ART: The Most Powerful Partner in DECEPTION.

We are in an age of profuse, ruthless deceptions. Deceptions made possible by powerfully equipped, DISREPUTABLE artists. You may have seen these cute Christmas ornaments advertised during an ongoing blitz on facebook- advertised by many different merchants. They want to sell these before you figure out the scam. I checked out the legitimacy of the first ones I saw advertised and the company got the worst rating possible on the Internet. Anyone who studies these ornaments will eventually discover that these are not what they appear to be, that is precious carvings of animals in tree knot-holes. Well, at least plastic castings of carvings of such. But the whiskers on the racoon give it away. No carving or cast plastic can replicate a single hair. These are cleverly presented PHOTOGRAPHS of carved animals in tree knot-holes.

Shoppers on Ebay have seen the ridiculous, colorful posters of Donald Trump praying or posing proudly with an eagle, or being blessed by Jesus, or even hugging him. These were unsettling, but the one with Trump and Jesus carrying high-powered rifles together are just sick. These are convoluted illustrations which appeal to the worst of our natures. Besides, Trump would not know how to shoot one, and Jesus will not need one when he returns.

I learned to be extremely untrusting a couple of years ago... after buying one of the few things I have ever bought from an ad on the Internet. An epic video told of a genius college student who had invented the answer to every homeowner's quandary... how to control mosquitoes. I ordered two. It took SIX MONTHS before they arrived, and they were just as the reviews, had I bothered to consult them, warned. They were absolutely worthless.

My wife and I have learned and often repeat: "The Chinese have learned, that it only has to LOOK like the thing you thought you were buying..." And these deceptions would not be possible were it not for talented and devilish artificers. Totally bizarre and outrageous lies can be made to seem natural and even desirable. There is nothing to stand in the way of Art becoming the chief agent of Satan as the the digital, "virtual" world overwhelms our culture. My art career is almost over, and I am glad. I will be ashamed to be called an artist as this trend continues, and dominates my field.

A New Painting For The One-Man Show In Salado...

ACROSS MY CAREER IN THREE MINUTES! Please click on the video below and then again on the red arrow...

ART SHOW- OCT 15 THRU NOV 30! @ FSG FINE JEWELRY IN SALADO.

Yes! I am installing a one-man show in Salado, Texas right now! It's called "50 Years an Artist in Texas," Most of the work is already up (over twenty paintings), still painting some others... Here are some that you can see if you are able to catch the exhibit- IF they have not been sold and carried off!

"Wonderful Day" 18 x 24, $575. The theme of the show is simple, "God still reins!"

"Red Oak Fire"- 11 x 14, $230

"Palo Duro Bison Honeymoon"- 11 x 14, $230

"Summer's Mill in the Morning Mist" 8 x 16, $230

"The Change of the Seasons"- 18 x 22, $650

This is first of show of its kind in a long time. There will be a great variety of sizes of paintings, from 5" x 7", to 3 ft by 4 ft. Some "Plein Air" art (sketched on location, 8 x 10's, 11 x 14's) have been "finished" and will be offered for sale. I hope that you can find your way to Salado to see it.

"As the Deer Pants for the Water"- 24 x 36, $1075

"Independence" (Independence, Texas)- 24 x 36, $1075

"McKittrick Canyon Romance"- 36 x 48, $1600

McKittrick Canyon Glory" 36 x 48, UNFRAMED, $1600

"Heavenly Pasture," Retired and Contented! 20 x 30, $720

"Deer Valley Bluebonnets"- 20 x 30, $720

"Grandma's Irises" 8 x10, $125

"Summer's Mill Falls" 11 x 14, $230

Just Call Him Our Dante: A Reaction to Costner's HORIZON

Costner has made another Western. Well part of one. My buddy and I had to go check it out. We are lifetime Western buffs, each pushing seventy, and know something about the subject, being Western artists (on canvas). Between the two of us, we have loved, lived and painted the American West for over a hundred years. And we are fans of Costner’s cinematic legacy. Well, part of it. So up front, I have to admit, I really wanted to like this, his latest and perhaps one of his most renegade projects.

For younger viewers, Kevin Coster is the man who brought us Western classics like Open Range and Dances With Wolves. My favorite character he played was in Silverado, a crazy, gunslinging avenger in his first and probably most successful Western. His list of great movie memories is impressive; The Postman, Field of Dreams, The Untouchables, Wyatt Earp, The Bodyguard, and I won’t mention some of the others, less memorable in the movie world, which still make my eyes water. I have to mention one of my favorites, his great movie recently made for Cable viewers called The Highwaymen- the story of the Texas Ranger’s Frank Hamer and his pursuit of and confrontation with Bonnie and Clyde.

This was where we all sensed that Kevin Coster was not going down without a fight, or disappearing into television obscurity. He wanted to make important films, maybe ones that Hollywood would not or could not make. So when the word came out about his latest effort, we buckled up our seat belts.

