cope2 online gallery at curbs and stoops!

my good friend jeffrey over at curbs and stoops just put up an online gallery of exclusive new works from world famous cope2! we also collaborated on an interview with the legend that should be up soon. i'll keep ya'll posted.

Cope2 grew up in the public housing projects in the late 1970s. He
came to graffiti like everyone else in those days, at an age when
young men and women began to explore the urban labyrinth where we all
lived. Active in the graffiti scene since 1978, Cope2 has grown to
become an ambassador for New York graffiti. Cope2 has a roster of
accomplishment including commissions by Time Life Magazine, an
apperance in Marc Ecko’s 2006 video game, Getting Up: Contents Under
Pressure and a documentary on his life. Despite his success, Cope2
remains the same rugged graffiti artist he was in the 1980s.

You can find the interactive gallery show at :
http://www.curbsandstoops.com/blog/?page_id=64

Any help in spreading the word would be appreciated.

About Curbs and Stoops:
Curbs and Stoops is a non profit organization that is working towards
increasing the accessibility of art across a diverse range of
socioeconomic and cultural communities. Like our name suggests, we
promote art at the thresholds that define our cities, our curbs and
our stoops. This way, art is not a destination, like going to a
museum. Instead, it is a part of our journey. We fulfill our mission
by implementing public art projects, community installations and
street art. We attempt to exploit the extents of interactive media in
order to provide fine art to those who cannot afford gallery prices.
We believe in the necessity for the accessibility of art. Art is no
longer for bankers and heiresses.

team work makes the dream work!

(image: brooklyn yards, se portland)


the good news continues!!!!

art stars, i appologize about the delay in blogging!

worked my tail off and saved enough to replace my long ago stolen laptop. i was unable to replace the macbook due to lack of fundage, so i took a gamble on an hp... i will not be jetting off to vegas any time soon, as my risk assesment skills seem to be askew... the hp's mother board crashed within two weeks of me owning it, so i was subject to yet another sad bout of off-lineness. however, after some seriously nerve frying trouble shooting and a three week computer hospital stay, my new computer seems to be on the mend and ready to work!

i spent my first couple of months in portland heavily ensconced in a world of constant work, in a perpetual state of confusion about where i was. i love portland very much, but in terms of infrastructure it is more than a little confusing at first. as i mentioned, i got a job bartending at a spot on north mississippi. loved it during the summer, but like any restaurant job the charms quickly wore thin (not in small part because customers who caught wind of the fact that i once worked at an art gallery never tired of reminding me of what a "step down" my job was). my position at casa ended a couple weeks ago (many high end restaurants in portland are on dangerously uneven footing due to the economy, as well as clever pdxers' food cart revolution - more on that later), which would have been PANIC inducing had i not had a very special project, very close to my heart to work on. this coming month will mark the opening of my first curatorial endeavor here in pdx!

jon macnair, hide and seek, ink on paper, 11"x14"

the image to the left is by baltimore artist jon macnair. it was created as a submission for Play for Keeps a group show of new works on paper at The Tribute Gallery in old town china town, pdx. (we used this image for our promotional material. i will post images of our flier, created by the lovely yamille at cloudstop design, as soon as i have the appropriate file type!) my good and brilliant friend elizabeth lamb worked with tribute's wonderful owner brian t. wilson previously, and when they decided that elizabeth would guest curate a show at the gallery she brought me on board.

we made our call to artists in november, and put it out in the universe not knowing what to expect. elizabeth is a brilliant arts adminastrator who works as coordinator at white box gallery, and who i've known for many years as a close personal friend and beloved dance partner. i was extremely flattered that she chose to involve me in her project, and very pleased to discover that we make quite a dynamic team. we mulled over many thematic ideas for the show. working with brian to hone our vision and clarify our thought process when it came to what kind of art we wanted to exhibit was a really interesting experience. i had never been on that side of the fence, and i enjoyed the flexibility and humility it required of me. i am very excited for brian to see the final result. i think that he's going to love the show, and so will our friends, audience and participating artists!

