Thursday, September 29, 2016
Melinda in Conversation with Roy Lichtenstein
"I know, in advance, the appearance the brush stroke will create, so that they appear spontaneous but are in fact as restrained as any other style. Nobody just throws paint; it's got some purpose. You're directing it and it may look spontaneous because you're making single uncorrected brush strokes. But I do it with the knowledge that I'm going to be able to adjust it and change it or remove it or paint over it. These painterly brush strokes are both spontaneous and directed. That's not exactly the right word. Controlled, I guess is better." - from Melinda Camber Porter in Conversation with Roy Lichtenstein
For more on Roy Lichtenstein click here
MelindaCamberPorter.com
Melinda in conversation with Michelangelo Antoniono
Michelangelo Antoniono (1912 - 2007) was an Italian film director, screenwriter, editor, and short story writer.
Melinda spoke with Michelangelo Antoniono in Rome in June 1977.
“Too many untold stories are weighing me down. The images of films I have not made continue to accumulate and obsess me.”
“I always create a catalogue of objects
around a character. I do not see him or her as the center of my film.
There is no hierarchy in my mind between a character’s context, clothes,
objects, and his personality or emotions. People think you have to tell
a story about someone rather than something. But the two are invisible
for people and so enmeshed in their surroundings.”
Wednesday, September 28, 2016
From the Exhibition
Blogger Dana Southerland visited Melinda's exhibition at the University of South Dakota recently and wrote about at her blog.
Check it out the full text here.
MelindaCamberPorter.com
"Reading about Porter’s
nomadic background and artistic approaches to her work had me
intrigued. She painted these abstract and gestural triptychs that were
vibrant in color and dynamic in composition. The thick layers of paint
and textural qualities made me get lost in her work. I wanted to get up
close, examine her brush strokes, and imagine how she applied them to
the canvas."
Check it out the full text here.
MelindaCamberPorter.com
Saturday, September 24, 2016
Melinda in Conversation with Françoise Sagan
Melinda on Françoise Sagan, from Through Parisian Eyes: Reflections on Contemporary French Arts and Culture:
Sagan talks quietly. She responds to questions with a momentary look of
deep reflection, then looks straight at you as she rushes through her
thoughts. She rarely disappears into a reverie or a monologue. And she
does not lose herself in her thoughts. She constantly tried to find out
my responses to all the issues we discussed.m not as a way of avoiding
being interviewed but rather out of curiosity. She is extremely
considerate and thought she had just come in from a dentist's
appointment, it was hard to tell that she was in pain. Her liveliness
radiates out of her very thin frame and gives her an ethereal quality.
Yet her voice is deep and earthy.
Read the full interview here.
MelindaCamberPorter.com
Melinda discusses her novel, Badlands, on South Dakota Public Radio
During her 1996 interview with Carl
Gerky of South Dakota Public Radio, Melinda describes the South Dakota
landscapes and discusses her novel, Badlands, set on the Pine Ridge
Indian Reservation.
Visit Melinda's YouTube channel for more videos.
MelindaCamberPorter.com
Find Melinda on Facebook, Twitter and Instagram
Visit Melinda's YouTube channel for more videos.
MelindaCamberPorter.com
Find Melinda on Facebook, Twitter and Instagram
Thursday, September 22, 2016
Melinda in Conversation with Francoise Giroud
When I met her, in her apartment on the Right Bank in Paris,
I asked her why she had steered clear of feminist ideologies. She gave a smile
that reminded me of the radiant, seductive expressions of the French anchor
women. It was an expression designed for the camera; but it was also a rather
vulnerable and friendly expression of someone attempting to please.
“I’m allergic to ideologies, in general. I’m interested in
observing them and trying to understand why they arise, but I’m profoundly
skeptical. I’m incapable of adhering to an ideology. I believe that the MLF
[Women’s Liberation Movement] in France was the extreme culmination of a very
powerful movement throughout the world. And it did have its roots in history. Feminism
is a very ancient movement, but perhaps, for the first time, it has really achieved
something. In France, in the nineteenth century there was a great deal of feminist
activity, in England, they managed to gain the vote, but the movement failed in
France. But actually, having the vote is really not the key. There are only two
essential elements that can change women’s role in society: birth control and
the women’s participation in the economy.”
For more on Francoise Giroud click here
Wednesday, September 21, 2016
New Exhibition Now Open!
