Elusive Identifications

THIS DOCUMENT IS AN ATTEMPT AT SELF-EXAMINATION,THE PURPOSE BEING TO DETERMINE, IF POSSIBLE, THIS PERSON’S DRIVE TO EXPERIENCE A VARIETY OFSENSE DATA INCLUDING ASSESSING THE NEEDS, EXPRESSIONS AND MOTIVATIONS OF OTHERS INVOLVED IN A SIMILAR PROCESS. THIS RECORD ARRIVES AT NO CONCLUSIONS , EXCEPT TOLERANCE OF AMBIGUITIES IS AN ESSENTIAL TO SURVIVAL.

PRESENTS A PRELIMINARY BIOGRAPHICAL PROFILE OF THE FORMATIVE INFLUENCES OF PAUL HENRICKSON. Originally, the image seen above was chosen to introduce this presentation, but, as I progressed, it seemed that this second one was more descriptive of the contents.

The original title “Aspecting” also seemed appropriate, at first, that is, “ASPECTING”, in the sense of looking at facets, parts, sections, or “specks”, or, not as a whole or complete package. However, it seemed that in order to be aware of aspects one would need to have a sense of what the whole package was. ..but then, as I worked, the sense of “the whole package” somehow dissolved.While the people apprearing in this report may be considered,more or less, as aspects of my psychopomp (representations o f soul guides) I made few attachments to people but did to their accomplishments. The purpose, I think, is to find out who I am and if, as it is written, I am but a grain of sand, one of many descendants of Abraham lying along the many, many beaches bordering the vast oceans, how and why is it I dare assert my independence and suggest that I am not a duplicate of the grain of sand lying next to me? This may

be one reason why I have chosen to call this item….by and large the material is presented chronologically, but for various reasons including that of some people reappearing into my life they sometimes appear more than once.

ELUSIVE IDENTIFICATIONS

tm. ©

2009

by PAUL HENRICKSON

This image seems to indicate that the grains of sand are indeed different, that is, they appear to be if one gets close enough. I haven’t the slightest idea what that animal is with the circular brown spots overlying a florescent green underlayment with what appear to be serpentine eyes, but each grain of sand seems to be a universe unto itself…a nano-generated reforming constitutional variable of living stuff…after all, if man does not give expression to his joy, then “the very rocks shall do so.”

I must give credit where it is due. The boy is myself and the girl is my sister. the one, whether or not she realizes it, is largely responsible for a whole bouquet of attitudes combining spicules and stephanotis…..enframed in a circle of fern fronds. Wow! what a load of blame shifting!

I believe this is the first human built structure I lived in. #48 Bow Street, Arlington. What an inhumane concept of architecture! But architects like Paolo Soleri are aware of the highly complicated problem of designing urbanoriented habitation-work spaces for creatively expressive people.

Two of my most favorite places in Boston, Beacon Hill and The Isabella Stewart Gardner Museum. Interestingly enough these co uld represent the quite nearly consistent dychotemies that from time to time have been evident in my life. One of them that may be helpful in understanding the contents in this site is the type of interest I have taken in people who have been successful in their fields. While I have always been curious about what in their natures motivated them to seek the unusual and what was their private reward, if it was often not the fame but the involvment itself. In this regard Mrs. Gardner was not a proper Bostonian for exhibitionistic behavior was not considered proper by that area’s conventional leadership. This may explain why some Bostonians voted for JFK while they would not, as I was told, accept him in their homes.

Henrickson: “Beach Scene”, A few years , not many, maybe only one, before I left for Norway, I did a beach scene from Sea Girt, New Jersey. This small painting I gave to Edwin Lamont, the English teacher at the Rhode Island School of Design where I was enrolled. I no longer have any idea where it might be. The newspaper critic for the Providence Journal at the time suggested a comparison with the work of Lionel Feininger. Personally, I had some difficulty with this interpretation, but then, felt I had to allow him the right to see it that way.

Well, I can almost see it myself. But, even then, I tended to reject most things I heard about myself or my work. I was on a path of discovery. I am still on that path, actually, and I was not and am not about to be deterred. My perceptions were and are paramount. I would and will determine the nature of my incarnation, for “unless I be born again I shall not enter the kingdom of heaven.” Is the kingdom of Heaven the same as”knowing one’self?”

Well, the two of us, my sister and myself, emerged out of something relatively obscure, after a fashion, that is. Our parents were Jacob and Gunhild. The accidently met on board a ship sailing from Norway to New York during the time of a Scandinavian depression. and coincidently, I suppose, originated from the same general area south of Oslo called Vestfold…this was about a century ago and 1,300 years before that it was the home of the Vikings who conquered, settled and influenced the development of what was to become the British island, Normandy, and the Norman Empire of Sicily, Bur prior to settlements they simply did a great

deal of traveling and pillaging . as the people on the continent prayed “Lord, preserve us from the fury of the Norsemen.” These days they become secretary Generals of the United Nations and dispense the Noble

Peace prize. When they did settle and established themselves the third image is what the political map looked like, but only in part as some have

expressed the theory that Quetzalcoatl was a Viking and it has been reported that the “white” Indians of central Paraguay speak a 10thcentury Icelandic and the Mandans of North Dakota have blue eyes.

Lorenzo Veneziano: It was also about this time that I acquired, thanks to a combination of influences from Berensen, Reid, Oxenstjerne and Professor Post at Harvard with some insight of my own, this piece attributed to Lorenzo Veneziano.It has been a central piece in my life.

My parents looked like this when after WWII they returned to Norway for a visit.

My father’s father was, like most men in Norway, a farmer, a good one apparently. he had had two wives. The first one was the mother to my father and he was her last child as she died when he was three which brought on its own regrettable influences .

Hoffkirke which is reported to be 1000 years old Norway

Me, on skies in

Norway’s 17th May celebration me with a corona of flags

My mother’s parents are pictured here . These are drawings I did from photographs , my niece, Karen wanted. Their original frames were oval and had what I might call a late Victorian aesthetic moving toward the art nouveau. My grandmother and her sister were orphaned at much too early an age, 16 and 17 years, and there were consequences of that tragedy which can be detected even today. Grandfather was somewhat of a dandy and, I believe, loved the admiration money could provide. I came across account books that indicated he had lent out

and never received back tens of thousands. Syversvolden Guest Inn owned by my grandparents. Granddad’s parents and grandfather follow:

Fagerheim was the name of the home where my mother grew up. There is more genealogical information available, should anyone be interested in a CD entitled “GENERATIONAL REVOLT”. This current website is fousing on the variety of influences to which a grain of sand might have been

subjected . I believe I count twelve people on this porch at Fagerheim

Haakon VII, King of Norway visited Boston and all the Norwegians got all their childrentogether to sing for him at Symphony Hall. So, it migyht be said that I began my public performances when I was about 10 or 12, probably twelve. Then, I was not long before I took an interest in the creative accomplishment of others in the hope, I would suppose, that I might gain insight into what about them might have made it possible for them to excellence to be manifest, to go beyond what was average or indifferent. I am still working on that problem, hense this investigative essay. Certainly part of that search involved both

Kirsten Flagstad http://www.youtube.com/watch?v=T_xFGwYveSA and Sonja Henie who were important to my parents, not, necessarily, or primarily because of their creative accomplishments, but because they were Norwegian. We apparently forgot that Henie was partly Jewish and we may have had some difficulty in dealing with that

enigma, but it seems the either Hitler didn’t know, or he didn’t care.

http://www.youtube.com/watch?v=7sjnfkEOpsE

During the second World War Sonja made several performances in the United States and Canada and her audience was certainly not limited to Norwegians. She, it turned out, was quite the stern business woman as well and secured for herself movie contracts that made her the highest paid performer in the business and she was famous for the extravagances of her home parties, her jewels, herfurs. In 1966 through the help of a member of the Norwegian diplomatic corps in New York I secured an invitation through also the then Minister of Norwegian Culture, Christiansen, an invitation to visit Sonja Henie and Nils Onstad at their home near Oslo and to see the now quite famous collection of modern 20th Century European paintings. It was then, as well, that Nils Onstad showed me the model of the plans for the Henie /Onstad Foundation. I had had hardly a moment to look at the paintings I had come to see when I was invited out onto the lawn overlooking the fjord and served a glass of brandy. There were no servants in evidence. I felt a little deprived for it was the paintings I had truly come to see, but it had not been my intention to ignore the singular accomplishments of Sonja. Nevertheless Sonja asked me a question that quite thoroughly left me speachless. So much so that for a moment I just looked at her bewildered and then recalled, that Sonja was really quite famous, as well, for her having been deprived of an education.Yet, this question was so mindless it beggered the influence of formal or informal educational opportunities. In order to give myself time to consider the reply I lifted my eyes to the heavens and my gaze through the mist made an arc from Sonja across to Nils who when his eyes met mine, gave me a stern warning look that my answer had better be good. I don’t remember exactly what my answer was, but Nils’ reaction was a series of peals of laughter..so I guess it did the job. What I think I had tried to do was to respond in like fashion to the non-sense of Sonja’s question, accept it as reasonable and then to reply nonsensically…as though there had been logic and sense in all of it…somewhat like accepting, but not knowing, a foreign language as a logical sequence of sounds that must make sense to someone since it engenders a response. I guess Nils understood that that was what I had done and this accounts for the repeated peal of laughter. It is, without doubt, a highly subjective conclusion to suggest how early influences may have influenced later decisions. On the other hand, maybe they do not do so at all, but that the “real” and emergent personality must make these decisions, step by step , as he meets them and tests them against the personality he is only beginning to think he is, or wants to become. Influences are there, certainly, but the determining one is the one growing from within…like an inspirited something that must accomodate incarnation, that is embodiment. However, incarnation has its own demands which we identify, in part, as

Oh, well, so be it.

community compulsion. …

In my junior year I went abroad to study in Norway. I had really primarily wanted to go to France and Italy but I knew my parents would not have approved of that trip, but going to Norway was entiely something else, and Norway is a lot closer to Italy than is Massachusetts. In Norway I was greatly impressed by the number and the quality of the fresco work, much less well known than the Mexican, but, in many respects aesthetically superior amd very much more informed. Per Krogh was my principle teacher. I do not think he was partricuarly interested in an American student and during the months that I was at the Kunstakademiet he said barely six words to me. Whenever he came into the room, which was rather seldom, all the other students would stand at attention. A stance I found both ridiculous as well as hypocritical.

Per Krohg: My aunt Helga was very tolerant of my imagination and allowed me to place this canvass on the wall at Frydenlund. When the place was eventually sold to another branch of the family, the sister to Nils Honsvold, the Prime Minister this work, of

course, was destroyed.

But of all influences in my life and life’s focus it is to my home environment and James Foster Kenney, my High School art teacher that most is due because, I think, he was the most accepting of diversity and the most protective.

This carved and painted image of “Mother Norway”, or “Mother May” has always reminded me of my mother who was very

good with flowers a well. The piece comes from the entrance walkway to the City Hall in Oslo.

There are some who denegrade genealogical research indicating that it is motivated primarily from an assumed elitist attitude. It is true that in mine there are many, many kings, emperors and all that, but, that is almost an inevitability when, in a certain period, the only people with traceable charts were socio-political leaders. There is, as well, the element of political support for the concept of kings being chosen by God which can be a rather intimidating concept. However, there are other reasons to find importance inunderstanding blood lines. And these reasons would be the persistence, or non-peristence of characteristics….and some of those characteristics may have something to do with concepts of governance…certainly an important element in social studies and history to say nothing of the phenomenon of mass psychology which is that frightening tool used by those who consider themselves in power to get things done the way they want..

That Junior year abroad had been a very influential one socially, intellectually and aesthetically. I had already seen the film“The Red Shoes” and so I knew very well who Anton Walbrook was and when a

new friend, Ferdinand Finne , also a student at the Statens KunstAkademiet, who had been his lover asked me to lunch to meet him I was somewhat eager. It was not so much that he was a celebrity, and a very handsome one, but that he represented success in a world that was thhttp://www.youtube.com/watch?v=07saf8scSrgen, and to a great extent is still, a mystery to me. http://www.youtube.com/watch?v=07saf8scSrg

1

http://www.youtube.com/watch?v=slo5FZyPtfw

2

http://www.youtube.com/watch?v=KEi6YEvuzws

3

Bette Davis:

It is only vaguely familiar to me that I remember Bette Davis being on the Cape the same time that I was. Nevertheless, the memory persists and while I doubt I ever attended a performance of hers there or any other place it seems as though I had done so for what I distinctly recall is the feeling of her theatricalistic presence…one that I may have received only through the actual experiences of others. What I now understand of those experiences of memory is that they exemplify the tranmutation of reality into meaning…a process which still engulfs me.

True, I had met Osa Johnson when I was 12, or so, but before that had sung in a choir with other young boys and girls when King Haakon VII of Norway visited Boston and had remembered the layout of Symphony hall so knew where to go to get back stage, while I had been disappointed that Osa Johnson who had been a sort of heroine for me came on stage wearing a black sequined evening dress (so un-african!) I was thouroughly disappointed when, close up, I could see that the flesh on her arms was beginning to drop I knew that she would be unable to protect me from a charging black-maned lion. http://www.youtube.com/watch?v=60004FZ2bes

While still high school students Richad Ardolino, who was a celebrity addict, asked me to go with him to see if he

might meet someone I hadn’t even heard of I had little reason to refuse. It was that way we had met

Bonita Granville, the star of ”Hitler’s Children” . I noticed that she thoroughly enjoyed notoriety, but was still nice when she told me gently that she had given us permission to walk with her, but not on her. Richard who had found himself in the wrong place, on my left while she was on my right and her companion on the otherside kept pushing me in his effort to get close to her. The film

http://www.youtube.com/watch?v=HFfELX_j9Yw ..was

a propoganda film, but, neverthless seems to raise questions as to the appropriateness of government interference in human relations.

Greer Garson, who was personally very gracious, at another time, shaking my hand because I also had red hair.

Kathryn Grayson, who was simply beautiful and that obnoxious irritant Mickey Rooney who played a

minor role in my Santa Fe relationship with Corona Chipman.

whose daughter now has a large drawingof mine, measuring about 3’x8’.

Kirsten Flagstad: represents for me the first consciously difficult, or perhaps very easy, decision regarding the difference between racial fidelity and aesthetic response. My nother was proud of Flagstad because she was Norwegian. I do not think my father much cared one way or the other. When I heard Flagstad sing in person it was in Boston right after the war and the subsequent criticism seemed as much political as musical…or likely more political. That was the dawning of my awareness that differences in approach had to be made. She too had had to make a similar choice, between the politcs of the time and her familial loyalty. In both instances politcs lost as I believe it always should when placed in opposition to private personal interests. Kirsten Flagstad, the Metropolitan Opera soprano who, with Lauritz Melchior rather much saved the Metropolitan from bankruptcy

http://www.youtube.com/watch?v=ch3o0qV6TiA

Liliian Gish http://www.youtube.com/watch?v=JCmY6VQP6s4 after a performance of summer stock in Sea Girt, New Jersey she was very kind and gracious to me ay 18 years and my cousin Anne at 20

Nikita Talin, a dance coach, teacher and director of the Harkness Ballet school, died on Wednesday at his home in McKinney, Tex. He was 75. The cause was heart failure, said Norma Rogers, a friend. Mr. Talin was a popular teacher known for his ability to encourage the most hesitant of students. He danced as a teen-ager with Ruth Page's Chicago Opera Ballet and later with the Ballet Russe de Monte Carlo before opening a dance studio in Dallas. His students' recitals were not the usual earnest fare but were filled with glamour because of the ballet stars he imported to dance with them. He joined the dance department at Southern Methodist University in 1965, serving as a choreographer and a teacher. Mr. Talin came to New York City and joined the Harkness Ballet in 1978, returning to Dallas nearly a decade later to choreograph and teach in his own studio. In 1943 during that time when I was, at the suggestion of my high school art teacher James Foster Kenny, drawing the dancers from back stage as they performed for a live public Nikita invited me to have supper wuth five or six of the dancers and when I mentioned that to my teacher he had a memorably distinctive response which burst open the parameters of my social awareness. It is a bit late, but “I’d like to thank Nikita, now, for his kindness to me and on behalf of our imbalanced society to forgive him his , I imagine, unfullfilled hopes regarding his wealthy Dalas wife to whom, I was told, he fed too many chocolates . On the other hand, it could be supposed that any woman who manuevers to obtain a famous man as a husband through the means of enticements of monied support so she might have the pub;ic image of a powerfully attractive cunt, and more worthy a woman than any other may deserve to be brought down. . and any man who . in this fashion, sells his dick. My high school art teacher, James Kenny, expressed minor jealousy when I, at 16, had not only met Talin, but had had dinner with him.

George Verdak I had known Geroge since I was 16 years old, when he had been dancing with the troup Ballet Russe de Monte Carlo. He never failed me as a friend.

http://www.youtube.com/watch?v=yeIKDQJIWy8 (Danilova)

Thomas Whittemore whose name is linkied forwever with the project of uncovering the mosiacs of Hagio Sophia after the Muslim authoprities ahd had them painted over. It speaks well for them that they simply painted them over rather than to have rmoved them. I met Thomas Whittemore through the efforts of Barbara Sessions who was at that time the Librarian at The Rhode Island School of Design and, for some reason, took a fansy to this very naïve eighteen year old. I had at this reception held in Whittemore’s honor at the home of a Providence, Rhode Island industrialist tool maker asked Whittemore if he would allow me to work with him in this project. He looked at me , cast fertive glances at the other tuxedoed gentlemen around and mysteriously replied that he could not for the mosquitos were too big. At that time I had had no idea what he was talking about, but my training in

never questioning adults had been too thorough for me to ask him what he meant.

http://www.youtube.com/watch?v=usp6GLrzdws

Hagia Sophia

I did find out later, however, when I returned in 1985.

Henrickson: drawing

When I boarded the SS. Stavangefjord Eleanor Roosevelt, talking to a group of AfricanAmerican dancers on their way to Norway. I was rounding a bulhead rather quickly and had advanced about 50 feet when I caught sight of her face which I knew quite well from nespaper pictures seated amongst all those black people and it was THAT which rather jarred my consciousness. I had not, until then, ever seen one white person in friendly converse with a group of differntly colored people except, Osa Johnson, but those circumstances were different. My education in international affairs had begun. She looked up at me, perhaps attracted by my having stopped in mid progress and offered a friendly glance and a smile. Such brief encounters can be life-changing and this one was but it took more time and more information to get a grasp of what this woman’s world-view wasd really like…and how, in the process of living she had had to adjust the balances betrween what was private and what was public. It is this understanding which makes me highly sympathetic with Elizabeth II and why,now, I view the present role of royalty and nobility with greater accepting respect for their sacrifices than, I suppose, those who take on the traditional ant-royalist position. I tend to view societie’s actions toward their social leaders as being not at all dissimilar from those of what I suppose the Aztecs’s might have been. Give them everything, and then, cut them up and throw them into the lake…of course, they must be laden down with gold and other priveleges of ranks before we thoroughly democratize them and even out the score…and those who perform these religious rites are usually church and other political leaders.

Three aunts and an uncle

Uncle Einar, my dad’s ½ brother

??, Anlaug, Gudrun, Rutt, Einar

My father

and me

Lillehof, Vestfold, my Dad’s home where, from time time, a great deal of governing activity relative to the farming life of the community took place. Einar, but really Gudrun, also had the keys to the church.

Svere Ivarsen, who was emotionally significant in my life, and his wife on a street in Drammen. He had, at one time, a “Reef” painting, but no one, lately, seems to know where it is.

Gustave Vigeland’s monolith, famous throughout the world for its most basic and very obvious symbolism. Where Vigeland has, I think, successfully joined the phallic shape to the tormented figures depicted in it,appropriately suggesting that many of man’s problems are related to that demanding organ. I know of no other community in the world that has devoted as much space ,80 acres, to the work of one artist. The Oslo Radhuset (City Hall) is also an impressive piece for a

population of only 550,000

Aerial view of Vigeland Parken http://www.youtube.com/watch?v=DKUkgXoa4qE http://www.youtube.com/watch?v=wz21F7FN7ZE http://www.youtube.com/watch?v=7S--JFKuRa0

Ferdinand Finne who was, at that time, ending an intimate relationship with Anton Walbrook and was also

a student at the Statens Kunstakademiet

This work, more than anyother of Ferdinand’s I’ve seen, I have not seen many, surprises and pleases me. I had not expected such seriously focused work to come from him. Facility seemed to be his forte…most of the time, in language, behavior, social hypocritical concerns and a deep sense of family. That sense of being somewhat matched my own but mine was much more deeply serious for I had not as much support from it…Ferdinand had a great deal. I realise I am making what might be considered a superficial comment. I also realise I am deeply dependent and trusting in my intuition for things and, in this regard, it might be instructive to know what was happening to him before this work was realized. For me this work saves Ferdinand from the fate of the vacuous oblivian of a Paul Brach or clownish pasticher such as Paul Shapiro even though it too is derivative. In May of 1950 many of the students went to Paris for a period as did I and I met a few young people I had known in the State Rijksmuseum in Amsterdam and spent about a week with Henrietta Amundsen, a NorwegianAmerican friend from Oslo whose boy friend, Christian Ledebur,whosefather had played the role of Queequeg in the film “Moby Dick” a most unlikely role for an Austrian Count, had left me his Paris room in a most deteriorated environment for me to use. The shared john in this once attractive building was unbelievably filthy and convinced me that my Dad was correct when he described the French as being the most unclean people he had ever known.

http://www.youtube.com/watch?v=yeIKDQJIWy8 (Danilova

Anton Wallbrook http://www.youtube.com/watch?v=eV4HdupeA3U I found his continental manner very impressive but his belief that all Americans were naïve about all cultural matters somewhat disapointing.