joshua witten, running with scissors, graphite and ink on paper, 8.5"x11.5"

we were very lucky to recieve a high volume of exceptional submissions. i was astounded at the outpouring of talent. we got a bunch of really cool submissions from local portland artists, but also artists from all around the nation. we have participating artists from nyc, florida, dever, los angeles, indiana... the list goes on and on! i'm honored to mention that jon macnair, patrick haemmerlein, and joshua witten, who all participated in my menace to propriety show, will be exhibiting with us. i also have art coming from a dear friend (and coordinator of the awesome international mail art program that i tend to hinder with my lateness) in florida, breanne rupp, who will be shipping off her pieces before a cross country move to the bay, and four wickedly inventive paintings by an old college buddy and portland resident (a talented artist and entrepeneur - check out his hard work at hasbeen design) huy nguyen, whose work i have been wanted to exhibit for a very long time. though it was fun to draw talent from all over the nation, it was extremely rewarding for me to get a glimpse of the depth of talent in my new home town, like the beautiful and gifted ashley sloan, whose charming graphite drawings will certainly be a highlight.

great news!!!

art stars!!!!


i am so excited to finally be getting settled into my new city. it was a big transition, with many unexpected twists and turns, but i am finally starting to feel at home in portland, and let me just say it feels good.

i've made it to a few art openings in the past few weeks, but my internet access is currently limited to my wonderful roommate's dinosaur of a laptop with pirated internet that hadn't been working in a while. so while i've been getting to know the scene i've been taking mental notes for when i finally get cooled down enough to get focused.




steel bridge at night, pdx

the art that i have seen so far has been amazing. portland is a crazy city in that almost everywhere that you go is some form of art venue. coffee shops, restaurants, boutiques. everyone has got art. sure this mass proliferation means that not every artist's work that you see is going to blow your socks off, but it is exciting to see so much creativity in such a small area, and additionally to see so much support for the arts from the city itself!


art lovin' portland mayor sam adams


our mayor sam adams has instituted some amazing support systems for the arts in portland in his brief, scandal ridden career as portland's mayor. say what you will, but the man is on my team. i got a job bartending at a great place on mississippi avenue. last week we catered the opening of the q center down the block, which is the new lbqta center for north portland. sam adams was hosting and though i restrained myself, i really wanted to just give him a big 'ol uncomfortable waist hug for showing the arts so much love.



everett lofts, pdx


last first thursday i had a great time visiting studios near everett. i am planning on revisiting two of the shows to take notes for pieces that i'll write later this week. portland's first thursday is a zoo. its a very see and be seen kind of atmosphere, but what makes me very happy to see is that most of the attendees are actually talking about the art, taking the time to digest and discuss, rather than simply hover around the free booze.

when life gives you lemons... throw them at a passing car...

dear art stars, 

i sincerely apologize for the blatant lack of posts over the past couple weeks. as is true with anyone's life, mine has been a series of peaks and valleys over the past few years. the month of may has brought me nothing but trouble this year. stopping short of spewing a diatribe about all the miserable luck that has befallen me, i will rehash only the detail that seems most prevalent to this blog. last weekend i got robbed, and my lap top was stolen. 

upon waking and seeing the destruction and chaos that was my apartment i immediately called the police to report the kidnapping... for the record the police do not consider the loss of a laptop to be a kidnapping, as they do not consider the bond between computer and blogger to be that of mother and child - despite my best efforts to explain the unimaginable loss that i felt. 

i've been trying to put the pieces of my life back together after the incident (they also stole my purse so i had the arduous task of re-obtaining all of my i.d. and such). i believe strongly that when things like this happen you have to do your best to find the silver lining. yes, my stuff got stolen and my privacy was violated, but on the other hand the universe gave me a grand opportunity to simplify my life. 

instead of replacing the fancy iphone that i had, that to be perfectly honest intimidated me from the get go, i went to a local electronics recycling place and got an old refurbished phone. instead of spending my money drowning my sorrows in expensive vodka presses at the local watering hole, i've been not drinking and running in the free sunshine. instead of blogging from my macbook pro in my lovely little apartment i've been slaving over an old desk top at my 'rents' house. it may not be glamorous, but i've been enjoying reconnecting to the simpler pleasures in life, and by taking an ardently positive approach i've succeeded in reminding myself daily that the thing that i lost are just that... things.

on top of the copious amounts of theft that i've been dealing with it is a transitionary time for me at the gallery. i'll be leaving fenario at the end of june, and though i don't know what my next step will be, i know that i'm ready for it. i've lived in eugene all my life, and though i live fenario and the challenges it provides, the city itself and the art scene here is not as challenging as i'd like it to be. as i've explained to friends, living in the city where i grew up, with the built in safety net of a town that you know intimately, i often feel like i'm sitting in a wheel chair despite the fact that my legs work fine. 

