Every day, for the last three weeks, I’ve gotten up at dawn, eaten a quick breakfast, packed a small lunch, and headed out for eight to ten miles of hiking and photographing in the high sagebrush country of southern Wyoming. Then I come back, settle in to a private studio for the afternoon, and work until dinner on hand-coloring photos, painting them at an easel for the first time in my life instead of on a drafting table.
All this time I’ve been holed up at a luxury dude ranch in southern Wyoming with five other artists – all more accomplished than I, by far – at the posh Brush Creek Foundation for the Arts.
Part of Brush Creek Ranch, a 15,000-acre, $1,000-$1,500 a night resort that caters to some fraction of the one percent, the art foundation has been in existence for five years. The ranch is where Girls star Allison Williams was married last year to much notice in the celebrity press.
Like other arts residencies around the country and the world, Brush Creek Foundation offers a quiet place to live and work, in extraordinary surroundings, for perhaps 50 artists each year. For free. Did I say for free? Artists and art lovers tend to complain about a lack of support for the arts in the U.S. Well, this is support.
When I arrived three weeks ago, I was picked up in Laramie – the closest commercial airport – and shuttled some 70 miles across southern Wyoming’s mountain and sagebrush country to my own little piece of Paradise: a small hotel style bedroom in a log building next to a second log building where I’ve got my private art studio, complete with high ceilings, a sink, a big wooden easel, desk, tables and basic supplies. And a great view of the rimrock outside.
I’ve never worked in a studio this spacious or elegant. Best of all, like all four visual art studios here, it comes with a Barcalounger, perfect for afternoon or evening naps and other deep inspired contemplation.
The only question I’ve got is, why have I never done this kind of thing before?
The other five artists here with me for the month are all easterners, oddly enough: Three New Yorkers, a Bostonian and a French Canadian.
Among us we are two photographers, two orchestral composers, a novelist and a performance artist who was once arrested in Rome for impersonating the Pope (as part of an art project, natch).
Four of us are in our 60s. Two are, ahem, younger. We get along amazingly well, considering we eat every dinner and many lunches together, and we see few other people day to day. The other artists tell stories about residencies wrecked by the occasional misfit. None of that has happened here. It’s a serious, good-humored group of actual adults. We’ve gotten together once to watch a presidential debate, and a few of us took a high-altitude hike near Medicine Bow Peak the other day. One resident, photographer and ceramicist Warren Mather, rented a car for the month, and has been generous with rides to town.
The weather has been spectacular. We got four inches of snow one day early on, but it all melted off in a couple more days, leaving us to enjoy sunny warm afternoons and cool evenings, sometimes spent around a fire pit well stocked with cut and split logs.
But mostly we work. Brush Creek offers what is called a “no expectations” residency, which means just that. No obligation on our part to do anything in particular at all. You can work, you can hike, you can take naps. You can present your work to the other artists (which we have all done) or not. No one judges.
And you can just breathe the clean Wyoming air each morning and think, “What did I ever do to deserve this?”
The biggest artistic challenge I’ve faced is this: Since I decided to fly here, rather than drive 1,100 miles and back in uncertain weather, I don’t have my computer printer. So each day I shoot and edit photos, but can’t print them; instead I work on a stack of old black and white photographs I shipped to myself ahead of time via UPS. So I’m photographing Wyoming and painting Oregon each day. I’ll live, somehow.
No one seems to take days off. What would be the point?
Dinners and lunches have been catered by a Peruvian chef named Monika, whose husband Alejandro also works in the main lodge kitchen. Our meals have been opulent, night after night, almost to a fault. Monika and Alejandro finished their contract for the season the other night, so we celebrated with a full-on prime rib dinner with the works, leaving everyone stunned and satiated.
The first resident to present his work to us was Jerome Kitzke, a New York composer who has performed all over the world. Tall, rangy and gray haired, with a long pony tail, he spends his days holed up in a cabin here called The Schoolhouse, which I guess used to be one; now it’s restored, looks a bit like a church inside, and sports one of the best 9-foot Steinway grand pianos I’ve heard played. (The other music studio has a Bösendorfer.)
One evening early on, Jerome invited us to the The Schoolhouse to hear him play a piano setting he wrote perhaps 15 years ago to Allen Ginsberg’s 1953 poem “The Green Automobile.” The poem is perfect for here, about an imagined road trip taken from New York to the West by Ginsberg to see Neal Cassady.
With a week to go before returning to Oregon, I find myself picking up the pace of photography, painting and just plain thinking. It’s hard in real life to find time like this to work on anything, and I don’t plan to lose a moment.