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Art

Model Ruler

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Painting by Nicolas de Largilliere, 1714/15

On this November 8, 2016, let’s explore what a model ruler looks like. I am thinking of August II the Strong, (1670 – 1730,) extraordinary patron of architecture and art. (Yes, I know, climate change, racial and economic equality, immigration and the shaping of the law are all high on the list. Hear me out.) He practically founded Dresden, a center of German culture for 100s of years, he created the famous porcelain manufacture of Meissen, he opened the first public museum in Germany, the Green Vault, and later a collection that can now be found in the Old Masters Gallery. He understood that art has a special role to play in influencing who we are, how we see the world, and what values matter. In this sense, it interacts with all other political actions, however tangentially.

He became King of Poland not once, but twice – complicated war and succession history and not entirely to the advantage of that country. But overall, he was as big in his regal (not physical) way as he was strong (- although in the end he suffered from diabetes and died at 252 pounds…).  He loved to build, to collect, to support artists as well as the arts, his tastes somewhat influenced by extensive travels around the continent, particularly France. And he wore pant suits….

 The photograph I took of a Polish man who stood still in costume first reminded me of a Prussian valet from one or another court – as depicted here by Georg David Matthieu, Kammerdiener Johann Völler, Oil on wood, flat stand-up. Sammlung Herzogliches Haus Mecklenburg-Schwerin. (I could not get the date, alas.)ksl_apt_16_1_021

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But then I thought he really could be a descendant of August II, particularly in light of the fact that the latter had between 360 and 385 children – yes, you read that right. One single one legitimate. Many acknowledged with their respective mothers being given special status in the aristocracy of Saxony and elsewhere. In any event, if you look at the mouth and nose particularly of the later portrait, you can see some resemblance to the street artist. At least I did.

And here are some views of his palaces in Dresden, but none of Meissen porcelain since it is just too overboard.

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However, here is a Dresden milk and cheese shop that is tiled by Villeroy and Boche, and one of the biggest tourist attractions…. img_2832

Let’s hope then, that tonight we have a president for whom August II would join us in cheering. Man, let’s pray.

 

On the Eve of the Election

And now we wait.

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All arguments (or the absence thereof) have been offered, inspected, weighed, and, one fears, often dismissed.

A wonderful painting by Richard Caton Woodville, Politics in an Oyster House  (1840), shows how that went on in the 1840s :

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From the Walters museum website:

Woodville adopted the subject of newspaper reading seen in works by his Düsseldorf contemporaries Johann Peter Hasenclever and Wilhelm Kleinenbroich, placing it in a distinctly American interior, described by a contemporary critic as “one of those subterranean temples devoted to the immolation of bivalves . . . vulgarly known as oyster cellars.” After their meal, the younger of the two figures, bearded and wearing his top hat indoors, leans across the table, counting arguments off on the fingers of one hand and clasping the newspaper that fuels his opinions in the other. The older man, balding, ruddy-faced, and red-nosed, warmed by the liquor in his half-empty glass, looks out with amusement at the viewer. The booth in which they are seated, with its red privacy curtain pulled aside, creates a shallow proscenium stage for this scene of intergenerational argument. The characters are engaged with the politics of their time, on which Woodville, characteristically, takes no stand.

Woodville exhibited a copy of this work with the title A New York Communist Advancing an Argument to some acclaim at the Royal Academy in London, where he was then resident, in 1852. A woodblock print of the painting illustrated the review of the exhibition in The Illustrated London News, which called it “a spirited little piece . . . of more than ordinary merit.” The lithograph of the picture, produced by Fanoli, printed by Lemercier, and distributed by Goupil & Co. included a “dedication to John H. B. Latrobe, Esq.” (see fig. 38 and checklist no. 21). It was offered in a full-page advertisement, along with several prints after works by William Sidney Mount, in the December 21, 1850, issue of The Literary World as “a most exquisite representation of American politicians.”

And here is the contemporary ending of that argument:dsc_0442-copy

(from a rehearsal by the Jewish Theatre Collaborative – oh how I miss them!)

Let us hope that the social realistic art of Ben Shahn, depicting a demonstration in 1933, does not presage the next couple of days, months or years… ben-shahn-demonstration-1933

 

Post, modern?

Some posts are art.

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Or were made into art.

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Some posts hold art. Or what goes for it in a post modern world.

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If you want to see some truly amazing glass art instead, look no further than here:

https://urbanglass.org/glass

This magazine keeps up to date and has smart articles on the current glass scene – including the upcoming closure of a Portland Landmark at N Kerby St: Uruboros. The owner has decided to call it quits next year because of the trouble with new safety legislation, gentrification’s effect on rent, and his own advancing age. He will be sorely missed.

Passing the Word

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Fall is the time for birds passing through on their southward migration. If you want to see some of them all you have to do is come to the Open House on October 23rd and 30th, at the Re/Max building on NE Broadway. I have 5 works  – landscapes with birds – in the group show which is a fundraiser for an organization that helps abused teens and children. Mark your calendar!

