Showing posts with label Charley Plymell. Show all posts
Showing posts with label Charley Plymell. Show all posts

Claude Pelieu and Mary Beach


Mary Beach was born in Hartford, Connecticut in on May 8, 1919. In 1925, after her mother's divorce, she moved, for six months out of the year, to France with her mother and two sisters. During the first part of World War II she lived in the small town of St. Jean de Luz, but, with the entrance of the United States in the war in 1941, she was soon viewed as a suspicious alien and was, for a time, interned in a Nazi prison camp known as Glacière.

Despite her parent’s protests, but perhaps under the influence of her distant relative Sylvia Beach, famed proprietor of Paris's Shakespeare & Co. and the first publisher of James Joyce, Mary pursued her life as an artist with great passion from an early age.

Her first solo show was at the Galerie du Béarn, in Pau, France in 1943, and she has since then continuously exhibited her work all over the world.


Mary returned to the United States in 1946, where she married Alain Joseph (an American soldier she had met in France) and had two children, Pamela and Jeffery. She attended the Hartford Art School (where she won first prize in her class), and also attended school at the Museum of Fine Arts in Boston.
 In 1957 Mary and her family returned to France, to Strasbourg, and then Paris in 1959. She attended the esteemed Grande Chaumière, where she studied under Henri Goetz. She exhibited at the historic Salon des Indépendents in Paris in both 1957 and 1958; won the Prix du Dome at the Salon des Femmes Peintres in 1959; won 1st Prize, Vichy, France, and Silver Medal in 1959 as well; and was exhibited at the Salon des Surindépendents in Paris in 1960.



These early accomplishments stand alone, and would be exemplary for any artist. But for an American woman in France -- for a wife and mother in the late 1950s anywhere, Mary's success in the male-dominated art world is truly astounding. She is one of the great, under-appreciated pioneers of her generation.

After the loss of her first husband, Mary met Claude Pélieu. While living with Claude she continued to work and exhibit all over the world (Galerie du Moulin Rouge, Biennale de Paris; Suzan Cooper Gallery; Galerie Wandragore, Rouen; etc., etc.). During this time she worked at City Lights, in San Francisco, where she discovered and published the poet Bob Kaufman and, under her own imprint of Beach Books, Texts, and Documents, published William Burroughs. She also collaborated extensively with Allen Ginsberg.

Claude Pélieu and Mary Beach met in 1962 and, until Claude's unfortunate passing in December of 2002, shared an exemplary rich and creative life. Traveling extensively while living primarily in Paris, New York and San Francisco, their existence was a bohemian adventure during which they ceaselessly explored and continuously created.



With a keen and graceful eye they deconstruct, critique and reinterpret the classical and contemporary worlds of art and media, while creating striking new works of wit and beauty -- drawing subconscious associations that are both mysterious and poetic.




Long hailed in Claude's native France as the natural inheritors of the Surrealist legacy (a direct line has been drawn by French critics from Picasso and Braque to Schwitters and Duchamp to Warhol and Pélieu), their works are highly prized and respected.


However, in Mary's native America, the pair remains relatively unknown, their work still awaits discovery by both mainstream critics and collectors. Mary passed away on January 26, 2006, after a long illness. Up until a week before she passed, Mary was still drawing and painting. She was contemplating a new series of ink drawings.

If you would like to see a slideshow comprised of Mary Beach and Claude Pelieu's Collages which they created later in their lives, please visit this link: Ginger Eades Tribute to Mary & Claude (Dedicated to Pam)    