Mia Slavenska: came to a party I had in my shared attic apartment in Providence. I was about 18 years and while very fascinated by the ballet, the music, the discipline of the dance, about which I knew very little despite my few lessons with Natasha Miklashevskia. Mia came to the party with a man I supposed to be her husband. They were physically present, but, perhaps from fatigue or boredom, their party contributions were limited.http://www.youtube.com/watch?v=-C76XdxnHdYtions

Bernard Berenson : I was twice at Itatti, Berenson’s home in Florence, I learned a great deal, but nothing about art history. In his writing he did clue me in to some of the values to the observer of artistic production when he used the phrase “life enhancing”. He did not, as I recall, join this concept to the level and type

of receptivity of the observer, but, at least, it seemed a step in the right direction.

Carlo Coccioli had been very influential in widening my understanding of human relations and the private agonies individuals experience as they adjust to inner demands and exterior pressures. We remained repectful of each other ubtil he died. However, even more than I he seemed terrified of the human experience, this, upon reflection, may have been the quality which, according to his report, attracted Italian right wing politicians and all Mexican Presidents, to his ability, in writing, to communicate drama. In this way Carlo is like a spider who through deft and talented limbs wraps his victims up in a skein of sticky involvment so they do not escape. Danilo Donati was a more comfortable experience and, in actuality, he seemed more civilized than Carlo. When I met him in 1950 he was managing a store from which he sold ceramic figures of angels, saints, etc., a fascinating place to enter which, because I was then 6 feet 1” I was forced to hunch in order o avoid knocking my head against hanging ceramic pieces and since Danilo spoke no English Carlo took charge of the introductions, and since I knew no Italian it was Carlo who was the princple narrator. It wasn’t until the middle eighties when Shelby Boggio, at my request, telelphoned Danilo to introduce Danilo to the possibility of his helping me with a project. In the thirty years that had passed I had not been in contact with Danilo, but even to the surprise of Shelby, Danilo remembered in great detail our meeting in his ceramic shop in Florence. http://www.youtube.com/watch?v=NhFM_G3fzjg Fellini’s Casanova for which Danilo won an award for costuming.

While in Norway I met several people who were important and celebrated at the time, or became so, among

them being Carl Nesjar who also had studied at The Statens Kunstakademiet and beame an internationally known sculptor for transforming Picasso drawings into immense free-standing works

and for designing fountains which would work in conjunction with freezing water.

There was also a curious and somewhat tragic incident involving my reactiopn to his creative effort. I judge my analysis had not pleased him despite my generous suggestion that his remarkably creative efforts seemed to place him as an agent, or a designer of a stage set for some other actor to take center stage. For example, it is Picasso, not Nesjar, who is the focus in the concrete works, it is ice which gives form to the sculpture in winter and water in the summer, in his photographs, it is the inevitable action of deterioration which gives form to rotting wood and quite nearly a hands-off policy where it seems he might wish the pigment to volantarily place itself on the paper where his paintings are concerned…in short, personal will seems to be anathema to Nesjar….yet, he felt free to tell me he did not want me to write about his work. It is THAT action which stands in such unbelievable contrast to all the others. It would seem that every other natural occurrance is allowed its freedom, but I am denied it. I remain perplexed, that is all.

Jean Bearn, for nearly 10 years, my wife, a sorry relationship that aught to have been better, but there were complications, both historical, I think, if the genealogies are correct the Bearns were associated with the ancestors of my mother’s mother over periods and I have the sense that it was this relationship built up over centuries that functioned to make Jean and myself interested in each other. There is much more to the story and much of it is still uncertain to me although I suspect the common.

me in1951, Rhode Island

my “gift” to Mother

Henrickson: Vase of flowers. Sometime in the late 1940’s my dad’s family sent a bouquet of flowers for some reason to celebrate something, probably a special birthday and I painted them and sent the painting back to Norway. Now, since, Aud Marit Lillehof tells me there is nothing of mine there. It is, along with others, destroyed.

1005 CANYON ROAD

On the porch over the garage at 1005 Canyon Road, Santa Fe. It was the site of The Hill and Canyon School of the Arts owned by Stanley and Elisabeth Breneiser

Henrickson: self-portrait

Henrickson:Sandia

Henrickson:

“Sleeping Breneiser”

Alfred Morang was a painter and functioned as an art critic for the Santa Fe New Mexican in 1951 which was then the only newspaper in town. While I was in Santa Fe he published some encouraging comments about my work which for an exceedingly inexperienced 21 year-old were appreciated. He rather awed me, not because of his erudition, which I didn’t detect, nor his paintiongs which I found unfocused and unconvincing but for his life-style which I found disorganized. It was not that I disliked the man, but only because I didn’t know how to relate to him. Eli levin might have included Alfred in his book on the Santa Fe Bohemian had he known him for as to those he did mention…none could match Alfred, not even Don Fabricant although he tried to reach that goal, why, I do not know, for Don wa a better artist.

Pueblo Indian dance

http://www.youtube.com/watch?v=o9A_IZxkxQQ

Black pottery by Maria Martinez

Maria Martinez is somewhat older here than when she and my mother met in c. 1954 when The American Institute of Architects wanted to award Maria a medal for her work. A Boston book store had created a window display with the now famous book about Maria and some of her pottery. I went in to ask what was happening and was told that in a few hours Maria would be in Boston. I contacted the hotel and left mt telephone number. Popovi called. He was with his daughter Sunset, whom my father adored, and his mother and we made arrangements to meet in the lobby of the Statler hotel . It was, indeed a memorable meeting. I could tell that somehow my mother was expectant and my Dad, quierty impressed, when from one end of the lobby we entered and faced a scattered number of newspaper-reading guests who never looked up from their papers. Nevertheless , that is, until, from the other end of the large lobby, some 100 feet away Maria emerged and Sunset ran to her grandmother and brought her to meet my other in the center of the room. Then, every head looked up from their papers to see this Indian woman with brightly colored layered clothing, several turqouis

necklaces, both arms filled with silver and turquois bracelets and rings of turqois on every finger. My mother wore, at my request, her Norwegian sweater which was somehow the closest thing she had of ethnic clothing. Her jewelry consisted of a less than half inch wide gold bracelet and her wedding ring and diamond engagement ring. Maria’s long black hair was tied with a large group of strings of bright orange yarn. My mother’s hair, a greying blond,was arranged in a crown of braids. When these two women met, 19th Century Europe and ancient America it was as though they had never been separated. They spoke as old friends. I turned to look at Popovida who was behind me and he smiled and nodded his understanding and appreciation of that sacred event…and all eyes that had been glued to their newsppers lifted to watch this unusual occurance. Jacques Cartier, who knew Maria very well, told me of how she had walked the several mile distance between San Ildefonso and Pojoaque, where Jacques lived, carrying a large 24”-30” black pottery bowl to him as a present in appreciation for his kindnesses.

He

Henrickson: One of the few works I have left from the first (1951-52) Santa Fe period.

Popovida http://www.youtube.com/watch?v=e3AgD97ZsK4

his steadfast, humorless demeanor

PUERTO RICO But the year later I was in Puerto Rico and had my one-man exhibition at the University of Puerto Rico there, owned a bar called “el Burito”. Before that I was teaching at a strange private art school in Santa Fe, New Mexico called The Hill and Canyon School of the Arts owned and operated by Stanley and Elisabeth Breneiser, where I did, in fact, learn a great deal, very little of which I would have sought out. But while there I did some work of my own. Here are some examples: It took only five years before I got there, to Puerto Rico, that is, and there, in retrospect I initially did some of more innovative works. Although at the time I was unaware of how innovative they were cautiously innovative.

It should be noted with some emphasis that Nancy E. Heineman of Garden City, Kansas was effectively and instrumentally geneous during this period. I had met her in Santa Fe when she had come to The Hill and Canyon School of the Arts I imagine as an attempt to put her life into some perspective after she had learned that her husband George had established an amourous liason with another woman and bought her a Lincoln Continental sedan, so Nancy bought herself one and drove to Santa Fe. At the Christmas break she asked me to drive her to Mexico which I did and there were never any unseemly demands made upon me whatever, nor, I think, did she desire any payment or gratitude of that kind. She paid for Jean Bearn’s coming from London, my meeting Jean in Jamaica andfor several months supported us both with food and lodging in a pleasant two bedroom house overlooking the valley at Aguas Buenas. She was a patient and loving woman who tried to help two young people, one terribly confused young man who was struggling to understand himself.

For two or three months before Nancy arrived I ran a bar called El Burito, technically, I suppose I owned it, at least the management of it I owned and it managed to support me and my help but after Nancy came I gave it up. I also managed to arrange for an exhibition of my work at the University and sold a small colored etching to a local medical doctor.

Henrickson: works done while In Puerto Rico

Henrickson: “El Forteleza”, City(North Dakota) State University

Henrickson: “A Sesiion for Rain and Storm” R.Sangren

San Juan, Puerto Rico, collection Valley

Henrickson: a

view of Aguas Buenas, Puerto Rico

Henrickson” Season of rain and storm, R. Sangren

Henrickson: (reported

lost en route to Jean Bearn in Brooklyn)

Henrickson:”Mist over the Mountains” 1952 was the year a novel was published in France which Jean Bearntranslated for me which I found somewhat more than devastating, apparently, for it motivated me to return to Eu rope I n an aattempt to find answers. I guess I did find them, but they weren’t what I expected and I placed someone else in a difficult position who tried to get rid of me by having me invited to the home of the Marquis de Cuevas for the weekend. The person who delivered the invitation was Antoine Taverra who, at that time, was translating Shakespeare into French at Cambridge. My response was typically a defensive Bostonian one. “I did not come to Paris to meet the Marquis de Cuevas”, consequently, I was subjected to a scene of personal humiliation by Carlo Coccioli which reduced me to involuntary and copius but voluminously silent tears on a train from Paris to Romorantin. It was psychic surgury of a very painful sort. Knowing something, already, of the Marquis interests I was in no mood to play games.

pictures from the Life Magazine report of the costume party(1951/2) given by the Marquis de Cuevas to whose house I was later invited for a week-end but gave a very Bostonian response by saying “I have not come to Paris to meet the Marquis de Cuevas.” The primary reason for that defensive posture was that I did not feel myself up to handling what I felt certain might be adifficult social event. Few seemed to understand the seriopusness of my response to cruelty.

It was also in Puerto Rico where I met Geoffrey Holder, the then to become “Mr. 7-UP Man” for the non-cola, But then,. aslater as well, he had formed a dance company which interested me for nearly all the pieces they

performed at the University I was able to identify the classical ballet sources, but, Geoffrey denied knowing any of them. I didn’t argue with him. The next time I saw him was in Ipswich, Massachusetts at Castle Hill where I and Robert Lucas were walking. Geoffrey who had been reclining over about 10 of the stone steps on the grand staircase leading to the long view to the sea, saw me and unfolded himself and strode floatingly toward me , a movement which seemed to have shocked Bob who continued walking on with his eyes straight ahead. http://www.youtube.com/watch?v=w45Hpocfw_I Bob Lucas who was about five feet ten inches became aware of this black man who seemed six feet seven…such an image simply was NOT part of

Bob’s universe.

Castle Hill.

the performance ended I asked Bob to come back to Geoffrey to recognize him as a performer for his earlier behavior may have been misunderstood.

When

Hyman Bloom

Rose Standish Nichols

Bloom” “Carcass”

Robert Frost

Ivan Mestrovic: “Job”

Margaret Truman. At about this time Bob Lucas, Jean Bearn, myself and the sister of Eroll Flynn (although how she got with us I haven’t the slightest) were in the Adams Room of the Ritz Carlton, the room wi th the silver serving trays on the ceiling and Miss. Flynnhad taken off her shoes showing her paint ed toe nails and hooked them over the endge of the low coffee table…an act that was certainly incongruous with the company and an attitude out-of-place. Her contributions to the conversation were, as well, not apropos and, consequently disrupting. Bob, who took the lead in awkward situations and always did it aithout attracting attention, except for Miss Flynn who dramatically limped her way along led the way into the other larger room and we found a round table In the corner, next, as it turned out, to another table where there was a young woman with three rather what we would say, rather “greesy” male attendants. As Bob had ordered the makings of Napolean brandy cocktails and was involved in the drama of their concoction and I was seated nearest to the table in question it was I to whom one of those fellows addressed the question as to what it was that was happening. Took over the responsibility of a reply and politely, rather heavily polite, and in great detail provided the answer. The next day Bob told me that he had received a call from Miss. Flynn to say that the lady in question was Margaret Truman who wondered just who were Miss Flynn’s “snobbish Republican friends”. I am, even after more than a half century, curious as to know how anyone might have guessed another’s politics by their social behavior…unless, of course, it was based on the assumption that there is a high correlation between good manners and political thought. If it had been true then I doubt it could be said to be true today.

In 1953 I got my Masters degree from what is now The University of Massachusetts at Boston. Dr. Robert L Bertolli was my advisor. He was very supportive and in the summer of 1966 we met again in Venice. Later he suppiorted me in my thought to work with Viktor Lowenfeld, with whom I had already been correponding at Penn State University, but not having been able to save money for gasoline to drive from North Dakota to Pennsylvania I chose Minnesota and it seemed more likely that my wife might better find a job in Minneapolis I accepted the assistantship offer from the University of Minnesota under Clifton Gaynes and Reid Hastie. The second year I worked with Paul Torrance which was, without doubt, a somewhat more challenging experience than the Art Education Department. Now, my work with the Art History Department was something else and it was there I really thrived. By and large they are more appropriately sophisticated there as well than in either the Art Education or the Psychology departments. Reid Hastie mentioned to me that there had never been anyone from that department who got their degree as quickly as I got mine (1961). I couldn’t imagine why that was so since I have a talent for getting in my own way with authorities as they invariably find me somewhat obnoxious…even if they like me. After all I had managed to tell Dorothy Pillsbury Rood and Harry Bullis that they behaved badly and to challenge Dr. Robert Beck, whom I rather liked, but who seriously tried to wreck my academic efforts through his being the erotic interest of the Dean…a classic spinster. How it is that some rather intellectual nonentities get to be in positions of influence at what are supposed to be major universities I really did not know, but my research at the University of Northern Iowa was soon (1969) to reveal it to me.

Valley city

(1957-59) done in Valley City, North Dakota,

Henrickson: Still life

(1957-59) done to make a point.. It belonged to Mary Hagen Canine, speech teacher at the College there. I do not know who has it now.The painting on the left below was also Mary Canine’s and her friends the Paulson’s, he had been the North Dakota Attorney General were given a large painting of an air crash. They accepted the painting of course, what has happened to it I do not know. The dimensions were about 4’ or 5’ by 10’ or 12’.

Henrickson:”Balshazar” (M.Canine) Henrickson: “The Wind” (Frank Leussen, Valley City, N.D.) At this point I think it important to give dredit where credit is really due. During my tenure in Valley Cioty, Nort Dakota I conceived the idea of creating a Fine Arts Festival as much like that I had known in Boston as I could. Juanita Luessen and Kay Can, the wife of the publisher of the local news paper were the primary motivators and certainly responsible for the festival’s success for at least 25 years. The idea was mine, but they saw it through. That effort was suvccessful in a town that even today hads only about 7,000 people. When I tried the same thing some twenty years later in Santa Fe with a Scandinavian Film Festival I did have evey expectation that it too would be successful. The reason it wasn’t was, many believe, because of the petty jealousies, I learned later, of what is called “Den Konglia Svenska Avensyk”..the royal Swedish envy. I had had no idea the Swedes hated the Norwegians so much. Primary among these evil Swedish women was the wife a Greek fellow who had worked for Air France and told me that what I wanted could not take place in the time alloted because he, as an important member of the Air France establishment it had taken a committee, of which he was a member,two weeks to decide what paper napkin to use at a reception. The other destroyer of a good idea was the wife of a prominent lawyer, James Alley, who allowed her husband to believe I had come on to her in the absence of her maid. Some men will believe anything they are told. The third tricky lady who was, however, Danish, was the Director of correspodnence for Senator Pete Domenici. The American Embassy in oslo had some interesting comments to say about Senator Domenici’s involvement. The reason it didn’t work was because they were all in it to see how they might personally benefit and seeing that that was not my focus they decided to destroy it. That, however, was something I became aware of only after the event…and then not fully.

Henrickson: “Still Life”

Henrickson:’Betrayal”, or, “Lust” The etching, in its rather awesome way, prophesied future developments, or, perhaps they were true at the time I did the etching. The painting which developed out of preparatory drawings for the etching was prominently exhibited at a Concordia College gallery in Moorehead, Minnesota. Cyrus Running was the director of the art department there and he also supported my efforts to bring about an international exchange of art with Norway. That attempt was successful and Valley City promoted its Fine Arts Festival for at least another 25 years. The painting I gave to my sister and it hung on the wall of their family room until my three-year-old niece announed that “Uncka Paul did something dirty!”and my sister took it down and faced it to the wall. Later she gave it to the La Jolla art Gallery which very much wanted it and Ward, my brother-in-law expressed his pleasure at my having been a source of their having an excellent inc0me tax year. I, of course, didn’t benefit…after all, only the Philistines need finacial help. After awhile the gallery sold it to some speculator who wanted me to buy it back.The etching is with me in Gozo. By and large Gozo’s general level of aesthetic development is about that of my brother-in-law, that is, somewhat lower than involved.

Henrickson: a preparatory drawing (done in North Dakota) for “Ugolino” now on the Gozo Ministry collection. They wanted it so I gave it to them. In terms of my own development, howver, which is more important than my naive generosity to a rather grasping, exceedingly thankless government, is the fact that having read Dante’s “Purgatorio”,or whereever the story of Count Ugolino is sited which I found profoundly moving I did what I did to portray it. Intellectually, of course, I was aware that artists “portra y” their feelings…whatever that rather inane expression means, butthis was the first time I seemed conscious of the process of finding expression to those feelings and this, of course, gave rise to the question of the different languages available to man to give expression, or “to make” , and certainly there must be some corresponding mechanism in the mind of the person receiving the message. Of course, some of these distortions are haptic, others have a history of their own in the graphic devices , such as the orans, invented by earlier artists.

Henrickson: “Ceylonese Lovers” This was approximately the time when I painted “Ceylonese Lovers” as a result of an exchange stident from Ceylon named Dayananda Abeywikrame, or something to that effect. It is a

work that interested a lot of people but for, it seems, obscure reasons. It contains aesthetic elements I have continued to explore from time to time and in Gozo have done so ratherextensively. More so in sculpture (painted sculpture)than in painting. The fact of painted sculpture has an interesing genesis in my preoccupations as well. It was relatively only a few years ago that it was confirmed that the Greeks painted their sculpture. A discovery, and a development, that was somewhat of a horror to many as “one simply does not paint sculpture.” lt was seen as an anti-aesthetic development. What it did point up, however, is that the view of sculpture of those who had been making aesethetic judgments prior to their knowing the Greeks painted their works had been, excepting primitive fetishes, a view of form. This view of form was probably a later imposition of upon the past and led, ultimately, to a new and rather exciting development although based on mistaken premises and was an aesthetic entirely unkown, at least consciously, to the ancient world. They simply may not have seen “form” as a distinct quality separate from its being the result of being a direct transcription of the object seen. Being aesthetically conscious of “form” in sculpture (or architecture for that matter) means that one does more than to tanscribe the form of seen objects into bronze or marble, but manipulates that “form” in order to give it a function beyond being a record. It was an error for us to assume that Greek works were not painted, but that error was a fortunate one in that it ultimately enlarged our awareness of the realm of the visual just as Michelanbgelo’s unfinished “slave”

informs us of a potential richness in our aesthetic experience.

Victor Lowenfeld and I communicated for a short while on matters he in his book “Creative and Mental Growth” developed and on which I needed some clairification. We met at a conference in Los Angeles while I was teaching in Valley City. North Dakota. He was, for me, one of the very few art educators who had anything whatever to offer. He had wanted me to work with him, but fate interrupted and I landed in Minneapolis instead with Reid Hastie and Clifton Gaynes, neither of whom seemed concerned about developing thoughts of their own. Others are content if they learn by rote and can perform academic parlor tricks, Lowenfeld, on the other hand, was willing to be wrong by exploring a new idea. Lowenfeld may have helped me coincidentally in Minnesota with some academic-poltical problems when he visited the art eduction faculty of which I was a member by virtue of being a teaching assistant, and when he recognized me blurted out “Why are you here?. You are supposed to be with me!” He and Robert Bertolli were my supporters. With the exception of Kenny, Lowenfeld and Bertolli and the majority of art historians at The University of Minnesota nearly all others carried negative vibrations in abundance, most espeically those in psychology and art education. I can only attribute this to what might be called a lingering suspicion of inappropriate influences and inadequate self-assessments. I always got guidance from art historians, even those I never met, such as Roberto Longhi and a little from the art educator Edwin Ziegfeld who warned me about the Swiss based International insititute of Arts and Letters

as opposed to the guidance of Reid Hastiewhich had to do with tax deductions for the cost of my art materials and my potential powers over future Ph.D. candidates , or Robert Beck’s description of me as having “a fair mind and a fair body”.