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Passing by

Today’s thoughts revolve around the fact that we so often pass by some art or marker without really noticing it. It’s not that they are in some transitional state – instead, we are, running from point A to point B in our daily lives, our attention captured by more spectacular things, or given over to everyday time pressures.

Here are three examples of what I mean, all taken from travel experiences, where time was not an issue, but attention magnets in the surroundings, instead.

Massa Marítima is a 13th century town in the metalliferous hills of western Tuscany. Tourism thrives there because of the traditional beauty of the old town, a glorious cathedral and a single astonishing fresco that was discovered some years back when a building was torn down: a phallus tree. (Reflection in the photograph because the fresco is kept safe behind plexiglass during renovation.) The small marker that commemorates the hard lives and deaths of the miners that brought the town its riches through iron, mercury and copper mining, goes unnoticed.

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Bamberg is a southern German town, a UNESCO world heritage site, with marvels of architecture, located in beautiful Franconia. The small marker commemorating Jews and resistance fighters tortured and killed by the Nazis is located in a corner of an otherwise eye-catchingly decorated town hall. How many people walk by it, blindly, every day, not even wondering about the strange swastika-like emblem overriding the human forms? dsc_0119

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The Spui is a graceful little square in the center of Amsterdam. People walk and bike across, hang out in outdoor cafes or wait for the bus. The fact that there are three sculptures by one of the founding giants of Postminimalism’s conceptual art, Lawrence Weiner, goes unnoticed. In fact people are walking on top of and across the small open books that are inscribed in three different languages. https://en.wikipedia.org/wiki/Lawrence_Weiner

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I guess we can all think of public art we walk by here in PDX, not giving it a second thought….

Transitions

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Not all passages lead to a better place – some just send you back to where you came from… such was the fate of Wilfredo Lam, the Cuban Picasso, when he escaped Europe in a cargo vessel in 1940, together with multiple other artists and intellectuals fleeing the Nazis. The US denied him entry – whether for racist reasons or the mundane fact that he was acitizen of a neutral country – Cuba – and thus not eligible for refugee status, who knows.

Point is, that he had to return to Cuba and later chose to live out his successful life and career in Europe. And so it is a European museum, the Tate Modern, that mounts a major retrospective of his work.

dsc_0673The first review, below, struck me with the sentiment of the last sentence – “Perhaps it is time to remind the Americans that there is knowledge to be had beyond the fences they are trying to build. ” Note we are now all seen in that deplorable basket of ignorants, a generalization frequently encountered when I talk to my friends abroad in the context of this election season. Outcome of a freakish election season.

http://www.independent.co.uk/arts-entertainment/art/reviews/the-ey-exhibition-wifredo-lam-tate-modern-london-review-cuban-artist-painter-pablo-picasso-andre-a7307626.html

Wifredo Lam: the unlikely comeback of the Cuban Picasso

 

screen-shot-2016-10-03-at-2-36-58-pmLam’s most famous painting is called The Jungle. I think it is a terrific example of mind blowing transitions within a piece of art. The melding of figures, landscapes, botanical and cultural elements and a claimed state of mind works seamlessly, drawing you ever deeper in.

http://www.moma.org/collection/works/34666

On my way home

· Washington, D.C. ·

Time to return home from my imaginary travels, but not without a layover in Washington D.C. The African American Museum will be opening soon, after what, 100 years in the making?

http://www.npr.org/2016/09/15/493909656/mission-of-african-american-museum-writ-large-in-its-very-design

The building looks spectacular, from what I can discern in the various articles published about it. The external, intricate ironwork that forms a diaphanous lattice reminds me of the Institut du Monde Arabe in Paris – that museum is stunning as well.

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Here are some critical thoughts by expert Mario Gooden, a principal of Huff + Gooden Architects and a professor of practice at the Graduate School of Architecture, Planning and Preservation (GSAPP) of Columbia University where is also the co-director of the Global Africa Lab (GAL), to be contemplated after the intense days of the opening are over.

http://www.averyreview.com/issues/6/african-american-museums

I chose portraits of the next generation, the treasures among us, for today’s features – may they grow up into a world that sees ever diminishing racism.

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London Calling

· London, GB (and the website is still not working to notify properly - patience!) ·

Back on a plane to London to make it for what looks like a fascinating conference on architecture and art, both of which I like to photograph, of course.

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Chicago

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Berlin

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NYC Highline

https://www.friezearchitecture.com/home

How can you not be curious about a conference announcement that describes the meeting location, London’s Royal College of Physicians, as a spectacular example of British Brutalism? The array of speakers is promising and a year that has seen the passing of some stellar architects, I’m thinking Dame Zaha Hadid, for example, calls for deeper understanding of the subject.

