Favorites in the de Young: Edwin W. Dickinson, "The Cello Player"

Edwin W. Dickinson
American, 1891 - 1978
The Cello Player, 1924 - 1926
oil on canvas
60" x 48 1/4"
DeYoung Museum
photo by Gregg Chadwick

"Dickinson is not a name that carries instant recognition outside the circles of art historians and artists. He spanned (1891 - 1978) a period in American art history which jumped from academic Realism to Cubism and Abstract Expressionism and through all of these changes he retained his own style, pausing here and there to prove that he was thoroughly informed by all the new schools in the arts while continuing his mission as a representational artist. His studios were in New York and in Cape Cod and it is here that he observed and painted the world as he saw it. Some of his canvases took years to complete."
-Grady Harp

A Museum for San Francisco & the Americas

by Gregg Chadwick

Olmec Sculpture
photo by Gregg Chadwick

"In 1862 plantation workers in Huaypan, Veracruz, thought that they had found a large overturned iron kettle buried in the ground. Believing that it might hide a cache of gold, they dug -- and dug -- and dug, eventually revealing a colossal stone portrait head. This was the first Olmec sculpture to be discovered in Mexico. It would be nearly 70 years before a number of extraordinary objects of jade and stone were to be seen as stylistically related and of a culture which nobody had known. That culture was arbitrarily named "Olmec" for the peoples who, at the time of the Spanish conquest, had inhabited the region where the first head had been found."
- Gillett G. Griffin, from the catalog eesay for "The Olmec World: Ritual and Rulership" exhibited at The Art Museum, Princeton University in 1996.

The Fine Arts Museums of San Francisco have a new building to house the de Young museum and a new director to lead both the de Young and the Legion of Honor. Tyler Green in Modern Art Notes reveals that John Buchanan, current director of the Portland Art Museum, will step in for Harry Parker upon his departure from the FAMSF.

Greeting John Buchanan upon his arrival will be a powerfully sculpted stone Olmec head. This massive sculpture, on loan from the Mexican government, carries enormous metaphysical power that, in the autumn of this year, seems to bear portents of our future.

According to Gillett G. Griffin, from the catalog esay for "The Olmec World: Ritual and Rulership":

The Olmecs believed that the human body divided itself into three cosmic levels: the celestial, the terrestrial and the underworld.

The head represented the celestial realm which indicates that the colossal heads found in Veracruz were probably ancestral portraits depicting the exalted seat of the mind.

Kenneth Baker in the San Francisco Chronicle recently stated: "The implicit global reach of its collections makes a new conundrum for the de Young in an era struggling to think in planetary terms. As a museum focused on American art, the de Young inevitably tracked American art into the 21st century, where it has already begun to seem much less central to world culture than it did between 1950 and 2000."

I disagree with Kenneth Baker's forecast. John Buchanan, as did Harry Parker before him, needs to remember that a museum focused on American art should open up its definition of America. How often, we in the United States lay claim to two continents in our linguistic hubris by referring to ourselves as Americans while excluding the rest of the Americas that range from Canada through Mexico, Central America and South America to the tip of Tierra del Fuego.

The United States under the current regime is losing favor overseas. But San Francisco is a special city, whose culture and politics find favor in Europe, Asia and Latin America. Maybe the deYoung will be less a museum focused on the United States and more a museum focused on the Americas as a whole and the world beyond. It can only help that the Fine Arts Museums of San Francisco will have a broader, more global, focus in the future.

I suggest that Harry Parker on his way out and John Buchanan on his first day in, sit before this ancient Olmec head and listen for the portents that it brings.

Lee Mullican at LACMA

Lee Mullican
"Space"
40" x 50" oil on canvas 1951
Los Angeles County Museum of Art

"Mullican, like many other artists of his generation, was consumed with the question of how spirituality could be effectively represented in art. He had been stationed with the Army in Guam when atomic bombs landed on Hiroshima and Nagasaki, and, with thousands of other American soldiers in the Pacific, he was sent to occupy Japan immediately after.