Harry Bullis: Sometime during the Minneapolis period betwwen 1959 and 1961 I received an invitation from the International Siociety of Arts and Letters based in Switzerland asking me to accept their invitation to become a “fellow”. They indicated that my work had merited the invitation. I was perplexed for I couldn’t imagine what work they had in mind. Consquently, I asked the University Library to researrch the matter for me and I, on my own, conrtacted two of their listed members who seemed handy. Edwin Ziegfeld who was a prominent art educator at the time who wrote back taking tome to explain how he had found some of their behaviors suspect and Harry Bullis who was already in Minneapolis and so called him. I got ythrough with no diffiulty whatever and told him who I was, where I was, and that I needed to know his assessment of the organization. He evidently hadn’t listened well to my explanation for when he heard the name of ther organization he flew into a rage and abused me with “Are you a member of that God-damned organization? I gave them $500 and I haven’t heard a word from them since.”. When I had the chance to say something without interruption I told him, again, that my purpose was to learn his views of the organization and that his behavior was sufficient to provide me with an understandable reply.

Joseph Poirier was a 15 year-old 9th-grader at Tantasqua Regional High School in Sturbrudge, Massachusetts when I was that school’s first art teacher. This was 1954-’56, and for me the experience in working in a new school was exhilarating, although, those who had planned the curricukun and class schedules were not insightful,were not smart, were rather stupid, but, as authorities, they, of course, were right. In addition to students in grades 9-12, I also had 7th and 8th graders… and seven or eight hundred of them every week. This is ridiculous planning if one has any respect for the process of educating, the psychological tolerance of that many personalities on the mind-set of an educator. In any event, Josepg P{oirier stands out as a very real exception for the two of us, he and I. He was the son of the school janitor in an environment that was strongly biased against anything not English and being a French- kanuk, is quite the lowest, and, of course, having a father who was nothing but a janitor confirms the boy’s official I.Q. at 90, and was about the be held back for the third time. But when Joe came to me as his art teacher, (mentally deficient children are encouraged to take art) and shy and very quiet as he was trained tobe (every hungry dog knows when not to bark), Joe listened to every word and nuance of speech and responded(silently, of course), by coming up with a richness of graphic imagry that compelled me to go to the august school psychologist to request that Joe be tested again. I explained to the psychologist that I was not concerned about the reputation art had as a refuge for dummies

but for the accuracy of I.Q. testing. To his credit the psychologist did as I requested and, to his credit, as well, published his findings which were that Joe had an I.Q. of 110. This, it may be remembered was at a time when I.Q. scores were advertised as being stable and if they changed at all the change would be no more thnan 5 I.Q.points. On his next report card Joe’s grade avergae rose from a D- to a B- which caused me to wonder whether it was due to his possible increase in self-confidence or the teachers having second thoughts on their criteria for grading, or using the unassailable reputation for the “scientific” approach to evaluating the human being in terms of grade assignments. As an educator I must ask myself just what is the role of “ loving understanding” of a personality have to do with that personality’s accomplishment…as measured by our superior pedgogical methods? When I offered Ruth Eckert McComb, an internationally famous and grandly respected higher education authority, the opinion that the most important ingredient in the relationship between the educator and the pupil was “ love”, she rejected the notion in an uncharacteristically passionate fashion. “NO!!” I, as her student, would not have dared gainsay her. However, I believe it to be true today. In this instance that if there had not been that instinctual trust and caring between Joseph and myself, his initial silent calling for me to help him and my ability to undetrstand this level of communication it would never have happened. Consequently I have many, many times wondered what it was that brought Ruth Eckert and John Hess McComb, a minister in the Prysbyterian church together as life partners . In any event, those events have deeply influenced my perceptions. Thank you Joseph Poirier for acting the role of agent for my salvation as a humanist.

Sir Herbert Reid whose approach to analysis and to historical vision helped guide me. We met in Minneapolis.There was a reassuring detatchment of his ego from his work that I found reassuring.

Antal Dorati came over to me while George Verdak and I were working on some stage sets in Minnespaolis. He was in the middle of reherasing the Minneapolis Symphony, stopped the reherasal for a moment, came briskly in my direction still carrying his baton and his arm outstreached. I looked behind me to see if there was someone he was wanting to meet..but I was the one. I have no idea why. I thought I caught a small smile on George’s face. After I finsihed my course work for the Ph.D. I accepted a positonm at Radford College as Head of the Department. Its President Charles Knox Martin was a disaster. He had his wife stand out side the church door writing down the names of the girls who attened church without gloves and hats. http://www.youtube.com/watch?v=6HRjigDjrKc

Margaret Mead was one of the invited panelists for E. Paul Torrance’s Minneapolis Convention seminar on Creaticity (1961) which took place in the middle of the time I was working with Torrance. It had been quite well established that the personality profile of creative individuals included their sharing some of the characteristics the society at large believed characteristic of the opposite sex. The major sponsor for this Seminar was The Air Force Academy in Colorado and it was well known that the military establishment deplored gender confusion so consequently I had a problem in understanding how the Air Force Academy justified its involvment. It is very unusual that I am ever chosen to ask questions in situations of that type so I was quite astounded when I was the first, and, as it turned out the last, questioner.The focus of my question was to have the General from the Academy clarify their involvment in this seminar based on these two well-known dispositions. The general appeared not to understand my question and Mead, stepped in before the general was finished to say that confusing (from a non-slamder’s point of view) behavior was also evident in Samoa where the boys would spend the morning making up their faces and the afternoon walking with each other with their hands on their friend’s buttox thus causing, Mead said, for her to ask them if there had been any homosexuality in Samoa. The response of these young men was laughter from which Mead claimed , at that meeting of 300 university people,she concluded that there was no homosexuality. One might wonder how Mead and Ahmadinajad might compare their notes. http://www.youtube.com/watch?v=cOa3ftAKnzo 1 http://www.youtube.com/watch?v=a9HNzhV0CjI 2 http://www.youtube.com/watch?v=LFdaW1kZOaA

3

http://www.youtube.com/watch?v=XDLyQb5Pd3w 4 http://www.youtube.com/watch?v=RQnfbAEg_uQ

5

http://www.youtube.com/watch?v=OrdTDbUIeKk 6 Having reviewed the above videos, which I found both entertaining and instructive, I came to the more assurred conclusion that both Derek Freeman and Mead may have forgotten that the individual has a say in what happens to him, that his biological components and his environment are both constituent elements which may be mutable…. this must have occurred, somewhat dramatically and illadvisadly (considering the sophistication of his fellows and the technical experts of plastic surgeons), to Michael Jackson If anything, this clumsy essay is about that sort of

change and reformation. This is an idea that certainly has occurred to geneticists and has been around for at least 2000 years with much consternation to the nicodemian mindset,

The wind blows where it wills, and you hear the sound of it, but you do not know whence it comes or whither it goes; so it is with everyone who is born of the Spirit. It is this understanding of the source of inspiration that propels much of my work. It is in this sense, also, that I think, Agnes

Martin decried the uselessness of intellectual activity, describing it as a very pedestrian activity which simply added up one “fact” after another and consequently comes up with inaccurate conclusions and why Carl Jung could insist that he no longer believed in God but KNEW God existed. I am quite comfortable with both these points of view. http://www.youtube.com/watch?v=_-JfYjmo5OA Martin http://www.youtube.com/watch?v=WJ25Ai__FYU Jung

. E. Paul Torrance. While I was at The University of Minnesota for two years betweem 1959 and 1961 there was no opportunity for me to create works of art. Ho wever, I did give Torrance a painting in expectation ”

that I would probably need his assistance. This is the painting: Henrickson: “The Song of the Bird” There has existed a perplexing mystery involving E. Paul Torrance and myself. After I had received the Ph.D. degree from the University of Minnesota and taken up duties at Radford University, (Virginia) I attended a professional meeting in neew York and while there met my Master Degree advisor Robert Bertolli who quickly introduced me to a somewhat beyonf middle-aged woman who was a member of the faculty of one of Massauchuetts State Colleges. She very enthusiastically congratulated me on the article I had written which had been published in a volume of papers intended as guides to students regarding attitrudes toward art education. I had never experienced such praise and was so bewildered I couldn’t raise the courgae to ask her what article, what text book or what publisher. I also didn’t dare ask Bertolli about it for fear of sounding naïve ior stupid. The only article I could think of this one might have been was one I had written at Torrance’s request and which, I believe, ahd been puiblished in a prominent Art Education journal. I am still uncertain as to what article she had in mind. In

any event, I had never been told of it, never received credit from anyone and certainly never received a check. The very least I might have been able to expect would have been notice from the publisher so that I might have been able to list that accomplishment in my C.V. But this too was denied me. It reminded me of the viscious treatment I received from Elliot Eisner, who, unbeknownst to me had received from my then thesis advisor, Reid Hastie, a draft of my research report. Some years later when I had completed my research at the University of Northern Iowa and a colleague there had read it I saw a related sresearch report in Psychological Abstracts which appeared to have been influenced by my studies (which had not officially been published) on the correlation between Dogmatism and creativity. This time it was a student of Elliot Eisner who had been reporting on it. I was too busy to check to see whether or not my work had been credited, but subsequently I wondered whether my UNI colleague had sent word to Eisner for I couldn’t have imagined how else Eisner could have received it. I had seen Torrance after this event but still was unable to ask him about it and I didn’t want to subject him to hurt by the question. In any event if there had been mischief afoot, it worked and now, after four deaceds or more no one seems to know, at least not enough, about that significant research where it is indicated that our educational systems have adopted a proceedure which insures that only compliant and uncreative liars will be in a position of influencing the young. …anything to ensure compliance to the majority thought. In contrast the JUST

SUPPOSE TASK which I

developed while with Torrance at The Bureau of

Educational Research

successfully identified the creative minds in the forth grade population that was selected. The drawing above is from the cobver of the booklet {“KNOCK A ROOSTER OFF A FENCE”) I created using these responses. The participants then would be middle aged now. For more details on this item go to www.tcp.com.mt.

Radford, Virginia

Henrickson :works from the Radford period http://www.youtube.com/watch?v=_G8Qe7uRUT4 http://www.youtube.com/watch?v=YDhIFSHxrqg http://www.youtube.com/watch?v=axduQ5DJtD0 http://www.youtube.com/watch?v=MznBzJ2eHtQ http://www.youtube.com/watch?v=u8l5k-eUvPI As it turned out one of my responsibilities at \radford was to host Rolf Bjorling when he came to the college to concertize. I found him a very uncertain fellow. Jussi Bjorling, his father, singing the same song as on the video above. In contrast there is greater nuance of expression and tenderness and not the extreme passionate pushing the voice which I sense in Rolf and attribute to his misplaced competition with his father. When Rolf came to Virginia and it was my responsibility to host him and his accompanist my wife and I were short of funds ( which President Martin of Radford College didn’t mind) for a dinner Rolf after some minutes of conversation announced that it was customary to feed artists . So, Jean, ,my wife, whipped up something nice in a short notice. She was excellent in that way. Also, that evening when the conversation seemed a bit heavy in Rolf’s direction and I made an effort tlo draw the accompanist into it Rolf immediately redirected it in such an abrupt fashion I was quite taken aback. The accompanist noticed my response and indicated that he was accustomed to Bjorling’srude and egotistical manner and that I should let things lie. I did, but I’ve not forgotten it. Also, prior to the concert Rolf asked me if there was a song which I should particularly like him to sing. I mentioned one byGrieg which he said he didn’t know so I left it up to him to sing what he wished.

Paolo Soleri, architect (and observer). I first met Soleri at Virginia Polytechnic in Balcksburg where he was giving a lecture demonstration. I was impressed by his ideas before I went. I was still impressed after I left. In addition to his ideas I was also impressed by his stern lack of charm.This was in 1963, I believe. Then I didn’t meet him again until 1976 when Father La Voix, who was confessor at the New Mexico State Prison, and I attended a conference in Jerusalem on art, religion and architecture. On one of the side trips Soleri was in the same bus as I, sitting alone, but the window in his tank top…brooding. I didn’t allow him to brood. I told him that at the stop over in Athens onthe way back to the states I was to see Mrs . Effie Mihaelis the widow of the architectural histporian whom I had met in 1966 and who had been the teacher of my teacher Dimitri Tselosat The University of Minnesota. That much Soleri had an interest in and in his eyes I could almost see hisforgiveness for being who I am however he saw that that was. Effie was socially charming, as I had expected her to be and she was very interested in Paolo who was much smaller than she (some people do get turned on by those smaller) she served finger meat balls which were very good and insisted we should see a play at the amphitheater at the base of the acropolis. She arranged to meet us there later, around 8 P.M. Paolo and I bought out tickets and were waiting in line to enter when Effie came up to us and told us to come with her. She brought us to the head of the line where the ticket taker was taking tickets and letting people in. He took our tickets, tore them up and we followed Effie who turned us over to someone who showed us center seats on the fifth row. The only other seated people in the audiorium were way in the last few rows. We were both perplexed, but everything became clear when a couple of well-drssed people came in and speaking in urgent tones to an attendant seemed to indicate that Paolo and I were sitting in their seats. I lowered by head and said to Paolo “I think we have their seats” He did the same and said “I think so too.” In addition to that evening being a demonstation in social power the performance of “Lysistrata” which had been, of course, in Greek, had indicated something to me of such grand aesethetic significance I have never forgotten it. At that time I did not know Greek, ancient or modern, but the message of that soliloquy was evident the control of the actrss so compelling I felt I understood everything that woman was saying beyond any spoken language. ..such is the power of aesthetic communication.

http://www.youtube.com/watch?v=MfAJpRWM9tg

Chase Decker was one of the faculty members of the Art Department at R adford College, now a Univer sity. At the time that I arri ved Janice Kent was the Head of the Department. I replaced her,Kenneth Burge arrived later as I recall and Clarence Bunch was already there. Clarence was a no t unintelligent fellow, buit he really didn’t seem to grasp the serious natu re of art and seemed to think o f it largely as an entertaining curiosity, but, as usual, I did not interfer with people’s professional philosophies …so long as they were not my students. Chase had a specifically strong sense of family, his family, which he announced was FFV, that is First Famly of Virgina. As someone having been born in Boston, although of Scandinavian parents that southern distinction hadn’t impressed me one bit and I rather enjoyed the implied superiority but did not take it seriosuly. One time when a medical doctor in Blacksburg was entertaining a Polish Count and invited Chase and myself and announced that it was black tie we conceived the idea of costuming ourselves as one might for a presentation of “The Merry Widow” and obtaining some wide florist ribbon and our medals from the boy scouts we adorned ourselves…and damn it all! no one took any notice ..perhaps they were so awed they didn’t know what to say. Chase drank a great deal.

Henrickson: “Emerald”

Henrickson:

etching

Henrickson: “ landscape” Gift to (?) Williams, a neighbor

Henrickson: “sorrow”

Henrickson: One is always influenced by the environment.

Henrickson: etching.nude

The transition from the erstwhile aristocratic Virgina to the south pacific islands was relatively abrupt, personally and emotionally costly but as it seemed at the time, absolutely essential that I make a break, with my wife, with the hypocracy of established academia. The president of Radford was, apparently uncaring about his betrayal of long-established traditions of administrations not interfering with the teaching process and my wife, foolishly accepting the assessments of the uninformed as well as betraying our relationship announced that were I to accept the job in Guam she would leave me. I looked at her across the dinner table and felt the warm glow of relief sweep

over me and thanked her for helping me make up my mind and in two days put her on the bus to New

York where she’s been ever since.

Henrickson: untitled

Henrickson:c.1954

Henrickson:Crucifixion.c.1962

Henrickson: “Rape of Europa” Ken Burge who was an instructor at Radford College with me and I discussed some aspects of painting and used Titian as an example. A worthy example, certainly. Burge’s thesis was that the aim in placing pigment on canvas to present an image (of sorts) without disturbing the surface of the canvas. We agreed to objectify our points of view. I tried, but something devilish intruded and this is the result. It is destroyed now, I believe. This second work was in thre permanent collection of the Fine Arts Museum in Santa Fe, New Mexico.

Henrickson: This work which I think me growing disastisfaction with my domestic life.

Henrickson:” Breakthrough”

Pe Perhaps, indeed, it is coincidental, but I truly did believe I noticed a striking similarity between the faces of the 18th C portrait by Ingres to the right of the Countess Pauine de Bearn and the woman to the right in the left photo who was my wife at the time, Jean Bearn. If there is a genealogical relationship then it would have been a repeat of relationships over time between the Bearn family and my ancestors on my morther’s mother’s side. At the end of the table is my fauther, the ones on the left are Janice Kent

and her friend, both of whom were teaching at Radford College, now Radford University.

MICRONESIA AND THE MARIANAS

Palauan rock paintings, Micronesian rock paintings. I was the first, and , perhaps ,the only, one to publish photographs of these works which are systematically being destroyed

by thoughtless, mean-spirited, stupid hunters.

My little beach outside my Merizo, Guam, Home

my house from the beach

Nan Modal, PonPei, Micronesia

Rolf Koppel: Nan Modal

Carlos Taitano: at that time President of the Guam Senate was the source of some embarassment for me as he had made some unwarranted assumptions , visiting me unannounced at my home in Harmon Village, a group of condemned navy dwellinsgs, bringing me for a swim and a shower at the military base where he, apparently, had been granted privileges. When once I found myself in the presence of his wife and other Guamanian women I knew she had become aware of his attentions to me. By then, as well, I was aware that both Tony Yamahita , President, and Al Hendricks, then Academic Vice-President were aware, even prior to my having been, that Taitano was in pursuit. Apparently, Taitaino misreading the names and misdudging the ages , called Hendrick’s home and asked for me. Then, a state-side student was sent by Taitano to clarify the offer at which point I had to be quite open and to state that such was not my style. After all, why should I , after having rejected similar opportunities in academic institutions from Minnesota, Wisconsin, Illinois and Florida should I acceed to it with government in a place like Guam? Had I not, in the eyes of the world, descended far enough ? Occassionally irony aurfaces and I am perplexed as to why I should suffer for what I have not done where others, are praised, glorified and rewarded for what they have done,( but is called by something else)in the act of momentarily pleasing their fellow man.

Billy Bright (student)

Patty Jo Hoff, a fellow faculty member at The University of Guam. She told me, after I had asked, that she thought I was not a good administrator. After I thought about that for awhile ( maybe three years, it takes me a long time to make up my mind) I decided that that was because she took the meaning too literarlly. What I expected was that all the people I had hired were sufficiently professional to know what to do, or, if they didn’t know, to learn it on their own. Even with children I allow them to check things out and to make up their own minds…within flexible limits. But, perhaps, adults, who have grown up in restructive systems have forgotten how to think, or, like Marvin Montvel-Cohen, learned to think criminally and destructively. After she retired Patty-

Jo went into search for nearly microscopic sea creatures of incredible formations like these :

Gaius Nedlic Sablan

Jean-Claude Gay

PJ

F from “Two Lovers’ Leap”

Guam’s edges

Jacob, Gaius, Sinkitchy

Joseph

Lion fish

Latte stones

reef fish

…a differently exotic world

Battling Chamorro Chiefs

Student who showed me the cave at Inarahan, Guam

Henrickson: untitled.. This was one of the experimental works I did about this time attempting to bring about a proper aesthetic joinhg between sculpture and painting. I was not at all sure it worked out.

Reef view: this imagry, that is, looking down through the shallow water to the life and the play of sunlight that reveals a gentle intermix of color, form, and movement was, perhaps, the most unforgettable sensual charact eristic of my western pacific involvment…in its way , a more entrancing through the looking glass experience.

Elnora Wilson , a descendant on two sides from Kusaien rulers, married Scott Wilson, an anthropology profesor at the College of Guam. Elnora and I were very good to each other, while she looked somewhat like that native woman acting as match maker in the film “South Pacific” there was nothing of the mischief maker about Elnora, although she did try to make a maych between me and Truby Bell it was done with all the gentleness imaginable. It is mainly through Elnora, although I do not believe this was her intention, that my views of Pacific islanders and the cultural attachments of those who exploit them have been greatly enriched. She made me her brother with the name Likiak Palik.

http://www.youtube.com/watch?v=81NROmUb7o0 During the two-year break I took the opportunity to go round the world and spent about two weeks in Ceylon (now, Sri Lanka)

Cloud Goddesses: In 1966, during the bi-annual break I was in Ceylon (Sri Lanka) at Sigiyra and photographed the very impressive wall illustrations. One of the greatest threats to civilized human progress is the ego-driven ambition of the political type which, clever at recognizing human frailty as a resource for self-advancement and blind to the rights of others, will detroy, willy-nilly, anything they perceive as a threat. In th case of Madelein Bordallo, according to the then Governor of Guam Manuel Leon-Guerrero she was insanely jealous of my international cultural contacts which put me too much in the lime light for her ambitious comfort and so commenced a drive to discover my sins. Her route was the then Attorney general, who, according to reports coming to me, had interviewed 150 students to find out whether I had molested them sexually. To my dismay no-one took the opportunity to emphasize their virtue by stating I had done so. What a dismal erotic score. On the other-side of this coin of political effectiveness, Madeleine who gets voted into office to rep[resent the people of Guam really represemts the military estblishment and they talk to the people through her. Democracy so practiced is, indeed, a travesty. Her entire career, right from the start, has been informed and empowered by the most demonstrably evil influences such as eminated from Ferdinand Marcus, Meyling de las Crus and others named below but how she, herself, has been able to escape consequences and staining has escaped me.

Madeleine Bordallo is, for me, at least, a partial enigma although my sister at one time expressed admiration for this young Jewish girl from Minnesota getting herself elected as the President of the 5,000 member Asian Women’s club. Madeleine accomplished this with the guidance of Meyling de la Cruz, who was the proprietor of the Guam-based School of Music and Art which, in actuality was merely a platform for Phillipina young women to find, hoepfully, gullible American boys. In my experience the level of musical talent in that organization was minimal. Meyling was also the aunt to Ferdinand Marcus, the dictatotor of the Philippines, a thief of his people’s wealth with a wife who liked shoes, and his political advisor which should tell the reader a great deal. How else should a Jewish girl from a very small town in Minesota get to be President of the Asian Women’s Association? What is that mental mechanism that encourages such a difficiency of thought?