i'm hungry for the next big thing. 

if there's serious gaps in posting, please know that i'm simply spending my time trying to get to the next step, and whatever that is will only serve to broaden my interest in and passion for art. i'll do some posting this week to try to get back on the pony, and from there we'll see where it goes.

joshua witten: allegorical alchemist

joshua witten, the tea party (detail), ink, oil and pencil on canvas, 30"x24"

joshua witten is an artist and illustrator living in the great state of indiana. he is a participant in this months' "menace to propriety" show and agreed to answer some of my questions about his art. witten's images were a hit at friday's opening, and his "the magic show" painting was used for the promotional material for the show. his clean, eloquent illustration style is what caught my eye first, but his clever themes and concepts are what made me a super fan. 

CG: tell me a little about where you live and work.

I live in the great state of Indiana and am currently a framing manager at Michaels, the arts and crafts store.

CG: what kind of media do you prefer?

I can’t really say that I prefer one media over another. I suppose if I had to pick one it would be graphite as it was my first love. There is something about the simplicity of pencil and paper that is very appealing to me however I love painting, printmaking and sculpture as well.

CG:  you have a really unique technique when it comes to painting. the two canvases that you sent me for the "menace to propriety" show both include oil paint as well as ink, which it appears is used to define the more graphic elements of the composition. how did you come to this style?

How did I come to this style? That is a very good question. I think it began with hieroglyphs. Seemingly all cultures used a hieroglyphic method at some point in their artistic history regardless of who they were or where they were. To me hieroglyphs are like a universal human language that transmits information across time and space. With this in mind I had been making various drawings and prints that combined these ancient elements with ideas of modernism and postmodernism in order to create something new that was also rooted in the past. The two canvases that I sent to you for the “Menace to Propriety“ show are part of a larger series of ten entitled, “Occam’s Razor and Other Short Stories.” The series was an opportunity to take everything that I had done on paper and apply it to canvas with the idea of making paintings that looked like my drawings and prints. I tried a lot of different techniques before finally settling on ink, oil and pencil. The final result was an amalgamation of media, like a hybrid of graphic minimalism with heavy emphasis on black. I suppose in the end I would say that I came to this style through constraint. Charles Eames once said that design depends largely on constraints and I think he was right on the money.

CG: what is your working process? can you tell us a little about how you go about transforming your ideas from thoughts to material objects?

I always have ideas floating around in my head. Some get written down, some don’t. Some come to the forefront while others stay back. Typically, I start thinking of certain ones more than others for varying reasons. Sometimes I don’t know the reasons until much later if I ever know them at all. In any case, those ideas that I think about most are usually the ones that I start doing research and preparatory sketches for. These become the foundation that I use to make the final artwork, be it a painting or a drawing or a print.

CG: what do you draw inspiration from?

Anything and everything.

joshua witten, the executive, ink, oil and pencil on canvas, 20"x16"

CG: fellow artists that you admire? alive? dead?

There are a lot of them so this could be a long list. Let’s start with the dead ones...they are in no particular order…Picasso, Warhol, Degas, Klimt, Frida and Diego, Hockney, Schiele, Balthus, Basquiat, Franz Kline, Pollock, Tamara de Lempicka, Mary Cassatt, Vincent Van Gogh, Gauguin, Michelangelo, Botticelli, Harunobu, Osamu Tezuka, and Rockwell. Now moving onto the living…also in no particular order…Audrey Kawasaki, Amy Sol, Sylvia Ji, Murakami, Walton Ford, Frank Miller, and Julian Schnabel.

CG: you have a fantastic piece called the antigravity machine that depicts a boombox and a break dancer. are you a dancer yourself? a music lover? what kind of tunes get you in a creative space?

I wouldn’t call myself a dancer per say but I can shake it if I need to because I truly am a lover of music. “The anti-gravity machine” represents my great fondness of the hip hop culture and aesthetic. At the time I was listening to a lot of Common and At The Drive-In and if you look closely enough you can see those influences in the work for sure.

CG: where have you shown your work? where will you be showing in the near future?

