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Ran Morrissett

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Mike Miller's Feature Interview is posted
« on: September 03, 2002, 11:50:59 AM »
Continuing to explore the similarities between golf course architecture and art, GCA.com is pleased to post a Feature Interview with L.A. based artist Brad, er...., I mean,   ;) Mike Miller.

Already well known to those who frequent this site via the Art & Architecture section as well as the past discussion threads stemming from the excellent (!) The Art of Golf Design book that features Mike's work and Geoff Shackelford's writing, Mike will be answering any and all questions that you care to pose re: the subject of golf paintings or painting in general.

Cheers,

PS There are several new paintings that have just been added to the Art & Architecture section - the one of the 14th hole at Pine Valley pre-tree growth might well be my favorite -what do you think of it?

PPS Actually, let's take a poll - between the paintings in the Art & Architecture section and those in the Feature Interview, which is your favorite? And more importantly, why?
« Last Edit: December 31, 1969, 07:00:00 PM by 1056376800 »

John_Conley

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Re: Mike Miller's Feature Interview is posted
« Reply #1 on: September 03, 2002, 12:08:35 PM »
Mike Miller was ROY with the Magic and Bull (later Pacer) Brad almost had his head taken off by O'Neal.  If someone watches too much basketball I can see them confusing the artist's name!
« Last Edit: December 31, 1969, 07:00:00 PM by 1056376800 »

George Pazin

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Re: Mike Miller's Feature Interview is posted
« Reply #2 on: September 03, 2002, 01:57:27 PM »
Picking a favorite is kind of like choosing your favorite child...nevertheless, my choice is PV #5, followed closely by Sunningdale's New 5th, then probably all the Cypress photos. I think I just like the composition of PV #5 the best, with the river going across.

The 2 coolest ones are probably the 6th at Royal North Devon & the big one of Cypress.

Kind of makes me feel inadequate with my tee shirt design... :)
« Last Edit: December 31, 1969, 07:00:00 PM by 1056376800 »
Big drivers and hot balls are the product of golf course design that rewards the hit one far then hit one high strategy.  Shinny showed everyone how to take care of this whole technology dilemma. - Pat Brockwell, 6/24/04

Geoff_Shackelford

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Re: Mike Miller's Feature Interview is posted
« Reply #3 on: September 03, 2002, 04:19:51 PM »
Ran,
My favorites tend to be those where you get to see an old golfing landscape in color, and in colors I believe to be pretty accurate (particularly where the turf isn't so lush). The early Pine Valley paintings (3, 5 and 14) are not only wonderful paintings but are so compelling because you get some sense of how colorful and stunning the course must have been when there were fewer trees (it's stunning now, so imagine when there was even more color and texture to see).

Sand Hills also seems to bring out the best in Mike, his painting of #17 there is probably still his finest effort (amazing it hasn't sold), particularly with Sand Hills' popularity. #6 at Westward Ho is right up there too. And I get to enjoy an early Cypress Point view daily that I never get tired of looking at! Oh, and Sunningdale #5 is pretty amazing in person too.

Again, in all cases, the feature I love most is seeing the multiple colors that work together so well and yet so subtly. That's something we don't see in modern golf where every course has such crisp, hard definitions, raw colors and just a lot less subtle color.  Basically, Oakland Hills as we recently saw it in the AM. What, 3 colors to the place? Dark Green, bright white and blue.

On a side note, Clock Tower Press now has the rights to The Art of Golf Design. I don't know what the price will be when they have their web site up and running, but the old Sleeping Bear Press had the book at half off, $32.50 on their web site up until their final day. It's certainly closer to the price Mike and I had hoped the book would sell for, and we feel it's a good deal at that price. They did a beautiful job on the production and I know they spent a lot, but $65 was just too much...
Geoff
« Last Edit: December 31, 1969, 07:00:00 PM by 1056376800 »

brad_miller

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Re: Mike Miller's Feature Interview is posted
« Reply #4 on: September 03, 2002, 04:43:24 PM »
Mike, what was your first golf landscape? What pictures and what holes are on the drawing board?

To all, Much of Mike's work is can be purchased in 2-3 size of limited prints which make wonderful gifts and artwork for the home or office.
« Last Edit: December 31, 1969, 07:00:00 PM by 1056376800 »

Mike Nuzzo

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Re: Mike Miller's Feature Interview is posted
« Reply #5 on: September 03, 2002, 08:45:52 PM »
I'd like to purchase and put in my office "The 3rd at Fox Hills West Course, Dusk, c. 1933"
Great bunkering, nice composition, great setting, great sky and I'd feel like I was there looking at it all day.
(For a great composition I'd like a fairway bunker in the foreground, and reverse the ratio between the ground and sky, but I obviously have no idea what I'm talking about.)