What is truly mystifying for me is how Madeleine, who with her intimate political and personal relations with Her husband, Ricky when he was governor and then with Governor Guttierez when Madeleine was his Lieutenant Governor, managed , when both were indicted and Ricky convicted of serious illegalities and Ricky sentenced, over which Ricky finally wrapped himself in a Guam flag, chained himself to a public statue of an early Guamanian chieften and shot himself with a 38 at rush hour. to escape contamination? Perhaps the answer lies in the fact that if enough guilt can be attached to one’s behavior and one is sufficiently rewarded one quite likely become a loyal agent. …black mailed into obedience and the rejection of ideals .But this analysis gives too much credit to Madeleine’s initial innocense, for as Governor Manuel Leon-Guererro indicated to me Madeleine was ruthless when she wanted to discredit someone she thought stood in her way. Although she chose the wrong path with me, fishing from anong the student body for improper sexual contact, she, together with Marvin Montvel-Cohen had sufficiently immobilized my work that it was sufficient to encourage my departure. Now, she is Guam’s representative to the United States Congress. Such is the title, but in pactice, however,she represented the military establishment to the Guamanian people and tells them, in effect, what to expect and how to behave. http://www.youtube.com/watch?v=SW5aFuw5MDM ;

Madelein’s talents at maneuvering were appreciated by the then Governor Manuel Leon-Guererro

who told me that she was envious of my contacts and wanted me off island. In this regard she was not smart, for my aims were not political, but academic and cultural. She might have used my talents to assist her in her political ambitions, but, if she thought at all, probably did realize that an enlightened public is harder to control. I have always maintained that Madeleine was an enemy of education and cultural endeavor, despite the glorious claim appearing in Wickipedia , Madeleine does not know enough to be interested in humanity, but she does know enough to appear to be. She is not knowledgable about nor altruistic in her approach to important matters, but is highly and personally ambitious which Steven Colbert probably realized when he produced that famous interview with her. http://www.colbertnation.com/the-colbert-report-videos/167396/april-302008/madeleine-bordallo Also, after he had come to Guam, at a volunarily reduced fee as a favor to my efforts, Isaac Sterne

wrote me to tell me that he had not contributed to what apopeared to him to be malicious efforts http://www.youtube.com/watch?v=MqAqQiP61co

Jean-Claude Gay

Manlio Arena, Rome

Ceylon: I do not know why I have always had a strong fascination with this island. I did visit in 1966 and found it both dignified and mysteriously frightening.

hoFtldsa

Harry Pieris was a most cordial host making it very difficult for a naïve American to believe in Anglo superiority. Sri Lanka is, in its countty-side one of the most beautifully kept I have ever seen. As a final note, the footholds in this rock at Sigayra are magnificent in their simplicity

Henrickson: This work I see as a symbolic attempt to reconstruct a demolished life. Sometimes life can only be described as similar to the advenures of a ball in a pinball machineing off one obstacle only to het another. T he path can be a very curious one indeed an

Henrickson: Reef painting

Henrickson: Reef painting

Henrickson: Figure in Jungle Paul

reef painting

Rolf Koppel: portrait of

In Ceylon ,summer of 1966, the guide insisted that I should ride an elephant. I said “no”, but he insisted since his job as a guide depended on it “All tourists must ride.” I acceded and as she lifted me down she caught my eye and by it told me not to be too upset, she understood and liked me for repecting her elephantness. I still remember with great solemnity that look she gave me.

Evan Montvel-Cohen is the son ofMarvin Montvel-Cohen who I knew better than I had wanted to do. I made the error of hiring him, first of all of believing him as to his interests and abilities. They were not what he said. They were, rather, the talents of a scoundrel. His son, Evan, howver, exceeded his father’s penicious exploits and made a world-round reputation fro himself. It was, I believe, the combiantion of Marvin’s talents and those of Madelein Zeien Bordallo working together in combination with Antonio Yamashita’s political helplessness that made it impossible for me to stay where I had imagined I would probabl y stay for the rest of my life. Ultimately, of course, I did not suffer, for leaving opened up possibilities I would probably not have realized. It is not, ordinarily,I think, although I am not certain, a part of my character to reject the place fate sent ,i.e. I did not reject Sturbridge, Massachusetts, I did not reject Valley City, North Dakota, or even Radford, Virginia. All those places, which in the catelogue of academic sites of prominence are below the line of tolerance, even Radford College, certainly as headed by Charles Knox Martin would never have been able to achieve a desireable reputation. Since during that period my domestic ill ease was increasing along with suspicions and evidence it was not exactly an act of bravery, but a tactical device, to challenge Martin at a faculty meeting by providing evdence that there seemed to be no material academic difference in what the students learned from those multisectioned classes for which he ORDERED faculty members to agree on a single text to be used in all classes. At least he had the good semse not to select the text himself, but ordering academic faculty to agree on an issue, aside from being normally an unlikely event, it is, of itself, a gross violation of ideal academic goals …to which no-one, at the time, had officially objected.However, I did, at a full faculty meeting and knew full well it would end my stay at the College. I used it, hoping it would trigger a domestic decision as well and my reasons for accepting Guam were also related to pushing the matter of a divorce ahead. So when Jean warned me that she would leave me if I chose Guam. I thanked her and chose Guam. Several years later I learned from a former student that some in some sort of authority had decided it would be appropriate for the new Radford College Art Gallery to be named after Mrs. Martin. I cannot imagine why anyone would have thought this appropriate as she showed absolutely no interest in art while I was there. Perhaps, someone felt, it might compensate for her having married Charles Martin. The arts have a reputation for being

liberalizing, yet Mrs, Martin, outide her church would write down the names of students who appeared without a hat and gloves.

AN INTERREGNUM……between “posts”

Paul Brach and what one shouldn’t be.either as a human being or an artist During the late Spring I stayed with my father in Escondido, California while I searched for a position. One of the places I thought I should like to be was the La Jolla branch of the University of California. I had an appointment fore an interview with Paul Brach, then head, and, I think, newly head of the Art department there. I arrived, of course, on time but to find Brachvery much involved with several other members of the faculty all very obviously very anxious to please him. He and everyone else knew that I was among them, but it was as though, in fact, I was not there for Brach was leading their observations in regard to a faculty member who was not present, a MacDonald or something like that when this MacDonald appeared in the doorway, paused for a moment and very quickly explained, in a clearly Scots accemt, why he was coming to this room to fetch something. I was also clear that he beca,me immediately aware that he ahd been the subject of conversation. When it also became clear to me that this Gentile was not wanted among them, not I think, because his painting style was academic, it was academic, but it was also very knowledgable and, in itself, referenced an entire period of painting after 1850, but because he was not a Jew. The Scots left and after a few comments from the others with still no recognition that I was present I also left deciding that as attractive as Soputhern California was, and the proximityies to my remaining family I could not, even had I been wanted, worked with a man like Paul Brach. I have ever since loathed his personality and character and, as is my habit, wondered how his paintings were, somehow, an expression of them. I think Leo Steinberg may have been very gentle in his criticism of Brach’s work, but, nevertheless, indicating the direction one should go in order to arrive at the conclusion that Brach is a fraud, an egotistical fraud who augments his defensive measures by adeptly recognizing a potential threat presented by any real talent showing above the horizon and killing it off. In this way he is similar in this audacious chutzpa to Marvin and Evan Montvel-Cohen, Madelein Zeien Bordallo. I continue to meet up with the type who, for some inexplicable reason find considerable success in offering the bogus to the masses who accept it. I suppose the answer might be simple like the quality of the object matches the quality of the audience, e.g. QO=QA, or,perhaps,, to put it another way, there is a negative correlation between sophistication and appreciation(understanding). “sophostication”=the appearance of knowledge and “appreciation”=genuine response to stimulae, or to put yet another way “talking the talk isn’t walking the walk”, or like Simon Magus in his approach to Simon Peter offering to buy the secret of raizing the dead. Simon Magus didn’t accept the reality of the real, so, therefore, everything was fake and he simply wanted to make a better fake. Forrest Fenn shows the same disbelief when he makes the assumption, though with some difficult hesitation, that there is nothing to know about “art” except when it sells, so if it sells , it is art. The same is even more true of Gerald Peters. And by contrast Fenn is an angel.

CEDAR FALLS---THE UNIVERSITY OF NORTHERN IOWA

Henrickson: transfer

transfer

transfer

Walter Ugorski was a faculty member at The University of Northern iowa when I arrived and he made a point,. Along with his “nephew” to invite me to Thanksgiving dinner which the nephew at which the nephew base the big turkey with a used oil paint brush and served me in the nude….the boy was nude, not the turkey, well the turkey was nude as well in that the feathers were gone. All of the above was with straight face for my hosts as well as for myself. I was perplexed by this performance but curious enough to see what might develop. Nothing outide the above did develop, Later, The boy told me that he and his “uncle” had

wanted to test my responses to what they considered outrageous behavior. It was, of course, outrageous, but not as outrageous as I thought, their arriving unexpectedly to my house in a herse painted a bright pink, some months after Walter had been dismissed. I was then and I am still am perplexed by the evident talent Walter had to graphically represent whatever he wanted, was superlatively verbal, as they both, he and his “nephew”were, but their perceptions of who they were in the eyes of society appeared to be a hurdle in their negotiating an amenable solution. Who am I to talk? I have my own problems,.After all, the University did not even acknowledge my research, answer its implications which were seriosly implicated the teaching system in a structured policy to police the minds of mentors available to children. The fact that lying and uncreative personalities were officially the preferred type to go inot the teaching profession could not be brought into question. So, when the University was forced into hiring the racist bigot, Kenneth Lash, to head the departmnent the university raised not a finger to prevent his limiting my research

interests. Well, it was no great matter since I had already decided on another course of action, but, in principle it was wrong.

428 CAMINO DE LAS ANIMAS

Henrickson: Genealogy Triptyck PEOPLE AND PLACES I DISCOVERED

My home at 428 Camino de las Animas

428

Thanksgiving in my studio

c. 1980

Tha Palace of the Governors, Santa Fe. The original name of this city was “LA VILLA REAL DE SAN FRANCISCO DE ASSISI”. There had been representatives of royalty here,but royalty themslves hadn’t come until relatively modern times. The latest, of which I am aware were, at somewhat separated times vists from the King and Queen of Spain and Prince Charles and Princess Anne of Britain.Despite the distinct claims of being a democracy the romantic attachment to those of elevated social status, regardless of character, is a prominant part of the American profile. In line with that the red and yellow flags surmounting the Palace, very reminiscent of Navarre, have nothing, of which I am aware, to do with either Aragon or Castile which

were the principle areas involved with “New Spain”. The crests below are, I imagine, there to represent the various families which settled the area. Some people did, of course, settle the area before the Americans opened it up to everyone in the later 19th century, but initially the majority of settlers were political exiles from Spain and its Inqusiition which required Jews to forfeit property, convert to Christianity and leave Spain. They were awarded vasts tracts of land which they subsequebtly sold and now would like to have back. The crests are misleading and as evidence they refer to man’s romantic imagination…yet, they do have some practical touristic value. There have been, however, some legitimate royal and nobel descendants who have settled in the area, among them, Senutavich, de lusignan, Russell, Duke of Bedford, Baroness Rosen, de Guize, Pavlavi, Ngeum and others I may be unaware of. After all, Royalty doesn’t exactly have a reputation for chastity.

Fritz Scholder was a nice enough fellow, but so tremendously well known internationally and loved and repected by the Indian community as a critic I had real problems in recognizing how I should handle the intellectual and social problems involved in writing art criticism about his work. Ideally, as well, none of those aspects should play a role in criticsm. I do not feel I succeeded. Even without the rather burdonsom PR assocuared with Fritz, his creative output while revealing readily identifiable and conventional virtues has not, to my knowledge, revealed evidences of significant aesthetic search.

Anita Bryant at the time of her crusade to save the children, well intended, I have no doubt , but exceedingly misguided. I have no dount as well that her instinct and her intuitions were functioning but they had been warped out of shape by the teachings of procrustes. I felt her pain , wrote her to think something of the torment she may be causing others (not homosexuall others) and her lawyer wrote back a gentle, but also imperceptive letter referencing the numbers of Biblical references condemning homosexuality but, characteristi cally not questioning the sources or the motivations.At the time I published in The Santa Fe Reporter under a nom de plume an article citing the local research I had done among the churches in the area. When I asked one of the ministers of one of the Baptist churches with a membership of 200 how he might respond were he to learn that 20 of his parishiners were gay or lesbian. He immediately accused me of being one (or you wouldn’t have asked the question”) and he continued to say “They wouldn’t dare!”. Dick McCord urged me to allow my real name to be used, perhaps thinking, and hoping, someother newsworthy development might come up. I emphatically refused stating that I was not the only person living in my house and I had no right to put them into a potentially threatening position…”besides, Dick, it is the issue that is important, not me.” Many years later after Mel Gibson had had his regretable encounter with a Jewish policeman I wrote a letter to the editor of the Santa Fe New Mexican, the other Santa Fe newspaper and at the very end of the letter had written the suggestion that since Gibson enjoyed doing the research for his films he might be interested in researching the historical relationship between the Jews and the Khazars . The whole letter apppeared once before I received an email from Michael Odza, the then editor of that section stating that I had been blocked for four days for having written that suggestion. The letter continued to appear, but that last sentence was deleated. I wrote Michael to ask

him who had complained and for what reasons, but he would not reply to the question. A long time later, in answer to a different question, Michael told me he was no longer editor of that section of the newspaper. In 1845 the United States confirmed the legality of The Treaty of Guadalupe Hidalgo which put an end to the Mexican–American war. That treaty provided for the recognition of the Royal ( Spanish) and Mexican land grants in these new United States territories. Many of these land grants were confirred by the Monarchs of Spain on the Sephardic exiles forced to leave as a result of the Alhambra Decree (1492) which exiled Jews from Spain. Subsequently the owners of the lands sold the lands and they became the property of others. Now, for several decades there has been a program to have these lands returned to the heirs of the landgrant original owners on the grounds that the sales were illegal. Senators Bingman and Domenici have both sponsored a senate bill to investigate the matter. Of course, the outcome is in doubt, but it is of interest to note that the people who are known to me to be outspoken activists sponsoring the reopening the question of the treaty’s legitimacy are Rabbi Hellman, Stan Eudis and the Converso priest at San Ysdro. Eudis spoke to me by phone of his role in this which was to give advice to the heirs on how to have the lands returned to them and the priest, at a Mass of a 17 yearold suicide, a grandson of Angelina Delgado, openly mentioned the advisability to frustrate the Anglo in his plans for this area. The grants in question, of course, have not remained idle, but have been “improved” and done so by those who purchased them…not by the original owners. In their strong focus in having returned to them what had been theirsbefore they sold it these heirs seem to forget that the land in question “belonged” originally to the resident Indians who had been very cruelly treated by the Spanish and the young Indian boys enslaved to the service of the military and the church…along with captured herds of sheep.

I believe it was this performance that really demonstrated to me the amazing powers of theater. This production of “The Maids” by Camus left me with the experience of reality having been twisted. The performers were not professional but “off the street” and the director of the performance was Swiss, AnneMarie de Peury Thompson. It is possible, I imagine that the ywo male maid leads in this production of the maids were lovers. Tom Armour, the one on the left, had been, I was told, a “call boy”. I am unable to imagine why anyone might call for him. After I had bought my house at 428 Xamino de las Animas he and the woman he lived with, whom I’d thought was his wife, rented my house while I still had had to remain as a faculty member at the Universi ty of Northern Iowa. I had bought the house in July but returned at Thanksgiving to check on matters which had quickly begun to deteriorate. I had been informed that fifteen people had been living in my house. Perhaps Tom had subrented. In any event the septic system had failed and excrement was flowing down the Camino de las Animas and past the house owned by Gustave and Jane Bauman. I was thoroughly revolted by this turn of events and certainly was not turned on by the prospect of joining Tom and his wife in an erotic threesom. It was not the first time such an offer had been made me , even on condition of employment at a state college in W[sconsin. Somehow or other I had always had the impression that such enticements were rather beside the point and I certainly had not considered them complimentary to my academic qualifications. In any event I have these actors and Anne Marie to thank for having given me a theatrical experience that turned my understanding of the theater quite on end. Perhaps it had been my momentary receptivity, but this piece, rather odd to begin with,

totally convinced me of those characters’ mindsets and “bent” the reality I was living in.

Revealing the score, or, so to speak. At the Ballard House, there is Alan Pearson, then Director of the Governor’s Gallery. Next, a teacher of voice and wife of a St. John’s professor ( I can’t recall her name even though she was for awhile my voice coach, she later recognized, without doubt, the improvement in vocal approach that Niska taught me), next Corona Byrd, wife of “the Water Judge”, me and on the right Ruth Ballard and seated is Louis.

Una Hanbury: I could not bring myself to accept any part of Una Hanbury whom I regarded as a socially aggressive, inartistic fraud who supported herself mainly by her ability to convince the ignorant that she was legitimate. When ever she departed from the purely straight-on academic school training she tripped over her lower middle classkitchy aesthetic. The final event with her came when she exhibited a bronze figure of an Indian woman and placed a real toruquis in the necklace the woman was wearing. I was told by Conway B. Thompson, a sculptress friend of hers, and a colleague of mine from Virginia, that my published comment about that figure really turned Una against me “There’s no wonder she hates you.” She had told me. No one really likes being hated, I iamgine, but what made Una Hanbury expect that every one else in the world was stupid and that there had not been real values inherent and very appropriate to art. Had she never heard of Herbert Read, Roger Fry or Clive Bell? Had she thought it my responsibility to help her make a living by pulling the wool over the public’s eyes? No way! It was not she lacked a talent, it was, however, a very minor talent.

Eugene Shonnard at 90

Michael Naranjo

Naranjo of Santa Clara Pueblo has no eyes with which to see. His fingers and eidetic imagry take over the responsibility of visualzing aspects of Indian culture. In addition to those abilities he is a gentle man. When I visited him at his home, at his request, in Santa Clara Pueblo to discuss my writing about his work he emerged out of his bedroom with a smile on his face and with a pair of very blue eyes. After some minutes I could no longer resist commenting on that image and he smiled again and told me that when he felt particularly patriotic he would wear the ones that had the American flag on them. Michael had lost his eye sight and his eyes after having been the victim off an exploding hand grenade. It was not difficult to write glowingly of Michael’s work, for even if he had been sighted his work would have commanded high respect. What his work suggests is a strong relationship between one’s memory of human anatomy and its translation into form. I have not heard any claims that he had help to realize the characteristics of human anatomy, nut this figure of an Eagle Dancer would have been considered worthy and outstanding had it been done by a sighted artist.

Jacques Cartier had, over many years treated me well and with patient understanding. He taught me a great deal. I could never understand the rather debased and bitchy comments published in the critical work “A Spider In The Cup” by the nom de plume “Norman Males” although that author’s observations about the nature of New Mexican Catholicism seemed “quite on”and the later, much later, emergence of the Arch Bishop Sanchez’s liasson with the daughter of the Arabian alcohol importer did not help to disprove this understanding. These characteristics cerytainbly made Concha Ortiz y Pino de Kleven’s job of adjusting the reputation of the Hipanic among the Anglos of Santa Fe very much more difficult…nut then. after all, it has been rather well established that these Hispanic are the Conversos of the Spanish Inquisition, dispossed by Isabella of Castilleand exiled to the New World. Such a history might possibly explain the rather horrible annual reenactment of the crucifixion.

A 1912 photo of Penitentes who even a half century later practiced their beliefs. Roaul Julia in a film by that name documents this practice.

The numbers of petroglyphs throughout the mountain states are very, very numerous. Some are very interesting indeed. http://www.youtube.com/watch?v=cnv0De93Mm4

Will Shuster http://www.youtube.com/watch?v=i1amYd47CQser was very much aware of what his reputation should be.

”Residence” was the name of the alternative learning environment to which purpose I had placed my new 6 bedroom house at 428. This photo came from Rolf Koppel’s photographic class.

Helena Ruthling made herself and her two children, Doodlet and Ford quite locally, at least, famous. Doodlet became Jacques Cartier’s stage manager and Ford, a painter of sorts, with the rather unusual

distinction of having some of his paintings of Indian pottery used as postage stamps. They were quite handsom as stamps go and there was one time when purhasing a sheet or two of them I was so conscious of Ford having had a hand in them that I made the check out in his name instead of that of the Post Office..

Gustave Baumann and Jane, his wife, were very important stabilizing influences for me during my first stay in Santa Fe althouth they were probably unaware of it. If I hadn’t known that the Baumans were near by the highly irregular life style of the Breneisers would have thorughly distressed me. . They were solid, conservative in their personal behaviors and were Quaker, which I believe is apparent in his work.

Pansy Stockton was a woman of considerable interest in everything she did. What she did was almost always off-center and egocentric. Rather than the traditional media of oil paint or watercolor Pansy chose the stuff, the detritus from nature and combined this vegetable matter into very convincing landscapes. As a woman of considerable size she was described when spotted sunbathing on her roof as a pancake. When traveling with Jacques Cartier as a jitchhicker she came down to breakfast at the hotel wearing two leopard skins, one in front and one in back and as she strode through the dining room at each step an expanse of naked flesh was flashed. I met her at a party when I was 21 at a house in Seton village and she was wearing oen of those huge paisley piano covers with a 12inch fringe and a turtleshell comb that Jacques Cartier had given her that ahd been with Carlotta, the Empress of Mexico. My sister has often remarked that I tend to atare too long at things that interest me , I guess I do for Pansy looked at me and remarked so all might hear. “You’re right! I’m not wearing anything underneath”. It wasn;t what I had been thinking at all but it was an effective comment….egocentricity again, that is, a validation from others that you are really there.