Since I won’t have much time for the city per se, I’ll check out the treasure trove of the best photographs of London here:

http://www.timeout.com/london/art/the-40-best-photos-of-london-ever-taken

And then off to Alison Jacques for the Dorothea Tanning exhibit. I adore this woman from afar, a self taught artist, who managed not to be oppressed in her long marriage to Max Ernst (he divorced Peggy Guggenheim), a painter who took up writing poetry in her eighties. She was born in a small town in Illinois, moved around the country, then around the world, a global citizen. Held her own amongst the luminaries of the day, including Ernst, of course, Man Ray, Henri Cartier-Bresson and Dylan Thomas. I was artistically influenced by Ernst, Becker-Modersohn and Nolde – but if I had to chose a life to emulate, it would be one like Tanning’s.

http://www.timeout.com/london/art/dorothea-tanning

One of my earliest montages contains her portrait set against Ernst, whose misogynist work Une semaine de bonté I was fascinated with at the time. If you look closely you’ll find her portrait twice (once as a warrior) and his portrait once (about to be pecked by the strutting rooster) in the montage.une-semaine-de-bontemax-ernst

 

Boarding for Berlin

· Berlin, Germany ·

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 Northern Chile, 1975

If I hurry, I’ll make it in time to Berlin to attend a concert with music by some of my favorite composers. The Berliner Festspiele/Musikfest Berlin had a line-up that would have had me there for almost every offering. Since I was still in Melbourne (theoretically,) I missed the concert last Monday that everyone talks about: Homage à Pierre Boulez played by Tamara Stefanovich and Pierre-Laurent Aimard on 2 pianos.

But I will, must make it to this one: http://www.berlinerfestspiele.de/en/aktuell/festivals/musikfest_berlin/mfb16_programm/mfb16_programm_gesamt/mfb16_veranstaltungsdetail_160365.php

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My collection has grown

https://www.youtube.com/watch?v=aDQE82ElyJg  Zappa

From the catalogue: “I used to love putting little black dots on music paper”, wrote Frank Zappa in an accompanying text for a new edition of works by composer Edgard Varèse. Falling under the guise of self-deprecating understatements, it only serves to cache the ambition that always drove Frank Zappa. The striving for recognition of his compository qualities, which he initially lived out in his rock music with a high degree of complexity while posing equally high demands on the playing technique of his musicians. Indeed, it all began with the record in question. It bore the number EMS 401 – and the title: “The Complete Works of Edgar Varèse, Vol. I”. And the cornerstone for a passion was thus laid, which accompanied him through to his death in 1993 at the age of only 53. Many people still regard this great ethnographer of American everyday life exclusively as a rock star – presumably because Asteroid 3848 is named after him. Yet as a gesture of genuine estimation it would be wise to forgo categorizations and other thought short-circuits. Blues and the music of experimental composer Edgard Varèse, jazz improvisations and pop platitudes all fused together in his vision of a new rock
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Imagine a lonely teenager stuck in a small German village, with the only pop radio station in the 60s that was available playing Abba and the Kinks, or some such. And then you discover Zappa, listening to the same record night and day, exploring musical genius and rebellious politics and parallels to so much classical music you had to rehearse on the piano for a decade or more (unless you are playing the darn cello for the dreaded family concerts….). And no one around you gets it. Proof, if still needed, that you’re weird. I’m still weird and I’m still traveling, but now public assessment of Zappa’s talent has caught up.
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Barge to Banksy

· Melbourne, Australia ·

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Next on my itinerary is getting from Seoul to Busan and boarding a freighter that will take me to Melbourne. http://www.freighterexpeditions.com.au/it-australia-to-china-via-south-korea  They only have two passenger cabins on board and you need to certify your physical and mental (!) health a month in advance, since there’s no doctor on board, just a first aid kit. Hm. A twenty day trip should not be so hard, camera in hand…..if necessary as a stow-away….

Just like Korea, Australia would be a first for me, but Banksy is not. And it looks like there will be a serious display of his art curated by his former agent (they have since parted ways under somewhat mysterious circumstances….)

https://www.theguardian.com/artanddesign/2016/sep/12/melbourne-bansky-exhibition-a-major-coup-for-city-says-mayor

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While in town, these shows would be worthwhile, given my interest in art about war,

http://www.thatsmelbourne.com.au/Whatson/Exhibitions/Art/Pages/ae69883f-ebf3-45ed-8cc1-1d0cb88b6f7b.aspx

http://www.thatsmelbourne.com.au/Whatson/Exhibitions/Art/Pages/ae1237c5-b209-4388-bc32-bb08e6d2b0bf.aspx my need to learn about aboriginal art, of which I know zero.

This show here is unfortunately over, but maybe I could get a catalogue and bring it home for my dance critic friend….. http://www.thatsmelbourne.com.au/Whatson/Exhibitions/Art/Pages/7f8c8bd8-c097-4db5-bb9f-a5683d884925.aspx

and then I would walk the streets of Melbourne hoping to find graffiti that is local and compare it to American, German, French, Turkish and Italian street art respectively.

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