Monthly Archives: November 2015

„Art Touches Art – 28“

Ronald Anderson – – – Native American Artist

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Ronald Anderson:  “Chair – Tree” or “Mother’s Day” – – –  Tree sculpture: Tree, chairs, fastening material – – – Location of the tree: Oklahoma (USA)

The Chair – Tree

At that time, in summer 2000, in Bremen „An der Schlachte“, there could be seen an installation (along the Weser in the inner urban area): A yellow chair had been fastened on each of the “Dalben” (tree thick mooring posts made of wood).

The row of the chairs – put so – should remind that every emigrant to America had left a “chair” here in Europe. This was an art action which had been in connection with the opening of the Emigrant Museum in Bremerhaven.

There at the Weser, our look had often fallen on this installation in one of the restaurants in which we sometimes had sat. – – – We had translated the background of the content described above to “those chairs put strangely” for our guests. It, however, had not become a general topic among us.

Ronald Anderson (R.A.) had occupied himself with this installation more than we had been aware of at that time, though. – – – We had received a letter which had included this photo some months, after R.A. had returned to – Oklahoma:

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It shows the topics which he had taken along home: His painting “Thinking Out” (see “Art Touches Art – 25”) stands right below on the ground, above of this there is a construction in the vertical format with an “abstract painting” (in the colors yellow and blue) and finally a yellow chair which R.A. had fastened on a wood post rises right above in the black of the background.

This is the first photo to this topic which Ronald Anderson had sent to us from Oklahoma. Basically it shows the processing of his impressions from Bremen (Germany).

 “A game with keepsakes” had arisen.…

It has not stayed with this game, though. Furthermore Ronald Anderson had had a good look at the topic! And when the result of his continuous discussion in form of another photo finally reached us, the chairs had moved on a tree and had taken on the color red. In an immediate neighborhood to this R.A. had fastened a big Indian drum: The chairs still are stacked and therefore one stands “the wrong way round”. I see in this a comment to this time, when the incoming Europeans were about just to set up themselves in the “New World”.

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With the move into the treetops I knot to my interpretation of “Thinking Out” (see “Art Touches Art – 25”). Into this I talk about the “liberty of the thinking” which can be felt in the treetops there above (with what R.A. had felt very much understood): On the painting “Thinking Out” this freedom of thought had consisted in dipping his thinking into his “Indian consciousness”. This tree – installation of Ronald Anderson shows a particular phase of the past:

 The thinking of the immigrants had moved on the trees!

Self-confidently the American natives had also moved on the trees and tried to maintain or to integrate their own way of thinking.

And to express their will to self-determination, the American natives had raised their voice loudly, symbolized by the drum.…  

The next photo shows to which result the further course in history had led:

 The complete tree had been populated by “chairs” in the meantime!

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Picture above: Ronald Anderson approaches the observer; his tree – sculpture can be seen in the background. – – – Picture below: This tree – sculpture can be seen once again from another viewpoint and at other time of day.

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Following my approach for interpretation (*1) consequently to an end while seeing this result, I have just thought of this title: “The occupied tree”… (*1 See my explanations to “liberty of thinking” above and in “Art Touches Art – 25”)

Some time ago, however, Cynthia Adams had written to me what the idea of her uncle Ronald Anderson is in connection with his work of art, the tree – sculpture: ‘The tree “Mother’s Day”, stretches out the arms (branches) while waiting that his, her children will come home’. (Formulated analogously)

 A rededication of the meaning of the symbol “chair” by Ronald Anderson!

It is a touching idea that this arrangement represents a symbol for the wish to be expected and received with the family of one’s own. The Earth – Mother is waiting for all members of the family keeping a chair on every arm with extended arms (branches). The reunion will let increase the feeling of identity and the roots of one’s own.

And such, the Tree – Sculpture “Mother`s Day” (*2) has become the symbol for this, finite completely being arrived at oneself – after a long way of identity – search…  

Interpretation: Renate Hugel

(*2) The naming “Mother’s Day” refers to it, that Ronald Anderson had completed the “Chair Tree” on a Mother’s Day. He cannot remember the year any more.

 Remark 1: Current stand: To Ronald Anderson I have written under “Art Touches Art” the contributions “Art Touches Art – 1”, “Art Touches Art – 13”, “Art Touches Art – 19”, “Art Touches Art – 25” and “Art Touches Art – 28”. Furthermore you find a “remark to Ronald Anderson” on HOME (from the 24th of July 2015).

In addition, there is a mention under “Art Touches Art – 16” (the contribution to the teamwork “block-pictures”).