Faced with the unprecedented potential for nuclear annihilation, and soon given the emerging truth about the Holocaust in Europe, matters of life's sanctity were pressing in the years following the war. Creativity itself held profound intrinsic value — and in a measure unmatched in American culture before. History had brought the world to the brink. Artists, many of them returned from the battlefields, reasonably surmised that a reconsideration of prehistory might provide a platform from which to start over."
- Christopher Knight, LA Times

I studied with Lee Mullican at UCLA. As the years have progressed it has become evident within my own work how Mullican's deep spirituality and profound humanism provided glimpses of an artistic path to follow. Lee Mullican cherished each living organism. His first hand knowledge of humanity's propensity for destruction set him on a path to create artworks that spoke not just of his own personal psychology. Instead, Mullican throughout his career grappled with the problem of creating art that limns our place in a larger universe.

This is a must see exhibition.

Lee Mullican
"Zen Walk"
42" x 14" oil on canvas 1955
Collection of Betye Monell Burton © Estate of Lee Mullican

More on Mullican:

Postwar Painter Seeks the Spiritual, LA Times

Lee Mullican in the LA Weekly

Lee Mullican in Artdaily

Phil Cousineau & Gregg Chadwick at Esalen

Gregg Chadwick
"Acadia"
48"x36" oil on linen 2005

Upcoming Workshop Weekend of December 2-4, 2005
The Painted Word: A Conversation between Word & Image
at Esalen,Big Sur

Phil Cousineau & Gregg Chadwick

"Painting is silent poetry, and poetry painting that speaks." — Simonides

For thousands of years, one of the profound mysteries of the human adventure has been the creative impulse. The urge to make new things, to leave our mark, to express ourselves, is essential to what makes us human. While most creative people focus on one art form, there is a venerable tradition, from Leonardo and Michelangelo to Picasso and Akira Kurosawa, that teaches creativity as one vast continuum with no real distinction between drawing and writing.

In this spirit, Gregg Chadwick and Phil Cousineau will use slideshows, film-clips, music, and discussion to explore the intimate relationship between words and images, as well as innovative writing, drawing and painting exercises to encourage fresh ways of seeing and expressing. The workshop will explore crossover techniques between the art forms, such as listening for the color of music while drawing, or sketching word colors while working on a poem. The goal is to marry words to images, text to paint, in order to see and feel in new ways.

Other themes include:
Play theory, visualization, and active imagination
Art and anxiety in a time of war and loss
Pursuit of excellence vs. pursuit of success
The role of mentors

This workshop is for artists, writers, musicians, dancers, filmmakers, as well as teachers, parents, coaches, psychologists, and business leaders—all who are fascinated with the creative adventure.
 
For reservations and more info see: The Painted Word
 
Address: Esalen Institute 55000 Highway 1, Big Sur, CA 93920-9616
Esalen's Fax: 831-667-2724
Reservations:
831-667-3005

Wunderkammer

by Gregg Chadwick

Lise Patt
"Traumbagger"

On Sunday, November 13, 2005, from 2-5 pm, a reception will be held at The Institute of Cultural Inquiry (ICI) at 1512 South Robertson Blvd in Los Angeles.

This special open house will borrow from the Renaissance “Wunderkammer” tradition—every usable surface of the Institute will be covered with projects created during the organization’s 15 year history.

Ole Worm's Wunderkammer (Cabinet of Curiosities)
Frontispiece from the 1655 catalog : "Worm's Museum, or the History of Very Rare Things, Natural and Artificial, Domestic and Exotic, Which Are Stored in the Author's House in Copenhagen."*


The Danish professor of medicine Ole Worm (1588-1654) believed that learning comes about through the observation of nature - "through empiricism and experiment" - and not just through the study of texts. Worm firmly believed that vision was the most trustworthy sense for investigations of our environment.

To explore these ideas, Ole Worm assembled a sort of museum or Wunderkammer (Cabinet of Curiosities) in his Copenhagen home. Filled with ethnographic specimens, skulls, stuffed animals, and the latest in optical and experimental devices, the early museum was both artwork and laboratory.

Many of the ICI projects on view during their "Wunderkammer" open house, focus on mechanisms of analysis that through time have become lost, forgotten or suppressed:

Melinda Smith Altshuler "Self Portrait"

Melinda Smith Altshuler, an associate at the ICI, discovers and recreates, almost like an artistic crime scene investigator, personal histories found in discarded memorabilia and cast off items from daily life. We are drawn into her artwork as if into another world. And we ask questions. What is this amber material on which these images hover? Is it a sort of paper or skin? Who are these people peering out at us from the past? What are they trying to tell us? But unlike the television investigators on CSI, when Melinda finishes her examinations, more questions, not less, remain. Melinda Smith Altshuler's artworks provide beautiful clues to a past that is just out of reach and a future that we can almost, but not quite, grasp. Her profoundly poignant work investigates memory and also hope.



