This week I am working on a painting that is slated to be a gift to the city of Oro Valley. Can't reveal much in the way of details…more to come later. I am also framing a group of works that will go to Cobalt Fine Arts for a small paintings show that I am in with my dear friend the artist Natasha Isenhour - called "Jewel Tones."
One thing that has been on my mind recently was a question put to me by a friend who is an aspiring writer…and that was the question about "selling out", i.e., having your art or what you do affected by selling. The question wasn't loaded, and it was well meant. But it did cut to the chase over the issue of the role of selling work and how that affect the creation of it.
I'll just come right out and say it, because the older I get the more honest I am - I LOVE selling work! I love it. The fact that people pay notable sums of money to collect my paintings is one of the most gratifying experiences in my life. It tells me many things - primarily that the modes of expression that I have tapped into are not just my own. And that when others see it something resonates inside of them, and they can then visualize the work in their homes or in some meaningful space. That is wonderful - and having galleries back you because you have a reputation of selling, also a great compliment.
As to whether selling works affects my work - I can also be honest and say YES it does cross my mind, the fact of wondering whether a work might sell or not. The way I see it, an accountant likes to get paid. A teacher likes to get paid. A doctor likes to get paid - why should an artist not like to make his or her modest sum? I think this is fine. It's totally normal. My wife once made the point that in the vast majority of cases when one of my works sells, she said it is obvious why. It is more detailed, more colorful, the contrasts are sharper - something is notable and raises the bar in those paintings, and as she said, those paintings are often the ones that sell.
However the caution that I work under is simple…I do not let the fact that certain works sell dominate the selection of new works. It's ok to do something that is your bread and butter kind of work - that's fine. But one must always keep an eye to the creation of new images. All the time. You have to remain an artist and the cash signs can't be the first things that decorate your goggles you see the world through. The creation of new images is important also because when you consider your work in retrospect, even those 'bread and butter' paintings that you know collectors want and buy - even they were original works dreamed up, composed, and painted out of nothingness. They too were new at some point, so you can't close down that regenerative process by which new works are made.
There is a sense that I have noticed - that an artist has to be so avant garde as to be a misunderstood pauper - and then they get some kind of stamp of legitimacy. I think that is a bunch of crap. I have seen artworks that don't communicate anything at all. That seems to me to be representative of a breakdown in the relationship with the viewer. And I am sure many such artists comfort themselves in the fact that they are doing something ahead of their time - so much so that nobody gets it. Again, I don't believe that. I have always said that an artist is free to go out on a limb if they want to; but that they can't turn around and blame everyone else if the crowd doesn't want to go out on the limb with them. And from my experience in the art world, sales are not terribly common out there on the limb. I stick a little closer to the tree…
Lastly I would say that it should not be unsaid that ART IS WORK. Maybe that's why they call it artwork. It is not gratuitous leisure. It is work. If anyone has the temptation to trivialize art, they probably have never wrestled with the difficulties of created a meaningful and complicated piece of work. After I have spent three or four weeks on a single painting I feel that it is a wonderful reward when the work finds a home and makes someone else's living or working space beautiful. I'm very happy that I can make a very modest living at it. No, visions of dollars signs shouldn't ever be allowed to dominate your process. But YES, selling is a great thing. It gives you the confidence to dream big - and in many ways, helps you be more creative, more fulfilled, and able to be full of faith that you can make something equally great to the things that have come before.
www.neilmyersart.com
Showing posts with label Marshall-LeKAE Gallery. Show all posts
Showing posts with label Marshall-LeKAE Gallery. Show all posts
Thursday, November 28, 2013
Thursday, June 20, 2013
Art Criticism From Other Artists, My View
This week I am working on a new 36 x 48 inch painting of Cathedral Rock, near the stunningly beautiful town of Sedona, Arizona. If you have never visited Sedona, I would strongly urge you to do so. For Arizona, it is OUR land of red and orange rocks. The mountains and formations are amazing - and the hikes are second to none.
This week I have also been thinking about art criticism and I thought that it might be a nice time to share my views on this subject. Reason being - I got into a heated argument with another person on facebook; and no we didn't solve the world's issues while arguing over the internet...it did bring to light my perhaps unusual views about art criticism. So I thought I would state them clearly here.
