Tag: Music

S_V_H Play that Song Final

Published on by Scott Von Holzen
Play That Song L72″x46″xD4″

I started Play that Song on May 17th. The artwork was finished in early July. The artwork project was completed with the adding of the music and the signing and dating on August 25th. This is the only artwork project that was completed in 2021. The only other artwork I have finished was After the Gold Rush, at the end of February in Minnesota. Although I completed the music for this artwork, I never built the framed or created the sound system. All that never happened because we were getting ready to leave. On March 1st we returned home back to Wisconsin.

Here is my YouTube video discussing this artwork. The music still sounds “catchy” to this day. That convinces me that after all these months spent on this project the choice of music holds well.

To add to the video review of Play that Song, here are some of the technical improvements that were made. My aluminum frame for this artwork now using one inch angle instead of three-quarter used previously. That makes for a stronger, stiffer frame for the artwork. Moving the speakers out from behind the artwork to in front allows the artwork to sit closer to the wall. The pastel colors I chose for the canvas framed speakers and the controller box, I have used before in early artworks. The pastels were used on small pieces of the artwork. I never had the concern if the pastel colors actually work with the overall color scheme of the artwork. Being an old school photographer, I was always looking for interesting contrasts, so that is where the pastels come in. Besides, the music having its own color scheme and its outside placement on this work allows displays its independence from the artwork.

The challenge remains: how do I, or don’t I, connect the art, the music, and the artist. That mystery still lies deep, only partially uncovered. The last improvement is the first time use of magnets instead of glue to connect the wooden music pieces to the canvas frame. Although the magnets can cause damage to the top coat of paint, their easy removal releases the wood pieces, which better protects the canvas when being moved. The idea of gluing rigid wood pieces to a foldable piece of canvas, and then trying to handle that canvas without having the wood tear loose, is absurd. Especially when I am still using an experimental layering of top paint that needs to be easily scraped off, and takes time to harden.

On September 2nd we will take this artwork to be exhibited in the important fall art exhibition at the Pablo Annual. In 2019, to my surprise, The Blue Danube took third place. Surprisingly not, nothing came from that moment in the light event. Now, two years later and the payment of a twenty-dollar exhibition fee, we will give it another try. I hate pay-to-display events, but I want to convince the Pablo that it is time to schedule this art for a one person show. That means I need to keep myself in their face while working to convince them that my combination of art and music fits well with the Pablo’s overall approach to the arts. I am going to make this happen, knowing that the squeaky wheel gets the grease. What grease and this art have in common I am not aware of, but that metaphor pops up from memory like “Once there was this little old ant who thought he could move a rubber tree plant.” From the time I first heard this song to today I have considered myself to be one of those stubborn son-of-a-bitch ants. So it is. So it goes. So goes I.


Scott Von Holzen

SVH “Sold” Walking in Memphis

Published on by Scott Von Holzen
Walking In Memphis 2019
Walking In Memphis 2019

Before I talk about the sale of Walkling in Memphis, I would like to comment on this image of Jaime O, the person who questioned me about why I gave up painting. This photo of Jaime in front of Twinkle and Gold Rush is how I see and know him. I see his pride in what this art has accomplished and, importantly, his part in this artist’s comeback. Well deserved. The question he presented to me back in late 2005 came from one of our many conversations.

Jaime O picture at my CVA exhibition in Wausau

Jaime’s office was across the hall from mine. And since I did not have a window, and he did, in search of a break or a change of scenery, I would often venture into his office. This occurred more often in the midafternoon, let’s say from 2pm and on. When Jaime was in his office, and not on the road selling, and it was around that 2pm time he would this tendency to get a little sleepy. To help refocus both of us, I would check my watch, listen to hear if he was on the phone, decide that world of IT was safe for this moment, and only then wander into his office.

I enjoyed his view, but it was a conversation I was in search of. Either of us would start it with a tease. Jaime was then, and probably still is, a world traveler selling to many markets. This allowed him In this spare time abroad to visit the local art museums and such. I, of course, found this art connection interesting and one I wanted to converse with him. That was something Jaime enjoyed. He not only understood great art, he also throughly enjoyed talking about himself. Although I always felt engaged with our conversations, no matter the subject.

