“ You have to makeyour life a work of art. ”“你必須讓你的生活的藝術作品。”
鮑勃Branaman 詩人畫家版畫家
當朱莉婭·古德曼聽到KLEA和我做一趟下來到洛杉磯，她告訴我們，我們絕對必須去看望她的朋友鮑伯。 Well, we took her word for it, and withoutknowing too much about him we headed over to his place in theneighborhood of Sunset Park in SantaMonica.好了，我們把她的話，並沒有太多瞭解他，我們領導交給他的日落公園附近的地方在聖莫尼卡。I'm gladwe followed Julia's suggestion because it led to an afternoon fullof Bob's wild stories, hilarious one-liners, hard-won lessons, andheartfeltmemories.我很高興我們跟隨Julia的建議，因為它導致了一個下午充滿了Bob的荒誕故事，搞笑的俏皮話，來之不易的經驗教訓，並衷心的回憶。Bob is aBeat Generation poet, printmaker, and painter who also dabbled in abit of filmmaking, and though he's now 78 years old he continues tomake innovativeart.鮑勃是一個垮掉的一代詩人，版畫家和畫家誰也涉足了一下電影製作的，雖然他現在78歲的他繼續作出創新性的藝術。Over theyears he has created an extensive body of work, and he's got aconverted garage studio filled to the gills to proveit.多年來，他創造的工作進行了廣泛的身體，他有一個轉換的車庫工作室裏堆滿去鰓來證明這一點。Klea andI got along with Bob like a house on fire— maybe it's because weboth grew up in iconoclastic, bohemian families of that generationso Bob instantly felt familiar, maybe it's because his joie devivre is contagious and inspiring, or maybe it's simply becausehe's a 我與鮑勃相處就像着火的房子，也許是因為我們都成長起來的那一代反傳統的，放蕩不羈的家庭，讓鮑勃瞬間感到熟悉，也許是因為他的生活樂趣是會傳染的，鼓舞人心，也許它只是因為他是一個ladykiller。Seriously, I'm not joking— Bob has a way with thelasses.
説真的，我不是在開玩笑，鮑勃具有與少女穿着的方式。 At theheart of each of Bob's stories, and much of his work, is always awoman.在每個鮑勃的故事，他的大部分工作的心臟，永遠是女人。 At one point in our conversation, he summed it upnicely and said, “I love theladies.在我們的談話一點，他總結得很好，説：“我愛女人。 I can't help it.我不能幫助它。It'swhat turns me on.” The women that Bob has known and loved havefunctioned in many ways asmuses;這就是原來我對“鮑勃已經熟知和喜愛的婦女運作在很多方面為繆斯。 they've influenced, provoked, and inspireddifferent phases of work, and that is something Bob seems towelcome.他們已經影響了，激怒，並激發工作的不同階段，那是後話鮑勃似乎歡迎。Hangingout with him was a bit like falling down a rabbit hole and landingsmack dab into the heyday of the Beat Generation— he's got so manybooks, zines, art pieces, letters, and photos from that timeperiod, and for every single thing he showed us, he told a story togo along withit.掛了他是一個有點像倒下一個兔子洞，然後登陸嫌民建聯進入鼎盛時期垮掉的一代，他得到了那麼多書，zines的，藝術作品，信件和照片從那個時間段，併為每一件事情他向我們展示，他講了一個故事來與它一起去。Bob isnot just an artist of the Beat Generation and its legendary scene,he has also become a meticulous and worthy archivist, chronicler,and timekeeper of that era, and because he has outlived many of hiscontemporaries, he is one of the few remaining voices of one of thelargest cultural movements of the twentiethcentury.鮑勃是不是垮掉的一代的只是一個藝術家和它的傳奇一幕，他也成為了細緻，值得檔案保管員，編年史，和那個時代的計時員，因為他已經失去了他的許多同時代的，他是僅存的一二十世紀最大的文化運動中的一個聲音。Yup, itwas a pretty epic studio visit, one I won't soonforget.是啊，這是一個非常史詩的工作室參觀，一個我不會很快忘記。
當別人問你什麼你“做”，你怎麼回答？
I tellthem I am an artist, and that I sometimes help teach silkscreenclasses at Santa Monica College.我告訴他們我是一個藝術家，我有時幫絲印教課在聖莫尼卡學院 。 Through the years there have been manyanswers.這些年來已經有許多的答案。 I paint houses, I make movies, I teachmeditation, etc.我畫的房子，我拍電影，我教冥想等