This is a Santa Fe art opening. At one time there were 14 in one day and they all served white wine and bits of processed cheeze.

The Santa Fe Opera, for years the center of cultural achievment in Santa Fe. I knew the ranch before it became the opera.

On opening nght the opera orchestra comes out onto the exterior balcony overlooking the entrance patio and plays dance music for the audience and the singers come as well and dance with audience members. There is a Venetian/Vienese sense of party.

Catha McCullum was both an actress and a playwright who, at middle age, had contracted cancer and in her honor her theatrial friends from San Francisco came as a body to perform two of her plays for the Santa Fe audience while Catha greted everyone in the lobby and called them by name. She was a most admirable woman.

Jon Vickers with whom I had a gratifying telelphone conversation on the subject of Peter Grimes, an operatic character Vickers created. I was writing a script of a play called “Pedro” for Elizabeth Harris and the character of Peter Grimes played a role. I needed to check with Vickers on Grime’s character. He told me he was a viscious man, yet, I believe, he was seen as viscious by an evil community. While we disagree on that I can only commend Vickers for his generous civility in answering my call and leaving the rehearsal stage http://www.youtube.com/watch?v=-juIqZGKdZA(Peter Grimes) http://www.youtube.com/watch?v=KPET4RAe6yQ (Samson and Delilah) Both these videosdemonstrate, I believe, Vickers controlled (barely) passion for the roles, the

distraught Grimes, the helpless Samson, What I sense very much in his performances is the sublimation of the self to the part, the artist to his art. In addition, I can only very much feel gratitude for Vickers generosity is helping me focus on his interpretation of Grimes. http://www.youtube.com/watch?v=7UQtTrmRwGEus

Ragnar Ulfang

Santa Fe Opera.

was a very popular longtime participant in the productions of

The

I was particularly impressed by his enunciation of the name “Salome” in the Strauss

opera which was one of the productions. For me it carried some of the same agonizing pleasureable torment as

Vickers’

note in

“Samson and Delilah”.

He and his wife came tro dinner one time with, I think,

Doris Cross, Ragnar was very affable, his wife withdrawn and Doris quite mute..consequently most, if not all of what was said was between Ragnar and myself, He saw a brown paper bag that had been disjointed and laid flat upon which at an earlier time I ahd followed the genealogical family line as it had appeared in Sandeherred Book…a book of the history of county farms . He recognized the name of KLAVENESS . are from

The following videos

Ingemar Bergman’s delightful film “The Magic Flute”.

http://www.youtube.com/watch?v=zMt74eFrWnw http://www.youtube.com/watch?v=7UQtTrmRwGE http://www.youtube.com/watch?v=VmfwzxjBN7k

vera Zorina, (Brigitta Liebersohn)Although she and I have never met she, too, was very generous in giving me her support in connection with the Scandinavian Film Festival I tried to establish in Santa Fe. What I noticed from that effort was that creative Scandinavians are, on the whole, much more generous and free of vile that characterizes the uncreative ones. Swedish women, especially, should be spanked severely at least once a month until they pass menapause and then there may be some doubt as to their lack of ambivalance. http://www.youtube.com/watch?v=Oiro_d2Yr14 http://www.youtube.com/watch?v=RZq8v6Dstw0 http://www.youtube.com/watch?v=1KpbYZi_DGA

James Koyanagi, architect at 428

Bill and Janet Chudd at 428

Chase Decker’s Portrait of Paul in the graden at Pojoaque

(check out Scribd.COM) was, I had thought, someone who wanted to be a friend to me. I thoroughly enjoyed his writing, especially in “Nambe Year One” but it developed that he was a rather traitorous person which I have detailed in an article available on pdfcoke.com.

Laura Gilpin. (I do not know the photographer.) Laura and I had met a few times and, it seeme, we respected each other as human beings. In Santa Fe, that was not often the case as more usually extraordinary

Laura Gilpin I liked very much indeed and found herself, her work and her attitude toward her subjects as gently considerate as in an earlier geneation we had been taught to be.In thuis regard she had much in common with Robert Frost. personal characteristics were emphasized.

Gilpin: O’Keeffe In these three images it seems to me that through these approaches Laura Gilpin presents an unthreatening self-portrait.

Gunvar S. Miller, an admirer, who, despite her poverty brought me shrimp to the Sunday champagne brunches. In addition to that she was also an intelligent and aware lady.

Forrest Moses: One of the most discrete, reserved, and aloof personalities in Santa Fe. I never published criticism of his work. I suspect he might have felt relieved at that. He is accomplished and well-mannered.

The Palace of The Governors

William Lumpkins: an architect

Henrickson: drawing

my Pueblo neighbors

Dina Brovaroni. Restorer of paintings

Elizabeth Harris:…and at her feet “superdog” Elizabeth was quite influential in helping me to develop a more workable sense of theatre. I had sent her a very short skit on the subject of boy becoming a man, her adopted Philippino boy had just sprouted his first pubic hair. The script, apparently she liked and urged me to develop it. Well, I am open to much experimentation so I did and developed the play “Pedro” who, because he is left unguided by his parents welcomes an imaginary playmate who introduces him to other, now dead, Peters and whom he resusitates, who, by example, try to indicate that “Pedro”may have choices.

In connection with the work, that is really to say, the “mind set” of a creative person it seems important to record that they almost invariably appear unable to properly defend themselves against the actions of what can rightly be called, “the unscrupulous”. It seems to me sometimes that I am very slow in recognizing the real value in what I do. I have in mind, at this point, the psychological study I did while at The University of Northern Iowa where I discovered that one of the characteristics of those identified as “creative” was that they did not lie about themselves to others, nor to themselves and a corollary to that discovery was that those who did lie were rewarded with higher grades. Elizabeth is a creative artist. I learned a great deal about how to see things from her and the last I heard was that the house she bought in a small Hispanic community north of Santa Fe and was spending a lot of money in its renovationand a chance remark by the “former owners” indicated that they knew something that would allow them to get this improved property back whenever they wanted it. This is a repeat, an echo, of the agenda on the part of the heirs to land grants, and quite nearly entrely supported by Jews, to have their once sold, now improved, properties back, which, in the case of Santa Fe, itself, would mean that 1/3 of now very valuable property would be returned to heirs on the basis that the original sales were illegal. There having been innumerable sales in the mean time is of no consequence and, in all of this wrongly based intellectual activity, of course, the Indian, who was here long before the Spanish, is forgotten.

John Galea

brought me to Fr. Peter Serracino-Inglot here in Malta, once the Rector of theUniversity of Malta and having had several appointments as governmental representative of Malta to various political-socialeconomic sessions in Europe he was well-positioned. I do not know what John expected, but I recognized immediately that Fr. Peter shouldn’t be seeing anyone and using what energies he had to some other person’s interest. He died not long after. Language is at the centre of Serracino Inglott's philosophical work with Thomas Aquinas and Ludwig Wittgenstein as the two critical signposts on his conceptual terrain. This last information may indicate that John Galea’s instincts may have been correct in that the initial draft of “Pedro” was very much concerned with language as a vehicle of thought and experiential response. As I see it now in the light of Greenaway’s approach in “Pospero’s Books” language is a companion to visual symbol and movement in transmitting ideas. Of course, I doubt that Michael Powell would have disagreed with that.

Michael Powel, film director of “Red Shoes”, and came to Santa Fe, read my script entitled “Pedro” and kindly and generously told me he could not see it as a film. I was dissaitisfied with his comments, but, at that time, had not seen Peter Greenaway’s film “Prospero’s Books” which had created the very texture I had sensed I needed. Not having heard of Greenaway I was unable to reference it to Powell and wuiten possibly it might not have been the tactful thing to dom for possibly,

their filmic philosophies may not be compatible. http://www.youtube.com/watch?v=j72jnYTePU8

http://www.youtube.com/watch?v=07saf8scSrgRed Shoes http://www.youtube.com/watch?v=q7OfbmHWx94 2 http://www.youtube.com/watch?v=slo5FZyPtfw beginning

Doris Cross was given credit for having suggested a special effort to “celebrate the Madonna” and the suggestion from someone very much a Jew the suggestion held a special significance. The exhibition took place in an empty house on Canyon Road that was for sale. The image of the Virgin on the back of this man is said to have been the subject of choice as an effort to avoid being sodomized while in prison. I have found the intent rather perplexing…for most, I understand, but do not know, prefer virgins. In that light the image might be seen as a provocation

Henrickson: “Barque of the Madonna” This work was hung in this exhibition as to be seen only when one having reached the back room of the house and had turned around to leave and, by chance, glanced up might it be noticed. I am sure this was a reflection of the admiration the orgnanizers had for my criticasl efforts. Aslhough, surprisingly enough Geraldine Pricewent out of her way to tell me she found it admirable. Either way I am

unmoved.

Some of my first attempts not to realize the human figure but to realise how it might

be pushed in and out, to and from, re-encompassing space.

Henrickson “ The Pregnant man”. The first work I had cast. Portrait of a friend with a severe decisional problem. and I should not forget my High School Art Teacher James Foster Kenney for having provided what E. Paul Torrance later called a safe space for exploration provided by the mentor.

All of the above had, in one fashion or another influenced my perspective on the events and goals in my life. Some of the influences were direct, others indirect, some intentional as with Barbara Sessions, the first wife of Roger Sessions, and some unintentional. Some I tried to avoid, others to moderate and still others I embraced, but they all played a role, and, of course, these were not the only ones, but they are, I think, the major ones for this early period. Some one writing the class prophecy’s for the 1947 graduation class in Arlington, Massachusetts was, I must admit, quite perceptive for whatever the time period in question was I was probably on a tropical island , on the beach, in short pants, and painting…in short, I was a romantic little boy interested in art and preferred being alone. But the year before I was in Puerto Rico and had my one-man exhibition at the University of Puerto Rico there, owned a bar called “el Burito”that I was teaching at a strange private art school in Santa Fe, New Mexico called The Hill and Canyon School of the Arts owned and operated by Stanley and Elizabeth Breneiser, where I did, in fact, learn a great deal, very little of which I would have sought out. But while there I did some work of my own.

Here are some examples:

Henrickson: untitled

The wind blows where it wills, and you hear the sound of it, but you do not know whence it comes or whither it goes; so it is with everyone who is born of the Spirit. It is this understanding of the source of inspiration that propels much of my work. It is in this sense, also, that I think, Agnes Martin decried the uselessness of intellectual activity, describing it as a very pedestrian activity which simply added up one “fact” after another and consequently comes up with inaccurate conclusions and why Carl Jung could insist that he no longer believed in God but KNEW God existed. I am quite comfortable with both these points of view. http://www.youtube.com/watch?v=_-JfYjmo5OA Martin http://www.youtube.com/watch?v=WJ25Ai__FYU Jung

Some more on

Jacques Cartier, Zina Contecuzen Yusupov and Mark.

Jacques was like a father to me, or a very big brother. He told me that Zina was the daughter of Prince Felix Yusupov which, if true, would have made her a very distant cousin of mine, but since there were many aspects of “make-believe” about Jacques, which made him an effective theater person,there is room for doubt. The Russian women in Santa Fe did not believe it. Decades later I learned from the genealogist Finn Asbjorn Wang that my family and that og thre Ysupove had been the same about 900 years ago. I wonder how long DNA power persists.

Henrickson:”The Fallen”

Angelina Delgado Vincent Younis, the son of Angelina by her first (?) husband who, went I met him, was in jail for something or other. In fact, I also was vsiiting an Hispanic friend who was in jail ( Richard Marques).

It seems to be an initation fee on the Hispanic males to spend prison time for one or another social offense. Vincent, however was part Lebanese which may have accounted for all the difference. The above example does not pass for the typical prison art work, despite the comments Marcie Cate made me. It is atypical largely 1) for its not being morbid, exaggeratedly devotional and burdonsomely sexual. It also, 2) qualifies as “creative” in that despite both the absence of training and the usual art materials Vincent manages to take what was at hand, a set of plastic stencil outlines, colored pencils and an active imagination to produce an admirable amount of work which has a great range of

focus. He was in jail for some offense, and was allowed leave to attend a family celebration. Took advantage of the leave, left for Florda to see his and daughter and returned some days

later and turned himself in. Petra Maes who was the judge in the case gave him an additional 13 years. I am certain she did so to punish the mother for having married a non-Hispanic.

This group of Huicoles performed at my house (428) and Angelina kindly provided a couple of dishes of refreshment.

The Huicole, as a group are impressive in tjheir physical beauty, their excellent good manners and in their reserved dignity. How those qualities came about I do not know, but I can guess that it is one of the results of alien

repression.

Huicole matriarch http://www.youtube.com/watch?v=1QBBvNeXKxM http://www.youtube.com/watch?v=qd881fQQrnk

After Angelina’s having come on to me with her husband looking on, he died, and she suggested I might consider taking over, but then added, “I suppose you wouldn’t be interested after two husbands having died.” For me, this amounts to an admission of something like murder.

Richard Marquez comes from a long line of Santa Fe people. I met him after the contractor who was building my studio had hired him to be a mud boy, that is, the fellow who mixed the concrete for the plastering on the exterior of my studio. Soon after the contractor began his buuilding, ands I think he id an excellent and conscientious job, I had to ask him to limit his contacts with me throughout the day. He had come every 20-30 minutes to me throughout the day to ask this or that….all related to the building…but the effect on me was to raise my blood pressure with the interruptions into my own mental focus. Consequently, I asked him to tak to me only at the top of thre morning when he came to work and unless there was a real emergency to leave me alone.

The first week when Richard came to work ended and the pay period was due I made out the check for the contractor and he scampered off to his other intersts and I made a cjeck for Richard, but he stayed. It was five o’clock and he didn’t leave until 9:30 when I told him I needed to prepare my supper. Monday came and Richard arrived early by thirty minutes. I was surprised at this so I complimented him thinking it quite unusual for an Hispanic to arrive at work early. He explaind that since he was living in his truck and had nothing else to do he thought he would come. “Why are you living in your truck?”. “I left home, we had an argument.and I have no money”. “What happened to the money I gave you two days ago?” “ I gave it to my wife for the children.” It also turned out he hadn’t eaten but for how long wasn’t clear. “I see”, said I, “I’ll give you lunch when the time comes.” “You don’t have to do that”. “I know I don’t, but it would be easier to feed you than to pick you up.” So, I prepared spaghetti with a nice meat sauce. Actually, I enjoy feeding people. This was Monday and it soon five o’clock came and Richard resumed the chair he had used two days earlier and started again to tell me his life story, his separation from his wife, his children, the death of one brother over a girl and a second brother who was being kept by an Anglo in Colorado. I had anticipated this so when 9:30 came again I told him I needed to go to bed and that I had prepared a place for him in a back room. For about a period of six monthsd Richard adapted to my life style and we enjoyed eachoteher’s company. He never joined me on the Sunday brunches, not feeling comfortable with a lot of non-Hispanic folk. But he voluntarily prepared the living room by vaccuming and

polishing. However, he had no idea how to set a table and this underscored for me the nature of the origin of table manners and the purpose of the ceremony of dinner. Thereb was atime when I wondered whether Richard would have any understanding of the dining formalitities of a century earlier in England as depicted in “Greystoke” and with which I had been familiar all my life. Unfortunately, the curiosity that had made Richard a successful provider of his family for 15 years, that is, being a burglar did not keep him from observing a neighbpr’s house down the street, getting caught and some days later having the Sherifs break into my house without a warrant, the Sherrif informing me ‘We can kick doen you god damn door anytime we want.

Joe Atterberry represented for me one of those tragic figures caught up in the elaborate symbolic structure of human existence by which he had been tragically misdirected, I believe, for having seriosuly neglected some inner voice. His friend Herb Lotz had more wisdom.

Edna Robertson was always a helpful and pleasant personality.

Tom Kirby had more to offer , I believe, than he might have known. He was one of the better painters in Santa Fe and unusually modest.

Dan Bodelson and wife: from my point of view, one of life’s most pitiable failures, a modern Aztec victim of the wrongness of the majority, and he, as well as the dim-witted she, have followed along willingly believing, like those led by some Judas Goat, to their oblibion. This is a guy with technical ability and no insight as to how it might be used. Sexy, charming and a beautiful set of teeth…oh my god, what a piss-off! What a tragic figure, among too many, of a well trained, obedient good boy, who solves life’s problems by doing what he is told, receiving support, adulation and , accepting without question, the vacuuming of his imagination. He is, to my understanding, one of the many offerings of human sacrifice to the god of societal expectation. I disapprove .

Rosalind Carter and the onwer of a hotel in Kusedasi, Turkey. The owner, whose name I have forgotten, had called me in a hurry to bring my camera to photograph the President. “What President?” I asked, “Carter”, he responded. “He’s no longer President” I added. “That makes no difference here”, he said. When the Presidential party arrived and The Mrs. caught sight of me…not appearing Turkish…I explained: “They asked me to come because they thought I looked like Jimmy.” She smiled and we had a chat. Jimmy corrected one of his hosts on his Biblical knowledge and to show how physically fit he was ran up the marble steps of the amphitheater at Ephesus. I thought, as any Bostonian would, the display “unpresidential” but then I remembered Carter was a Georgian and, worse, a politician.

Anne Loraine Erickson Shille in Riga, Latvia at a film festival

Anne Shille’s photo , dangerously secured because of the silly superstitious reastructions, of a “Good Friday celebration “ at the Rancho de Taos. She was lucky they didn’t take her camera.

Helgi Hundingslayer Haughem, shot maliciously by David Duran in Pojoaque when I lived in the house Jacques Cartier had created.

Faye Dunaway whom I met through Ed Steinrecker and from whom I was introduced to the Jungian technqie of consuklting one’s inner world and I jad an enjoyable outing at a red-neck café in Santa Fe which had an out of control juke box. She was gentle with me and more tolerant than was required, but we all have out universes and the appertures are not the same in each. We corresponded for a short while.

Iris Brendle: ceramic portraits by Iris Brendle. At the time Iris Brendel came to Santa Fe, as the guest, I think, of Sheldon Rich and Alicia Schacter I imagine Sheldon who was commencing his fomration of the Santa Fe Chamber Music Festival wanted to get Alfred Brendel to perform.Ssome how through Geraldine Price she came to my house at 428 at the time Rolph Koppel was still living there. She photographed my borzoi which were living in an old abandoned airplane in the back. Shedlon never forgave me for not renting him my house. Jusging from Ralph Koppel’s subsequent behavior Sheldon may have had a long view of the advantages of doing so and since, unwittingly, Ralph’s mother gave me a clue as to what might have been afoot in her mind with my property for Ralph. Rolfs mother , through Rolf had lent me $2,000 on the purchase of the house and I had repeatedly asked him to legitimize the loan for the town clerk, but the realestate agent, making his own jusdgments as to Rolf’s character advised me to let it stay. I did, and the year that Rolf and I remained at the University of Northern Iowa he stopped paying rent and grocery bills. I finally added up the amounts and when Herta Koppel asked to see my account I showed them to her and whatever plans she may have ahd disappated. I hate to think that of her, of course, and I think Rolf may have been disapproving of any such action as a final gesture of loyalty toward me…or, perhaps, it was Rolf who wouldn’t allow a civil action for which there was no basis in any event. Iris Brendel: The charming, but divorced wife of Alfred Brendel. The pianist/ Iris ,a ceamist in Vienna, visted me , photographed by Borzoi living in an old airplane behind the house. Every Christman, Honaka, she sent me a cartoon of herslef and her life. The, of a sudden, she seemed to have a problem and I received no more photographs of her ceramic cartoons .This one of the American poet http://www.youtube.com/watch?v=GkX4MyDeIqI

Rintaro Yagi whom I met at The Barbican Centre in London. I bought the only pievce that sold. What interested me, and, at the time I failed to understand the significance of the information. The sculptor had somehow won $15,000 and used that amount to sponsor his exhinbition in London in the hopes, of course, of furthering his reputation. Perhaps, indeed, he did. I cannot be certain he didn’t , buit, it seems to me that an investment of $15,000 for a return of $800 is not adviseable. One gallery director, a former gallery director, at the time she told me, all artists make suvch investments in their careers. In short, they pay, or they rent, the gallery for an exhibtiion, the gallery doesn’t sponsor them, althougjh it appears as though, through their excellently perceptive aesthetic view they know what they are doing, it is simply, untrue. It is a conspiracy to pull the wool over the eryes of the public and one lie suppo rts another and the house of lies remains because the ignorant buying public supports it. I must, in my basic nature, be extremely naieve not to have seen it in that way before. I am a teacher, an educator, I cannot bring myself to support a lie. The Barbican Centre gets the reputation at Yagi’s expense. This is not the wa it should be and Yago ‘s efforts should have been supported by an honest and knowledgable directorship. It wasn’t.

Sara Melton tried to be a good friend, but on one important occasion, interferring in an arrangement made between me and a former student Joanna Wilson that would have allowed me to take off for Mexico for awehile and Joanna to pay ½ rent to me rather than full to another, but Johannachose to not send me the money, MY money I needed inorder to live, put my life in danger in a country already on the verge of chaos and walked off wi th a couple of thousand she may have believed I didn’t need as much as she did. Joanna wished to reestablish the relationship after my coming to Malta, she got the point (good for her) that it was not welcome.

Darlene Parker Vigil is someone I met through jher exotic bird shop and learned to respect both her sense of practical expediency and comittment to her business which, inb her case, was also her profession. Her husband cheated on her and she dumped him, but soon took up with another woman’s hasband who had been dumped himself by the mother-wife figure he craved, or required. In this arrangement the traditional roles are reversed and twelve years after it begane she wrote to me …”We are still together…can you believe it?” He, it seems, was jealous of Darlene’s and my mutual repect and affection for each other..something he could not achieve and so attempted to destroy it by telling her I had groped him.

