Some Additions

 

On the Train, near Monterrey, Mexico 1989

 

It’s been slightly over two years since we launched my new website. I want to invite you to look at two new galleries of images - Scapes and Staring. All new work in the Staring gallery and a mix of older and newer work in Scapes. I hope you enjoy them.

This coming July also marks the two year anniversary of my blog. I must admit I’ve surprised even myself in my ability to stick with this form of expression and I continue to love this particular makeup of pictures and words. For those of you who haven't subscribed to the blog, I hope you will consider doing so.

Seldom Scene - Devony Shelton

 

Devony Shelton, Cutshalltown, Madison County, NC 1984

In my last post I spoke about my time with Home Health Nurse, Susan Moore, and this photograph was made during the same assignment. We were visiting with Devony Shelton and her husband who was terminally ill. She had been caring for him for many months and Susan provided support and a willing ear for Mrs. Shelton's concerns.

Sometimes on assignments such as this one, a photographer will make images he knows will never be published, mostly because they don't fit with the story. I sensed this was the case with this picture, but knew it was one I needed to make. 

She said she had cut her hair only one time in her life and I asked if I could photograph it. The request pleased her and we walked together to the porch of her single-wide where the angular lines of the trailer provided a contrasting backdrop to the flowing elegance of her hair and posture.

The photograph wasn't used in the story and to my knowledge this is the first time it's been published.  

 

Our Dirt

 

Dirt in our Garden with Potato Plant Shadows, PawPaw, 2014

I love our dirt.
I love most everything about it.
The things you might expect – its smell and texture.
Its touch and the way it sifts through my fingers,
     staining them as the soil itself, a reminder.

I’ve had to learn to love our dirt.
It’s not intuitive with me, like it is Leslie.
As a child, cleanliness was valued, dirt avoided.
Hands and nails checked for telltale signs,
     washing more of a religion than an actual need.

It took moving here, to the mountains,
     
to rid the aversion from my life.
Gardening and working tobacco changed that.
Animals, and firewood, and just plain digging.
Now, dirt is everyday, and usual.

I love it under my nails.
How it turns the tips dark.
If you suck on those tips, you taste it.
Grit on your teeth, going down in a smooth swallow.
A cocktail of sorts.

Our dirt is clean.
No chemicals for twenty-five years.
Manure, compost, cover crops, leaves in the fall.
It’s rich. You dig in to a feast of life –
     worms a plenty, worms galore.

Garlic in our Garden, PawPaw, 2014.

We grow a small garden now,
     
we used to grow much more.
To eat food grown in soil you’ve nurtured is
     one of life’s true gifts.
I think, “Fresh spinach in the early spring.”

I read about children today,
     
not knowing where their food comes from,
     
like me when I was young, but more so.
It’s sad to be without dirt, to lack intimacy with it,
     
to not know the primacy of its role.

And the bacteria and germs, the stuff that lives in dirt -     now they’re saying all that stuff is good for you.
It  builds resistance to disease.
Dirt makes us stronger, they say.
I hear my mother, “I don’t believe a word of it.”

 

 

 

Seldom Scene - Everett Barnett

 

Everett Barnett, Marshall, North Carolina 1984

I didn't know Mr. Barnett well at all. But when I lived in my studio space in downtown Marshall in the early 1980s, I would often see him and we would speak. I do know he was a loved and respected part of a community that is not noted for its racial or ethnic diversity. He lived downtown, just off of Hill Street. He served our country during World War II as a member of the 34th Naval Construction Battalion, the famous Seabees, whose motto was Construimus, Batuimus - We Build, We Fight. The Battalion participated in much of the fighting in the Pacific Theatre during the war and the shell casing he is holding is from the invasion of Okinawa in 1945. That battle was one of the most hard fought and bitter fights of the War as Japan was desperately defending its homeland. It was instrumental in bringing the war to an end. I wish I knew more of Everett Barnett and would love for readers to share stories of him.