你有一天的工作？ What is it?這是什麼？ What does it mean to you?是什麼意思呀？
Notreally, though I do still sometimeswork.不是真的，雖然我有時仍然會正常工作。 At 78, I am retired. 78，我退休了。
做你的工作有什麼媒介？ How would you describe your subjectmatter? 你會如何形容你的題材？What themes seem to occur/reoccur in yourwork?似乎什麼題材發生/再出現在你的工作？
Painting, printmaking, Etching, lithography,silkscreen, assemblage, andsculpture.繪畫，版畫，蝕刻，平版印刷，絲網印刷，裝配，和雕塑。 I want to start working with wax and plaster onsome things.我要開始對一些事情蠟和石膏的工作。 My biggest problem isspace.我最大的問題就是空間。
現在，我做了兩個人的節目叫“ Kablooie ！“和它的所有當前的新聞與圖片來自互聯網的佔領運動，婦女權利，阿拉伯之春。I havealways done work with themes that involve oppressed people, likethe Native American Indians, the artist, women, the homeless, anydisenfranchisedpeople.我一直做的工作，涉及被壓迫人民，像美國土著印第安人，藝術家，婦女，無家可歸者，被剝奪權利的任何人的主題。Mypaintings are more abstract and have themes like “purple mist,”“summer love,” “blue series,”etc.我的畫是比較抽象和有主題，如“紫霧”，“夏日傾情”，“藍色系列”等。
你如何知道你已經來了嗎？
When thecar stops?當汽車停止？ I would also like to sell and exhibitmore.我也想賣，並表現出更多的。 I'd like to sell more to afford a bigger studioand materials for work.我想賣更多的負擔更大的工作室和材料的工作。
Are you involved in any upcoming shows orevents? 你在任何即將到來的表演或活動參與？Where and when?何時何地？
I wasjust in MOCA 's silent auction, “ FRESH,” on GrandAvenue.我只是在MOCA的無聲拍賣，“ 新鮮 ，在盛大大道“。 The show was up for a week of viewing and then onSaturday March 24th they had theauction.該節目是了一個星期的觀察，然後在週六3月24日他們的拍賣。 My work was from my “Violet Mist” series and itsold.我的工作是從我的“紫色薄霧”系列，並將其出售。 And then I will be in the show “ Kablooie!!! ”with fellow artist Todd A. Smith at Beyond Baroque on April 7th,2012.然後我會在節目“ Kablooie！！“與其他藝術家託德·A·史密斯在超越巴洛克4月7日，2012。
什麼是你正在閲讀，聽或看，以推動你的工作？
我讀每天至少一個小時。 I usedto read five or six magazines, but now I only look at The NewYorker and Art in America and some photographymags.我以前讀五六雜誌，但現在我只能看看紐約客和藝術在美國和一些攝影彈匣。I justfinished the The Girl Who Kicked the Hornet's Nest , thethird Stieg Larsson book.我剛剛讀完這是誰踢了大黃蜂的巢，第三斯泰格拉爾森的書的女孩 。 I read Haruki Murakami (I'm just finishing his1Q84 ), Michael Conley and mystery, crime, and spy stuff—I don't know if it really fuels my work, but I think of it all asmywork.我讀村上春樹（我只是在整理他的1Q84），邁克爾·康利和神祕，犯罪和間諜的東西，我不知道這是否真的燃料我的工作，但我認為這一切是我的工作。Whetheryou're walking in the park or shopping at the store, you shouldmake it all art;無論您是在公園裏散步，或在商店購物，你應該讓所有的藝術;it's notjust when you are painting or making someartwork.它不只是當你畫或做一些藝術品。 You have to make your life a work ofart.你必須讓你的生活藝術品。
我聽爵士樂，流行，古典，和收音機。 I likealmost all music with the exception of some country andrap.我喜歡幾乎所有的音樂，除了一些國家和説唱。
什麼是藝術創作，你如何處理它們你最大的挑戰是什麼？ How do you navigate the artworld? 你怎麼定位的藝術世界？
缺乏資金和空間。 Inavigate the art world very poorly and I'm trying to get over mycontempt for the wholeprocess.我瀏覽了藝術世界很糟糕，我試圖讓我多鄙視的全過程。 I feel a lack of acceptance in the art world, andI'm trying to overcome my feelings of being leftout.我覺得缺乏接受的藝術世界，我試圖克服自己的感情被冷落。 Sour grapes are not very attractive, so I'mreally attempting to do away with negativefeelings.吃不到葡萄説葡萄酸是不是很吸引人，所以我真的試圖用消極的情緒做了。
什麼是有一個物理空間，使藝術的均值為您的過程，你如何讓你的工作空間？