Remark 2: The contributions under „Art Touches Art“ refer to the symposium „Attempt of an Encounter – Five Native American Artists meet five European Artists“. This had taken place in Bremen (Germany), in the year 2000. Whoever would like to ask about the genesis of the symposium can scroll back till „Art Touches Art – 1“, then continue scrolling back till Information about ‚Art Touches Art‘; after that you find then the „Chronology of the Past History“.                                                                   Renate Hugel

For Your Information:

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The signature of Sherman Chaddlesone (a part of the picture “without titles”, on a collapsible card) – – – Gouache, felt-tip on carton, Anadarko, Oklahoma/USA, 2001

 For Your Information:

 This card contacted us by mail from Oklahoma. I gave the small work of art (on this collapsible card) the title “Arrival of a “Group of Blue Riders” – – –  I am working out in in my interpretation how to understand this title, to be found under “Art Touches Art – 27”.

 To be found under “Art Touches Art”

Renate Hugel

For Your Information:

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Ronald Anderson: The Gallery “pro art” (part) – – – Ink drawing on watercolor painting carton, Bremen (Germany), 2000

For Your Information:

In “Art Touches Art – 26” I write about the “Farewell”. Ronald Anderson’s ink drawing “The Gallery pro art” shows the desire “to hold” the place of the meeting tight. An older work of Roland Schneeweiss points that it is to value the solitude absolutely but also in the studio of one’s own…

Main however I give a summary of the outer facts of the symposium in this contribution.

To be found under “Art Touches Art”

 Renate Hugel

“Art Touches Art – 27”

Sherman Chaddlesone – – – Native American Artist

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Sherman Chaddlesone – – – 2nd June 1947 – 17th August 2013 – – – “Without Title” – – – Gouache, felt-tip on collapsible card – – – 18 cm x 13 cm – – – Anadarko, Oklahoma / USA, 2001

“Arrival of a “Group of Blue Riders”

We had got mail.

By opening the envelope tensely, a “group of Blue Riders” approached us!

We held a collapsible card painted by Sherman Chaddlesone in our hands. In its inside, this card contained a “message”…

Sherman Chaddlesone had informed us among others which concrete preparations they had already tackled for our planned return visit. This planning had taken place spontaneously at that time and had been the wish of our guests, the American natives, primarily. We had not had dared at all to express such a wish!

A group of three American natives, with their horses, is situated in the picture center. They had come in their identity as “Indians” as it can be recognized at their heads. The rider on the left side carries the typical “feather trimming”. The person on the right side wears a mask while, in the background, the rider in the middle is wearing an “animal head mask”. This mask represents a “bison head”.

(Meanwhile, I am convinced of it that Sherman Chaddlesone had represented himself with that: In the year 2012 which had been still in front of his renewed serious illness, Sh. Ch. had created a self-portrait with the title “Odlepah (Buffalo Bird) Self Portrait”. On this picture he is wearing such a “bison mask”, what does go back on his grandfather.  On this work of art he had worked out his own phenotype as powerful and sensitively simultaneously, as well as one with a waking mind and high inner presence.)

Furthermore it is standing out that all three riders had got dressed warmly and kept even nose and mouth warm with a cloth in the face. On the way to us they finally had come into a cold region around here – primarily during the winter months… The clothes being warm in addition can be recognized beyond all doubt by the leg belonging to the rider on the right side enclosing the horse body. It is dressed in woolen leggings in blue color with red stripes.

This detail is an indication that they are Kiowa Indians: In fact, they are using to celebrate the great “Pow – Wow – Festival of the Black Leggings”, of the “Kiowa Black Leggings Warrior Society” every year. Apparently, the black leggings had been exchanged for blue leggings.

It can be seen at the attitude of the long lance that these three emissaries had come in a peaceful intention!

The sensitively arranged “group of the Blue Riders” in the foreground of the picture is in a certain contrast to the background of the picture. The sedated hatchings there remind of a parting line while the red color is referring to a “bloody limit”. After my conviction Sh. Ch. had left the complete design of this background in “strong style” consciously…

A fine green line goes over that red border: So a thin grass blanket has already grown! They have put a marking rising highly therefore to the orientation with a blue feather tuft, because they cannot forget what is under the surface. So the results of these former bloody events are deep in themselves under this covered, and still present.

So the course of a “limit” which has apparently been overcome now can be seen. The group of American natives lets itself be seen in a pose which conveys a kind and open fundamental attitude.…

So this message contains a great mark of confidence!