Here is the thing...if I don't like a piece of art, I generally keep my mouth shut. I feel that this is an act of trust on my part because I prefer to trust that an artist can, by themselves, iron out any of the rough patches or weak spots in their work. I feel that if an artist is doing this alone, they deserve the right to make that exploration without my soul-killing comments. I will be honest here, in my own art career, and in the development of my work, when it came to the fundamentals of how my work came to look as it did, I did not listen to anyone. What came out on canvas was pure inner voice. Nothing else. I was, as we all are, bouyed up by the fact that collectors bought my work, and that magazines wrote about it - but in the core of what has made the work, it was pure inner vision reacting to a landscape in front of me. I actually feel this was a benifit, not a detractor. I feel that because I shut out the noise of all other people - well meaning or not, I managed to arrive at something close to my own visions. Now I did frequently listen to other artists when it came down to mastering the materiels needed for the job. My artist friends have been wonderful in suggesting different things that would help get different effects.
I do believe that if one chooses a classroom environment, art school, or formal classes with a top level artist - then one does and should submit themselves to the kind of criticism that I find is, at the least, a distraction, and at worst - what I've described as a soul-killer. There are people who really do benifit from a classroom enviornment and an evironment with hard critqiues and such things. I freely accept that and I don't lose any sleep over that. However I am not one of those people. I told a friend yesterday, "The creative spark inside me, I don't let anyone else handle." So I shut out the noise and I DO NOT participate in art critiques, and I have never invited another artist to critique my work. I feel like if you like it, then great, thanks...if you don't, then move on to find yourself another wonderful artist that you can connect to. For some artists, however, they cannot let this be. They have to critique someone else's work because it is almost like their own act of conquest and appropriation. It is how they try to curve your work to their vision. I don't accept this, and I don't take a part in it. And I don't do it to other artists.
So, as this person on Facebook was left thinking - it might be easy to think that I only accept flattery. No, that is not what I am saying. I've been told to my face, and accepted with perfect serenity, someone saying they didn't really care for my work, or that it wasn't their thing. That's totally fine. What I don't accept is unwanted and unasked for desconstruction from other artists. I have said it before, there is only room for one artist in my head and he is the only one I let in. That is a monkish and solitary way to see things, perhaps - but that's how I see it.
Anyway, my heated conversation with the person on Facebook ended with the person saying that I was staying in my comfort zone - and they even called me "lazy". Expletives were hurled and one tactless and uncouth person was rapidly un-friended by me. Note to those who like to bash other people's artwork - if you crudely attack other people's work, expect a vigorous counterattack. If you have been so brash as to nominate yourself judge and jury over someone elses' work - then don't just expect them to sit there and take it. I don't. Art is the product of the heart - and when expressed truly it must be defended against those who either don't understand it, or wish to bring someone down from the heights of even modest accomplishment. I defended my work against this person I mentioned and I won't apologize for that. Am I prickly and sensitive about my work? You better believe I am. And then if a person calls me lazy...oh well, I always try to be a nice guy and I believe in compassion and seeking understanding but call me that and the gloves are off. Whatever I am - lazy is NOT one of them. Never has been. One could not keep the utterly ridiculous busy schedule I keep, and even dream of the word "lazy".
That is my view. I think life and art are a products of uplift. If one takes the chisel of destruction to everything, nothing is left but the pieces. I prefer to create, not revel in pulling apart the work of another. I offer my own work as a take it or leave it thing. There is so much beauty in the world, I want to spend my days holding that beauty up high - rather than chipping away at sincere creations, whatever their stage of development.
www.neilmyersart.com
This week I have also been thinking about art criticism and I thought that it might be a nice time to share my views on this subject. Reason being - I got into a heated argument with another person on facebook; and no we didn't solve the world's issues while arguing over the internet...it did bring to light my perhaps unusual views about art criticism. So I thought I would state them clearly here.
Here is the thing...if I don't like a piece of art, I generally keep my mouth shut. I feel that this is an act of trust on my part because I prefer to trust that an artist can, by themselves, iron out any of the rough patches or weak spots in their work. I feel that if an artist is doing this alone, they deserve the right to make that exploration without my soul-killing comments. I will be honest here, in my own art career, and in the development of my work, when it came to the fundamentals of how my work came to look as it did, I did not listen to anyone. What came out on canvas was pure inner voice. Nothing else. I was, as we all are, bouyed up by the fact that collectors bought my work, and that magazines wrote about it - but in the core of what has made the work, it was pure inner vision reacting to a landscape in front of me. I actually feel this was a benifit, not a detractor. I feel that because I shut out the noise of all other people - well meaning or not, I managed to arrive at something close to my own visions. Now I did frequently listen to other artists when it came down to mastering the materiels needed for the job. My artist friends have been wonderful in suggesting different things that would help get different effects.
