Author K.D. Norris with novel “The View from Gleninagh North” at Schuler Books. (Courtesy, Ken Norris)
By WKTV Staff
deborah@wktv.org
After a vacation trip to Ireland in the early 2000s, and while working at WKTV Community Media and Mlive, local writer K.D. Norris wrote and recently published his debut fiction novel, “The View from Gleninagh North,” through Schuler Books Chapbook Press.
The novel is a personal look at Ireland — its landscape, people and recent history — wrapped around a human story of personal exploration and romance.
“I have described it as ‘The Bridges of Madison County’ meets ‘Bicycle Diaries.’ At its heart it is a romance novel, but there is a fair amount of travelogue as well,” Norris said. “Much of it was written in a coffee shop in Cedar Springs, and later at a local Starbucks before work.”
“The View from Gleninagh North” is available at Schuler Books Grand Rapids at 2660 28th Street SE, schulerbooks.com, and Amazon.
An outsider’s view
The View from Gleninagh North by K.D. Norris. (Courtesy, Ken Norris)
The novel’s narrator is Matthew Maybourn — “Ah, Matty, a good Irish name, that!” — a lifelong writer and recent widower who has left his middle-class, mid-life comfort zone. As an unplanned favor to a Hollywood friend and filmmaker, he is immersed in modern Ireland’s cultural landscape to write the impossible book: a sequel to “The Quiet Man.”
An outsider in a small, rural village on Galway Bay, Matty explores his new world and other people’s life stories in search of not only a novel idea, but possibly a new meaning to his own life. All with a view from Gleninagh North.
“There is a fair amount of history and culture in the book as well, mostly true, as I could not write about my Irish characters without giving a glimpse of why I think they are who they are,” Norris said.
“And I have to thank members of my local writers group and the team at Schuler Books Chapbook Press for their support, advice and work in helping me get this book into print and available to readers,” Norris said.
About the author
K.D. Norris lives in Cedar Springs with wife TJ. He has published short stories in several regional anthologies, including “An Affair of the Mind,” published in 2021 by the Grand Rapids Region Writers Group (GRRWG) of which he is a member. He also had an essay selected for publication in “The Mailer Review” national publication, and has written numerous award-winning journalistic stories over his 30-plus year career in journalism and mass media.
For more on his professional and literary background, visit kdnorris.com.
WKTV Journal’s latest newscast includes a feature on a young artist combining fanciful clay figures with high-tech photography — currently on exhibit at Grand Rapids Community College’s Collins Art Gallery through Friday, Oct. 25.
Wyoming resident Jon Lopez has a day job in a bagel shop, but later, in his basement sculpture studio, he transports himself to another world — a world of clay-full characters including thoughtful monkeys, mice on a mission and an octopus named Charlie that he is almost on talking terms with.
WKTV talked with Jon about his medium, taking his creatures on the road, why he photographs and then recycles his clay creations.
For a print story on the artist and his art, visit here .
The GRCC Collins Art Gallery is located on the 4th Floor of Raleigh J. Finkelstein Hall, formerly Main Building, 143 Bostwick Ave NE. Grand Rapids. Gallery hour at Monday to Thursday, 10:30 a.m. to 7 p.m. For more information visit GRCC.edu/visualarts .
The Avett Brothers, from left, Scott Avett, Joe Kwan, Bob Crawford and Seth Avett. (Supplied/PC/Crackerfarm)
By K.D. Norris ken@wktv.org
Scott Avett, who with his brother and co-conspirator Seth is the heart if not soul of The Avett Brothers, was talking about the band’s 2106 release “True Sadness” when he said “We trust and have faith in what we do, and in each other. By the time it is making it out to the world, we have already come to own our work.”
From the beginning — that sort of being the Avetts’ 2009 major label debut of “I and Love and You” — the to pending arrival of “Closer Than Together” on Oct. 4, Scott and Seth and the rest of the North Carolina based band have kept the faith if not always kept the same sonics.
“We are always confident by the time we are putting something out,” Scott said to me just before the band’s 2016 Grand Rapids stop at the Van Andel Arena, where they will return Sept. 6. “We are always confident that we have learned from what we have made, and always confident that we are going to be able to go out and put on a show with what we made. I just don’t think we would release anything we would not stand behind.”
Photo from Avett Brothers “High Steppin'” video shoot (Supplied/Ellison White)
Standing behind “Closer Than Together”, it would appear from the teaser single recently released, “High Steppin’”, as well as a “mission statement” put out by Seth and Scott also in preparation for the release, is sort of an admission that while the Avetts have lived life pretty fully and grown older in due course, they have stayed truthful to their music as it has continued to change with them.
Some may see a little bit of a dark side, or at least a dark humor side, to the video for the new single if not the lyrics of the single itself — after all, there is this little thing in the video of Scott appearing as a “rhinestone cowboy” and Seth is trailing along as what some could describe as “death.” But there is also an often recurring songwriting endpoint that love, ultimately, wins.