I knew it would be long. I’ve seen his movies and have learned to anticipate that. And in a Civil War era Western, one would expect no less. We all got accustomed to Gone With the Wind and watched it for generations. I expected and got spectacular Utah scenery. I looked for and saw authentic historical architecture and clothing and tack. The cowboy hats are especially noteworthy, each one a maquette of a Coahuilan mountain range. And as expected, Kevin Costner as an actor is in vintage mode, aping his favorite persona, the non-verbal retaliator, who did not inherit a happy gene or a personality. So his film called Horizon, Chapter One has all of the elements required to form into a beloved blockbuster Western. Everything except an ending.

This is not hyperbole. The film is literally Chapter One of a sequel. It’s mostly just the prolog of much epic, exciting, Western action to come. But after three hours the viewer is left in a lurch. And it’s shameful how many characters had to die agonizing deaths, how many audiences had to suffer massacres, attempted kidnappings and gratuitous nudity and sex scenes so that Kevin Costner could prance in his own town fire fantastic. (No worries, it was just a bunch of tents.) But then, you might call this chapter Costner’s Old Testament. They have about the same message. Yes, this is a long review, but a three part movie series justifies that, so please edure!

Horizon is, I believe, Kevin Costner’s extravagant attempt to make a truly landmark Western. So big an attempt, so huge the vision, it could not fit into a single movie. He pulls out all of the stops. Chapter One kills hundreds, randomly preserves a few, horrifies and bludgeons loving women, threatens babies, rips your heart out of your chest and then rubs your nose in it. Now rich in dollars, and answering to no one, Kevin Costner is aiming to right the wrongs of Westerns made by Hollywood, make some respectable art, and in the process show the depravity of mankind. And he may at least, be succeeding at that.

There is collateral damage in the process however. After the first three hours, the viewer is no longer in sympathy with the brutal Native Americans, or the prejudiced, vermin-like White invaders, or the lethargic army, or the director for dragging his audience through nearly non-stop terror, vengeance and anxiety. At the end of Chapter One, every ethnic group has exacted sufficient revenge on every enemy, until the playing field is now even. Killing field even. Thankfully, the main characters survive, but people were never meant to endure that much punch-in-the-gut horror in the name of entertainment. Perhaps appropriate in a horror flick or torture of terrorists, or the coming political conventions, but not a jumbo-sized historical flick for a long evening’s enjoyment. This was Gettysburg and Cold Harbor and Glory rolled into one, in cowboy hats. Every artist, whether composer or painter or cinematographer, understands the audience has to have rest periods- dead spots so to speak. In art we call it negative space. Costner uses those as tiny breathers to leap from one set of bloodthirsty sociopaths to another.

My friend and I agree that we would sit through Horizon again. But I added a caveat or two. Next time I would require ear plugs. Like in the movie The Passion, there are plenty of scenes I never want to experience again. I will just pop in the ear plugs and close my eyes. Understand that before cinema, lots of people went their whole lives and never experienced even a “virtual” horrific massacre, not even a single murder. Having a heart condition, I dare not put myself through that kind of needless emotional stress again. I’m pretty sure our de-sensitized culture does not need any more savagery than what is served up every day in the average American living room. What we need is hope.

Costner has made some wonderful art in this series. He has gotten some things off of his chest. Oh, the captivating parts; the magnificent western scenery, the turning aspens, the sprawling, epic wagon trains and visual sweeps of the drone zooming over rocks and rills. The chaos of genocide. The power of hate. Here he is a master. But in his West, there is virtually no hope. These folks could never have a made a country, no one would have survived. There would only be a burned out spot on the globe there today, akin to the Sahara or the Gobi Desert. Kevin Costner is our default father of the American Western, but he has not made the ultimate Western. Perhaps bits of a movie strung together, grittier than True Grit. Moore Peckie than Peckinpah, maybe he even out-lonesomed Lonesome Dove, but there is no Gus McCrae to make us smile, or have a reason to get up tomorrow morning. Too much is missing in Chapter One to call it a stand-alone movie. Instead of a traditional screenplay structure with a beginning, middle and the much-celebrated END, which is certainly not a sacred cow, during the last part of Chapter One we get a lovely, driving, well-constructed promotion trailer for the next two chapters; to be seen at a theater near you, of course.

One would think, given the nine hours or so of so-called entertainment packaged as “HORIZON,” that its creators would sprinkle more transforming love, more passion of altruism, or more of the quiet beauty and majesty of the real West, in the negative spaces. Maybe even introduce a positive sub-plot. And some kind of resolution at the end of each “chapter.” But they cannot. What is missing in Horizon is the once prevalent spiritual center of our literary culture; the still, small voice of God. A God of Order. The power of Good. The wonder of Nature. Every artist can find it. It is why we design and create, whether we even know it or not.

