Great to have this important relationship, Dylan and Raeben, better documented and then explored by someone with the critical knowledge of Dylan's art. The essay is a key reference point, but also a doorway to more deeply understanding Dylan. When I looked at the poet with no hands and thought of Raeben's advice--don't paint the vase--I wondered whether the painting contemplates the pain of someone with artistic visions but no way to get them down on paper (no hands--the student whose just walked in the door). The pain we've heard about before: And there's something on yer mind you wanna be saying, That somebody someplace oughta be hearin', But it's trapped on yer tongue and sealed in yer head, And it bothers you badly when your layin' in bed...And the poet and the painter far behind his rightful time...tolling for the tongues with no place to bring their thoughts...i saw 10,000 talkers whose tongues were all broken...i went to tell everybody but i could not get across...I have a head full of ideas and they're driving me insane... AND speaking of hands, we have Dylan's constant scribbling in A Complete Unknown, his many manuscripts on hotel stationary and napkins at the Dylan Center and finally "I'd dance with you, Maria, but my hands are on fire". This poet has hands, but, the poet standing before Raeben had not yet learned to paint.
That's a great interpretation, Peter. No hands = no capacity (yet) to express his art in this new medium. But the experienced Raeben does have that capacity, and so creates a painting for/about his novice student: "gives him a hand."
Good question, Lee. I haven't come across any interviews with Raeben about Dylan. Very few interviews with him on any subject are cited in the exhibition catalogue. He died in 1978, right at the time that Dylan was starting to credit him for creative breakthrough. The last in a series of unlucky breaks for, in Bert Cartwright's words, "The Mysterious Norman Raeben."
Absolutely loved this. Tevia, the main character in Fiddler on the Roof has a long prophetic dream sequence. I think the connection between Shalom Alechim, Raebens father is interesting as they are both seers of sorts. I just ordered a book that one of Raebens students wrote that has a series of his lectures and observations from his teachings. Maybe he had a vision of Dylan coming into his class and painted that. I have never seen that at the Center. Going in March.
Thanks, Julie! Excellent connections to Aleichem and Fiddler. I recently read that book you're referring to by Carolyn Schlam. I bet you'll love it--Rick Rubin for the visual arts. Enjoy your Tulsa homecoming!
I am fascinated by Raebens teaching method. It is like a dissolution of the senses sort of like Rimbaud. I am back in my own studio after 45 years. I have been thinking specifically about his lecture on The Object. Having a visual way into Dylan’s writing style is helpful for me. I still have a disconnect with his large film still paintings which seem to come from a different place than Raeben. What’s your thought about that?
The Carolyn Schlam book is interesting. It is completely on point with Rick Rubin. Do you know if you can purchase the Raeben catalog or is it only available as a pdf?
Back in the studio after 45 years--that sounds like a conversation worth having in Tulsa, Julie. I find Dylan's large film still paintings interesting, but in the same way I'm drawn to Edward Hopper paintings. The approach and the fidelity to reproducing the original (with minor variations) doesn't seem like the kind of work Raeben made or taught. But maybe there's a comparison point with Dylan's folk covers, taking a pre-existing form and putting your own twist on it. Something intriguing going on with movement and stasis, too, turning film into painting. "I know it looks like I'm moving, but I'm standing still." (I've only seen the catalogue in pdf.) See you this summer, Julie!
Who, me? No, you--you're great! I'm so looking forward to being on the 80s panel with you in Tulsa this summer, Rebecca. Your warm wishes will help get me through another snowy day here in Cincinnati.
Love this, Graley. And you do a great job with "The Poet with No Hands"--seems like the beginning of something. This is the quote rattling around my brain, though: "I went home after that and my wife never did understand me ever since that day." I don't recall seeing this one before. A lot to ponder here with him, of course, as well as that entire period/relationship and, ultimately, the role of art.
Glad you liked it, Court. I find this subject fascinating. I have no expertise in art, and I've not tried my hand at painting since kindergarten. But I'm an avid art enthusiast and go to museums every chance I get. I love finding places where my interest overlap and I can start up conversations between artists. The Raeben connection was short-lived, but the ripple effects were massive.
Another terrific read. And a perfect way to look at the art of Dylan’s live performances, as always a new creation. It’s why seeing him play is always different, even if the list of songs is static. As I paraphrased Dylan’s Not Dark Yet when reviewing what came to be known as “the Set” a few years back, he may look like he’s standin’ still, but he’s movin’.
Thanks, Dave! I completely agree. He shatters those vases and rebuilds them anew night after night. Glad to see announcements of new shows coming in 2025. On the move again!
There is a Rabbi, Aubrey Glazer, in Dayton that has authored a book titled “God Knows Everything Is Broken” It might be five or six years ago that it was published.
I have not read it but I did participate very briefly that in a Zoom that he hosted last Spring. Seems like an interesting guy.
Very interesting point on the influence Raeben had, not only on the songwriting but also on the performing piece. This is evident in the many new arrangements of old songs that have been employed for at least the last two decades.
Exactly right, William. That was one of my big revelations while reading this book on Raeben, how his attitudes toward creating art made an enduring impact on Dylan's approach to performance.
I don't follow art criticism very closely, Steven. I keep my spade mostly in my Dylan row. But I think Retrospectrum was generally regarded positively, and Dylan's Deep Focus series (paintings of still frames from films) is especially interesting. Dylan has gotten much better as a painter--maybe too good?, Some skeptics think his penchant for stealing what he loves may have crossed over to painting. But however he accomplishes it, he's always a provocative artist.