The library at Ephesus was, together with the amphiteheater and the communcal toilets, were the three buildings of most attraction for me, the toilets for their communality and the anecdote that servants would go to warm the marbleseats before their masters arrived. Such intimate relationships between the master and the slave had never occurred to me and equallt amazing was the bowel control. Action to the theater was aesethetic, for the play, social for the subject matter of the play and technical; for the accustics. But it was the library which drew my greatest respect for its being the center of intellectual activity. But they all were flavored by the memory that this was that place where Paul of Tarsus had

caused such a problem. The Santuario de Chimayo, a structure rescued from destruction by an Anglo woman, now the source of income for the converso inhabitants of the area.

Theodora Cervantez y Montoya de Anderson was nearly fifty years old when I met her at Ed Steinbrecker’s house in Seton Village, or there abouts. Ed Steinbrecker through whom I also met Faye Dunaway was a practicing Jungian psychotherapist. I guess thathe might be called that. On Sundays he also had social gatherings of those interested in his technqiues of “inner work” whereby one ostensibly learns something of their long-rooted motivations for behavior. It was a mystery to me how Theodora (Betty was heroriginal name) got her information which may have come to her intact and orderly, but she seemed never able to transmit it that way, so the occult nature of her communictions was never really lost. While such a procedure certainly captures my attention it never secures my allegiance. Her responses to information, or situations could be controlled and perceptive or unbelievably irratic. I can understand my brother-in-law’s horrorat being confronted by her (from his mathematical turn of mind) outrageously irrational proclamations, BUT she proved him wrong about Einstein’s not having been in Californiaand right about things she, normally, should have known nothing about, such as my family background,

that were indepemndemtly proved correct by the studies of Norwegian genelaogist Finn Asbjorn Wang. In the meanwhile both parties held me somewhat responsible for the other’s behavior. Theodora reported that in the early forties on a trip to Wahington D.C. she encountered Alice Roosev elt Longworth and had been propositioned by her.

Yma Sumac: who, imagine became familiar with Theodora Anderson through her interest in astrology was brought toa performance of Elizabeth Harris’s production of “THE MIKADO” in which I played a role in the chorus as a Japanese gentleman. The experience of that production was of great value to me. Elizabeth Harriswas a thoughtfully creative director and made us of whatever material she was able to find and ideas might incorporate inorder to engage the viewer’s attention. Some time after the performance that Yma Sumac attended Theodora also brought her to my house where Yma courteously gave me a master class. http://www.youtube.com/watch?v=fbuqH_Gkgq0 http://www.youtube.com/watch?v=K8clnnqSs84 http://www.youtube.com/watch?v=yhUBJZdL8BY http://www.youtube.com/watch?v=aLoEyKy6xTc http://www.youtube.com/watch?v=oqoyXGoNy7E

Alejandro Barquero Marine, a Costa Rican who died from AIDS, or AIDS treatment, at the age of 27. He had come to the Unite States, to Washington D.C. perhaps five years earl ier and established a relationship with a German living in D.C., met an American and changed his allegences. The American was not enthusiastic about sodomy so Alejandro looked elswhere, found it and brought the AIDS virus to his room mate, who died, leaving Alejandro and estate of $250,000. But nearly a year before he died Alejandro found himself in Santa Fe

dancing in the Maria Benitez Flamenco group , but by then he was taking 72 pills a day and did not want the other dancers to know his condition and so, through the intervention of Theodora Anderson he asked if he might stay with me at 428. I assented and he repaid me by variousdomestic services. He also, as is presently evident, told me a great deal about his short life. He knew he was dieing and I acted as his confessor, in a manner of speaking. At the end of the summer when the Flamenco group left Santa Fe he returned to Washington at which time his room mate died, he, left with a small amount of

money, called me one time and beyond saying “hello” and telling me who he was, was unable to explain the purpose of the call. I, somehow, knew that this was his “good bye” and that he couldn’t bring himself to ask me to let him return. I didn’t volunteer. He may have known that he couldn’t have made the trip.There was a period of silence until Alejandro said “good bye” and hung up. Friends of his, who seemed to really like him reported he had gone blind near the end of his life.

Allen Dulles graduated from Princeton University, and in 1916 entered the diplomatic service. Dulles was serving in Switzerland and was responsible for reviewing and rejecting Vladimir Lenin's application for a visa to the United States. In 1920 he married Clover Todd, daughter of a Columbia University professor; their only son, Allen Macy Dulles Jr., was wounded and permanently disabled in the Korean War when a mortar fragment penetrated his brain. I have included this bit on Allen Dulles with the photograph of his father ( oruncle, depending upon the true extent of brain damage and/or the reliability of childhood impressions) because this Wikipedia article mentions only one child by name. Yet the last time I saw Allen Macy Dulleswas in a parking building in Santa Fe when he and I, pleased to see each other again, had begun a rather animated conversation when a woman, presumably his sister, according to report, put a somewhat abrupt ending to it. It had been Allen’s companion, a Charlotte Trigo ofColorado, a lawyer I believe, who had from time to time filled me in on the event s which surrounded Allen. At this time I held Sunday Champagne brunches at 428 Camino de Las Animas and Allen and Charlotte, who shared a du plex several hundred feet away, would often come. The purposes of the champagne brunches which I had planned to begin at 10.00A.M., but the habits of nearly all who came, brought them there an hour later, was to allow those who felt the need to be with someone to chat about whatever could do so. Only once in the ½ dozen or so years I had them before moving to Pojoaque had no one showed up. Usually there wer e seven or eight. One time ther e wer e fifteen. Everyone brought something to shar e. I offered the basic bread and butter and the Chudds consistently brought Champagne.

A llen and I wer e able to play oral word games, that is, using words with a possible double entendre, but for the most part there were only, mostly, four topics that persistently were of concern to him. First among these were his own presumed legitimacy, whether he was, or was not,his own cousin , the Biblical prohecies concerning Jews, which the Chuddshad found offensive and threatened not to come were he to be ther e and the characteristics and benefits of lithium…and, of course, for some reason Andover Exeter. My particular interest was not in the gossippy aspects of his ellocution but in the fact of the subjects’ prominence. There were times when, like an old shellac recording, where there is an obstruction on the surface the section with the obsticle repeats and cannot, on its own, surmount the barrier. I looked forward to our being together in the hopes that somehow, something might interject itself into my understanding so that all the pieces might fall together. It was the theme of “The Manchurian Candidate” that kept recurring to me but the only item in common there, I think, was Korea. Allen did, at times, allow himself to perform some unual acts such as walking stark nakedwith a book in his hand from his house to an empty field across the street. Charlotte Trego, who was Allen’s nurse, caretaker and a lawyer, told me that they had been married in a civil ceremony somewhere and that despite that, his family had taken steps to assure that she would have no more to tdo with his life. The last I heard from her was that she gave me his address and urged me to write assuring me that of the people Allen knew it was I he trusted. I did write, but no answer was forthcoming. http://www.youtube.com/watch?v=GaKGCLTmqTg http://www.youtube.com/watch?v=YQ4Zkq2Vlhc http://www.youtube.com/watch?v=NUW-frxo2X4 http://www.youtube.com/watch?v=1RAUm6l_t6k

Henrickson, drawing, private collection

Jean Promutico was a young woman of very gentle persuation, her brother was also gentle, which, in his case, I believe was ill-advised. I could not really understand what hger efforts were all about at the time I saw them, for, I suppose, I was basically, ill-disposed towards efforts of destruction as originally advocated by Doris Cross. Eventually, however, I was able to see these efforts as a way of clearing the table in order to make new work.

Bruce Lowney: It is, I would imagine, disappointing to have one’s name forever linked with that of a clever, but hateful, immoral racist, Ian Rosenkranz. But when Rosenkranz, then directing the exhibtitions at the Armory in Santa Fe, would allow me to exhibit if I paid $500 per week I checked with Bruce who had recently exhibited there and who told me he had paid nothing but had been invited to exhibit. I complained about this treatment to the group responsible for the conduct of The Armory , but heard nothing back. It did seem, howver, that Rosenkranz was no longer associated with it but had begun his career as a theatrical lighting expert. I have been tempted to believe the repeated assertion on the part of astrologists that there is a strong element of secret enemies in my chart. From my experience I would belive this. There may be more, but of

those I might surmise who have been discovered and no longer remain secret I would name Elliot Eisner, Kenneth Gogel, Dr. Robert Beck, Charles Cohen, Marvin MontvelCohen, Madelein Zeien Bordallo,Rolf Koppel, Doris Cross, Geraldine Price, Sheldon Rich, Rabbi Hellman. Now actually, only one of these I had never met, Elliot Eisner, who for reasons I can only conjecture, did his best to inhibit my getting the doctorate. All the others I knew, and, my response to all of them, except Montvel-Cohen, was positive and accepting and nonprejudicial except in the case of Charles Cohen who taught me both the technique and the mind-set which determined their social responses to a non-Jewish environment and who requested my insight into why he was unaccepted by the majority of goyim in that situation. He accepted my analysis, changed his approach and soon rejected me. I now understood better how the Canaanite horde felt after having been tricked by the wandering Israelites. I also feel that I understand better how Hyman Bloom has been able to maintain a delicate balance between what had been his classically academic training and the abundant visual innovations during the 20th century. Robert Beck, according to his mulato teaching assistant, whom Beck had advised to accept a position at an all-black institution,tried his best to down-grade me academically and to scuttle my reputation with the College Dean, a spinster who was energised by Beck, who told me that as a “border-line:” student I should consider giving up on the Ph.D. and settling for another MA. I responded that “You’re quite right, I am a border-line student in this college, but it is the highest border-line one can have. In the other college I am a straight “A”…and since I already have the equivalent of two Masters, a third would seem redundant, so I believe I will drop this college as a major and reverse the position with the other and accept their offer of an assistantship.” All my problems in getting my program approved vanished and this may account for Reid Hastie’s comment regarding my being the only student who had ever graduated so quickly from that academic program. In any event, what I came away with from that experience was that the College of Education at the university of Minnesota was, at that time, racist, being anti-black (which was certainly the impression of Beck’s teaching assistant) and anti-goy. The experience certainly had one good result which was I was forever inhibited from thinking that my intelligence was inviolate. Perhaps the most disappointing of these relationships was that of Doris Cross , a person I truly liked and who I thought liked me. At a time when she was my tenant at 428 Camino de las Animas and the inflations had begun I needed to justify the relatively low rent she was paying me and so came up with what I thought was a fair solution to both her and myself. I figured out what the rent should be and used the difference as down payments on works I chose. Consequently, I have three of her works, to very early ones and a column entitled “COCK” which I not only found a good work, but an amusing one and one that seemed autobiographical. It was this work that had been in a gallery for sale at $1,000. Doris wanted the full $1,000 thinking that I had no right to the 40% the gallery normally got. I had to wait another four months before she finally admitted that the work was not going to be sold through the gallery and the $400 in question in effect did not exist. This experience of a friendship I thought real was so crushingly disappointing I told Doris to leave and never to speak or communicate with me again. I suspect that this sort of manipulative behavior to benefit oneself at the cost of one’s friendships is a cultural expression and that it is in this way that my enemies are secret, or, as the Norwegian film directors discovered I generate envy in others….what an inconvenience.

I didn’t know Jo-Shawn Davis very well, mainly as the wife of the painter who had come to my house at one time to interest me in buying, but I wasn’t and I couldn’t. But, as usual, theatrical women have an easy time in attracting my interest.

Henrickson :”Generating Order”

Henrickson:

Henrickson: “A Oaxacan Prophecy” This work and several others finished in the 8 or 10 weeks I stayed there. I had hope to make it five or six months there and an equal amount of time In Santa Fe. I felt I needed greater variety in experience thasn ehast Santa Fe wa offeri ne me. The reason I left early had to do with the betrayal on the part of twp erstwhile friends. One, Johanna Wilson,the Alma Mahler of Santa Fe determined to stop sending me the funds, my funds for my support which might have caused me to starve to death had not an enterprising young restauranteur made a bargain for some of my work. The, I hope, ignorant accomplis in this fiasco was Sara Melton who gave an opinion on distorted facts. “Saturn”

I found Oaxaca greatly moving , a thunderously apprehensive place where Pope John-Paul !! faced each other across a fifty foot space and where at an opening of an exhibition at La Casa de la Cultura on the part of the niece to the sister of the

President of Mexico (whose eyes were made up like that of a parrot)I, the only guest in a tux was acknowledge by the President’s sister with a bow. Since the presidentially appointed Governor of Oaxaca was present and took noticeI imagine it was he who had ordered I be placed under surveillance. Sthat Govenor, who was also an Army General and had earlier in his career been ordered by the then President (Echevarier, I believe) to quieten a Pueblo revolt did so by killing everyone in the Pueblo. In the States we had heard nothing of that, but that was known and/or believed, somehow, in Oaxaca.

art opening

Peter Rogers

Pregnant Man

Henrickson: The

Jack Miller

Sam Scott

Henrickson,”Holy Spirit” Benjamin Larzalier III, Santa Fe, New Mexico

Henrickson members of a Vienna Chamber group

Henrickson and

Henrickson: trying an oriental approach the Pojoaque garden lamp

The assembly of

art galleries in Santa Fe in 1980 Chuzo

Maralin Niska, sometimes czlled “The Rita Hayworthof opera”who sang at the Metropolitan with Pavarotti, Carraras and Domingo had also sung earlier on at the opening of the Santa Fe Opera so, it was appropriate she return. When she did it was through Jacqueline de Lusignaon, who frequently looked after my interests, that I learned Maralin was in Santa Fe and taking students. I was already past fifty but never had had an interest in a career, but wonderful to hear, Maralin said had I come to her when I was twenty-five I could have had onr, probably as a helden tenor.. I simply loved hearing that. Lomoscolo at Radford was also envouraging but he thought I was ready for the public when I was not and should not have appeared. I learned so much from Maralin who really ewanted to teach. She remarked one time that of all her students I was the onely one who asked so many questions. I had considered Maralin a friend as well, but other circimstances, namely other peoplel’s comments about me influenced her decisions too much. Maralin asked me one time why it was she never heard me critisize others when they were criticisimg me so

much. I had no answer.Besides I had thought that if she had gone as far as to realise that then she could easily come to the right conclusion…but, she believedwhat suited her. One time she expressed to me that she felt her vocal contributions were no longer appreciated. I told her that in comparison to a graphic arrtist she gets rewarded every time she gets on stage and at concerts they even applaud before she opens her mouth. I have never known a graphic artist to applauded the way Ned Beatty portraying Josef Locke is in this clip.

http://www.youtube.com/watch?v=HSS1n0qTmmY

The Santa Fe Opera. I do not know how the structure functions for the performers, but as a member of thre audience I feltt enriched in every quarter. It happened that the last time I was there I saw, also for the last time, Greer Garson. It was also the last time I saw my dog Helgi Hundingslayer Haughem. It was the opening night of the opera and as the evening wore ontoward midnight I got increasing nervouse, when I retrned to Pojoaque. I found that two of dogs were missing. It was dark, of course, very dark and soon after I had started to call I felt a nose fit into my hand and my black borzoi was there. Later I learned that a neighbor, David Duran, had, as was his custom, shot the dog and took evil joy in realising he had deprived an anglo or property and pleasure.

Donald Fabricant One of the characteristics of Don’s work I most admired were the richness of the blacks he achieved in his etching. It is not a difficult thing to achieve this effect in etching but it is certainly one of the chatracteristics which can easily lead to an addiction. He wanted two of my Borzoi puppies and exchanged a large still life, New York city scape painting for them. It was not until near the end of his life (he died at 60) that he showed any of the courage a creative artist must have in order to achieve. It was not until, perhaps, five years before he died that he revealed this sort of courage.

Fabricant:”AN URBAN STILL LIFE”

Fabricant: Two late works

Freida Lawrence Luhan

Mabel Dodge

Lady Brett

Born to a noble London family, painter Dorothy Brett was raised in the court of Queen Victoria, where she was a playmate of the Queen’s grandchildren. In 1924, in spite of her family’s disapproval, Brett followed D. H. Lawrence to New Mexico to found a utopian community; the community never materialized, but Brett stayed permanently in the region, and eventually became a United States citizen. Profoundly affected by the southwestern landscape, Dorothy Brett, who was called simply Brett by her friends, is best known for her Ceremonials, paintings of Native American dances and rituals. Dorothy Brett at Mabel Dodge Luhan's house n.d. Mabel Dodge Luhan Papers Though their relationship was sometimes rocky, Brett and Luhan shared a close and complex friendship. Luhan was an ardent supporter of Brett’s painting and promoted her work widely. Brett

followed D.H. Lawrence to Taos in 1924 and, after becoming a United States citizen, remained there for the rest of her life.

Lady Brett: ”untitled” http://www.youtube.com/watch?v=A3XwBVdmtZk . Charles Collier took me to meet Dorothy Brett in Taos. She was very near, if not in her ninties, at that time, living in a small house with a very ancient dachshund, grey around the face and quietly lying on a cushion against the wall with great effort stood up and with even greater effort put one slow foot in front of the other with its eyes focused on a pan of water which happened to be by my feet. The behavior stopped me in mid sentence and qite nearly stopped my breathing as well waiting for the dog to drop dead. Lady Brett resumed human communication with the remark enunciated in a shaking voice “He’s very aggressive.”

Karpotos, Greece magnetic puzzle cube

My Pojoaque house

troubled Turkish youth

”Columns” by Doris Cross

Doris Cross

Henrickson: Portrait Doris Cross

Video image of Doris Cross by Steinar Vasulka

Fritz Scholder

Cover of a booklet about the

Santa Fe Harold Waldrum At one time it had become evident that Waldrum had got Doris Cross to get me to the opening of his exhibition at Hill’s Gallery. I would have gone, of course, anyway, but Waldrum’s behavior was so obsequious I was quite put off. It is just as well, I believe, for when I asked Doris what it was she found so valuable in Waldrum’s work her answer was short. “He’s very neat in the appplication of the paint.” Those who are familiar at all with the history of Modern art will recognizie, or recall, theoriginal square within a square within a square. Waldrum’s version called “Casa Colorado” is dated 1980. How is it that the system had not called attention to the obvious fact that this is NOT an original work, or, are we expected to accept as “original” a slight variation on a theme? I never asked Doris what she thought of my work, at least, not in this particualr sense

Douglas Johnson & Zuni Doll. Douglas gave me a lift one time when I was, I guess hitch hiking, but I can’t remember why I need to. He told me then that he picked me up because he liked what I had written about his work. Until then we had not lnown each other. Years later we met again in Oaxaca, Mexico wher e he had found excellent lodgings with the owner of a large and quite veautiful villa with excellent gardens. I rather envied him that. But this landlord who claims to have had his six languages wiped from his brain by some CIA action was also beligerantly anti-homosexual. This rather

surprised me since Douglas had not made a secret of his interests in young males how it was that his landlord appeared to have already developed an atatchment for him. Perhaps, after all, the landlord did not know what he was experiencing. At about this time Douglas explained that the 17year old Hispanic who had been living with him and I think was a sort of domestic had died as a result of a serious altercation with other teenagers who resented his importance and advantages he experienced as Douglas’s friend. The boy’s family had chosen him as chief mourner at the funeral and on that day had given him the 16 year-old brother as a replacement. Great material in this for understanding the role of religion in modern life. One of the more unusualy openings for an art exhibition was when Douglas opened at a down town gallery and the vast majority of thiose attending were some I had never seen before at all…all, I was told, had come from the mountains and were heavily into drugs which, I imagine, I had detected by the pallor and texture of their skin. I had never before see so many people still talking who were not on their death beds.

Kris Hotvedt

Hotvedt: “Flamenco Dancer”

Paul Caponigro, (a stranger in a room)

Jan Zohourek, and artist from Colorado, who exhibited in Santa Fe had received praise from mw when I was writing criticisms for The Santa Fe Reporter and later, when he and his wife returned , met me, and they both expressed appreciation for, they said, that praise kept him from suicide. Since then, however, he indicated that his disappointment with the system has kept him from working as an artist, in fact he was somewhat rude. I find this lamentable, not the rudeness, but the not working, that one’s dependence on approval keeps some from working.He, apparently, made good use of his knowledge of anatomy by making, I believe, instructional models, hoever, he deeply resented being compelled to give up what he was so good at. Some might say that this is the fickle natue of the “free market”. My personal feeling on this matter is that had I accepted praise for my work in terms of its being a “reward” I might not have grown in aesethetic insight and technical adaptation.

Bradford Smith

bracelette

Henrickson: “The Rape of Europa”

Patricia Neal: This is how I remember her when after a performance of the play I spoke with her and she noticed the braclet ( above) which Brad Smith had designed and took my hand to see it more closely. Then letting go she commented that I was certainly a very unusual item and I agreed, adding “but usually people who takew my hand hold it a bit longer”.. She laughed appreciaeively, recognizing the play.

Kusedasi..my one-room flat

Kumsal Sanzen Henrickson: crayon

“Turkish Flying Carpet”

Kusadasi, Turkey: around the corner..a crusaders castle guarding the port.This was one of the views out of the apartment I nearly bought.

Ann Baxter:we met at Winnabel Beasley’s house, years after this photo and I thought she was trying to seduce me.