I amvery grateful for the space I have.我非常感謝我的空間有。Thehouse, my garage studio, and I have lived here together for 20years.這所房子，我的車庫工作室，我在這裏一起生活了20年。 I do some work at school and sometimes I work outof a print studio like John Greco's Josephine Press.我做了一些工作，在學校裏，有時我工作了像約翰·格列柯的打印工作室約瑟芬出版社。 I ran the weekly workshop there for nine yearsand worked there.我跑了每週車間有九年，在那裏工作。 John published some of myprints.約翰發表了一些我的版畫。
是否已出現轉變或改變你的生活或工作，已導致你正在做什麼呢？ Do you see your work as autobiographicalat all? 你看到你的作品為自傳呢？
My workshifts when I move— like in 1951 I moved from Kansas to SanFrancisco.當我移動，就像在1951年我搬到堪薩斯舊金山我的工作班次。 In 1963 to Big Sur, in 1971 to New York City, andagain my work shifted when I joined The Arica School (ofmeditation) in 1971, and then after my wifedied.在1963年到大蘇爾，在1971年到紐約市，並再次我的工作轉移時，我加入了學校的阿里卡（冥想）於1971年，再經過我的妻子死了。Each newgirlfriend, each trip, like back to Big Sur every year or so,brings on newwork.每一個新的女朋友，每次出差，想回到大蘇爾每一年左右，帶來了新的工作。
有什麼事你當前正在使用，或者是興奮的開始，你能告訴我們什麼呢？
我剛剛完成了海報邁克爾·麥克盧爾的80歲生日和詩歌朗誦在超越巴洛克文學/藝術中心 。 I am also artist-in-residencethere.我也是藝術家駐在那裏。 I made a poster for another recent event atBeyond Baroque celebrating the works of JackKerouac.我做了一個海報，再創近期事件在超越巴洛克慶祝傑克·凱魯亞克的作品。I'm alsodoing some landscape paintings (some with squares that evolved frommy last series, specifically a painting called, “VioletMist”).我也做了一些風景畫（有的用正方形，從我的最後一個系列發展而來的，特別是一幅畫叫“紫霧”）。They aregoing to be called “Mother Earth” and will be part of an April showat Beyond Baroque.他們將被稱為“地球母親”，將是四月的表演超越巴洛克的一部分。I have awhole sculpture series planned for spring— the materials are bee'swax, wood, concrete, plaster and bailingwire.我有一個整體的雕塑系列計劃於彈簧的材料是蜂蠟，木，混凝土，石膏及想逃線。I woulddo more of this kind of work, but I don't have anywhere to store ormake it.我會做更多這樣的工作，但我沒有地方存放或做出來。
什麼是你最值得驕傲的？
Mychildren, that I still love life and get “hi,” and that I'm happydoing my work.我的孩子，我仍然熱愛生活並獲得“喜”，而我很高興做我的工作。
What do you want your work todo? 那你想你的工作怎麼樣？
Uniteand bring spiritual light to thebeholder.團結起來，把靈性之光的旁觀者。 Sometimes I laugh making it, and I hope some geta laugh out of seeing it.有時我笑做它，我希望得到一些笑出來看到它的。I wouldalso like it to sell and beexhibited.我也喜歡它出售，而展出。
What advice has influencedyou? 有什麼意見影響了你？
Don'tlisten to everyone.不要聽每一個人。 You have the right to choose whom to listento.你要選擇誰聽的權利。 And thatI am only going to be happy doingartwork.而且，我只打算要快樂做藝術品。
儘管沒有一個網站，你可以找到鮑勃在全球網絡。 Here aresome links:下面是一些鏈接：
“Who theHell is Robert Ronnie Branaman?”“到底是誰羅伯特·羅尼Branaman？”
Beats inKansas: The Beat Generation in the Heartland在擊敗堪薩斯州：垮掉的一代在中心區域
Bob hasbeen toying with getting a web page or two up of his work, but thathas not yet happened— mostly because “the right person has not comealong” to help himout.鮑伯一直在玩弄得到一個網頁或兩個了他的工作，但是這並沒有發生，主要是因為“對的人還沒有到來”，以幫助他擺脱困境。At thispoint, he says he “just doesn't have the tolerance for the learningcurve of doing itmyself.”在這一點上，他説他“只是不具備寬容做我自己的學習曲線。”
We thinkBob should have a proper website that showcases his tremendous bodyof work!我們認為鮑勃應該有一個正確的網站，展示了他巨大的工作的身體！
夢想與現實之間的磨合讓我讀懂很多生活的語言，風雖改變了方向，卻沒有改變我的行程-----
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