Great to have this important relationship, Dylan and Raeben, better documented and then explored by someone with the critical knowledge of Dylan's art. The essay is a key reference point, but also a doorway to more deeply understanding Dylan. When I looked at the poet with no hands and thought of Raeben's advice--don't paint the vase--I wondered whether the painting contemplates the pain of someone with artistic visions but no way to get them down on paper (no hands--the student whose just walked in the door). The pain we've heard about before: And there's something on yer mind you wanna be saying, That somebody someplace oughta be hearin', But it's trapped on yer tongue and sealed in yer head, And it bothers you badly when your layin' in bed...And the poet and the painter far behind his rightful time...tolling for the tongues with no place to bring their thoughts...i saw 10,000 talkers whose tongues were all broken...i went to tell everybody but i could not get across...I have a head full of ideas and they're driving me insane... AND speaking of hands, we have Dylan's constant scribbling in A Complete Unknown, his many manuscripts on hotel stationary and napkins at the Dylan Center and finally "I'd dance with you, Maria, but my hands are on fire". This poet has hands, but, the poet standing before Raeben had not yet learned to paint.
That's a great interpretation, Peter. No hands = no capacity (yet) to express his art in this new medium. But the experienced Raeben does have that capacity, and so creates a painting for/about his novice student: "gives him a hand."
I'm curious if anyone ever interviewed Raeben about Dylan?
Good question, Lee. I haven't come across any interviews with Raeben about Dylan. Very few interviews with him on any subject are cited in the exhibition catalogue. He died in 1978, right at the time that Dylan was starting to credit him for creative breakthrough. The last in a series of unlucky breaks for, in Bert Cartwright's words, "The Mysterious Norman Raeben."
Absolutely loved this. Tevia, the main character in Fiddler on the Roof has a long prophetic dream sequence. I think the connection between Shalom Alechim, Raebens father is interesting as they are both seers of sorts. I just ordered a book that one of Raebens students wrote that has a series of his lectures and observations from his teachings. Maybe he had a vision of Dylan coming into his class and painted that. I have never seen that at the Center. Going in March.
Thanks, Julie! Excellent connections to Aleichem and Fiddler. I recently read that book you're referring to by Carolyn Schlam. I bet you'll love it--Rick Rubin for the visual arts. Enjoy your Tulsa homecoming!
I am fascinated by Raebens teaching method. It is like a dissolution of the senses sort of like Rimbaud. I am back in my own studio after 45 years. I have been thinking specifically about his lecture on The Object. Having a visual way into Dylan’s writing style is helpful for me. I still have a disconnect with his large film still paintings which seem to come from a different place than Raeben. What’s your thought about that?
The Carolyn Schlam book is interesting. It is completely on point with Rick Rubin. Do you know if you can purchase the Raeben catalog or is it only available as a pdf?
Hope to see you in July.
Back in the studio after 45 years--that sounds like a conversation worth having in Tulsa, Julie. I find Dylan's large film still paintings interesting, but in the same way I'm drawn to Edward Hopper paintings. The approach and the fidelity to reproducing the original (with minor variations) doesn't seem like the kind of work Raeben made or taught. But maybe there's a comparison point with Dylan's folk covers, taking a pre-existing form and putting your own twist on it. Something intriguing going on with movement and stasis, too, turning film into painting. "I know it looks like I'm moving, but I'm standing still." (I've only seen the catalogue in pdf.) See you this summer, Julie!
Just was thinkin about you Graley, just wanna say you're great!
Who, me? No, you--you're great! I'm so looking forward to being on the 80s panel with you in Tulsa this summer, Rebecca. Your warm wishes will help get me through another snowy day here in Cincinnati.
Love this, Graley. And you do a great job with "The Poet with No Hands"--seems like the beginning of something. This is the quote rattling around my brain, though: "I went home after that and my wife never did understand me ever since that day." I don't recall seeing this one before. A lot to ponder here with him, of course, as well as that entire period/relationship and, ultimately, the role of art.
Glad you liked it, Court. I find this subject fascinating. I have no expertise in art, and I've not tried my hand at painting since kindergarten. But I'm an avid art enthusiast and go to museums every chance I get. I love finding places where my interest overlap and I can start up conversations between artists. The Raeben connection was short-lived, but the ripple effects were massive.
Another terrific read. And a perfect way to look at the art of Dylan’s live performances, as always a new creation. It’s why seeing him play is always different, even if the list of songs is static. As I paraphrased Dylan’s Not Dark Yet when reviewing what came to be known as “the Set” a few years back, he may look like he’s standin’ still, but he’s movin’.
Thanks, Dave! I completely agree. He shatters those vases and rebuilds them anew night after night. Glad to see announcements of new shows coming in 2025. On the move again!
There is a Rabbi, Aubrey Glazer, in Dayton that has authored a book titled “God Knows Everything Is Broken” It might be five or six years ago that it was published.
I have not read it but I did participate very briefly that in a Zoom that he hosted last Spring. Seems like an interesting guy.
Very interesting point on the influence Raeben had, not only on the songwriting but also on the performing piece. This is evident in the many new arrangements of old songs that have been employed for at least the last two decades.
Exactly right, William. That was one of my big revelations while reading this book on Raeben, how his attitudes toward creating art made an enduring impact on Dylan's approach to performance.
Good article with more detail about this relationship.
Any idea how Dylan’s art is viewed by the art world?
I don't follow art criticism very closely, Steven. I keep my spade mostly in my Dylan row. But I think Retrospectrum was generally regarded positively, and Dylan's Deep Focus series (paintings of still frames from films) is especially interesting. Dylan has gotten much better as a painter--maybe too good?, Some skeptics think his penchant for stealing what he loves may have crossed over to painting. But however he accomplishes it, he's always a provocative artist.