For every film, every piece of art, the maker has to, more or less, play god. Thus the film director’s world view becomes very important. In Costner’s universe, love and Providence are myths to be employed but smothered, so Burning Man is more the standard for his home base. None enjoy his mercy, or escape his hand of judgement. And especially his audience. I will go see if he manages to rectify my over-all impression, and bring all of his loose ends together. Or at least part of them. But it will require a miracle from above, help from the other God, the one who invented serendipity and happy endings, if he is to do that. Or even a part of it.

DREAM COME TRUE

It was certainly the biggest thing in my career. An artist's dream come true. A monster job, ultimately 140 feet of murals at the prestigious Star of the Republic Museum at Washington on the Brazos. And now slated for obliteration; strangely, another dream, now about to come true.

Several years ago I woke up with something like a night terror... once in a blue moon God puts a prophetic dream in my sub-conscious mind. I dreamed that they were painting over my murals at the museum... covering the walls with forest green. Off with the old, on with the thoughtless, artless dozer of progress. It was horrible.

“That was a BAD DREAM!” I thought to myself. But surely, they would never do THAT. Pardon me for saying, but my mural was not just large in the museum, it was large in my mind; my contribution to Texas History. Something to inspire the generations. Something which took three people and eight months to complete... and too wonderful and beautiful for any intelligent people to ever destroy.

But alas, that nightmare was also a “dream come true,” as future renovations are completed. If you loved it, you better go get one last look at it. The museum will go through a renovation, and the murals will be obliterated. What will go up to replace them? I do not know. But they we will never find an artist to put on those walls what they have enjoyed for the past twenty years. If they did, it would cost the State of Texas over to $100,000. And, it may not be as accurate or as comprehensive, or as well done. My guess is they plan some hi-tech digital screens to dazzle Texas school children, who do not have enough hi-tech screens already in their lives. I say, they do not have enough ART in their lives. Can you imagine the outcry when the Catholic Church does the same thing in the Sistine Chapel?

But that is the way of our culture these days... nothing is sacred, they are removing statues and markers left and right. The younger generations apparently want to interpret our history to their tastes and preferences. But I say it is symptomatic of a sick culture... one that has already witnessed so much destruction of our heritage... in the name of tolerance and inclusion! And one that has had to fight to save the ALAMO for God's sake. If Texas, and Texans no longer want the mural, well, it is their right. But I truly believe that whomever is making these decisions, like George P. Bush, will rue the day they messed with Texas, and took our heritage and our art so flippantly. And the loss will be on their short-sighted heads. But that's just me.

Whatever the case, I believe that it might take the destruction of these monuments to wake up the rest of us, to understand the intellectual and spiritual war we are in... and perhaps are in denial of. As the Huns move in and tear down much of what we love, and understand, and perhaps things we have taken for granted, until Texas is not Texas anymore.

Note: It cannot be removed. Painted directly on the gypsum walls... Removal of the pieces would be cost prohibitive, not to mention, who has a 10 x 100 ft. wall to offer to give it a home?

A new gallery to represent Cushman art!!!

I am pleased and excited to announce my new gallery affiliation: with FSG Fine Jewelry in Salado, Texas.

Frankie Gene Sidaras is the owner, artist and manager there at 401 S. Main, right across from the Shady Villa Hotel (formerly known as the Stagecoach Inn).

She is a jeweler with her own studio and gallery, and has several walls full of original art to compliment her business.

Please come by when you are in Salado and encourage us! Here are some of my works that you might see there...

"New" Old "Revisited" & Subjectified Works

Years ago a friend of mine visited my home, ready to purchase some art. He was in love with one large painting, of buffalo in a western landscape. "I'll buy it from you," He said, "if you will remove the buffalo..." I needed the money bad... and I did what he asked. He bought it. Then he was divorced and fell on hard times, and the painting was put in storage. He passed away later, and now I understand the painting is rotting in a barn. What artists must do sometimes to meet the public where they are (mentally or emotionally) is almost shameful. Great Art cannot be created by committee... But art patrons are not the worst in this kind of arm-twisting.

For many years, my galleries, those places which featured and marketed my art, asked for "pure landscapes." Subjects I was told, were sometimes off-putting to buyers... and made the selling of the art work more difficult, especially for designers and decorators, who were often involved in the transactions. One gallery, and my best one, would not take anything smaller than 24 x 36, and nothing with animals or people in it. They did not even want bridges, buildings, gates... nothing but pure landcape.

Needless to say, I had to make a living... and pure landscape was far easier to paint... so I filled the pigeon hole until the galleries all went under. When the music stopped, I had several large canvases ready to deliver to my main gallery when suddenly it was all over. Other galleries were winding down as well, and none wanted the huge canvases anymore... eventually none wanted any canvases.

It took me awhile... to see these works as... unfinished. They had been conceived as pure landscapes... and worked well as such. What subjects might be worthy in such a complete statement? Here are some solutions to that strange series of events... subjective art... sans subjects... then SUBJECTIFIED! Hopefully they have been improved... but don't worry, I'm not painting anything out!