Another work that I am interested in exploring at the ICI is the forthcoming book: "Searching for Sebald": an investigation by Christel Dillbohner and Lise Patt of the late author and photographer, W.G. Sebald. W.G. Sebald's writings, prose and poetry, are open ended investigations into experience.

Christel Dillbohner and Lise Patt have found that many recent scholarly texts address Sebald's complex prose, "Searching for Sebald" will be the first to explore Sebald's fictive world by discussing the anti-heroic photographs that propel and interrupt his twisting narratives.

Like Lise Patt from The Institute of Cultural Inquiry, I have dreamt that Wim Wenders put me in a movie. It was a scene with Columbo (Peter Falk) and we were drawing together on a street that flickered back and forth from black and white to color. We didn't talk. And there was a wind whipping the pages of our sketchbooks as if the angel of history had just lifted off.


* (The artist Rosamond Purcell fashioned a meticulous re-creation of Ole Worm's collection in her exhibition "Rosamond Purcell: Two Rooms," organized by the Santa Monica Museum of Art and curator Lisa Melandri.)

Special Screening of Wim Wenders' "Land of Plenty" in Los Angeles

Wim Wenders's 2003 film The Land of Plenty will be opening on November 11th for an exclusive one-week run at the Laemmle's Music Hall in Beverly Hills, California. The film deals with themes that are common to Wenders's work: angst, alienation, and America—but in Land of Plenty these themes are explored through a uniquely spiritual and post 9-11 perspective. The film tells the story of Lana (Michelle Williams), who returns to the United States after years of living abroad with her American missionary father. Though she has returned to America with plans to continue her education, Lana instead sets out to find her only other living relative—her uncle Paul, her deceased mother’s brother. A Vietnam veteran, Paul is a reclusive vagabond with deep emotional war wounds. A tragic event witnessed by the two unites them in a common goal to rectify a wrong and takes them on a journey of healing, discovery, and kinship. The Hollywood Reporter says in a recent review of the film, "The sense of wonderment and desire for understanding that envelop the old soldier and the young disciple create a mood of profound optimism."

Wim Wenders will be present for Q&A after the Friday and Saturday night screenings of the film.

Listen to a cut off the soundtrack to Wim Wender's "Land of Plenty" : The Weight of the World

The Burnt Paintings

Jessey Dorr's "Off to the Oyster Beds," a painting found at a garage sale, led the buyer, Davis Dutton, on a several-year search for the painter. Photo courtesy of the Davis Dutton Collection

Sunday's San Francisco Chronicle has a wonderful piece by the Los Angeles bookseller* and author Davis Dutton on the search for the artist behind a haunting painting found gathering dust in a garage. This account is so well written that it calls out to become a book. It has much to say about art and life in California in the early part of the 20th Century:

The Burnt Paintings

Artist Jessey Dorr: Born into a wealthy Nob Hill family, she was a strong-willed woman who burned her paintings after a bad review. Photo by Imogen Cunningham

As an artist I always wonder where my works will end up in fifty or a hundred years. Like most painters I know,(See Martin Bromirski at Anaba), I have found a few treasures stacked against the walls in small shops. I once found an original Cezanne etching in a thrift store in San Francisco. Any other finds out there?

For more on artists destroying their work see Anna Conti

*Davis Dutton and his wife, Judith Dutton are the owners of Dutton's Books in North Hollywood.

Native American Spirituality: Huston Smith and Phil Cousineau in Conversation

On Monday November 7th at Book Passage in Corte Madera at 7 pm, Phil Cousineau and Huston Smith will talk about their new book "A Seat at the Table: Huston Smith in Conversation with Native Americans on Religious Freedom ". The book is cast as a series of dialogues in which the most widely read and beloved historian of religions in the world, Huston Smith, engages in conversations with American Indian leaders about their five hundred year long fight for religious freedom. These intimate, impassioned dialogues yield profound insights into one of the most striking cases of tragic irony in history: the country that prides itself on religious freedom has resolutely denied those same rights to its own indigenous people.