It was during one of our exchanges around art that he questioned me about why I gave up painting. That became the change moment that may have helped instigate my shift away from traditional photography and into digital photography. Eventually, his words spun me around, away from photography and back to art that I had abandoned in the early 1980s.

I gave him an artwork as a thankyou in early 2006. Finally, I remember one brief conversation we had when he said that my name, “Von Holzen.” sounded like an artist or high end stereo equipment. I thought that was a wonderful comment. Years later, neither of us knew I would develop the potential to become both.

Gift to Jaime, Beethoven’s 7th Symphony

This is the video I received on my phone with the Owner of the company saying, “sold,” for Walking in Memphis.

Late in my fifties, I returned to a two-year tech school for five semesters to earn a decree in Computer Information Systems. This company then hired me for their IT department. Almost all these smiling faces I worked with, supported, exchanged stories, debated with, learn from, care about, and still miss today after being away for five years. They are from the sales department of the company I worked for fifteen years. The name mentioned in the video is a great work friend and one of the company’s top salesperson. I received this video from him and we still exchange text messages to this day. Of course I took this photo that like Jaime’s image clearly displays the character of this special friend of mine.

Walking in Memphis sold for $4,000 dollars. This is my largest single sale ever. Once again, I want to thank the company not only for their generosity, about also for their remembrance of my many enjoyable years serving their needs. As for the two person show at the Center for the Visual Arts in Wausau, Wi that was a disappointment. Although I am pleased to show and split the sale monies with them, nothing else came out of that effort. I did not expect to “Break on through to the other side,” but no feedback? Only experience was gained. I expected such and was proven right.

Scott Von Holzen

Play that Song, the Artwork, finished

Published on by Scott Von Holzen

These are the words with the music. I am not displaying lyrics, only words. In the early days artworks had a word or two. In time that changed as their number became more common and complicated. That was when a remembrance came to mind.

In my earlier summer job days I worked at my father’s car and truck dealership doing whatever I was told to do. While there I was in awe of the sign painter and his beautiful hand lettering who painted the customers’ truck doors. I thought of him when adding words became increasingly important. Seeing back to his slow motion painting and precision lines influenced my lettering style and personalize my the font style I used. It was as if I was assuming the position as a lettering painter. My artwork word standard became a challenging and time-consuming task. For example, I wanted to make sure all the letters looked similar and had the right width, height and spacing.

It was only recently when I was going to fill entire canvases with words that I came convinced that my precision letters and the time this type of lettering required no longer made sense. My alternative because a looser and more like my natural hand printing style. Besides, I thought after painting all the words, my next step would be to take a pallet knife and scrape parts of them away. I added another reason for my lettering change with this project.

When standing back from the artwork and seeing the words, the thought came to me: I was looking at graffiti. Now, I do not know if that is the right description for graffiti artists certainly are better word craftspeople, and better at using more elaborate fonts. Maybe my wording is more a reflection of the hand printing style used by Jean Michel Basquiat who was not a graffiti artist. All the words in this artwork are in my natural abstract graffiti style, which fits this music filmed in the city and works with the darker background and the scrapping.

The image above is the artwork in a near finished look. This is the first artwork using the technique where the music is held onto the canvas with magnets. When I hung the art pieces to the canvas, to take a photo for an exhibition, I knew the top coat of paint was still sensitive to scratching and could easily be damaged by the pressure of the magnets. Now days later, as the top coat is hardening, I am testing lighter strength magnets with different covers to prove that they are a viable hanging option that can be easily moved and removed.

I have not signed it yet, nor have I built the aluminum frame that enables it to by hung and supports the music. I was in a hurry. I wanted to meet the deadline for a major local show at the Pablo in Confluence Center in Eau Claire. My submission application made it in on the 24th meeting the deadline. My current stand is to not do group exhibitions, especially if there is an entrance fee, but this show is the exception. It is the most important art show in this area and more so I want a one-person show from the Pablo. This is an example of pay to play ($20 entrance fee) and playing to find a way.

Part of the Exhibition application

I will know by July 30th if this artwork makes it in the Jurored exhibition. I will then build the frame and add the music. The drop off is not till September. Otherwise, it will go to storage, and I will have another reason to hate group exhibitions.

Scott Von Holzen