Melinda Camber Porter (1953–2008), Triptych Series No. 4: The Triumph of Nature, Part I, 2000, oil on
canvas, 36 x 48 in. (overall)
University of South Dakota
Vermillion, South Dakota September 19–October 14
Though most
of her life was spent in London, Oxford, Paris, and New York, the late
artist-writer Melinda Camber Porter adored South Dakota, the native state of
her husband and the setting of her novel Badlands. Now the
University of South Dakota is presenting an exhibition that features all 90 of
her Luminous Bodies
watercolors and all 27 of her large triptychs painted in oils on canvas. Often
inscribed with Camber Porter’s poems and musings, these works are best seen all
together to underscore her objective of healing the rift between the body and
the soul.
John A. Day
Gallery and Exhibition Hall | 414 E. Clark Street | Vermillion, SD 57069
605.677.3177 | usd.edu/fine-arts/uag/john-a-day-gallery
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Thursday, September 8, 2016
Melinda in conversation with Jean-Louis Barrault
[Barrault] is a friendly, and ultimately comforting person to talk
to. Age has not worn out his enthusiasm, or his energy. His first
concern when we met was to make sure I was at ease, so he asked me to
lead him to the part of the theater where I would feel happy conducting
the interview.
"I gradually realized that one eventually encounters destiny. And I believe destiny is something that is exterior to oneself."
"There is only one religion for me, and that's love of humanity. So I believe that one has to sow the seeds of a celebration, and of mutual friendship, and within that atmosphere, in the theater, one can say things to people."
"There are two kinds of works: There are plays that fall like fruit from the tree, which don't really belong to the poet. And then there are works that poets create which they never complete. And these works stay within them for the rest of their lives. The umbilical cord is never cut,"
Read the full interview from Through Parisian Eyes here.
MelindaCamberPorter.com
"I gradually realized that one eventually encounters destiny. And I believe destiny is something that is exterior to oneself."
"There is only one religion for me, and that's love of humanity. So I believe that one has to sow the seeds of a celebration, and of mutual friendship, and within that atmosphere, in the theater, one can say things to people."
"There are two kinds of works: There are plays that fall like fruit from the tree, which don't really belong to the poet. And then there are works that poets create which they never complete. And these works stay within them for the rest of their lives. The umbilical cord is never cut,"
Read the full interview from Through Parisian Eyes here.
MelindaCamberPorter.com
Wednesday, September 7, 2016
Now Available: The Triptych Series
Melinda Camber Porter's Triptych Series is now available in a beautiful hardcover edition from Blake Press.
The Triptych Series consists of a series of
twenty-seven large oils on canvas exploring the triptych form as both
altarpiece and sculptural shape. However, the traditional subject matter
of the altarpiece is merely hinted at, with only occasional apparitions
of guiding saints and visiting angels who bless the lovers’ union that
is the central theme of the series.
All of Melinda's books are available at Amazon.com
MelindaCamberPorter.com
Preview the book here |
All of Melinda's books are available at Amazon.com
MelindaCamberPorter.com
Friday, September 2, 2016
Melinda in conversation with Regis Debray
Régis Debray was sitting in his office in the Elysée looking
disdainful and extremely bored. I had arranged to meet him the day before he
was to leave the Elysée for another post which, as he had stated in the press,
had “no political significance.” This was quite true. Debray’s career has always
been a problem for his friend, President Mitterand, because of Debray’s
guerilla past in Bolivia and his continuing outspoken resentment of anything
American. But the French have the capacity to honor their rebels and eccentrics.
Regis Debray in 1968 |
“There are many fools who say that writers never have political
positions, and that by definition a writer is a pariah and a marginal, passive
type who lives in the catacombs of his attic. All that is pure myth.”
“The intellectuals have always had importance in France
since the eighteenth century. They have a power which they have never exercised
in any other country. In the States, an intellectual is considered and ‘egghead,’
which is a pejorative term. In England, too. In France, it’s completely
different.”
“Only a writer can imagine himself as another, and only a
writer can act of behalf of other people. Only a writer can act on behalf of humanity
with a big H.”
“A lot of people fee that poetry is a short cut to
philosophy, and that, I think, is a disaster. The idea that poetry must be intellectual,
that poetry must be understood and not felt. All that contributes to the drying
up of the literary scene in France.”
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