“My brother and I have never been more aware of our own failings in the department of golden-rule navigation,” Seth writes in the mission statement. “We see it in ourselves and we are accustomed to seeing it in our neighborhood, our state, our country, our planet. We speak daily with each other about the lunacy of the world in which we live … the beauty of it, the mystery of it, the hilarity and the unspeakable calamity of it.
“The Avett Brothers will probably never make a sociopolitical record. But if we did, it might sound something like this,” Seth writes, but adds that, musically at least, “there is no massive departure from our continued artistic language.”
And while some have suggested that the single “High Steppin’” has, in fact, a more high energy, almost rock ’n’ roll sound to it — and it does seem a million miles away from the sounds of “I and Love and You”, specifically “Head Full of Doubt/Road Full of Promise”, maybe my favorite single on a long list of band favorites — the promise and premise of the lyrics of the new single seem to keep with the same not-so-subtle artistic language.
“The best beggars are choosers. The best winners are losers. The best lovers ain’t never been loved. And first place ain’t easy. The hardest part is believing. The very last word is love.”
Anybody who knows the Avetts has heard that language, that simple-yet-somehow- deep meanings, before and will undoubtedly will again, at the upcoming night at the Van Andel and on the new release.
The Avett Brothers usual suspects. (Supplied photo)
And anybody who knows the Avetts in concert, knows that while the band often speaks softly, Scott and Seth — and usual suspects and long-time band members Bob Crawford on bass (and things) and Joe Kwan on cello (and things) — carry big sticks when it comes to live concerts. (See a review of their 2016 Grand Rapids show here.)
Tickets for The Avett Brothers at the Van Andel Arena on Friday, Sept. 6, at 8 p.m., are available, ranging from $47 per to $195 on various ticket sellers and resellers. Search you favorite.
Dr. Jochen Wierich, Frederik Meijer Gardens & Sculpture Park new Curator of Sculpture and Sculpture Exhibitions. (Supplied/Meijer Gardens)
By K.D. Norris ken@wktv.org
Dr. Jochen Wierich, Frederik Meijer Gardens & Sculpture Park new Curator of Sculpture and Sculpture Exhibitions, comes to Grand Rapids with extensive art curatorial experience, having most recently led curated exhibitions at Nashville’s renown Cheekwood Botanical Garden & Museum of Art including a much admired exhibition “Jaume Plensa: Human Landscape” in 2015-16.
He also has an equally impressive resume as an art historian and teacher, which includes being a lecturer on art history at prestigious institutions of higher education including Vanderbilt University — and he now holds the Lena E. S. Meijer Professorship in Art History at Aquinas College.
But the “American” portion of the German-born Wierich’s art history resume only hints at his depth of knowledge and appreciation of art, and his desire to share his knowledge and appreciation with local students and the general public visiting Meijer Gardens.
During one of his first in-depth interviews after coming to Meijer Gardens in late July, Wierich wore his curatorial jacket as he discussed his admiration for the Meijer Gardens sculptural art collection as well as some works which surprised him on his initial tours of the gardens. (See the following video.)
During the WKTV interview, however, he also discussed his views on the differences between art education in Europe and America, as well as his conviction that understanding history and culture is essential to understanding art.
“I see a number of differences in the role of art and art education in Europe and in the United States,” Wierich said to WKTV. “From my own perspective, in Europe young people grow up understanding that art is a part of a kind of cultural heritage, a part of a kind of patrimony, that we inherit. So even outside the classroom education, that is something that young people in Germany, in Europe, they just bring to their college education.
“I, you, she or he” by Jaume_Plensa. (Supplied/Meijer Gardens by William J Hebert)
“In the United States, I would say that museums have done a great job of helping, educating young people, in the arts. Encouraging them to be creative. And then to appreciate art. But, still, art is not as much imbedded in the broader education sphere in the United States. And so, when the students come to college, they just don’t quite bring that background, that kind of familiarity with the arts, that I see in Germany and in Europe.”
But passing on his passion for art is where Wierich’s passion for education comes into play.
“That is something that, especially as a college teacher, I also want to help with,” he said. “Being part of the Aquinas faculty, and interacting with the students in the classroom, and possibly encouraging them to come out here and explore the sculpture collection, that is going to be part of my job. … And maybe bridge that gap a little bit.”
Another stop in Wierich’s American journey was at the Northwest Museum of Arts and Culture in Spokane, Wa. — a place which cemented his belief in the importance of culture and historic context in understanding and appreciating modern art.