 

Thank You

 

PawPaw, 2012.

Yesterday, April 30, marked the end of the most successful month in my website's brief history with over 2,400 unique visits and 4,200 page views. When I first started blogging on this site about 20 months ago, I intended to give it a year and at that time evaluate if it was worth continuing. I wondered if I would be able to sustain the volume of words and pictures and if anyone would choose to read them. That first year is now closing in on year 2 and the words seem to keep flowing. It's been fun for me and I continue to love the process. I've come to believe this is the perfect medium for me. Of course, it wouldn't be possible without you readers and I want to offer my sincere thanks to all of you for your support, comments, and timely corrections. 

 

A Visit with David

 

David Holt on the set of Amazing Grace, America in Song, at Dellie Norton's home, Sodom, Madison County, 1975

I’ve known David Holt a long time. I reminded him the other day I was at his first known concert – a very intimate affair in the basement of the old Pack Library in downtown Asheville. There were maybe ten of us in the audience and his wife, Ginny Callaway, accompanied him on guitar. David asked me how bad it was and I told him that given my complete lack of knowledge of old-time music I thought it was great.

As most of us know, David has improved his musical skills quite a bit over the years as evidenced by his multiple Grammy awards and worldwide following. He can be seen on public television and continues to play concerts for significantly larger audiences than that first early attempt. Most importantly in my mind, has been David’s work over the years to perpetuate the genre of folk music and his unflagging support for young musicians.

David Holt in his art studio in the River Arts District, Asheville, NC 2014

What many people don’t know is David is also an accomplished photographer. For most of his music career, he has photographed people he considers his mentors – from Doc Watson to Dellie Norton to Ralph Stanley. Some of his images are presently on view at the Madison County Arts Council in Marshall and they are well worth a visit. He’s hoping to publish these photographs, and many more, in book form some time in future.

Last week I stopped to visit David at his studio space in the River Arts District in downtown Asheville. There, David showed me some of his latest work – paintings that incorporate the photographs along with words about the musicians. These are a new direction for him and I could tell immediately how much fun he was having. "David gone wild," I commented. It was a great visit with an old friend.

 

Spring Has Sprung

 

In Our Yard, PawPaw, Madison County, NC.

Spring has always been a busy time of year, but this year seems busier than normal. In addition to the usual farm chores of gardening, birthing lambs, mowing and mucking stalls, we are also involved in a major home renovation in lieu of Leslie's Mom moving in with us over the summer. There are also a number of photography projects during the time period that I hope some or all of you will choose to attend.

On May 1 at 5:30 pm, I will participate in a panel discussion at the Asheville Art Museum as part of their regular "Up for Discussion" series. Titled "Darkroom or Digital: A Panel Discussion," five photographers - myself, Ralph Burns, Steve Mann, Erin Brethauer, and Dana Moore - will look at changes in the photographic process and how each of us has chosen to cope with those changes. It should be a lively discussion. This is held in conjunction with my dear friend Ralph Burns' exhibit at the Museum, which should not be missed. 

http://www.ashevilleart.org/event/up-for-discussion-5/

On May 8, I will be having a one-person exhibit at Flow Gallery in downtown Marshall. Flow is an artist owned and operated gallery that exhibits a wide range of exceptional art and craft from our Madison County community. My show is titled, "Madison County Past and Present: Photographs by Rob Amberg," and will include some of my oldest work from the county, as well as, some of my most recent work. I will give a brief artist's talk on the 8th beginning at 5:30. 

http://www.flowmarshall.com/

From June 8 to June 14, I will be leading a workshop on Photography and Personal Narrative at Doe Branch Ink, a nationally known writers' retreat in Madison County. The facility is in a stunning location in Madison County and offers writers, and in this case photographers, an opportunity to reflect, concentrate and hone their skills. 

