, and perhaps next year they will carry this perfume again. I wonder at times how you would feel in this world, as it is now. You might surprise me by embracing the internet, though probably not social media. I remember you used a word— twittering— to convey the superficial, self-centered and useless expressions of people— substitutions for real observations. It would amuse you that there is now a platform named Twitter for many to do exactly this. I imagine that you would be deeply pleased hearing of the movements to defund the police. You had experienced police brutality in the 1965 protests at UC Berkeley, taking a blow from a cop swinging a pipe at anyone in the area. You lost your front teeth, but escaped with your life. Again. You were cat-like in many ways, and even perhaps with nine lives; your life was a series of resurrections and remakings. So much energy you had, a restlessness, an urgency for truth. You were an advocate for something beyond justice— liberation. From likes and dislikes, falsity, attachments, and anything that might obstruct access to knowing the truth. You showed me the ultimate liberation— from the body itself. And I called you Walter Triumphant. The image of you then is of the greatest victory— of Life over death. Perhaps because I believe that there is a life after this one, and a soul to carry you there. Though I know not how. The whole matter of the soul, aka “A normal being wishes to live forever”, left so much room for questions and efforts. You were a Gurdjieffian, more so than I could ever be, and I wonder if you knew that you had truly developed one— a soul. I know, at least, that you did. Into the past and back to future, and into the fifth dimension, you travel through time, Walter. Still. Always.
Art & Creative Auction to benefit the Australian Red Cross
Paeonia Rockii, Linwood Gardens, 2007
The Spirit of My Friend, Paeonia Rockii, Linwood Gardens, 2007
The Art and Creatives Auction organized by Ruth Ribeaucourt offers an extraordinary selection of artworks and creative packages to provide urgently needed funding for the Australian Red Cross. She has received beautiful donations from two hundred sixty individuals from twenty-seven countries, and they include original art, antiques, jewelry, workshop and private instruction packages in photography and styling, consulting services, accommodations, walking tours and still more. It’s truly exceptional to see so many unusual and wonderful items gathered together in an auction, and it’s wonderful to discover the work of so many talented beings.
Lot. 14 holds the two images above, offered together, as archival pigment ink prints. They are of the same tree peony, paeonia rockii, photographed with an 8x10 view camera on black and white film. The Spirit of My Friend is a multiple exposure on the same sheet of film. For the prints: Image size is 12 x 10 inches, on 15 x 13 inch paper, signed recto, titled verso. Reserve: $200 AUS. The buyer pays for shipping: $12 within the U.S., $15 to Canada and Mexico, $20 to the rest of the world.
Here is how it will work:
Auction takes place on Ruth’s Instagram account beginning on Friday, 10 January, 9h30 GMT, and ends on Sunday, 12 January at 18h30 GMT. You may preview the items on her page now. To bid on an item, you’ll need to leave a comment on the Instagram post with your price in AUS $. In so doing, you are committing to pay that price for the item. Shipping terms will be clearly stated for each listing.
If yours is the winning bid, you will send a payment directly to the Australian Red Cross— the link will be in Ruth’s Instagram profile. You will receive a receipt, a copy of which you’ll e-mail to Ruth. This donation is tax deductible. If your item has shipping fees not covered by the donor, you’ll need to pay them directly to the artist via Transferwise preferably, or PayPal. If you should be the winner of my work, Venmo will also work. Good luck to all who are able to bid.
The need to foster community as fellow inhabitants and as global citizens is only becoming greater as we experience the changes on our shared planet. This auction is an opportunity to support an organization that has always offered relief in dark times, and receive reminders in each offering of the beauty we are capable of making. I hope it will inspire tenderness and gratitude for one another. This isn’t a call to buy things that you don’t need, though, and I have listed below links to some of the organizations that have come to my attention since learning of this crisis, as a way to give directly. The loss of habitat is profound. Even when when a home is saved, the natural world that represented home may be gone. For humans, it is a loss which includes livelihood and even way of life, and the land, the animals, and the individuals whose lives have been forever altered, will need support long after the fires have been extinguished.
Fire Relief for First Nations Communities
Organized by Neil Morris, is one I have chosen to support
Australian Red Cross
NSW Rural Fire Service supports emergency efforts of those on the front lines
Seed Mob The Indigenous Youth Climate Network
Wires Wildlife Rescue & Wildlife Victoria
Animal Rescue Craft Guild— in Files, patterns for making animal pouches
T H A N K Y O U
The Spirit of My Friend is being offered for the first time as a pigment ink print with this auction, and at a special size. It will be listed in my online shop at the beginning of February, at the size of the others— 11 inches high, though it, and most of the others, can be printed larger. At this time as well, the prices for the pigment ink prints will rise.
* * * * * *
Update: The auction closed with Jacqui Roche placing the winning bid. Jacqui is a London based potter and makes among other pieces, beautiful flowers in porcelain.
Part of what made this auction so extraordinary was being introduced to the work of so many talented beings. Coming together to support the relief efforts for those affected by Australia’s bush fires was very heartening, and for me is evidence of the importance of art and the artist in healing the world. Those posts remain up on Ruth Ribeaucourt’s Instagram profile, so even though the auction is over, those individuals continue creating and offering their gifts in unique ways and I encourage you to explore and discover.