I have shown my work in a number of places. I have shown locally in Indiana at Artlink Contemporary Art Gallery and at The Spurious Fugitive Gallery which I am sorry to say closed its doors in March. I have also shown at Eclectix Gallery and Gallery Nucleus which are both in the great state of California. In the near future I will be showing at Artlink Gallery and the Fenario Gallery for your show, “Menace to Propriety.”

CG: how do you feel being asked to participate in the "menace to propriety" show? is your work intentionally provocative? 

I feel honored to be asked to participate in this show. I really haven’t ever considered my work to be intentionally provocative until thinking about the literal meaning of the words, “menace to propriety.” I might say now that some are definitely more provocative than others because they contain a subtle message that sometimes asks viewers to question authority.

CG: occam's razor is the theory by which i live my life. simplify, simplify, simplify. you have a series calles "occam's razor and other short stories." can you tell me a bit about this series and about your relationship to the theorem of occam's razor?

As I said before, “Occam’s Razor and Other Short Stories” technically speaking was an opportunity to take everything that I had done on paper and apply it to canvas with the idea of making paintings that looked like my drawings and prints. At the time I was thinking about globalism, world trade, and the environment. So, thematically the series began to develop with these ideas in mind. “The Tea Party” for example is as much about China and the United States as it is about as it is about Alice and the March Hare…which leads me to the overall title of the series, “Occam’s Razor and other Short Stories.” Originally, I planned to have the entire cast in my interpretation of the tea party however constraint led me to cut out the Mad Hatter and Door Mouse and focus solely on the relationship between Alice and the March Hare. Following suit, I simplified the content and imagery in all of the other paintings in the series. As this simplification process continued, and technique and theme began to merge together, I remembered the idea of Occam’s Razor and felt it would be a good fit for the series.

CG: "the golden age" is a complex series that seems to be dealing with the commoditization of icons, and our societies lust for logos and branding. can you tell me more about this series? is it ongoing?

“The Golden Age” is an ongoing series that was originally going to be about mythology of various sorts and while it still kind of is, it has also become a commentary on the “commoditization of icons, and our societies lust for logos and branding” as you so eloquently put it. While attending art school there was a visit from the artist Robert Stackhouse. He told one of the students to paint something from this day and age like a Nike Swoosh and the idea of art and logos and branding has stuck with me. So, of course my golden apple of the hesperides is represented by an Apple Computer Logo.

CG: what do you do when you get stuck on an image?

I start another one.

CG: how do you reward yourself when you finish a piece?

I don’t reward myself when I finish artwork, but it sounds like a good idea. Maybe I will buy the new Prince album when I finish with the next one.

CG: anyone ever get any of your images tattooed on them? seems like they'd make for great ink!

A couple of people have actually tattooed themselves with my art. I recently drew one for my good friend who is a union man in Indianapolis. It is a bit daunting to think of my art permanently etched onto another person, but when it is I can’t help but feel the love.

CG: favorite children's book growing up?

“The Little Engine That Could”

joshua witten, the magic show, ink, oil and pencil on canvas, 16"x20"

CG: favorite board game?

Trivial Pursuit

CG: if you had a super power what would it be?

Enlightenment

aaron johnson: mad scientist

aaron johnson, a nyc based painter of epic talent, is the kind of innovative artist that i hunt for in my oft-daily art safaris on "the internets" (term borrowed from henry rollins, who is a hilarious, volatile, though incredibly long winded speaker). not only is his visual style unique, but the process through which the artist creates his pieces is wholly original, and in many ways its complexity adds to the singularity of the compositions. johnson's themes range from carnival like characters to the circus of modern politics, and every shade of horror and chaos in between. and yet despite the carnal quality of johnson's work his playful palette and lyrical passages of filigree champion the beauty within the macabre. 

aaron johnson, the gunslinger, 2007 acrylic and collage on plastic construction netting

CG: You live and work in NYC, arguably the epicenter of contemporary art. How does the city inspire you?

I find that the chaos, frenzy, crowds, and action of the city provide the right balance to my studio, which is the opposite, a place of solitude, isolation, and singular focus on the one big thing: making art. The two extremes compliment each other.

CG: Do you attend many art shows in NY? Favorite galleries? Working artists who's work you really enjoy?