“The issue of understanding art within the historic and cultural context, to me, it is something that I think about all the time,” Wierich said. “My background, as you know, is in art history and American studies. So I thrive in museum environments that are multi-disciplinary, if you want (to call it such). And, for example, here at Meijer Gardens, you have art and horticulture, and you have programs that bring music and literature to this institution, and create this conversation across different disciplines.
“At the MAC, the Northwest Museum of Arts & Culture, you might see in one visit a Native American contemporary artist painting landscapes, you might see additional plateau Indian baskets, and then you might see an exhibition of German and Italian immigrants who came to the inland Northwest as farmers. And so, each of these exhibitions contributes to, in a sense, framing the art.”
When it comes to modern and contemporary art appreciation and art history “I think that learning about the context (is important), that none of these works was created in a vacuum. That each of these works can help us understand what the historical circumstances were that, maybe, inspired the artist,” he said. “Think about the great Picasso painting “Guernica”, without understanding the (Spanish Civil) War, that painting is not quite the same.”
And he brings that idea home to Meijer Gardens.
Iron Tree by Ai Weiwei. (Supplied/Meijer Gardens by PeterMcDaniel)
“Even with the artists here in the sculpture park — Ai Weiwei, Jaume Plensa — you can really understand what an artist like Ai Weiwei is processing in terms of his growing up in contemporary China, and struggling with the changes in China,” Wierich said. “Or Jaume Plensa, somebody who grew up right after the dictatorship of Franco, and when Spain became a democracy. This are all stories that allow us to have a greater appreciation of the modern and contemporary art works.”
Prior to his work at Vanderbilt, Wierich held teaching positions at Whitman College, Free University in Berlin and Belmont University.
He earned a Master of Arts degree from the Universitat Frankfurt, Frankfurt, Germany and a Bachelor of Arts degree from Universitat Dusseldorf, Dusseldorf, Germany. He has a master’s degree in American Studies from Goethe University of Frankfurt and a Ph.D. in American Studies from the College of William and Mary in Virginia — where his dissertation is titled “The Domestication of History in American Art, 1848-1876”.
Joseph Becherer, who previously held both the Meijer Gardens and Aquinas College positions, was named director of the Snite Museum of Art at the University of Notre Dame last fall.
“This Was My Land” (1990). Armand Merizon gave this painting to Dave and Muriel in exchange for a Lake Michigan painting he wanted back and destroyed. (Supplied)
“On An Overgrown Path” (1997). (Supplied. Collection of Sidney J. Jansma, Jr.)
Every person who knew the late West Michigan artist Armand Merizon has stories to tell — stories of a complex man’s triumphs and struggles, of a brilliant painter with a sometimes struggling career, but ultimately of an artistic life well lived.
And every person who has seen one of his paintings has his or her own story to tell: the story the acclaimed artist constantly worked to convey in just about every work he created.
Muriel Zandstra — friend, repeated interviewer, and artistic advocate of Merizon for five decades — has her own stories to tell, and she has told them, accompanied by the most complete visual review of the artist’s work, in a new book, “Armand Merizon: His Life and Art”.
Armand Merizon in studio (with image of musical influence Beethoven). (Supplied)
“The reason for producing the book, for all it involved, was more than just good friendship,” Zandstra said to WKTV. “It was an overwhelming belief in the man and his art. I think he’s not just a ‘good’ artist, but a ‘great’ artist and his legacy should live on. I strongly believe, as do all the art professionals who knew him, that Merizon is a significant 20th century American artist who needs to be elevated to his rightful position in the art world.”
The new book was not Zandstra’s first effort to shine a light on Merizon. She co-produced with Jennifer Dornbush a documentary about the artist, “ARMAND”, in 2005, when he was 85 and in ill-health with terrible arthritis in his hands and advanced macular degeneration in his eyes. He died in 2010.
“Since I had already done so much research on him for the documentary, I was the best equipped to take on the challenge of creating a book,” Zandstra said. “Though it was a natural, it was still an unexpected and unsought-after project for my retirement. I needed the help of many professionals to pull it off.”
What they pulled off — she credits the work of Jan Keessen and Randall VanderMey on the book’s dust jacket — was a 240-page, oversized hardcover “coffee table book” of such beauty, such comprehensiveness that it deserves a place of more prominence than a coffee table. It contains photographs of more than 200 of the artist’s works, beginning with an early work from 1932, “Fall Tree”, a stunningly mature pastoral work for a 12-year-old, to one of the last of his paintings, the abstract “In D Minor”, from 2009.
“After coproducing and broadcasting the documentary “ARMAND” in 2005, people wanted to see more of Merizon’s art and learn more about the genius behind them,” she said. “There was not any one gallery or museum where I could direct them to go since so many of his paintings are held in private homes. It seemed the only logical way to get his artwork out there was for someone to come up with a catalog art book. … It would be geared for the general public though also suitable for professionals and serious artists to study and learn from.”
For a short video review of Merizon’s work, and an on-air WKTV Journal interview with Zandstra, see the following video.