http://doebranchink.org/current-programs/rob-amberg-622-627/

And not so much an event as an opportunity to see a supersize print of one of my images, please visit the newly opened King Daddy's Chicken and Waffles at 444 Haywood Road in West Asheville. Julie and John, owners of the popular Early Girl Eatery, in downtown Asheville have chosen to grace their main wall with one of my chicken pix. The print will be 84" wide, so big I'm sending it to Vermont to be printed. We're hoping to have it hung in late May. And by the way, the food is tremendous and if you like beer with your waffles, they can accommodate you with that also.

https://www.facebook.com/pages/King-Daddys-Chicken-and-Waffle/411873012263316

 

Seldom Scene - Easter Party 1982

 

Collecting Eggs at the Skemp's Easter Party, Wool Branch, Madison County, NC 1982

Yesterday, John and Vicky Skemp hosted their annual Easter Party at their home on Wool Branch. For those of us geezers, it was a reminder of the passage of time. The children in this photograph, our children, are now in their thirties, many with children of their own. As always, the party was a time of renewal also, a chance to see old friends, and make new ones. 

 

Leica and the Jews

My friend Joe Grittani recently sent me this article posted by Mr. Alan Currie. Joe is well aware of my love of Leica cameras and this article only made me love them more. Given my post of April 16 titledThe Klan in Madison County, and that this is Good Friday, I felt it important to post this story. It is gleaned from a book titled The Greatest Invention of the Leitz Family: The Leica Freedom Train by Frank Dabba Smith. While it is clear from the recent events in Missouri that racism, stupidity, and hatred are still, and always will be, with us. It is equally true there will always be good people willing to risk everything to fight them. As Mr. Currie remarks at the end of this post: Memories of the righteous should live on.

LEICA AND THE JEWS- A true World War 2 story

LEICA AND THE JEWS

The Leica is the pioneer 35mm camera. It is a German product – precise, minimalist, and utterly efficient.

Behind its worldwide acceptance as a creative tool was a family-owned, socially oriented firm that, during the Nazi era, acted with uncommon grace, generosity and modesty. E. Leitz Inc., designer and manufacturer of Germany ‘s most famous photographic product, saved its Jews.

And Ernst Leitz II, the steely-eyed Protestant patriarch who headed the closely held firm as the Holocaust loomed across Europe, acted in such a way as to earn the title, “the photography industry’s Schindler.”

As soon as Adolf Hitler was named chancellor of Germany in 1933, Ernst Leitz II began receiving frantic calls from Jewish associates, asking for his help in getting them and their families out of the country. As Christians, Leitz and his family were immune to Nazi Germany’s Nuremberg laws, which restricted the movement of Jews and limited their professional activities.

To help his Jewish workers and colleagues, Leitz quietly established what has become known among historians of the Holocaust as “the Leica Freedom Train,” a covert means of allowing Jews to leave Germany in the guise of Leitz employees being assigned overseas.

Employees, retailers, family members, even friends of family members were “assigned” to Leitz sales offices in France, Britain, Hong Kong and the United States, Leitz’s activities intensified after the Kristallnacht of November 1938, during which synagogues and Jewish shops were burned across Germany.

Before long, German “employees” were disembarking from the ocean liner Bremen at a New York pier and making their way to the Manhattan office of Leitz Inc., where executives quickly found them jobs in the photographic industry.

Each new arrival had around his or her neck the symbol of freedom – a new Leica camera.

The refugees were paid a stipend until they could find work. Out of this migration came designers, repair technicians, salespeople, marketers and writers for the photographic press.

Keeping the story quiet The “Leica Freedom Train” was at its height in 1938 and early 1939,delivering groups of refugees to New York every few weeks. Then, with the invasion of Poland on Sept. 1, 1939, Germany closed its borders.

By that time, hundreds of endangered Jews had escaped to America, thanks to the Leitzes’ efforts. How did Ernst Leitz II and his staff get away with it?

