Sunday, December 4, 2011

Holding Pattern

I know I shouldn't bitch, Google gives me this thing for free...but then, you get what you (don't) pay for. Blogger has made some improvements lately and I applaud that even though they took a little while to get going. Some competitors beating down their door maybe?

I admit I fall prey to the occasional "grass is always greener" trappings every once in a while and it seems blog platforms are the latest victim. I've used WordPress and I know of lot of coding guys who love it, but I'm not a real coding guy. Creativity is hard sometimes and trying to get content out there should not be a part of the pains of expression, but it can and will sometimes be.

So for now, I'm moving the Initial Blog HERE.

I may come back here, I may not. I look at this way, there are a lot of cocktails out there, and why not take the time to find out which one tastes better to you.

Thank you everyone who has always taken the time to indulge my ramblings and images. Now let's get in this car and drive a little further down the road together...

- T.C.

Sunday, October 2, 2011


Been a while listeners, but rest assured I have some (hopefully) good content coming your way via the 2011 George Eastman House Benefit Auction by Sotheby’s. It should be mentioned that none of the pieces are from within the walls of the GEH collections, but are donated by individuals, photographers, etc. and all proceeds benefit the mission of George Eastman House: International Museum of Photography & Film.

You can also get involved - just go HERE for details on what is up for bid and how you can support the museum by bidding on it.

Stay tuned for interviews, updates, photos and more via this blog and the following resources:

Thursday, September 15, 2011

Monday, September 5, 2011

Greenhorn Bar & Grill

My favorite recipe? Reservations. But lately, I'm trying to find a better me, and one of the new adventures is tackling this whole cooking thing. I hear it's pretty popular.

Sure, I've mastered pasta, cold cereal and the standard household grill but I think I've actually, meaningfully made a dish about three times in my life. Usually it was done to impress a woman and they always survived. But the last time I really followed a recipe, gathered all the ingredients, etc., was to make a bold statement, and it worked, so I felt I'd attempt it again. But for some reason I never embraced the real creative side of eating well at your own hand.

No more. But I made sure to start simple and consult that which is all things perfection. Esquire Magazine. Fresh from their "Recipes For Men" section I bring you...


Not too crazy from the ingredients side and real easy to accomplish once you get the assembly line down. Lots of great spice and an intriguing step in using Coca-Cola for the brine.
Not a bad arsenal
Old school bottles = tastes better


I made some changes and used egg beaters and also substituted Chipotle Sauce instead of Hot Sauce. Granted not the most healthy recipe but I'm a rookie, plus, I'm headed to New Orleans this Fall and this recipe is an old standard down there. Making the batter is easy, feel free to add some more spice if you like as the consistency of the batter and the brine do enough to cut any real hotness from the peppers and spices used. And like the 10 year old I am, it was fun to see the Coke brine bubble up as you add some of the ingredients.

Look at that cayenne!
Soaking up goodness
Assembly line is ready


Drain then dab dry the chicken!

Out of the brine and into the frying pan! You need a descent lagoon sized pan for the canola oil and shortening and be careful when it gets hot. Yes, I sprayed myself with hot oil more than once, an no, it was not as fun as it sounds.

If you do it right, the batter clings pretty well but you must make sure to drain the chicken post brine and then dab a little bit. Then, the fireworks!
First dip...BAM!
Almost ready


Remember to grab a thermometer to check the temperature of the oil, if you don't have one, just cut into a piece and take a look for your self after about 7 to 9 minutes - no pink!!
I came...I saw...


Needless to say it was a bonafied delicious Americana recipe for this Labor Day weekend. The coke based brine makes for a very tender and juicy piece of fried goodness. And I'm still alive. Enjoy and on to the next culinary adventure!!

Friday, September 2, 2011

EYP Goes To The Presses

Last week I was lucky enough to join some fellow EYP members (Eastman Young Professionals) for a night of good ole' fashioned letterpress printing at Genesee Center for the Arts.

The machine we used...

Stephanie setting a background...

My background...

Stephanie set u
s the perfect EYP plate...

My finished letterpress design...

Here's another one, perfection by Mrs. Kate Jacus

Tuesday, August 30, 2011

Pieces of Norman Rockwell: An Interview with Curator Ron Schick

Originally posted via EYP/Young Professionals blog via Democrat & Chronicle; written by T.C. Pellett

How much time went into putting this exhibit together?

For me it began actively in 2006, two and half years of research at the Norman Rockwell Museum, nine research visits in all over that period. I first discovered the images in 1993 purely by happenstance watching a PBS biography on Rockwell, two or three images flipped by, and it was immediately obvious that they were photos by Rockwell. It was also clear that he had taken so much time to put his style and his personality into these images and they were so close to the painting. It was a major find that I was stunned nobody had researched before.

I didn’t have the time in my career at that point but I would sort of check every 6 months or so and the photos remained untouched territory until 2006 to my amazement. So I then approached the Rockwell family first, who are very forward thinking people, and then I approached the museum. I assumed at first that I would doing this old school and just going through boxes of prints.

So how well organized was the collection?