Phil Cousineau and Huston Smith

With remarkable erudition and curiosity, Smith and Cousineau, respectfully engage ten American Indian leaders:

Vine Deloria, Jr. (Lakota), Winona LaDuke (Anishinaabe), Walter Echo-Hawk (Pawnee), Frank Dayish, Jr. (Navajo), Charlotte Black Elk (Lakota), Douglas George-Kanentiio (Mohawk), Lenny Foster (Dine), Tonya Gonnella Frichner (Onondaga), Anthony Guy Lopez (Lokota), and Oren Lyons (Onondaga).

Winona LaDuke

The ideas expressed in these conversations cover spirituality, politics, Native American relations with the U.S. government and contemporary American society, and the continuing vitality of Native American communities. These words help give voice to a population that is all too often ignored in contemporary discourse. American Indian culture is not a relic of the past, nor a historical curiosity, but a living tradition that continues to shape all of our American lives.

Oren Lyons

The Childballads: New Music

Stewart Lupton and Betsy Wright

"I'm coming into my own," Stewart Lupton says. "Every painter or poet has this period - the good ones always reinvent themselves. There's always this little epoch where you step into your own skin and leave what T.S. Eliot called 'the anxiety of influence' behind."

Gregory Korn, a talented writer and artist, passed on word of The Childballads recently, and the lone song available on the band's website haunts me: Childballads: "Cheekbones (White Chocolate Tea)". This song was in my dreams last night and I woke up singing it this morning.



Of course the name, Stewart Lupton, sounds familiar. Recently in the New York Post, Maureen Callahan wrote:

"IT'S rare that someone gets another shot at becoming the next big thing - especially when people aren't quite sure whether you're still alive. In the late 1990s, Stewart Lupton was poised to be the biggest rock star to emerge from the burgeoning New York rock scene that his band, Jonathan Fire*Eater, had helped revive.

The sonic and spiritual forerunners of acts like Arcade Fire and Interpol, they were the ultimate elegant Lower East Side wastrels, purveyors of noirish, organ-laden rock and sunken-eyed, dishabille glamour."

The Childballads' look and sound is deliberately far removed from Jonathan Fire*Eater's. The new music is influenced by country and folk, with lyrics steeped in old-fashioned storytelling. The stories and sound of the South hide under the alt-rock underpinnings of the band. Stewart Lupton describes the music as "sounding like doilies, like your grandmother's living room. There's a certain hollowness there; it's a roomy sound."

"Stewart's in his prime to leave the mark he didn't leave with Jonathan Fire*Eater," says Erin Norris. "That kid is never gonna fall from grace any further than he already has. He's a lifer."

Pancake Mountain: 21st Century Children's Television

Arcade Fire on Pancake Mountain

Filmmaker Scott Stuckey created Pancake Mountain, the Washington, D.C., cable-access show on which alt-rockers like Ted Leo, Shonen Knife, Weird War, Fiery Furnaces and Arcade Fire play before an energetic and very young audience.

"Bands started hearing about it and called us," Scott Stuckey says. "So many parents write us," says Stuckey, "and they're like, 'Wow, this is something I really like watching with my kids.'"

Rufus and Henry Rollins

In addition to live performances by bands, Pancake Mountain features interviews between the show's puppet host Rufus Leaking and musicians — including Henry Rollins and George Clinton. The program is currently available on cable in DC and New York, but you can buy the episodes on DVD from the Pancake Mountain website.

While created with children in mind, the show appeals to kids of all ages. My favorite clips include Shonen Knife performing "Twist Barbie" and The Evens singing the soon to be classic "Vowel Movement".

Watch it at Pancakemountain.com.

U.S. Death Toll in Iraq Reaches 2,000

2,000 - A Mark on the Wall

Army Lt. Col. Steve Boylan, director of the force's combined press center, described the number as an "artificial mark on the wall."

"I ask that when you report on the events, take a moment to think about the effects on the families and those serving in Iraq," Boylan said in an e-mail. "The 2,000 service members killed in Iraq supporting Operation Iraqi Freedom is not a milestone. It is an artificial mark on the wall"

The Huntsman's Eye: At The Portland Museum of Art

I voraciously gather images to use for reference in my artwork. I especially like to collect photographs of artworks that move me in some way. I spend hours in the studio looking at these images of paintings and sculptures and then jotting down my thoughts and ideas.

A year ago, on my birthday, I was traveling in Maine and shot a few photos along the way. Modern Kicks' entry on the Neil Welliver exhibition, currently at the Portland Museum, brought back memories of that journey. On that gray day in Portland, two works in the collection stood out.

