Sometimes we find our art in faces, distorted in pain or joy, other times in the geometry of a rugged landscape or even in the contours of what we have chosen to discard, its worth hidden from view until it is revealed by the artist. And sometimes this art is only called such because of whose hand has produced it. We will, of course, know this art when we see it, won’t we?
Robert McGowan, a skillful writer, who is as well, an accomplished artist, joins a growing list of writers included in the first issue of the Camera Obscura Journal. “The McCaig Photographs,” excerpted below, is part of a recently completed story collection called Happy Again at Last: Stories from the Art World.
“Surely no class of object more mundane could be brought to the attention, there being, one might suggest, no good reason to think of them at all. Horizontal slots set in the curbs of city streets for the purpose of relieving the streets of rainwater. Everyone has seen these things, but almost no one notices them. They’re in fact so unnoticed that it would be difficult for many people even to call to mind’s eye an image of one, or for that matter to know for sure what a storm drain is, unless one be pointed out to them.”
“It seemed however that Andrew McCaig had known storm drains uncommonly well. It would be no exaggeration to assert he knew storm drains intimately, having been very cozy with them for some time, precisely when or for exactly how long no one knew.”
Robert McGowan’s fiction and essays are published in, among many others, Chautauqua Literary Journal, Connecticut Review, Crucible, The Dos Passos Review, Etchings (Australia), The Savage Kick (UK), South Dakota Review, and have been anthologized. His work as an artist is in numerous collections internationally, including Bank of America, Bank of Korea, and the Smithsonian American Art Museum (SAAM), Smithsonian Institution. He lives in Memphis.
More updates as they become available.
M.E. Parker, Editor
Camera Obscura Journal