Author shares personal stories of artist
Zandstra tells many stories about her interactions with Merizon over the years, both in the book and sitting in the living room of the rural Reed City home she shares with her husband, Dave. Two stories tell of the depth of their relationship: one of a painting given and returned, and another of the artist and his model.
Merizon had a habit of giving paintings in exchange for others’ services rendered — just ask any of a number of local doctors who have Merizon paintings in their offices. In Zandstra’s case, it was a seascape given during the years she babysit for the family; a painting given and then returned and destroyed.
“That painting was a delightful, photographic kind of painting, I was thrilled with it,” she said. “But I could tell over the years that he was doing something deeper. … Even though everybody liked the painting, I was thinking there is something not quite right in this painting.
“One day I said, ‘Would you like to see your paintings that I have? You paint them and then they are gone and you need to see them again.’ He said, ‘Yes I would.’ … I brought them the next time and when he looked at that one he goes ‘Yuck! The horizon line is too close to the center. And the shoreline is washed out.’ He said the only redeeming thing are the clouds in the sky. He said you know, ‘Could I have it back?’ And I said, ‘Yep’. So I just gave it back to him.
“This Was My Land” (1990). Armand Merizon gave this painting to Dave and Muriel in exchange for a Lake Michigan painting he wanted back and destroyed. (Supplied)
“Then a couple months later, when I visited him, he said, ‘I would like to upgrade your collection. I want to give one that Dave would like, that he would relate too as well, he is a farmer, a teacher.’ And he gave me that one painting,” she said, pointing to a wall in her living room and to a ghostly, deeply moving painting titled “This Was My Land”.
Another story led to a painting of Muriel herself by Merizon, included on the book’s dust jacket’s front flap. It is called “Portrait of Muriel” from 1966; it is a delicate facial portrait of soft colors that looks unfinished by design.
“He was always trying new things, as I have said, always experimenting,” she said. “He was doing portraits a lot during he 1950s and ’60s, to make money. But he wanted to try something new. So, I was babysitting for him at the time and he said, ‘Would you mind coming over, I want to try a new technique. I want to just capture the eyes, nose and mouth, because everything else changes in a person — hair styles, your clothing — everything changes, but your facial features stay the same.’
“Portrait of Muriel” (Supplied)
“He did an ink sketch first, then he did this more soft painting. So he had these two done and he said ‘Which one do you like better?’ I looked at them both, and I like the more finished one, with the color in it. So I picked that one, and he said, ‘Well you can have it for $35 dollars’.”
Merizon, Zandstra points out, made a living off his art. And she had no problem paying for his works then, nor later in their relationship.
“What Merizon has given to me personally over the years is invaluable,” Zandstra said. “Besides gifting me several art pieces, he has taught me a real appreciation for the fine arts, a reverence for the natural world, and a deep ethical sense with which to live by. His integrity was impeccable.
“I can never give back to him what he has given to me. I collect his art because I feel it is timeless, thought provoking and a real inspiration to me. It brings joy and peace.”
Leafing through Zandstra’s book one gets the same sense: Timeless, thought provoking, inspirational.
“Armand Merizon: His Life and Art” can purchased the book off E-bay and Amazon, as well as in person at Merizon Studio, Baker Book House, Meijer Gardens, the Grand Rapid Art Museum, Mercury Head Gallery, Perceptions Gallery, Calvin College and Kendall College. For more information on Zandstra and the book visit merizonbook.strikingly.com .
When someone says Habitat for Humanity, people might think of President Jimmy Carter pounding nails in some far away foreign county, or of volunteers working in low-income urban areas of this country. Habitat for Humanity is that, but it is also so much more — including recent efforts to assist local veterans with their housing.
Habitat for Humanity of Kent County executive director Bri McKee visits the set of WKTV Journal: In Focus to talk with program host Ken Norris. (WKTV)
On the latest WKTV Journal: In Focus, Habitat for Humanity of Kent County executive director Bri McKee talks with program host Ken Norris about her program’s religious foundations, its worldwide scope, but also its local neighborhood results.
Also on this episode, Wyoming-Kentwood Area Chamber of Commerce president Bob O’Callaghan, a regular guest to In Focus, talks about the recent grand opening of 28 West Place — a redevelopment on 28th Street that was the result of a focused public-private partnership — but that is just a highpoint in recent and upcoming chamber activities.
The episode will debut Tuesday, Nov. 21, at 6:30 p.m., and will again air on Thursday, and again next week on the same days and times on WKTV channels but all interviews included in episodes of WKTV Journal: In Focus are also available on YouTube at WKTVVideos.
The entire episode of “WKTV Journal: In Focus” airs on cable television in the Wyoming and Kentwood areas on Comcast WKTV Channel 26 and on AT&T Channel 99 Government channel.