I do believe that if one chooses a classroom environment, art school, or formal classes with a top level artist - then one does and should submit themselves to the kind of criticism that I find is, at the least, a distraction, and at worst - what I've described as a soul-killer. There are people who really do benifit from a classroom enviornment and an evironment with hard critqiues and such things. I freely accept that and I don't lose any sleep over that. However I am not one of those people. I told a friend yesterday, "The creative spark inside me, I don't let anyone else handle." So I shut out the noise and I DO NOT participate in art critiques, and I have never invited another artist to critique my work. I feel like if you like it, then great, thanks...if you don't, then move on to find yourself another wonderful artist that you can connect to. For some artists, however, they cannot let this be. They have to critique someone else's work because it is almost like their own act of conquest and appropriation. It is how they try to curve your work to their vision. I don't accept this, and I don't take a part in it. And I don't do it to other artists.
So, as this person on Facebook was left thinking - it might be easy to think that I only accept flattery. No, that is not what I am saying. I've been told to my face, and accepted with perfect serenity, someone saying they didn't really care for my work, or that it wasn't their thing. That's totally fine. What I don't accept is unwanted and unasked for desconstruction from other artists. I have said it before, there is only room for one artist in my head and he is the only one I let in. That is a monkish and solitary way to see things, perhaps - but that's how I see it.
Anyway, my heated conversation with the person on Facebook ended with the person saying that I was staying in my comfort zone - and they even called me "lazy". Expletives were hurled and one tactless and uncouth person was rapidly un-friended by me. Note to those who like to bash other people's artwork - if you crudely attack other people's work, expect a vigorous counterattack. If you have been so brash as to nominate yourself judge and jury over someone elses' work - then don't just expect them to sit there and take it. I don't. Art is the product of the heart - and when expressed truly it must be defended against those who either don't understand it, or wish to bring someone down from the heights of even modest accomplishment. I defended my work against this person I mentioned and I won't apologize for that. Am I prickly and sensitive about my work? You better believe I am. And then if a person calls me lazy...oh well, I always try to be a nice guy and I believe in compassion and seeking understanding but call me that and the gloves are off. Whatever I am - lazy is NOT one of them. Never has been. One could not keep the utterly ridiculous busy schedule I keep, and even dream of the word "lazy".
That is my view. I think life and art are a products of uplift. If one takes the chisel of destruction to everything, nothing is left but the pieces. I prefer to create, not revel in pulling apart the work of another. I offer my own work as a take it or leave it thing. There is so much beauty in the world, I want to spend my days holding that beauty up high - rather than chipping away at sincere creations, whatever their stage of development.
www.neilmyersart.com
Tuesday, January 15, 2013
Saguaros of the Sonoran Desert, New Show Opening January 24
For me, Saguaros feel to me a bit like it must feel for those musicians who play greatest hits for the fans. Since I moved to Arizona, now nearly ten years ago, I have been captivated by these large desert dwellers. I have told friends that they seem to me to be one of the only plants that are almost anthropomorphic - I have always had the feeling that when I was around them, I was not alone. And I don't have a mystical bone in my body. The towering presence of these beautiful cacti have impressed on me something that could not help but come out in my paintings of this region. Once I remember a gallery director telling me that many artists paint saguaros "almost as if they have never even taken a look at them". He told me that I always captured something about their own individual uniqueness. (Picture those old Roadrunner and Coyote cartoons, and the saguaro by the road, two arms bent upwards. Typical!) It was quite a compliment. I went on to tell him that when I go out on a trail to take photos that I will later paint from - I always look for either single saguaros or groups of them that are unusual, or which strike my eye as a kind of curiosity. I don't look for the typical ones. Of course they do exist, but I have always preferred those that showed true originality of shape and natural design.