Herta Wittgenstein

Georgia O’Keeffe:

a note written to Herta Wittgenstein

Georgia O’Keeffe: and wife of former New Mexico Governor Jerry Apodaca Clara Apodaca, the wife of a former Governor of New Mexico, Jerry, was appointed by the succeeding Governor Toney Anaya to the position of the State’s “Cultural Affairs Director”. Apparently, Clara’s qualifying experience for the job was that she had had an undergraduate course in art education, or so it was announced. At about the same time Jerry Apodaca, a former high school sports coach, became President of the Board of Regents of the University of New Mexico, and used that influence to break the intend of the will of he artist Georgia O’Keeffe by having her estate pay off certain unspecified taxes by means of a donation of two of her paintings to the museum of New Mexico…an organization with which, during her life

time, Georgia O'Keeffe had not been sympathetic.

This represents the third extension of the Creativity Puzzles I had devised. An 8” magnetic cube uponwhich one can arrange, rearrange compositions in space.Actually, an effective therapeutic device. http://www.youtube.com/watch?v=KO78xfvlRdI 2 http://www.youtube.com/watch?v=QtigDNn3SyY

3

http://www.youtube.com/watch?v=ybYfVwU1wg8

1

Lucy Lippard: Had Mrs. Lippard’s concern been more art than politics, this would not have happened, nor would she have pronounced the indefensible notion that all vital current vision stems from the feminist movement

Eugenio Arnal: photo of Paul Henrickson

Arnal: aquatint by Eugenio Arnal

Arnal

Henrickson

Jacqueline de Lisignan Henrickson: a satric portrait of Jacqueline when she could hardly restrain herself from fondling Arnal’s dick. After the marriage she complained of how dark his penis really was. I wondered what she expected.

. Jacqueline de Lusignan and her new husband Tsitoris who thought to interest me in his attribute. Tsitoris was the 12th or the 13thhusband, Jacqueline had lost count while she told me she’d never gone to bed with anyone without first marrying them. I think had Jacqueline been an actress, the professional sense,she would have glowed in scenes of the marriage ceremony

Frank Ettenberg

Sam Scott and art

Ford Ruthling and art

Patricia Madrid: As the one time Attorney General of New Mexico, Patricia Madrid, once advised a largely Hispanic audience, “frustrate the efforts of the Anglo to migrate to this territory.”

Angelina Delgado, a tin smith. who, while her second husband was alive and watching solicitously entertained me at tea in her trailor house, then he died and she suggested a relationship and then wisely added” :After having buried two husbands, I don’t suppose you would be interested.”

My last night in the USA June 26, 2000. Storm Townsend was sending me off and I was quite purposefully “high” trying to avoid the crashing

of my world.

Storm Townsend as a dashing septigenarian

Townsend: “Conquistador”

Wayne MacEvilly: a music faculty member at The College of Santa Fe during the time I was a replacement faculty member for Carlos Naumer.He used our relationship to vault out of an inappropriate marriage and may have used, I believe, his considerable talents to demonstrate the Faustian challenges. I remember his telling me that when, in New Delhi he was giving a concert and in a partifularly difficult passage he cheated on the finger, thinking that no one would notice….but the critics there did notice. In a kind of linguistic gymnastic language expression he changed his name to MacEvil…giving expression, he made me think, of his self judgment and condemnation. What makes me very upset in instances such as this is that society pressures unusual persons to conform to the norm when, these people simply cannot be limited by these norms and the inner boilings they experience often result in exaggeratedly self-destructive behavior. He wrote me once after he left Santa Fe to go to Denver to enterain in a night club and he was quite unsure of the results. Later when another friend of mine was particuarly mischievous told me that Wayne’s daughter, whom my friend was seducing at the time, blamed me for her father’s departure. Interesting, I suppose, that I should come up in a conversation during a seduction, it is like being in competition with Casanova.

Glynn Gomez, without doubt one of the most talented among the Hispanic artists and nephew to the Hispanic community’s most accomplished

woman Concha Ortiz y Pino de Glynn Gomez and fellow artist Hal Fore and one of Gomez’s fetshes. A group of them were exhibited in a prestigious San Francisco venue. I think it was I MAGNIN. Glynn possessed the unusual distinction of being able to tell the truth, as he saw it, about himself. He once told me that he was not an artist, but a designer. The statement showed a remarkable understanding of the differences in words. The statement inplies that an artist discovers and that a designer takes what is and arranges. Such an awareness is rare. Glynn was forthright about another matter and put a condition on our relationship I was unable to fulfill.

Kleven and the head I did of her in 2001 Concha had the unenviable task of trying to moderate the responses of the recalcitrant Hispanic to the notion of non-zenophobic cooperation. In a century and a half it has never moderated.

Janet Lippincott at a brunch

Eric Sloan whose blatant, sycophantish approach to Breznief in sending, as a gift, a painting of a hammer and sycle and then publishing the thank you note I found unpleasantly revealing. Are we expected to believe that politicians have a superior aesethetic taste?

Joseph Bakos.: was an adequately trained painter who possessed both talent and social charm used to support his reputation as an artist.

R.C. Gorman: another charming clown of whom one might not demand, or expect, an approach to art of any seriousness beyond the multitudinous outlets for shlock capitalizing to the fullest on his Indianness which, in a society that needs the spectacle, being Indian helps. Gorman was aware of this and didn’t care for it allowed him to buy silk shirts for his father,and, of course, gallery dirctors love an ignorant public.

William Forseyth

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RolfKpe Herta Koppel was the loyal mother to Rolf Koppeland a lady with a strong sense of social balance and negotiation. She had a quiet and gentle sense of humor and and felt distress when the behavior of her son failed to exhibit those same qualities and cost him and me a potential intellectual and cretaive development different from what either of us have actually experienced. Well, that is how it goes…fate disposes. Rolf had shared residences with me, two in Iowa and one in Santa Fe and might have continued to do so if he had fully realised that the sharing of facilties didn’t make them his, but he faild in that and when he threatened to use the law courts to take them from me I threw him out. As an artist and a moderately cultivated human being Rolf had much to offer, but he had a very weal sense of personal boundaries.

Henricoks:Expmt

Young Huichole

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Matriarch

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Iodntmeasughikpvrycloedtgmaxsinhfrletd,byomsipcude,tafnmsbc.WhpeilyuaqtInor,sceid’tmhwlfoDrsat,xpeEci.Ifdonwulvrhaetbiydsngofmuprl,veatynAsigl.rIwoecathvDuxpsflnieatkorwhdygcfnsbelitmaVGogh… but “experts” are “experts” because, after all, they have the title, and they must be believed and papa Murdock who brought the painting to Australia quite probably benefited from the fraud, whereas all students and other innocent parties were being fooled, their

education purloined. I very much disapprove of that. I think, what this anecdote tells us about is the powerful influence a blow-hard personality has on a stupid population

Luis Ballard and I had a rather distant relationship. He was, I suppose, understandably, sensitive about his Indianness. Although, I am unable to imagine whysince many appreciated his abilities without regard to his race. Ruth, his Jewish wife and I got along in more relaxed ways and shared a little sense of humor together, although, she too, from time totime was unnecessarily defensive. We would, often enough, attend concerts together. One time, during the wee hours of the morning when another neighbor had kept me up very much past my bed time and I was very near , very, very near sleep in the café booth she had left me to go to the restroom when someone came over to me and called me by name.. I, however, was so much out of it, so very tired, I didn’t recognize Louis who was asking me if he could sit down with me. I looked at him and through my sleep asked “Do I know you?” Louis got upset and took years before he could talk to me again.

Shelby Matis had responded to a published comment of mine which referred to the feelings of imminent threat emanating from some of her out-sized insect-like brilliantly colored constructions brought on when I walked through the exhibition. Since the relative sizes were dramatically reversed from the usual, big man /small bug to miniscule man/immense bug, I felt remarkably vulnerable, and credited Ms. Matis with that effect by suggesting she came to us in disguise and that her name had dropped the “n” in “Mantis” so that we might be taken unaware. I think not many would have come up with such an acceptable rejoinder as did Ms. Matis. Here it is above. After the published review of the work of Shelby Matis, whom I did not know, I received this amusing and good-spirited drawing from her together with an invitation to visit her in her studio where, she, a woman of early midle age. told me that I had correctly intuited the intent of her work and how, at 16 she had been

raped. This may not have been the start, but it gave an added impulse to my emerging theory that the art product, if it is a genuine art propduct, tells us about the person who did it. Now, I must clarify this statement. This does not mean that another product which presents itself as an art product because “it is well done”, “tells a story”, or what ever, but fails to be anything beyond a well-mannered production isn’t an art product, or doesn’t tell us anything about the artist for it quite probably does, for it is conceivable that there are individuals who for one reason or another are unable, or have no compulsion to solve problems or concerns symbolically. My interest is in identifying those people who do attempt to solve their concerns symbolically and in discovering their means of accomplishing it. This means, of course, that what the observer senses may be the concern of an artist is, in fact, the artist’s concern. I think it abundantly clear with Caravaggio, somewhat clear with Marsden Hartley and rather onsbcure with Paul Cezanne and Albert Pinkham Ryder. My suspician is that were one to attempt to distinguish between a creative artrist and an adequate performer this is the way to go.

A place in Frijoles canyon I have always liked.

GOD DOESN’T CARRY A BILLY CLUB By Sandy McKinney

After the last subtlety has been offered and overlooked, after the intellectual games, the ping pong

witty flirtings the delicate tea biscuit, the third cup of coffee. After “j” has followed “b” four times five, and the intuitive leap is missing, that would compress the letters dangling awkwardly in between into one thin wafer of eucharistic sharing, After the maps are all scanned and the postures used up, the images tried and rejected, how will I find my way back to what I saw in your eyes on a certain Sunday afternoon in August as you stood on the razors edge of your bumptious articulate reasoning, like Venus anadiomene on her pink-lipped foamy seashell, luminous transsexual.

Pompous elf, projecting Mercury, manifesting Saturn, you make me reach for violence. My fists fall noiselessly into a balloon full of air with no balloon to contain it. What shall I kick where no shins are, only wings sprouting and the twitter of finches? The wings flap, applaud, ascend. You hover above me like a giant moth, an archtypal helicopter, all eyes with no face to contain them all speech

but preverbal, uttering nonsense, delicious syllables, brilliant, brash, and corrupt.

Go back to your library and stuff Heidegger into the fragile lacunae of those overgrown prefrontal lobes. They were for the emergence of two mossy horns, so tentative, so velvet, so tender no one sees them but me. I’ll stroke your brain till it aches From over stimulation. I’ll strap my left hand to the mast like Ulysses And forget what I knew in antiquity. I’ll tuck you in. I’ll bring you play things. I’ll read reviews aloud from the Sunday newspapers. I’ll play Ring Around the Rosy with you and Mother, may I as though there were no difference between skirts and trousers. But the left hand knows, the left hand knows.

One sharp jerk on your hidden secret umbillicous

and I’ll shake your gut in the sun. Sandy told me that I had inspired this response in her…I am glad I could have done so. 1. I think it important to add that Sandy left Santa Fe , taking her adventurous self to Florda where she found emplyment with minimum pay with Mel Fisher,the discoverer of the “Atocha” Spanish ship Nuestra Señora de

Atocha (1620) - Wikipedia, the free ...

Henrickson with members of the Hautevilla Pueblo. I found it of interest that the name “HAUTEVILLA” , de Hauteville ,Hohenstafen and Haughem should, somehow, be pointing in the same direction. It may simply be a similarity of attitude. *

Florence and Peter Van Dresser: Steven Van Dresser thoughtfully gave me this photo after the death of Peter.There was a very quietly intense relationship between the three of us.I would not be able to state that it was a mutually balanced relationship, for what I felt was required were perceptions unfiltered by individual needs. However, I suspect that is much too ideal to exist. What I most admired about Peter was his ability to write scientific prose with poetic feeling. Florence’s need to understand how carnal expression translates into spirit was a passion. I had and still have the sense that Peter had interpreted my comment concerning our power to change our worlds to be a kind of permission for him to forget to go to his appointment for a blood change. I feel I might not fully understand how Peter cared for me…for care, he did.

Albert Bierstadt (attributed) re: The Forrest Fenn Controversy involved Forrest’sregrettable view that lies are absolved if there is a believer…that belief, therefore, establishes the reality which accounts for his having offered to photograph the painting I owned, the one above, had it coppied at half its size and offered at $18,000 as a Bierstadt. Forrest had developed one of the more prestigous art galleries in Santa Fe. It was prestrigious not for its scholarship, but for its quasi-19thCentury ambiance and theatrical authority.The staging was excellent, knowledge non-existant.

Forrest was unable to believe that there was anything more real than establishing the reality through the weight of belief.

Tvarosh, Cretan 19thC.

Morten Haugan approached by Doris Cross….on the rasor’s edge

Forrest Fenn is, in point of fact, probably because of his naïve innocence in the field where he’s made most of his income through sales of art images (a description I’ve chosen with discretion) one of the more likeable personalities on the scene in Santa Fe. He does not know what he should know, but if he knew what he should know he might loose that peculiar charm which envelops him like the hazy mist around a ghost. That naughty boy challenge…catch me if you can…is a red herring most people do not get beyond. But when he states, as he had done, that

What The Hell's Wrong With This Guy? by Forrest Fenn I looked on the back of a painting the other day and was startled to read, in big letters, THIS PAINTING MAY NOT BE REPRODUCED IN ANY FORM WITHOUT ……..blah, blah, blah. I couldn’t believe it. What the hell was wrong with this guy? Do you know that when you buy a painting you have no rights to it unless you specifically get those rights in writing from the artist? If you put that painting (it was mediocre) on your Christmas card and send it to all of your rich friends, you could be in trouble way up past your zipper. How stupid can you get? If I had my way, some of these “artists” would have to get an advertising degree before they could go to art class. I was actually rather amused with this moderately severe criticism of an artist who, quite apparently, is simply giving warning ( a reminder warning and quite justfiable) to anyone who might think of capitalizing on an image which is the product of someone else’s imagination. But the law, as I understand, it allows photographic copies to be made in the general areas of education and criticism where the intent is clearly not to misrepresent in any way what so ever. Also, as I understand it, there are insurance company requirements that important works of art be photographed for identification purposes. I would come to the conclusion, therefore, that making a copy of a work that is in your possession and reproducing it as a “Christmas card” for your personal use would NOT be against the law. I am not sure that it would also NOT be against the law were you to sell such a Christmas card. However, in regard to an attitude of the rights of an artist to images he produces itwould appear that when the artist dies all claims, according to Forrest, by anyone else are legally void, which would mean thatanyone could use it, at any time, for any purpose, willy nilly. This makes one wonder why so many owners of copyrights insist that those copyrights are valid. A century ago it was a commonplace for art students to make copies of paintings in the museums. Would or should these people be punished for attempting to learn? At some time in the middle eighties I told Forrest thast I had a painting attributed to Bierstadt but lacked a professional photograph of it. He kindly offered to photograph it and to send, as an added benefit, a copy to Kennedy Galleries in New York to learn what they might think of it. I didn’t remark on that offer for, I thought, that just possibly there were people at Kennedy’s that might have an interest in 19thCentury work. A buck is a buck after all. After a month having heard nothing from him I asked him what he ahd learned. He reported that he had lost the letter from Kennedy’s and didn’t remember what it said, but within another two or three months he held a small exhibtion of a few, or several, attributed Bierstadts one of which was ½ the size of mine, but dot for dot an exact copy which being owned, or co-owned by Gold Galleries in Los Angeles was for sale for $18,000. Subsequently, I took the painting to Gold Gallery and without tellingthem what I knew about the work except that I had had it since I was 19 years old, asked if the y might tell me what they thought. Their response was arather telling silence. One of the fellows, not Gold, himself, scanned it with a detecting light and announced with a tone of some disgust (obviously adopted to lower its value) that the painting had been retouched. It had because it had recently been cleaned.

Another while passed and I made another qnuiry, but, int the meantime Gold had died and his estate was in his brother’s hands. He kindly informed me that he would check the records. He, apparently, did so and came up with the report that the only clue he had was that a painting answering the description had had a record in their files, but that the recod was withdrawn and a notice to that effect replaced the record. My most generous interpretation of these events, and in the light of Forrests’s assertions, would be that Forrest is naievly informed about the applicatable legal positions as well as, and this is even more important sibce he professes to be an expert of sorts, unable to understand that there are people with an infomed vision and critical faculties who undersatnd that there are real values inherent in works of art…not all works of art, mind, for most genuine works of art are rare and it takes one as insightful as Bruce Chatwin to recognize them. Forrest seemed surprised and unbvelieving hwne I demonsytated such an ability concerning a De Hory faked Gauguin he had hanging over his mantel. I am sufficiently turned off by politicians of all strips to fully understand how Forrest and John Connelly (the Texas governor who got shot) might think it great fun to put on an exhibtiion of fakes. Fortunately they advertised the exhibtion that way for otherwise one might charge them with cultural deceit.

In the photo of the Palace of the Governbors, , there is aconfident display of fiction made evident by the yellow penants with what appears to be the chains of Navarre…and Navarre, to my knowledge had little, if anything, to do with La Villa Real de Santa Fe de San Francisco de Assis. Then to top it off we have all these “family shields” suggesting a whole array of nobility resident in this mountain village with names such as Montano, Cabesa de Baca, Ortiz, Naranjo, Ruiz, Quintana and the like, of people who, for the much greater part, were descendants of conversos, the residue of the Alhambra decree, Jews exiled from Spain and dispersed with Columbus to “the New World” or invited by the Sultan to Turkey. …social dignity must be maintained at any cost, even in a democracy without a class system. I often think about what appears to me to be a violent struggle of values going on in Forrest. I do not believe him to be, basically, a dishonest man, although the above story is true and the action dishonest and harmful in more ways than he might realize I think it might be a consequence of the regretable dichotomy between military discipline where what is right and real is what one is told and the world of the senses where one’s exersized and developed antenae of perception intruct one as to what is proper. It is this last characteristic which Forrest has shown most clearly in th decisions he made regarding the property at Fenn’s Gallery where, it seems, every step of the way in terms of the architecture and its emp[loyment he made only right decisions. It was the moral structure of the military where the concept that might makes right, which I am certain, or at least hopeful, that Forrest recognized was more than inadequate where he found it difficult to accept , although he sensed it, that there existed a more approriate oriocedure in assessing value. In this regard he is several leagues in advance of Gerald Peters.

The Palace of the Governors in Santa Fe New Mexico is one of the more central cultural buildings. It is unpressive certainly because of its size in comnytrast to the other mud structures which are common place there as well as for the furnishing from the past which are inside. After all, Santa Fe, Royal city of Saint Francis of Assisi which is its official still attrracts modern day descendats of European, Asian and African royalty and if you go somnewhat north of Santa Fe near Abique there one might find the son of the Shah of Iran Raza Pavlavi. The royal title is porobably more genuine than the assujmtions made which gave birth to the shields which hang beneath those red and yellow penants thatseem to have the signature of Navarre about them. This confuses me more than a little since it was Aragon and Castile that were instrumental in the conquering and the settling of the new world teritopries. It was interesting as well, that to a great extent the settlerment, in new mexico and Arizona at least, was done by Sephardic exiles from the Inquisition and the noble shields which hang here are emblematic of that group of social exiles. The legitimacy is probably untraceable.

a gathering of my family c., 1976 (MARY. Dagne, Me. ?? and Dad

At the same Santa Fe Time I conceived the idea that a Scandinavian Film Festival would be as appropriate an event in this quickly becoming international fesitival city and from this experience I learned some very ditressing facts concerning Scandinavian in general and Swedish in particular character. There was only one Swedish woman, locally, involved whio was blameless, Vera Matthews who, out of motherly concern, I guess, said that I was being the victim of what she called “Royal Swedish envy”. The Norwegians involved , all three of them, Katya Clarke, Tejere Birkedahl and Brigitta Liebersohn (Vera Zorina)were all helpful. The most especially destructive, abd unbelievably cruel, most especially to her husband, who, unformatubately appeared to believe everything he was tiold by her, he was

a lawyer, by the way, was Elizabeth Alley… who tried, unsuccessgfully , to involve me in a sexual assualt scandal*. May the daughter of night, Nemeis, visit most paricularly Elizabeth Alley. Aina Bellis of the Swedish Film Insititute and Finn Aabey of the Danish Film Institute, were viscious and totally unprofessional, and, it would seem, ignorant and blind to the potential I offered them..to say nothing of the insults they offered . The Dane, Benedicte Valentina Carnie was a weaver in Santa Fe who became the Director of Communications for New Mexico’s senior Senator Pete V. Domenici and because the Senator had lost most of the mental abilities he ever had was instrumental in depriving me of my rights as a citizen…for this, I shall never forgive any of them. She, howver, was rewarded with a position as House Keeper for Blair House.( www.blairhouse.org/) whereas

the Embassy in Oslo voluntarily assured me that they would have cooeprated with me without the intervention of Domenic. I didn’t bother to exyend the comment by addimng that it was Domenici himself and his staff which interjected their influence whichI felt politic to accept. I was very wrong. *The circumstances may be differently asseumbled, perhaps, for a different understanding but these are what they were. Along with 600 other Scandinavians a mid-summer night’s event was planned for the outdoor museum established by the Finnish diplomat George Paloheimo. We were supposed to be costumed. All the Swedish women were very excited about the event and the traditional costumes they would wear. The costumes vary from district to dictrict throughout Scandinavia so I was a bit perplexed when a telelphone call from Elizabeth invited me to come to her house for me to see a picture of the costume for the male. I tried to tell, but thought sh already knew it, that I was Norwegina dn that, actually, I had solved the problem for myself, but she insisted, so I went. The maid was gone and Elizabeth came out of her bedroom area wearing a powder blue jump suit and a freshly applied perfume. After she brought out a children;’s book illustrating Swedish costumes and I needed once again to tlel her that I was Norwegian and that I had, actually, solved the problem I had gained a sense of what was happening but was convinced of tit when on the occasion of the winter celebration of Santa Lucia I arrived at their house just as James, her husband, was returning from work his reception of me was so energized by penetrating hatred the air had become palpably caustic.He stood near me outside the house, seemingly unable to move so I entered as though there had been nothing, but knew she must have told him something other than what had actually occurred. People, male or femal, who do not get what they think they want can be very destructive. I am still unable to understand how a wife could willingly hurt her husband’s feelings in such a way…to say nothing at all of misleading himas to the character of another male…and her own as well.