Leitz, Inc. was an internationally recognized brand that reflected credit on the newly resurgent Reich. The company produced cameras, range-finders and other optical systems for the German military. Also, the Nazi government desperately needed hard currency from abroad, and Leitz’s single biggest market for optical goods was the United States.

Even so, members of the Leitz family and firm suffered for their good works. A top executive, Alfred Turk, was jailed for working to help Jews and freed only after the payment of a large bribe.

Leitz’s daughter, Elsie Kuhn-Leitz, was imprisoned by the Gestapo after she was caught at the border, helping Jewish women cross into Switzerland . She eventually was freed but endured rough treatment in the course of questioning. She also fell under suspicion when she attempted to improve the living conditions of 700 to 800 Ukrainian slave laborers, all of them women, who had been assigned to work in the plant during the 1940s. (After the war, Kuhn-Leitz received numerous honors for her humanitarian efforts, among them the Officer d’honneur des Palms Academic from France in 1965 and the Aristide Briand Medal from the European Academy in the 1970s.)

Why has no one told this story until now? According to the late Norman Lipton, a freelance writer and editor, the Leitz family wanted no publicity for its heroic efforts. Only after the last member of the Leitz family was dead did the “Leica Freedom Train” finally come to light.

It is now the subject of a book, “The Greatest Invention of the Leitz Family: The Leica Freedom Train,” by Frank Dabba Smith, a California-born Rabbi currently living in England.

Thank you for reading the above, and if you feel inclined as I did to pass it along to others, please do so. It only takes a few minutes.

Memories of the righteous should live on.

The Klan in Madison County

 

KKK Rally, near Wolf Laurel, Madison County, NC 1976

With the arrest this week of the racist, anti-Semite, Frazier Glenn Miller, for the murder of three innocents in Overland Park, MO, I was reminded of a Klan rally in Madison County many years ago. I had originally thought I had photographs of Miller at the rally, but I was wrong. He was not in any of my images, but my memory of the language used that night was consistent with the vitriol Miller espoused throughout his life.

KKK Rally, near Wolf Laurel, Madison County, NC 1976

It was a scary night. My friend, John Rountree, and I had driven deep into the mountains, hoping for photographs, but not expecting to be let into the rally. We were, and at first, it gave the appearance of a church supper with chicken dinners being sold by a klan auxiliary group. When it began raining, everyone moved inside a barn for the toxic message. The barn turned out to be a permanent cock-fighting arena, complete with bleachers and a concession stand.

The words were what we expected. At one point the klan chaplain (a laughable title if there ever was one) from Greensboro brought children into the ring with him to illustrate the reasons we should resist "the Jewish media conspiracy and their nigger shock troops." Those words have stayed with me for all these years, as his glare was fixed on us as he spoke them.  

Madison County, 1976

As we were leaving we overheard talk of "dealing with" an interracial couple living in Mars Hill and we parked our car close to the people's house in hopes of producing evidence. But the Klan, ever consistent in their cowardice, never showed up. 

Now, almost forty years after that event in Madison, one would like to believe that people like Miller and his ilk have passed into history, that we would have realized that hatred and ignorance should play no role in our society, or any society. Sadly, what I realize is my own naivety. 

 

Marshall Metal

 

Jamie Paul, Josie and Greg Moser of the metal band, Crook, in downtown Marhsall, 2014

They handed out free earplugs at the drink table.
A sure sign it would be louder than anything the old man had ever heard.
It was.

For him, a beat that didn’t translate into what he thought of as music.
Shrieks and wails and notes held maybe a might too long.
The crowd loved it. What did he know?

Left, Josie Mosser, Right, Greg Mosser, of Crook.

Guests on American Bandstand would have said,
“It’s okay, but you can’t dance to it.”
I might give it a five out of ten, the old man thought.

But the others, oh, the others.
Mesmerized, heads bobbing, eyes glassed.
Hands clutching warm PBR, as if a modern communion.

Marshall, 2014.

Marshall, 2014.

It was all so new to the man and
He wasn’t sure he liked it.
Still, there was no denying the power, or the appeal to some.