So this show is my tribute to those "Giants of the Desert" - those amazing and beautiful icons of natural Arizona. I have never tired of looking at them, nor have I ever tired of painting them. They have been created by the small progress of decades or even hundreds of years. To capture them with brush and canvas seems just as natural to me as those rocky hillsides they inhabit.
www.neilmyersart.com
Thursday, October 18, 2012
Paris is for (Art) Lovers
However I did want to write a few lines about our recent trip to England and France. Last month my wife and I decided to take the opportunity to visit England, where my wife's brother is currently living and working, and use that as a chance to see as much of London as possible - as well as to pay a quick visit Paris for a few days.
When it comes to art, I am a little firm in believing that you haven't even begun to get a taste for the greatest art out there, until you have been to Europe. So much of the legacy of the greatest art ever made can be found in France, England, Italy, Germany, Spain, and countless other locations on the continent. As a student in Aix-en Provence, France in 1996 I was fortunate enough to be able to both see many of the works of the great Impressionist masters that I so adored, and to also see many of the places they painted. As my friend, the artist Jean-Claude Quilici remarked in an interview - many of the places where the greatest artists painted have hardly changed. Many of the villages, for example, in southern France, where Van Gogh, Cezanne, and others worked - many of them have been altered very little with the passage of time. So it presents the unique opportunity for an artist to both look at the best European works, and see the places where they are made.
Foremost in my mind, always, is Paris. Paris has been a nexus for world art for a very long time. It was the mecca of the Impressionist movement. And though many artists didn't live in Paris itself, the city was a source of both inspiration and exhibition opportunities, and was ringed with towns and villages that artists called home.
For me, coming back to Paris in 2012 was especially sweet. In 1996 I visited the city twice, pretty much taking the opportunity to see as many galleries and museums as possible. And also to meet up with my friend Jean-Claude Quilici. I was 20 years old then, a boy from small town North Carolina. Now I am 37, with a wife and son and another son on the way - and with an art career I could scarcely have imagined during those days when I haunted the Louvre and Musee d'Orsay back in 1996. I was pleased to find, on a personal note, that it was not as hard as I thought it was to speak French as well as I did back then. I remembered probably 88% of what I knew while I was living there, and got many compliments on how well I spoke. I probably shock people there because the feeling you get from the French is that they don't expect ANY American to speak French. It's always a pleasant surprise for them.
However during three days in Paris and the remainder of our days in London, I was reminded very directly why the act of pilgrimage isn't just a religious act - artists too, I think, must show a certain devotion to knowing their roots, and wherever possible, must go to the places where great works are, and where they were inspired. Though I am a self-taught artist, I have always thought that it is very important that you learn from the best. So rather than worry about some somebody who is a passing fad - I have always told myself, if you are going to be a painter, go learn from Monet, Manet, Renoir, Sisley, Pissarro, Van Gogh, Quilici, Gary Ernest Smith, Vlaminck, Derain, Cassatt, and many others. Start at the top and try to tap into the best.
At one point during this trip my wife and I went to take our 3 year old son to the restroom at the Musee d'Orsay, and in order to get back to the place where you can start your visit, you had to pass through the rooms that were stacked wall to wall with all the great masters of Impressionism. We walked right up to Manet's "Luncheon on the Grass" and I told my wife "If you can catch a glance, look around you. You are looking at the best of the best."
London also was not to be missed, and there were indeed some wonderful artistic gems to be found there. We visited the National Gallery, which also had an exceptional display of impressionist work - and I caught glances of other amazing works during our hurried visit there. One of Van Gogh's original "Sunflowers" is there, and when we walked in the door I was carrying our 3 year old son Liam - and Liam pointed to Van Gogh's Sunflowers and said "That painting looks like one of your paintings da da!" (He calls me 'da da' instead of dad) I've gotten some nice compliments on my work through the years; this one might have been one of the best.
Another gem which is a little off the beaten path is the Courtauld Gallery. This gallery touts itself as one of the finest small art museums in the world, and I think that title is WELL earned. You will find such masterworks there at Manet's "Bar at the Folie Bergere", which was the last large Manet completed at the end of his life. Van Gogh's self portrait with a bandaged ear was there also - which was very touching. I told my wife that it was quite something than Vincent wanted to document even one of the worst moments...the self-inflicted mutilation of his ear. He was so unsparing in his artistic view - even of himself. It made me think of Monet painting his wife Camille on her deathbed.