SPEW ALLEY by Charles Plymell

SPEW ALLEY
(for uncle Bill)
By Charles Plymell
Some people just can't take the notion that millions of micro tadpole spitfire germs can swim into quiff and get only one hit on the egg, and that becomes us. That wham alone is enough to make one wonder just how come. The chance is as unfathomable as the lottery, the Big Bang, but these little holers make a person. That alone would be enough to spend a lifetime anguishing just how the easiest and most natural bit of stuff in the world turns into another body complete with its own mind.
And if we just thought of that little mouse hunt and what came from it, we might as well be taken to a padded cell and try to punch our way out of it like some Turet. But then to develop a language, the next most incomprehensible worthless discovery tha t can express a body! And then it forms itself in a society, learns to make change at the market and learns to compete against the million of other bodies out there, in order not to appear as random as some lone germ, for a germ without a purpose is jus t another germ, so a body has to pick and choose its social structure, if it's lucky, or be cast into some lot to task itself out to nether end. The best thing of course, is to invent, discover, be a rock star, make money to occupy one's time.
That would be quite enough for a body not to think about the basic reporters' questions too often as applied to the ultimate abstraction. It is distraction that we must have. Escape, anything to ease the pain of the awareness that swells up and won't go away sometimes, like asking what am I doing here, someday I won't be here, what was this, where will I be and what did I know, etc. It is not considered a real pain of course, like a broken bone, so it has to be considered a mental pain, and drugs that can help it are confused, so the whole reality of it becomes ever more convoluted and ends as everything, in the social body that prevents any attempt at understanding because usually it is not in economic demand. The drift is always to the physical, t he tangible, the salable, which uses up the body in disaster. This portends the future for the larger body as well.
Even if a body's purpose was pretty well programmed and adjusted to the selections (religious, political, social) confines of its time, there is the larger purpose that might seep through those confines and wrinkle the whole thing at any given moment. T hat is also not considered painful, but a condition of life.

Some think the body, oneself, the person next door, et. al. is a cancer that ultimately destroys its host. In this case, we have the planet earth which is showing signs of regurgitating, just like those bodies who took the time to reflect--prophesied. T here are ones who say this is just like all the rest of time and nothing happened before; these are usually the ones comfortable in their own social, religious, economic structures and have taken their fate the same as their nicely-mown lawn which my ne ighbor is doing now on his little tractor. He is making his own pollution as he goes, his pastime deadening his brain cells as he burns the products of a large cartel. He has a flag that symbolizes his freedom (and the cartels) hanging from his garage. He and his society would not see themselves as a cancer, and their pain is usually relieved by Advil or whatever is advertised on television to keep one of the largest financial cartels in business, serving the needs of the society ! of l awns.
People don't like to see themselves as a cancer, or a virus, even though if we condense history to repetition of specie activity, we come up with the same story, the same actions, usually in the form of religion and politics, to administer an over-purpo se, or medication in event the individual purpose goes awry. This isn't classified as pain, because it doesn't have the clinical appearance of eating one away. But there is no cure for it. In the religious worlds, it might be assigned to the devil, but in reality, the devil is just like the Ebola, which erupts all organs in blood and bile through all orifices. In the larger world, with all the ports of entry, such gruesomeness is not seen. And our thinking, our math, our best minds of a generation, if you will, gave us the end in a far less gruesome fashion. We don't see it happening, and all of industry, even the internal combustion engine adds to the whole demise.

The symptoms are decay, the individual's actions, daily, which show brain deterioration. More and more people wonder, and say there must be a reason for what's happening. Cumulatively, the state of affairs for the species has never before looked quite a s grim. And given the fact that we've recorded almost 50,000 wars, and our best minds came up with the weapon to "end all wars," sure, because it is THE end war (freak logic if I ever saw it) commensurate with the whole premise. Still, poetically, when the latex fills the pod under the hologram of the western sunset, the doctor will have legitimate patients to tend. And what if it does end in our lifetime? Sit at show window. It's academic. It is said when lightening strikes that one's hands become cl ammy, one's hair stands on end, and one has three seconds to lie on the ground in a fetal position; that's enough religion for me.

© 1996 by Charles Plymell
Original GRIST On-Line publication
This page edited by Robert Bové

A TRIBUTE TO ANDREW WYETH (1917-2009)


                                                                                                   
Andrew Wyeth's painting, YOUNG AMERICA, 1950