The large 13th at CPC is my favorite architecturally speaking, duh!

Will BarneyF choose the flower still life?
« Last Edit: December 31, 1969, 07:00:00 PM by 1056376800 »
Thinking of Bob, Rihc, Bill, George, Neil, Dr. Childs, & Tiger.

Tom MacWood (Guest)

Re: Mike Miller's Feature Interview is posted
« Reply #6 on: September 04, 2002, 05:37:00 AM »
Mike
Excellent interview.

It appears that you alter your style slightly in some of your paintings or incorporate a particular character/flavor into some. Is that conscious decision, and if so what factors go into that decision. The 18th at Crystal Downs is one that stands out to me, it has a Van Gogh-like quality.


Which artists have had the most influence upon you?
« Last Edit: December 31, 1969, 07:00:00 PM by 1056376800 »

Dunlop_White

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Re: Mike Miller's Feature Interview is posted
« Reply #7 on: September 04, 2002, 08:38:03 AM »
Mike:

Question: I have been including alot of digital photographs to support my "underground" literature  8) and have found that you are correct: the best views are not necessarily from the tees or from the middle of the fairways. The best views are from the peripheral angles that the very high handicappers attempt to play from. Who knows, there could be a relationship!

However, the very best views in my opinion are taken from an entirely different hole, especially on courses which boast sweeping vistas. I just love these perspectives!

As far as your artistry, I also enjoy the shaddow effects presented by the broad, uneven fairways with hummocks as portrayed of #6 of Westward Ho. Cape Breton and many natural landscapes in Scotland and Ireland possess comparable native ground contours.

Also, the visual contrasts of texture and color at Sand Hills is gorgeous!

Plus, I really think your historical perspectives of these holes are magnificent. I also thank you for the collaborations which you and Geoff Shackelford have put together.

Great interview! We thank you and Ran. The feature interviews are always a treat!

Dunlop

« Last Edit: December 31, 1969, 07:00:09 PM by -1 »

brad_miller

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Re: Mike Miller's Feature Interview is posted
« Reply #8 on: September 04, 2002, 08:51:02 AM »
Dunlop, that's a great point, how about Shinnecock Hills from the 14th tee looking down and west (at dusk) and or Prairie Dunes from in back of the 9th green with #'s 8, 1 and 4 in view, much like the picture in Ran's profile, (1st one)
« Last Edit: December 31, 1969, 07:00:00 PM by 1056376800 »

mgm

Re: Mike Miller's Feature Interview is posted
« Reply #9 on: September 04, 2002, 10:19:50 AM »
Brad - The first hole I painted was #16 at Cypress Point, for a commission, but the one that got me into golf landscapes, as a regular subject matter, was "The 6th at Riviera, before Opening Day c. 1926", that was used for the cover of Geoff's book, "The Captain".
    Coincidentally, I'm at present, doing a comtemporary view of the same hole for a Riviera member. And, also a painting of Geoff's new course, "Rustic Canyon", involving a side view of #13.

Tom MacWood -  On the Crystal Downs #18, that foreground is, you are quite correct, a concious Van Gogh stylization. I just felt that the high native grasses would be interesting that way, instead of, possible boring if attempted to be portrayed too realistically.  It does seem to generate some interest, at any rate.
     Artists that most influence me are mentioned to some degree in the bio., but, not uncoincidentally, they are 19th Century painters, on the whole. Like the "Golden Age" architects, they come from a time and mentality that held  cultural values that I most admire. These were very well schooled, very talented, very intelligent, very diligent applicators of the Arts. It is, therfore, no surprise to me that much of current golf architecture, it's practioners lacking the aforementioned qualities, has gone the way of much of contemporary art.  Fortunately, course architecture still has some most capable practictioners, and I am thankful. My training is strictly 19th Century. I hope to do it justice.

Mike Nuzzo -   For information on that Fox Hills painting, in print form, you can contact Taba Dale at Scottsdale Collection. Her number is 301 765 0074, or call me at 310 836 5202.  The painting was used for the cover of Daniel Wexler's book, "Missing Links", by Sleeping Bear Press. .You're comments on compositon are (how can I say this politely?),  interesting.
« Last Edit: December 31, 1969, 07:00:00 PM by 1056376800 »

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