So yes, if you believe in doing great work, or that you want to attempt to - you have to see the masters of Europe. If you have to, see them at the best big-city gallery you can make it to, even in your own country. (Here in the states, galleries like the National Gallery in Washington DC, the Art Institute of Chicago, and the Met in New York come to mind) But if you can see those great works, and get the added uplift of walking those same cobblestone streets and enjoying making those footprints - your work and your life will ever be the wiser for it. Mine sure is....
www.neilmyersart.com
Wednesday, July 11, 2012
Saguaros - and NO I Don't Get Tired of Painting Them!
Hello everyone - sorry I've been a little absent. I tend not to blog like a madman. I prefer to write something when I actually have something to say, rather than all to the reams of drivel and blabber floating around out there on the internet.
This week I am working on a new 30 x 40 of Saguaros on a hillside of blooming brittle-brush. This painting, and a legion of others that are sitting and drying in the studio gave me the idea for this blog post - some thoughts about one of our great Arizona icons, the Saguaro cactus.
Since we are planning a saguaros show of my paintings at the Marshall-LeKAE Gallery in Scottsdale for March of 2013, I thought it might be nice to reflect a little on the giant cactus that has been so much the centerpiece of countless paintings by me - and other Arizona artists.
I remember once talking to Max Mikesell, who formerly ran the Max Gallery in Tucson some years back, and I remember Max saying that it seemed to him that some artists who paint saguaros hadn't even looked at them. Almost as if they had some general idea of what a saguaro should look like; two upturned arms, very "roadrunner and coyote" kind of landscape stereotype. And he mentioned that even though my saguaro themed works weren't strictly realistic, they still showed evidence that I had taken some time to look at them...and indeed I have.
What is most important if you are an artist painting Saguaros is the realization that they provide on of the most prominent verticals in a landscape dominated by big skies, small, round trees, and huge horizons. Saguaros cast your eyes up to the vertical, and thus balance a landscape much the way that a pine tree might well do back east in the woods. But the cool thing about saguaros is their amazing shapes and individual character. I've told people that they might well be one of the few plants that I think actually have personality. You see them swell with the summer rains. You see them hold up and hold firm when monsoon storms rip through the area. And you see them lord over the landscape like giants - standing tall and proud even in the hottest, most brutal parts of Arizona summer. I have called some among the series of saguaro paintings that I've done "Giants of the Desert", and it seems to me that they are indeed giants who stand over us in the fiery heat of our surroundings. When you come to know them and the fact that they grow so slowly that they are frequently 50 to 75 years old before they even sprout a single arm - you then realize that in mature saguaro forests, you may be looking at 150 or 200 year old plants. Plants whose duration dwarfs the lifetime of humans. I remember a biologist saying that was one of the problems of long term saguaro studies; that it is hard to study them in a sustained way because that might take three generations of scientists. Imagine...
(I'll note for the record also that people still get a laugh at me because I have the habit of saying "Sa-Guaros" with a hard "G". Whereas most of the locals say "sah-wa-ros". Oh well, I didn't grow up here, and some habits die hard.)
For me, I guess it's fair to say that I've set myself up and studied them as intently as Monet did Rouen Cathedral, or his poplars. I have never gotten tired of looking at them, and always been keen to understand the unique personality of the plants as I studied them.
I love the world in all it's landscapes and variety. But there will always be a soft spot in my heart for these wonderful "Giants of the Desert."
www.neilmyersart.com
This week I am working on a new 30 x 40 of Saguaros on a hillside of blooming brittle-brush. This painting, and a legion of others that are sitting and drying in the studio gave me the idea for this blog post - some thoughts about one of our great Arizona icons, the Saguaro cactus.
Since we are planning a saguaros show of my paintings at the Marshall-LeKAE Gallery in Scottsdale for March of 2013, I thought it might be nice to reflect a little on the giant cactus that has been so much the centerpiece of countless paintings by me - and other Arizona artists.
I remember once talking to Max Mikesell, who formerly ran the Max Gallery in Tucson some years back, and I remember Max saying that it seemed to him that some artists who paint saguaros hadn't even looked at them. Almost as if they had some general idea of what a saguaro should look like; two upturned arms, very "roadrunner and coyote" kind of landscape stereotype. And he mentioned that even though my saguaro themed works weren't strictly realistic, they still showed evidence that I had taken some time to look at them...and indeed I have.