He thought, how could this be in this small town?
Legendary home to ballads and old-time and bluegrass.
A place where the sidewalks roll up at nightfall.

Hot Mess Monster playing in downtown Marshall, 2014.

It’s evolution, he thought.
New people, new ideas, changing times.  
And I’ve got nothing against change.

But, what did he know?

 

ShatterZone - a Fiction: Pickin' Maters with McKinley

 

McKinley Massey, Big Pine, 1981.

 
 
 

We don’t start until 9:30 or 10,
late in the day for farm work.
Even then, the plants are heavy with dew,
our clothes soaked before we finish the first row.

It’s the usual crew.
Mckinley and his two daughters, their husbands,
a neighbor and his elderly parents.
And a few hippie types, I don’t know why.

The men drink warm PBR throughout the morning.
How do they do it and still work?
They do.
Never missing a beat. 

Finished Picking, from left, Chuck Durdin, Jeff Johnson, Mckinley Massey, Ish Massey, Charles Massey, Jerry Reed, Big Pine, 1981.

Ish, the old guy, is mostly there for the beer.
He smokes a pipe, which he packs with a mix of PA and pot.
He doesn’t pick many maters, but he’s funny
and everyone likes having him around.

There’s a constant banter in the field.
The daughters are hilarious.
The talk occupies the mind,
distracting you from your reality.

Culling and Cleaning, Big Pine, 1981.

Hot, muggy, and dirty best describes the work.
Maters coated with a toxic layer of chemical poisons.
Only way you can grow ‘em around here, McKinley says.
My eyes itch and I cough a lot.

He’s a bit of a renegade, McKinley is,
maybe contrarian is better.
Beyond skinny, consumptive almost, but stout,
with long ropey muscles and huge hands.

Picking done, we go to the house for dinner.
Pearl, his wife, has laid out a feed.
After, a short rest, and then back outside,
culling, cleaning and packing.

Dinnertime, Big Pine, 1981

I do this for a couple of summers,
two days a week throughout the season.
At first I think of it as school, learning ways of man.
By the end it’s more about being a neighbor.

 

A Portrait is . . .

After yesterday's verbosity, I'm returning to basics today - a portrait of mine from 1984 and two quotes from one of my earliest and strongest influences. 

 

A Camera is a tool for learning how to see . . . 
        
Dorothea Lange, ca. 1956

Cherokee Stickball Player at the First Cherokee Tribal Reunion since the Trail of Tears, Red Clay, GA 1984

                A Portrait is a lesson on how one human being should approach another.
 - Dorothea Lange, 1965

 

The Sweetest Boy

 

Frank, foreground, with his sister Beulah, left, and his mother, Tao, right.

It’s been almost four weeks since we lost Frank.
A too fast car.
An inadvertent leap.
His favorite time of day became his last.
He died in my arms.

He was the sweetest boy.
Not quite three.
Already faithful and protective.
Bashful and funny. Quiet and patient.
Content to hang in the studio.

On late afternoon walks, his long strings of fur
would glow golden in the light.
Running, running, running
at the first hint of a scent.
Always coming back to me, just to check in.

A neighbor hit him.
Not intentionally of course.
Claimed they never saw him.
I have no reason to doubt this.
But they will remain for me the person who killed my dog.

I’ve walked that walk more days than not over the last twenty years.
But now, one direction takes me to Frank’s last breath.
The other to the home of the person who hit him.
In a moment, I lost the dog I perceived as life’s companion
And the walk that had given me time of pleasure and solace.

I like to think I live in a slow place.
Where a person can walk with animals or children.
Without fear. Only with openness and calm.
Trusting that everyone has the same sense of place.
It sucks when the speed of the outside world intrudes.

Frank is in our garden now.
Next to Zimmy, just over from Leroy and Baby Scruff.
A quiet spot he knew well. 
Where we're sure to think about him
when we harvest our greens.