Tremendously well organized, but here’s the important thing, since I first started researching photos in the 1970’s, all pre-digital of course, I had a certain MO of going through all photos, negatives, etc. of the various projects I’ve worked on. What you have to realize is you can’t approach Rockwell’s images that way because the prints to him were workaday tools. He would cut them up and it can make for a very incomplete record.

By pure coincidence, the Norman Rockwell Museum had gotten a grant to digitize the complete negative archive, and very kindly they let me in to be the first researcher to work on the newly digitized files. So I was the first non-staff set of eyes to go through all 18,000 plus scans, at least three times.

So from seeing the negatives and then going to the prints, or pieces of prints, which did you learn more about his process from?

I realized how you can deconstruct his process, he wouldn’t typically create a painting from a single photograph, he’d pick a face from this one, the feet from that one, hands from another, and he would organize them as a sort of analog Photoshop. So only by going through the series of negatives like that and finding out which element came from which, because prints may no longer exist, could we accomplish things like the montages in the show.

For example, when in one painting, a model appears at least three times, with mustache and then without.

These guys with mustaches were very important to him (laughs) He had one in New Rochelle in fact and convinced him to shave it off so he could pose him as a woman in “The Gossips” and the man’s mustache never grew back and Rockwell felt guilty for the rest of his life (laughs). And then he found a similar mustachioed guy in Arlington, after he left New Rochelle, as props and settings to him were almost as important as the characters themselves. So he then used that fellow twice in the painting once with the mustache and once without and then moved that mustache on to someone else’s face again. And you couldn’t do that without a photograph.

After seeing the exhibit for the first time and hearing other people’s reactions, maybe “surprised’ is not the word, but I don’t think the general knowledge of Rockwell prepares you for how dependent he was on photography.

Rockwell was a disciple of another illustrator named J. C. Leyendecker who also did covers for the Saturday Evening Post, and Leyendecker was adamant about never using photography and so I think instilled in Rockwell a certain guilt about using it. But on the other hand, all of his younger competitors, and I mean ALL of his younger competitors, used photography on a daily basis. So frankly, just to keep up, and stay afloat in his business, he really had to think more openly about adopting photography.

Again, it’s only sporadic, only when he poses say children or animals up to the 1920’s. Then the floodgates are really opened around 1935 when he gets this period where he felt he had kind of stalled, he had lived in Paris for a while to learn impressionist styles but it didn’t work out. He then had a prestigious commission to do new editions of “Tom Sawyer” and “Huckleberry Finn.” And here’s a a project where all of the models are going to be children so it became the perfect excuse to use photography throughout and he never looked back.

How do you deliberate over what work will go into the exhibition/the book from all that is available?

In some areas there’s more in the exhibition than there is in the book itself. It’s the exhibition that gave me a chance to take a second shot at the collection and re-think certain areas. So I think they compliment each other well and you really can’t get the whole story without experiencing both.

What we don’t have in the book but is in the exhibition specifically, are a large portion of his vintage work prints. And that is really not something that was possible for the book. It lends an immediacy I think because you can actually see the ones he chopped up into snippets and that adds an extra layer of his working process.

In your experience have you seen photography support another creative medium as well as this exhibition?

I can’t think of another body of work I’ve researched that is anywhere near as extensive as this one. Keep in mind, he was the most successful illustrator of his day, so he could afford to be as generous as he needed to be with materials, with his cameramen, and also his working method. The word I use in the show is that he was a “literalist.” He really needs the exact thing in front of him before he could put anything to canvas. Even as he revised that transfer he really needed it to be perfect, and so he could spend the time, the money, and the effort to make sure it was just right in the end. And that leaves behind a huge body of work. It also helped him to judge how it would look on the canvas in terms of the flat plane that a photographic print can provide.

What would you like people to walk away from this exhibit with stuck in their heads?

What a complex artist Rockwell was, because when I walked into this research, the first images I saw when I began were the photographs for some of the Civil Rights themed paintings, which were very tough. I think I came into the research with some pre-conceived Rockwellian notions that I think probably everyone has. What the photographs taught me from day one was to leave those notions behind. This is a complex body of work supporting the work of a complex artist.

Norman Rockwell: Behind the Camera is currently on exhibit through September 18, 2011 at George Eastman House: International Museum of Photography & Film, Brackett Clark Gallery. Sponsored by M&T Bank with additional support provided by The Robert Lehman Foundation.



Monday, August 29, 2011

Just like starting over...

Well, I admit once again, I have been a dumb ass. When I signed up for Google+ there was all of my blog images in one folder visible on my account. Well, that doesn't make much sense I thought...and it's sort of redundant since all of these images exist on my blog already. If people want to see these images in context, they can just go directly to the blog. So I deleted the folder...

Then, my blog all of a sudden has all of these weird icons where my images used to be. I did a little more research and found people thought the same thing I did and deleted their folders as well, instead of just changing the privacy settings. The only solace I felt was the fact that at least there were more dumb asses out there with me, we have a support group now. Makes sense, since the Google did a lot to explain this and other Google+ anomolies...didn't they?

So one day if you hear a loud noise in your home or office, don't be concerned, it's just another Blogger user smacking their forehead in stupidity like I did. Back to the drawing board folks, but as I've recently learned, new beginnings don't have to be so scary.

So, see you all again soon after I do a huge "Take 2" on my blog. You've been warned people.

- T.C.