What is most important if you are an artist painting Saguaros is the realization that they provide on of the most prominent verticals in a landscape dominated by big skies, small, round trees, and huge horizons. Saguaros cast your eyes up to the vertical, and thus balance a landscape much the way that a pine tree might well do back east in the woods. But the cool thing about saguaros is their amazing shapes and individual character. I've told people that they might well be one of the few plants that I think actually have personality. You see them swell with the summer rains. You see them hold up and hold firm when monsoon storms rip through the area. And you see them lord over the landscape like giants - standing tall and proud even in the hottest, most brutal parts of Arizona summer. I have called some among the series of saguaro paintings that I've done "Giants of the Desert", and it seems to me that they are indeed giants who stand over us in the fiery heat of our surroundings. When you come to know them and the fact that they grow so slowly that they are frequently 50 to 75 years old before they even sprout a single arm - you then realize that in mature saguaro forests, you may be looking at 150 or 200 year old plants. Plants whose duration dwarfs the lifetime of humans. I remember a biologist saying that was one of the problems of long term saguaro studies; that it is hard to study them in a sustained way because that might take three generations of scientists. Imagine...
(I'll note for the record also that people still get a laugh at me because I have the habit of saying "Sa-Guaros" with a hard "G". Whereas most of the locals say "sah-wa-ros". Oh well, I didn't grow up here, and some habits die hard.)
For me, I guess it's fair to say that I've set myself up and studied them as intently as Monet did Rouen Cathedral, or his poplars. I have never gotten tired of looking at them, and always been keen to understand the unique personality of the plants as I studied them.
I love the world in all it's landscapes and variety. But there will always be a soft spot in my heart for these wonderful "Giants of the Desert."
www.neilmyersart.com
Wednesday, January 19, 2011
Moving into 2011, New Horizons on the Canvas
This week I am working on the 2nd painting is a series of paintings themed on Provence and the South of France. This one is my first rendition of Olive Trees, a subject so beautiful, and so dear to the two painters I admire the most, Jean-Claude Quilici and Vincent Van Gogh. Along with the director of the Marshall-LeKAE Gallery, I've hit upon doing a small display - a small late summer show of 8 to 10 paintings, all themed along the lines of the places in Provence that were painted by Van Gogh and Cezanne. Some of you may know that I spent a six months in Aix-en Provence as a student in 1996, and have seen many of these places with my own eyes. I am excited to do some paintings inspired by this beautiful and historic region. I too have walked this hills and the alleyways frequented by Cezanne, Van Gogh, and many others - and their charm was not lost on me, and still affects me to this day. A lot of what I have done in my paintings of the American West was to take an inspirational spark from the Provencal colorists, and plant it here in the American soil.
We are also in the process of organizing a three artist show at Cobalt Fine Arts in Tubac, featuring myself, Paul Sheldon and Fred Collins. The opening reception is planned for March 26th, and one of my featured paintings, "The Flowers of Fall" is already sold, but will be on display for the opening.
Also, I'd like to remind everyone that I will be featured in the March issue of Phoenix Home and Garden Magazine, and I encourage you all to, pick up a copy. The staff and editors of Phoenix Home and Garden have been a delight to work with, and I am very happy to be featured in this sharp, beautiful publication.
As a last note, I wanted to take a moment to ask all of you to remember the recent victims of the terrible shooting here in Tucson. On that day, my wife and son were shopping at another store only 500 yards away and they saw emergency vehicles rushing past them as they were driving home. Typically, I'm not one given to big pronouncements on this blog - and it is pretty clear that there have been deep political underpinnings to both this act of murder as well as the consequent debate over what it has meant. But I am among the camp who believes, without a doubt, that we have calm down and learn to be civil to one another again. I always loved what Edward Murrow said, "we must not confuse dissent with disloyalty". I do believe that voilent speech does affect people who are already angry and disaffected - for whatever reason. We therefore owe it to our children and our neighbors to stop letting anger dominate our discourse. This great land of ours will survive the discussion. And let's do all we can to also assure that a duly elected official can fulfill the roles that they have been elected to do - without the threat of violence against them. Gabrielle Giffords and the other victims, both living and dead, did not deserve to have their lives shattered by bullets.
Our hearts and are with Mrs Giffords and the other victims, as they recover, and as the families of the lost mourn and make the effort to go on with thier lives.
Let's remember our neighbors in Tucson.
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