I get out to see art in galleries and museums and friends' studios at least once a week. It's important to know what's going on in order to engage in some kind of a common discourse. I'm a fan of too many working artists to name, but here's a few: Jim Lambie, Daniel Richter, Paul McCarthy, Barnaby Whitfield, Tom Sanford, Debra Hampton, Tracey Snelling, Benji Whalen, Kristen Schiele, Laura Schnitger, Peter Saul, Urs Fisher, Trenton Doyle Hancock, John Newsom, Allison Elizabeth Taylor, Judith Supine.....that's a few off the top of my head.

aaron johnson, the second coming of uncle sam, 94"x66" acrylic on polyester flag

CG: Your imagery is at once deliciously grotesque and delicately beautiful. How do you strike a balance? How did you come to this style of imagery?

For me my works are successful when I've reached something that's visceral to the point of making the viewer's skin crawl, visually charged to the point of making the viewer's retinas quiver, and layered in suggestions of narrative that make the viewer psychologically uncomfortable. My visual vocabulary draws from several sources: my degree in Molecular Cellular Biology; the influence of Indian art and culture which was all over my house growing up; and of course a long list of painters I admire from Otto Dix to Bronzino to Peter Saul.

CG: Where do you draw your inspiration from?

The motivation to always make my new works better than the previous ones is a big drive. Listening to talk radio about current events inspires me to make work that deals with our contemporary human condition. Listening to endless music keeps me going in those passages of details that can seem endless (today it's Beirut, Gang Gang Dance, Carbon/Silicon, and Sun Kil Moon).

CG: You have an amazingly complicated technique, that essentially requires you to think backwards to create the final image. Did this process come naturally to you or was it a struggle to train your brain to plan in such a way?

The process started by playing around with drips of paint that I would peel off the plastic covering on the floor (back in the days when my studio was in a corner of my tiny apartment). I'm always experimenting with ways to make a painting. Otherwise I get terribly bored and the works gets stale. The process evolves really naturally. I've been making paintings according to this weird reverse painted acrylic polymer peel process since about 2002, but that process is always in flux and always evolving. The constant has to be change.

(Click here to see a step by step guide to Johnson's technique.)

aaron johnson, the sword swallower, 106"x97"acrylic and collage on construction debris netting

CG: You've received some seriously impressive accolades in the past few years from publications as lauded and influential as The New York Times and Art News. Any particular compliments/reviews that meant a great deal to you? Whose opinion do you cherish the most when it comes to your work? 

Hmmmm.......well, my work is "difficult" for a lot of people, because it deals with ugly realities, brutality, violence, sexuality, and the dark aspects of The American Dream. Getting positive reviews from some real authoritative critics makes some people take my work more seriously. I really appreciate it when critics support work that is challenging and relevant. There's a nice recent article by Scott Indrisek in Whitewall magazine (you can read it online www.whitewallmag.com pages 64-65)

CG: I loved your studio visit on Fecal Face. Great space! Your space is full of work in various states. It would seem that your process is fairly involved. Do you work on one piece at a time, or jump from piece to piece?

I work on 2 or 3 at a time, and then when one particular piece really grabs me full-force, then I'll focus on just that one while the others wait. Some of them get started and then sit around for 6 months before I figure out where they're going.

CG: Here's a funny one for you: A lot of your sort of lacy details remind me of geodes, mineral formations and fossils. Have you ever been a rock collector? Do you draw inspiration from patterns in nature?

When I was a kid I had a "nature museum" in this walk-in closet in our house, which I filled with specimens I collected in the woods. I would display these things (hornets' nests, dead dragonflies, tree fungus, bones, etc) on shelves and I would document each object with a drawing. Years later, like I mentioned, I was a science major in college. In a way it's always been art and science hand in hand for me.

CG: How do you celebrate when you've successfully finished a piece that you're pleased with?

I stare at it for an hour and start the next one.

CG: With the use of the stretched plastic, I can't help but draw a comparison between some of your pieces and Duchamp's The Large Glass. They share that great quality of being at once traditionally two dimensional as well as containing a sort of deeper sculptural quality, inspiring in the viewer a strong desire to look deeper and see beyond the surface. Any past artists whose work inspires your process or who you like to reflect on? 