Father Marr

Works

1/8 Wales

Henrickson.”TheHoly Spirit” owned by Benjamin Larzelire III

Henrickson: paper construction

destroyed

Henrickson::”Exit by the Red Door”

Sergio Majano: gave this painting without telling me his reasons. I suspect it was in appreication for what I had done for him and other artists. Aside from Gynn Gomez only Tom Kirby and Eugenio Arnal were nearly that generous.

Red Painting Facets

Blue

Seeding

portrait

Thrust

Sangre de Cristos

Towers

Eclipse

Family

Thrust II

Tracks of the Snail

Couple

Iris Brendle: ceramic portraits by Iris Brendle. At the time Iris Brendel came to Santa Fe, as the guest, I think, of Sheldon Rich and Alicia Schacter I imagine Sheldon who was commencing his fomration of the Santa Fe Chamber Music Festival wanted to get Alfred Brendel to perform.Ssome

how through Geraldine Price she came to my house at 428 at the time Rolph Koppel was still living there. She photographed my borzoi which were living in an old abandoned airplane in the back. Shedlon never forgave me for not renting him my house. Jusging from Ralph Koppel’s subsequent behavior Sheldon may have had a long view of the advantages of doing so and since, unwittingly, Ralph’s mother gave me a clue as to what might have been afoot in her mind with my property for Ralph. Ralph had lent me $2,000 on the purchase of the house and I had repeatedly asked him to legitimize the loan for the town clerk, but the realestate agent, making his own jusdgments as to Ralph’s character advised me to let it stay. I did, and the year that ralph and I remained at the University of Iowa and he stopped paying rent and grocery bills. I finally added up the amounts and when Herta Koppel asked to see my account I showed them to her and whatever plans she may have ahd disappated. I hate to think that of her of course, and I think Ralph may have been disapproving of any such action as a final gesture of loyalty towared me…or, perhaps, it was Rolf who wouldn’t allow a civil action.

Zara Kriegstein: a not untalented woman, somewhat pendant, racist, dictatorial and unscrupulous. She has no Christian virtures. How she managed to have the telelphone company charge me with her calls I have no idea, but she seemed amused at the deception, even that it was discobered, but why, would she have bothered…since we did not even know each other?

I cannot fault Kreigstein for her ability to follow graphic recipes in designing and executing social commentary murals. I also must compliment Tom Lehrer for his witty characterizations, and accept his skills as a pianist. These both of the ability to generalize, but it would be, I bel;ieve, an error to suppose that either muicianship or graphic inventiveness were a part of their offerings to the public…not that the majority of the public would care. But, in an ideal situation, it would be considered deplorable that a a nation such as The United States of America gets to be represented mostly by fakes and con-men. It might even be true that these poseurs, for that is whatRutherford,

Kreigstein. Forrest Fenn and Gerald Peters get to be accepted as legitimate prophets…as if there were no reality. It is difficult to prove, but creative and great art are not matters of opinion or dependent upon catelogue pronouncements. Excelence is identifiable.

POJOAQUE

For me this was the most idylic place I have ever known. For Jacques Cartier whi created the property, myself, Joseph Sablan and many others its main charm lay in the acequia which flowed through the property and distributed the snow melt throughout the summer. When I had ducks they too were overjoyed when the acequia was flowing. It was, in fact, a material fulfillment of a divine promise. I was lucky to have experienced it, yet, very regretably it was surrounded by evil. When Jacues learned of my interest in living in the valley he warned me in a short statement without explanation (and I didn’t ask for any) that the people there were “terrible”. The emphasis he put on the word was all the explanation I needed at the time. That warning took place more than forty years before I moved there. It was later I learned some of the ways in which they were “terrible”. In general they are extortionists, liars, murderers, thieves ,adulterers and, they all go to church…now, of course, don’t we all?

Pojoaque was the home that Jacques Cartier had developed and I remember one time, very clearly indeed,that Jacques told me that should I wish to live in that area I should know that the people are “TERRIBLE”. They are. One neighbor reportedly killed , or had had killed her husband because he wouldn’t sleep with her anymore. Another whose sister was reportedly being abused by her lover and was emplyed at the local hospital as a nurse obtained the drugs her boyfriend was known to have needed measured doses, overdosed him and her brother and her son positioned the body in a local bus stop shelter. A district judge was dismissed from his position for stealing from a professional account, then arrested for stealing three packages of cigarettes, and subsequently awarded another legal position in a different country where the District Judge and the Chief of Police were both convicted of statutory rape of a ward of the court and retained in their positions. I recognized the moral crisis into which I had fallen and knew I had to leave with as little notariety as possible.I managed it but not without out considerable loss, in part due to the management of my Merril Lynch account.

Malta was chosen for a variety of reasons, but half of them were false. .

The garden lamp of red sand stone slabs in Pojoaque reminiscent of other and older standing stones

F These older standing stones are illustrated here to simply point up the fascination there seems to be for many in the uprightness, elborated, at times, with images or text, of inanimate stones suggesting animation.

This Pojoaque home was an idyllic location, psychologically isolated from the rest of the world where all forms of life adjusted to each other’s needs. Storm Townsend thought there was a spirit of a lady there, Janet Chudd loved it for its park-like character, Joseph Sablan was fascinated by the acequia which ran through the garden bringing snow melt from the mountains, and I because it was a realization of a dream brought on by a man of great vision. It was, regretably, in the middle of a community where the Pueblo Indians and the Hispanic settlers were at odds, although they had each other’s children and the Sephardic Spanish basked in the aura of black, killed their husbands and their lovers, harassed and cheated their neighbors and attended mass on Sundays like obedient Catholics.

This residnce was the most civilized I had ever known, respecting privacy, delighting in the nature of most things, with a few exceptions, of course, but the joy of its ambiance was onec expressed when there peacocks at the same time spread their tails. I had fourteen of those birds and they were all free, not caged and fourteen borzoi which with thre exception of one or two were kenneled. Right beind my house there was a heard of Indian-owned buffalo and they too were not a bother.

Anpu Anubis PooPooT

his is a section of the wire frieze designed for the entrance to my Pojoaque house by Brad Smith. It is now in Gozo

I received this note sometime in Pojoaque.

I realised at the time of the supper she refers to that there had been some serious interference about which I knew nothing. Almost all astrologers who have checked my chart have commented that I have many secret enemies. Actually, there are times when some of them no longer remain secret…and that the underlying cause of this status is envy. I have no idea why anyone should be envious of me for nothing in my life seems easy. But, on the other hand, the perceptions of the subject may be warped by the very proximity of the experiences, yet “on the other hand” no one else has a more immediate view or a closer evidential position than the person involved. My retrospective view of the Tamotsu episode is that a female Jewish friend of Louise, one who had known me longer than they had known Louise told her I was a member of the Libertarian Party. Actually, at about that time I was its Chairman in New Mexico. It is, in some ways, perfectly mnatural for Louise to consult, or be advised by, another Jewish friend who

was, in all appearance, not a Jew about something as important as writing a monograph, but for this advisor to suggest that a Libertarian, as a Libertarian, would denograte an artrist on the basis of his politics knows nothing of the Libertarian philosoophy and certainly nothing of me. Consequently, I suspect that motivation behind this bad advice was to limit my exposure to the public. There are people who fit the qualities necessary to fill this role and they, both dead now, were Doris Cross and Geraldine Price. One of the places I checked out in response to my increasing restlessness was Costa Rica along with Honduras, Latvia and Malta. I had heard many nice things about and a few rather disturbing ones namely, that Costa Rica was a haven for Ex-Nazis. I didn’t believe that until I came across this bank façade which stopped me still in my tracs. I photographed it and then, our of curopsity wjent itnside to check for photographs or paintings of dignitaries.. There they were …all Germans and the Nazi affiliation was cerytainly indicated by the logo

prominantly dispalyed on the front. my neighbors had I chosen Costa Rica rather than Malta, INSTEAD. If all I hear is true because of PD51 my USA passport does not automatically allow me in or out of the USA and because the immigration office here in Malta for quite nearly two years has not taken action to replace a lost ID card and I am, therefore, technically illegal in Malta because the police woman who was in charge of my permission to remain was arrested for theft before finishing her job for me. She was sentenced for a few months and fined a few thousand and I remain “A man without a country”…oddly enough, a novel which had romantically attracted my attention as a teen ager which makes me think that there may be something to the claim that we already deeply know our fates.

GOZO CREATIVE REALIZATION….art, psychology …truth and aesthetic judgment

Paul Henrickson, Ph.D.

tm. © 2009

I sometimes have doubts about my own vision, but I generally return to the expectation that through the manipulation of plastic and other graphic symbols a world is created.

That is one very fixed perception I have about the value of the value of the unconventionally designed, non-objectively imaged puzzles I have designed. They were developed over a period of years beginning about 30 years ago and, seemingly, only during periods of mental rest….a kind of mind-wandering state.

But it is in such a state, it seems, much of creative imagination takes place. I am certain that this particular mental process was a result of experiences I had had with adult perceptions, contemporary school practices, and much of the seemingly politically oriented push in modern art criticism.

http://guam.mvarietynews.com/index.php?view=article&id=6030%3Aflights-creativeoutsiders&option=com_content

Marianas Variety notice

There are, or were, at least two California school systems which have hired as “webmasters”

technically trained, to some extent or another, individuals who have more unwarranted ego than

judgment and, I would assume no insight whatever as the needs of an educational environment and perform as cherished virtues what are in fact mortal wounds to the highest held ideals of a humanistic education.

These webmasters claim that in order to cut down on “spam” they will automatically exclude any email address that is unknown to them. More xenophobic one can hardly imagine. Even on the

mundane level, the most ordinary minds realize that there is still a great deal to learn out there from individuals one has never ever heard of and maybe a slightly fewer number will

grudgingly admit that having graduated from teacher’s college and, in addition, been accredited

by some organizational staff does not mean the end to mental growth….but such considerations are not admitted into the reality of such webmasters as those who were in San Jose and Berkeley.

There is a certain hubris among those whose sense of success is attached to predetermined goals such as 1+1=2.Surprisingly some never to be surprised or pleased or even recognize when and that they have discovered something on their own. “I didn’t know I did that!!!”

Click here to view experimental video showing how the creativity packet puzzles are used.

There are several other rather odd manifestations which one encounters as one proceeds through the many, but not enough, of the websites dealing with educational matters. On the other hand, there are, sometimes, too many websites, depending upon the view point of the searcher and the quality of the website but, by and large, it is one of the histories more important inventions and it renews the struggle between the sophisticated and naïve where

the naive have an energy-enriched chance to become sophisticated and to, at the very least, protect themselves from the fraudulent . This is another area in which the puzzles are helpful for they provide the experience of testing one’s own judgments against results whereas the traditional puzzle tells you what to do, how to do it and then applauds your obedience. Certainly, one of the impressions a searcher can get while looking around this territory is the difference in vocabulary in referring to those who teach is the relative standing of those who have decided how a website should appear. Many sites join both faculty and staff under one heading and fail to separate them but arrange them alphabetically according to the name and some with even no further designation ”Staff” a term, which, in The United States, generally refers to secretarial, maintenance, or administrative assistants…not generally, referring to people of ideas, theories or more complicated technical expertise. One supposes that this may have something to do with the overflowing of “democratic” concepts into areas where existing differences may imply some systemic elitism. This situation which is quite real in certain areas of the world and most notably in my experience in Malta where excellence is recognized only among the Maltese which, statistically speaking, in a population of only 400 thousand might suggest, even to the casual observer, a rather narrow range of accomplishment. The results bear this out. An interesting development in association with this, seemingly, national characteristic, is that individuals recognizing their limitations have attempted to compensate for these by successfully developing the façade of interpersonal relationships based on intimidation. Where, in some areas and with some people, excellence is often accompanied by a remarkable degree of humility whereas, in others, where the primary actor recognizes in himself the absence of excellence (and the presence of a hopefully gullible audience) he assumes the cloak of bravado and immense self-pride which tends to silence others who may be ignorant and the doubtful.

AN EXPERIMENT FOR YOU:

If you, the reader, will take the top most image , enlarge it, print it out, cut out and separate the pieces and THEN attempt to assemble them in such a fashion as for the end result to make total sense to you THEN you may begin to understand the relationship between perceptive thought and truth-telling and, as a result, understand why, as the experiment conducted at The University of Northern Iowa in 1969 revealed, the relationship between lying about one’s perceptions , including one’s self, was related to academic success , and as result the education system there, then in force was allowing only uncreative liars to become the teachers of our young. It is true that I do not, at present, know how or whether this correlation between social lying and unsophisticated aesthetic judgment will hold up, statistically, but, certainly from many decades of observation we know that this relationship exists. If indeed it does exist then the implications for the vast majority of educational principles now in practice is that they are an enemy of the educational ideals we have publicly espoused. As someone recently observed to me “the SIGNIFICANCE (of the lie) gets lost in the deception. The liar believes the lie.” and consequently does not know he’s lying because he is supported by the majority in his environment. The participants may not be aware of their roles in this process, but certainly the social architects are.

Those of you who may be interested in pursuing this matter further are free to contact me at : [email protected] .

Since my exilic arrival in Malta I have tried to consolidate my resources, and blend my awarenesses and transmute my talents. Knowing very little indeed of the nature of electronic connections,or world-wiode economic conditiosn, I created THE CREATIVITY PACKET. My intention was to createn a platform for the expression of what some people thought creative thinking was. My initial introduction to the type of thinking characteristic of research psychologists into this behavioral area was

extreme caution. My instict was to doubt everything they claimed in part because they never used the language of expression and that made the character and degree of their understanding highly suspect. They tried to describe their awareness in language that was aloof from involvment…of course, we all understand that this is the “scientists’s” accepted stance…it is proper to be aloof, cool and uninvolved. However,such an approach was very alien to me as a quick review of those whom I’ve listed as sources of influence will indicate. I believe it was Drevdahlwho came up with the description that a creative thinker was like a criminal evading the police and that, somehow, for somereason, made sense. Substitute “the social majority” for the “police” and “nonconformist” for “criminal” and the description made total sense to me…and the way was paved for my active participation…but always at a distance because, without intending so, my research results frequently revealed the nature of the underdog’s struggle.

“Ugolino” Gozo Ministry c.1978 Gozo Ministry

“Gozo Crucifixion”

Click, Comments by Mr Joseph Camilleri

Exhibition 2001 Feature (Gozo) this link requiresQuicktime or Windows Media Player

Henrickson:…”Portrait of a Self-Portrait”. This painting which I had thought indicated a start of a new public reception was sold during my first Gozo exhibition to Joseph Zuereb, a dentist, who actually does have a finer than normal collection.but, for Gozo, of course, that is not saying a great deal…collecting art is not a Gozitan passion, but there is, I have heard, a serious exception to that opnion, but my source hads been sworn to secrecy. Joe Zuereb appears to be a charming, very affable, trilingual fellow, who has done exceedingly well and achieved earlier thasn he had expected the stat us of a Royal College of Surgeons. I do not know whether Xuereb liked this work or not. I would suppose he did. He paid the value of about $1,200..It shopuld have gone for 10 times that amount but someone had advised me that Gozitans do not pay full price for anythimng, besides I was experimenting. It cost me to do so. I am not sure that Xuereb didn’t get it for even less since, at the time, his quote for some dental work gave a cost spread and I paid the higher end. There is also some other Gozitan, or more generally, Maltese concept which excludes everyone who isn’t Maltese from having their success and excellence recognized. Only the Maltese can be recognized. If I should remain here until the end of my life, which is a liklihood considering the probabilities,I cannot reasonably expect to have any of my work recognized. There is no functional reason why the Maltese should be singled out for that characteristic however. No matter where I have been the level of my appreciation has been limited. There has been some but not a great deal. Xuereb is a strange man, very confident in what he believes he knows, ready to critizes others, especially aliens such as myself whether we are wromng or not…or, the way it seems, most esopeicially if we are not wring as for example, when he criticised me for “lecturimng” onb Maltese history when his facts were wrong..and he would not correct them. Count Roger came to Malta in 1091…not 1061 and the name Warhol in America is pronounced “War hole”, not “Waral” as in England…but Xuereb would have none of that.

When I one time mentioned he wa a seductive man, he, and his wife, took the meaning in its most common form..thus, missing my point entirely…but I would not correct him. Not only did he get the painting for a damn cheap price he also did not hesitate to ask for a gift in addition…and I thought the Jews were exclusively demanding of value without sacrafice. Even Doris Cross had a mite more self-respect when it came to dealing with a sale.

Politically and historically Gozo entered Europe in 1091 when Roger Giscard de Hauteville liberated Malta from the occupying Arabs.

For me this events has more than symbolic significance since if the Genealogical records are correct (bearing in mind there are numerous types of errors possible) the ancestprs of Roger and those of my fasther join three generations earlier and the granddaughter of Roger marries an ancestor of my mother. I think the favorite artifact from this period is the coronation cloak worn by Roger II showing a lion subduing a camel. 60 miles south of Sicily is

GOZO

it is

historically, the isle of refuge

the coastline

as seen from the air

the rising land, plateaus and

hills Malta is a republic, or, at least, it poses as one. There are only about 400,000 inhabitants and thought to be the mnost densly populated space on earth. That alone, of all other statistical information, might have kept me away, but still it seemed to offer me more than other places such as Costa Rica, Honduras, Montserrat, Micronesia or Guam, even Latvia. I can only suppose that all communities offer distinct characteristics which make them communities , that is, a group of people who live together and share the same opinions. So, therefore, it becomes important that one consider whether thosre opinions are compatible, more or less, with one’s own.

a 7millenia old statue…a so-called “goddess”

Aspects of the dignified ancient Maltese architecture

*

*The “Cart Wheel” tracks which I doubt are that for the main reason there seems to be no indication of the tracks of the power drawing the cart.The other theory is that they are irrigation chanels. This makes more sense.

Mdina is a small community isolated somewhat both physically and conceptually. It was known ,at one time, as the main residence of the Maltese nobility, which for the most part, a class among the citizenry which owed its position to the various conquerors, the Normans, The Spanish, the German, the

French and finally the English who, in, I believe, 1964, granted them their independence and the permission to us the insignia ofSt. George on its flag in tribute to its loyalty to Britain during WWII. However, not quite a half century later, the Island voted to Join Europe, thus reestablishing the comfort able habit of dependence and subservience.

Interior of St. John’s Co-Cathedral where some of my ancestors might be buried St. John’s Convent Cathedral in Valletta, established by The Knights of Malta and where there are chapels devoted to the various language groups of the prder, one of them being the Aragon which I considered to be my family chapel and in the floor may be the corpses of family members for the names of de Hauteville and von Hohenstaufen are to be found.

A community laundry

Me next to Todd Kamp at a meeting ostensibly to discuss creat ive approaches to business. I don’t think anyone knew what they were doing and they didn’t much care.The “blind leading the blind” is the kindest way to describe it. But One can say that there are certainly some attractibe looking blind people there and, in fact, that was all that counted…getting laid, one way or the other.

The real Dorian Grey Philippa Tabone(a th tragic figure),me and Vivienne Kamp, trying hard to enjoy the 4 of July at the American Embassy party hosted by Marines who haven’t the slightest idea of how to accomplish it.

Il Tok square in Victoria, Gozo

The rubble wall between my house and my office from the street beside me, the busy and noisy Triq Tigrija.

The staircase to the street above.

the view to the south

rom the veranda,

…and down from the top of the stairs.

Henrickson: montage, mixed media

“Three Graces”

sketch for Lazarus

painted sculpture”Crucifixion”

Henrickson: “Roger protecting Malta”

Henrickson: Photographic montage

Henrickson: painted sculptures

Henrickson: “The Siege of Malta”

Henrickson: photograph

montage

This is Iona Miller. I have never met her, but she has acted as a sustaining force in both intellectual matters and creative matters in what has been for me a more than traumatic experience in becoming an exile from my home and

from the one most beautiful home I had in Pojoaque, New Mexico. Iona has published many articles and these are availabel on her site. Go to: Iona Miller. This quote I discovered on Iona’s latest website: “The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purposes through him. As a human being he may have moods and a will and personal aims, but as an artist he is 'man' in a higher sense - he is 'collective man,' a vehicle and molder of the unconscious psychic life of mankind.” (Carl Jung, Psychology and Literature, I compell myself to express joy at her having found this Jungian assertion and more so for having used it for it comes at a time when these concerns are my primary ones and for some reason she always knows where my mind is….or she seems to. When Jung states that the artist is not “endowed with free will” I believe I know what he means, that I have experienced that bending of my will in response to another outer, or inner call and am quite convinced that Jung had heard and reacted to that call on numerous occassions and that, quite perhaps, this is the experience seers, oracles and psychic astrologers experience when they come up with what they come up.

and this is Kurun Vella, a native of Xaghra, and a dependable friend who is even willing to allow me to act as his mentor in matters of creative thought. He is also an excellent interpreter of human motivations. I am very fortunate to have them both interested in what I do. For those interested in learning more about my interests which are roughly grouped in the following three areas, education and psychology, art criticism and intellectual commentary. These are available at www.pdfcoke.com under my name.