Winslow Homer (1836-1910)
Sharpshooter, 1863
oil on canvas
12 1/4 x 16 1/2"
Portland Museum of Art, Maine

USMC Sniper Team, 2004
Photo by: Gunnery Sgt. Keith A. Milks

Winslow Homer's "Sharpshooter" is as relevant as the front page of today's New York Times.*

Alexander Eliot in "Three Hundred Years of American Painting" describes how Winslow Homer's "huntsman eyes saw the world his contemporaries saw, only much more sharply." For Alexander Eliot, Homer's paintings are "products of intense and reverant looking, carried on for, not for hours or days, but for years."


Hiram Powers (1805-1873)
Bust of "The Greek Slave", after 1845
marble
24 1/4"
Portland Museum of Art, Maine

Hiram Powers artwork,"The Greek Slave", was arguably the most famous contemporary sculpture in mid-nineteenth century America. The bust in the Portland Museum is derived from the full figure sculpture that toured the United States.

Over one hundred thousand people paid to see "The Greek Slave" during its 1847-1848 tour.

Robert Hughes in "American Visions" explains that an American artist could approach the concept of the Ideal "if he lived in Italy, and between 1830 and 1875 about two hundred of them did. Notable among them were the 'American Florentines,' led by a former machinist from Cincinnati, the sculptor Hiram Powers."

Hughes goes on to explain that Power's "Greek Slave" was a modern retelling of the Uffizi's "Medici Venus" with chains added as a cache-sexe: "This, Americans thought was the first truly moral nude they had ever seen."

What I enjoy most about the Portland Museum's bust of the "Greek Slave" is the absence of chains and the anecdotal context that shrouded Power's full scale version. We can look upon this work as a sculpture of a real, though idealized, woman. As viewers, we are not told what to feel nor does her nakedness seem unwilling. Without bound wrists, the overt moral clothing that covered her is absent. The figure is more ambiguous and more modern.

* (As I write this the 2,000th US death in Iraq has been announced)

Rosa Parks (1913-2005)

Rosa Parks died today, October 24, 2005 at 92.

On December 1, 1955, Mrs. Rosa Parks set the modern civil rights movement in motion when she refused to give up her seat on the the Cleveland Avenue bus in Montgomery, Alabama to a white passenger. When the front of the bus filled up, the driver ordered Rosa Parks, a seamstress for the Montgomery Fair department store, to give up her seat for a white rider. She refused and was arrested.

Rosa Parks's arrest for breaking Montgomery's segregation laws started a boycott of the city bus line that lasted over a year. This eventually led to the 1956 Supreme Court decision which ruled that segregation on public buses is illegal.

Rosa Parks:
"The famous U.P.I. photo (actually taken more than a year later, on Dec. 21, 1956, the day Montgomery's public transportation system was legally integrated) is a study of calm strength. She is looking out the bus window, her hands resting in the folds of her checked dress, while a white man sits, unperturbed, in the row behind her. That clear profile, the neat cloche and eyeglasses and sensible coat — she could have been my mother, anybody's favorite aunt." - Observations on Rosa Parks by Rita Dove - from Time Magazine's 100 Most Important People of the 20th Century.

After her arrest, Rosa Parks agreed to challenge the constitutionality of Montgomery's segregation laws. During a midnight meeting of the Women's Political Council, handbills were printed with the following request:

"We are...asking every Negro to stay off the buses Monday in protest of the arrest and trial... You can afford to stay out of school for one day. If you work, take a cab, or walk. But please, children and grown-ups, don't ride the bus at all on Monday. Please stay off the buses Monday."

The black population of Montgomery stayed off the buses, either walking or catching one of the black cabs stopping at every municipal bus stop for 10 cents per customer — standard bus fare.

On the day scheduled for her court appearance, Rosa Parks slipped through the crowd outside the courthouse, wearing a black dress, a gray coat, a black velvet hat and white gloves. She walked with dignity and appeared fearless. A girl caught sight of her and exclaimed, "Oh, she's so sweet. They've messed with the wrong one now!"

Rosa Park's trial lasted 30 minutes. She was found guilty. That evening, the Rev. Martin Luther King Jr. spoke to a gathering at the Holt Street Baptist Church and declared : "There comes a time that people get tired." At the conclusion of King's speech, Rosa Parks, who was in the crowd, silently stood up. Her powerful presence seemed to say, "We all are tired. We are all tired of false justice and inequality. And now is the time for real justice, for real equality."