And still finally I would like to mention furthermore which great “candy” had reached us with this card:

The chosen blue coloration together with the blue horses gives a further note: It’s the fact that this rider group is here on the continent, where once the artist group “The Blue Rider” had been founded. With that, an appreciation of the artists of the “Blue Rider” also is in this small work of art!                                                                Interpretation: Renate Hugel

  Remark 1: Current stand: To Sherman Chaddlesone I have written under “Art Touches Art” the contributions “Art Touches Art – 5”, “Art Touches Art – 11”, “Art Touches Art – 24” and “Art Touches Art – 27”. In addition, there is a mention under “Art Touches Art – 16” (the contribution to the teamwork “block-pictures”).

Remark 2: The contributions under „Art Touches Art“ refer to the symposium „Attempt of an Encounter – Five Native American Artists meet five European Artists“. This had taken place in Bremen (Germany), in the year 2000. Whoever would like to ask about the genesis of the symposium can scroll back till „Art Touches Art – 1“, then continue scrolling back till Information about ‚Art Touches Art‘; after that you find then the „Chronology of the Past History“.                                  Renate Hugel

“Art Touches Art – 26”

“The Farewell”

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Above: Ronald Anderson: The Gallery “pro art” – – – Ink drawing on water painting carton, 24 cm x 18 cm, Bremen, 2000

Below: Photo of the Gallery “pro art” from inside; Working atmosphere, Bremen, in summer 2000

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The Farewell

The day of the farewell definitely had got closer. Our sense of the approaching end grew as of the day with us on which we had begun to prepare the three planned exhibitions.

The time together had been ended definitely during the (but individual) artistic work with that! This had meant in consequence: Each of us had had to come directly into the solitude of the studio of one’s own again. His personal position to this shows a work of art of Roland Schneeweiss. He had sent me his (older) ink drawing “Studio” into copy to this topic:

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Roland Schneeweiss: “In the Studio” – – –  Ink drawing

With the end of the symposium, I complete the first part of my interpretations.

On this occasion I give a summary of the “outer facts” once again:

Topic of the Symposium:  Attempting an Encounter: Native American Artists – European Artists – Project, Symposium, Exhibitions

Time of the Symposium:  15th of July – 12th of August 2000

Location of the Symposium:  The premises of the former gallery “pro art” in Bremen – New Town (the former station of the New Town) had been the location.

The Exhibitions:

–         Gallery “pro art”, Bremen – New Town

–         „Kapitel 8“, Protestant Information Center, Domsheide 8, Bremen – Center

–         “Gallery Popolo”, Bremen – in the so called “Viertel” (quarter)

Participants:

Ronald Anderson, Native American Artist (Chickasaw, Choctaw and Cherokee and a Member of the Chickasaw Tribe from Tishomingo Oklahoma), Oklahoma (USA)

Sherman Chaddlesone, Native American Artist (Kiowa) from Anadarko, Oklahoma (USA)

Kelly Church, Native American Artist (Anishnabe) from Michigan (USA)

Jereldine Redcorn, Native American Artist (Caddo) from Norman, Oklahoma (USA)

As a Guest: Cherish Parrish, daughter of Kelly Church and at that time approx. 12 years old (today Cherish Nebeshanze Parrish)

Margaret Hettrick, Artist, at that time from Zeven, Germany; (today she is living in Texas)

Christa H., Artist from Bremen, Germany (Ch. H. had left the project in the year 2004 – see to this “Chronology of  the Past History”)

Heinz Hugel, Artist from Bremen, Germany

Renate Hugel, Artist from Bremen, Germany

Elke L.**, Artist from Bremen, Germany (** The name was changed on request. Elke L. had left the project in the year 2004 (see to this “Chronology of the Past History”)

Roland Schneeweiss (origin from Bulgaria), at that time from Rotenburg, Germany (today again in Bulgaria resident)

I also would like to thank the persons in this place who had fundamentally contributed to the success of the symposium:

Note of Thanks

At first I would like to thank Margaret Hettrick (at that time: Herting) because, without her vision (to let my formulated thought become reality), my spontaneous thought would have faded away into infinity! (See Chronology of the Past History”) In addition she always had cared about the interests of our guests here in Bremen!

The engagement of Linda S. Poolaw had been just as fundamentally important! It was her, who could establish the structures and contacts so that artists of American natives could apply fora participation there. Therefore, my gratitude goes also to her!

I dedicate my following gratitude to Jochen Biber. He and his team had made it possible for us, to use the gallery “pro art” for one whole month as well as organize a following exhibition there!

Furthermore I thank the management (of that time) of “Kapitel 8”, the Protestant information center in Bremen where we could build up an exhibition, then.

I also thank the owner of the former Gallery “Popolo” for the exhibition possibility at her.

I finally still owe my thanks to Mr. Klaus Peter Fischer, the district head official of Bremen – New Town (at that time). He had organized a guided tour in the quarter (New Town), led us to historically interesting places or monuments as well as explained these for our guests and us.

Renate Hugel