Viking_Yearbook_68

40 "An artist ought to be and is sensitive to what's happening now. Artists are like aerials if they're good. "I 'm interested in living a life of gen– teel poverty- while my pocketbook may not expand, I hope that my vision will be ever expanding. My real career interest is painting, and I see everything else in that context. I'd like people to see my work, but I feel it's more neces– sary to do the work. " One problem I find is that with times so critical- politically and socially- it disturbs my concentration. I don't want not to be involved, to shut myself in an ivory tower. For an example, Botticelli suffered severely from the religious un– rest in Florence in the 1490's. Sometimes he burned his paintings. His paintings were full of wild gestures. The influ– ences were evident. " When people are upset, it shows. These tensions are affecting my work. I'm not sure how, just now, maybe two months from now. There is a definite tension in my approach, an awareness of crisis." Harold Johnson is finishing his second year at Portland State after leaving Port– land University with a bachelor of fine arts in English and is now working to– wards his masters. He and his wife live in the Southwest area in what Harold calls a " regular irregular home. " " I wish I had more time for Art His– tory ; it's been sort of a revelation since Kimbrell returned from Sabbatical. I think I've learned more in Art History than in painting and drawing- how cur– rent movements fit into context. And Dr. Kimbrell is able to give a wide back– ground that provides a context. "