I see a kinship between my process and the work of Sigmar Polke. He really considers painting as the chemical reaction that it truly is, and he doesn't take anything for granted; everything is chosen for a purpose in the physicality of his works (he has worked on transparent materials, too, and has done reverse paintings on glass).

sigmar polke, beyond the rainbow, 2007, 142cm x 124cm, mixed media on fabric

aaron johnson, commander's feast (in blood and fire), 2008, 53"x44" acrylic polymer and pigment on polyester flag, 

CG: Best pizza in NY?

Grimaldi's in Brooklyn

*Agreed! My cousin (ironically also named Aaron) sent me there when I stayed with him in Williamsburg, best pizza I've ever had!

CG: Favorite Brooklyn landmark/hang out?

Landmark: the Navy Yard (where my studio is)
Hang out: Havana Outpost

CG: If you could instantly acquire a new skill this instant what would you want it to be?

To play guitar like Muddy Waters

CG: Clown or magician?

I hate clowns, and I have no interest in magicians. You could argue I'm a clown and a magician in my artwork, but maybe more a mad scientist, and a court jester.

CG: Night or day?

Yes.

CG: And finally, if you were going to make a grand entrance, what song would be playing to say "Aaron Johnson has arrived"?

I like to sneak into the room unnoticed.

aaron johnson has an upcoming group show at new image art in los angeles entitled "octo pusses" beginning may 2nd. check it out if you're in the area. new image art is an amazing gallery.

this week i read...

yeah i'm one of those weirdos who still reads... books that is. quite voraciously actually. in some ways reading is my cheap replacement for continued schooling that i can't afford. i figure just because i can't afford to be a lifelong student doesn't mean i can't spend the rest of my life in the pursuit of knowledge. 

but let's not get it twisted. i'm not out there every day devouring tolstoy and nitzche. i looooove steven king. adore him. and i love cheesy murder mysteries and lurid true crime novels. but i also take great pleasure in reading tomes that are challenging and give pause. this week has been a calm before the storm; a relatively slow week before i dive into the hang for next week's group show. one of those weeks where the phone just doesn't seem to ring and there are many empty, quiet hours to spare. 

i spent those hours reading....

yes, i do on occasion judge a book by its cover. the quirky illustration by matthew green (jacket design by faber) caught my eye in a portland bookstore. also, can't escape the intrigue of the title. i have to hand it to nathan englander for this one. a charming surprise the ministry of special cases carries on the tradition of magical realism with a clever and at times laugh out loud story that takes place during argentina's dirty war. the story, that of the affable yet confounding kaddish poznan, a man's who's job it is to chip the names off of gravestones for families who would rather forget their controversial pasts, dances back and forth between passages of hilarity and mirth and scenes of great tension and terror. i found the book surprisingly heavy given the frequent humor. it had the sort of narcotic but arresting pace of gabriel garcia marquez, though i think that englander fell a bit short of the narrative power of marquez at his best. 

krakauer at his finest. i was a bit wary of this one. i'm a notoriously unspiritual person, and though i see validity in trying to understand religion as an extraordinarily powerful social force, i have difficulty wrapping my mind around what i perceive as the extremity of blind faith. under the banner of heaven starts with a flash and doesn't let up until the final chapter. even the final passage was pitch perfect, and i think that the quote that krakauer chose to conclude his book with couldn't have been more apt. meticulously researched and powerfully written krakauer's book takes an in depth look at america's complex homegrown religion, framing the tragic tale of the murders of brenda and erica lafferty at the hands of two devout fundamentalist relatives with compelling chapters detailing the religion's history and significant leaders. rather than attack mormonism as the direct source of such a violent act, krakauer explains how mormonism's fundamental tenants open the religion up to periodic splintering and wide interpretation. some of the stories about the various fundamentalist groups that have cropped up over the years are extremely harrowing in their graphicness. mormon fundamentalist groups are rife with institutionalized racism, blatant and often violent sexism and condoned acts of statutory rape and even incest. krakauer, a great adventure writer, alleviates some of the tension with wonderful passages describing the natural environment in the mormon kingdom of utah, and finds heros in unlikely places to champion in stark contrast to the antagonists of the story. a quick read and highly informative. only draw back? i may be rethinking that hiking trip i was planning to zion. 

i pull this book out every few months to peruse the brilliant essays on topics ranging from process to figuration. this morning i was re-reading a great interview with roy lichtenstein conducted by g.r. swenson in 1963. what a g.