Martin Luther King, Jr.
1963, Washington DC, "I Have a Dream."

Rosa Park's courage will continue to provide a powerful example of human dignity in the face of brutal authority.

Civil Rights Protest, Memphis, 1968

The New de Young Museum

de Young Museum in fog

A party was held at the new de Young Museum in San Francisco on October 20th for the local art world. The event was sponsored by the Fine Arts Museums of San Francisco, which encompasses both the de Young and the Legion of Honor, and the San Francisco Art Dealers Association. We were asked to arrive in festive attire.

A heavy San Francisco fog shrouded the new building which seemed to appear briefly then vanish into the mist. The new structure looked less like a beached aircraft carrier and more like the Enterprise cloaking and uncloaking in Golden Gate Park during one of the Star Trek films.

The new de Young is both spacious and elegant which gives the art room to breathe. The architects, the Swiss firm Herzog & de Meuron and Fong & Chan Architects from San Francisco, have allowed the function of the building to determine its internal look and structure. "We wanted to keep the art itself in the foreground," Herzog says.

Looking down on Andy Goldsworthy's "Drawn Stone"

For me the strength of the de Young is its eclectic collection. The new pieces commissioned for the building by Gerhard Richter, Kiki Smith, Ed Ruscha, James Turrell and Andy Goldsworthy only add to the wacky and wonderful mix, which ranges from pre-Columbian art, to African, to Oceanic, to Colonial America, topped off with a growing collection of contemporary works.


Limestone Stela
Maya, Southern Lowlands, Mexico, Guatemala, or Belize. AD 761. 82 x 42 inches.

Harry S. Parker, who heads the museum, was beaming at the reception. He recently wrote in a director's note prefacing the Fall issue of the Fine Arts Magazine, "Inviting these artists to apply their vision and skills to the new de Young meant taking some risks, and we have made bold choices. But art should always challenge us to take risks, to explore the new, to realize as Kiki Smith says,"Making art is trusting the practice."


The Wilsey Court with Gerhard Richter's "Strontium" - A massive piece constructed of digital photos mounted on aluminum panels which have been fitted together to create one work representing the atomic structure of strontium titanate, a synthetic substance often used to create artificial diamonds.

“The units that compose Richter’s mural are photographs based in the realm of nanotechnology, which has tremendous resonance for San Francisco and the greater Bay Area, the capital of the high tech industry. The piece also relates wonderfully to the museum itself in that the pattern of circles throughout the mural is reminiscent of the perforated copper cladding on the new de Young building.” -Daniell Cornell, Associate Curator of American Art.

Viewed from the balcony above, the mass of swirling partygoers beneath Richter's "Strontium" could be imagined as sub-atomic particles whizzing around the room. It was both elegant and slyly humorous.



Many of the artists present at Thursday's reception came up to me and expressed their excitement at finding well known, but sorely missed artworks, in fresh locations.


John Singer Sargent
"A Dinner Table at Night"

The de Young is now so new that the smells of carpet glue, fresh paint and floor wax fill the space. In time the copper exterior will gain a rich patina and the interior will bear the marks of visitors and school tours. In time the museum will find its new place in Golden Gate Park and the San Francisco community.

House of Oracles at the Walker Art Center

Currently at the Walker Art Center in Minneapolis is a Huang Yong Ping retrospective entitled "House of Oracles".

Huang Yong Ping
"11 June 2002--The Nightmare of George V"

"The title identifies the hunter as King George V of England. Huang explains that in 1911 the king, while hunting in Nepal, killed four tigers in three days, a remarkable feat. One of the tigers attacked the king, and he donated this specimen to a museum in Bristol, where Huang found it. In Paris the artist located preserved animals from other treks. He attached to a wicker howdah on the elephant’s back a tiger in the documented position of attack, but he replaced the royal howdah–an emblem of empire–with the sort used to protect well-heeled tourists. The tableau looks back to the approaching end of the colonial period."
- Artforum


Crate Logo for Huang Yong Ping Exhibition at the Walker Art Center
Designed by Phil Docken

The Walker's visual arts blog has a wonderful piece on the transportation and installation of Huang Yong Ping's massive elephant:

"A tour-crate bears the likeness of one the show’s key works, a 2,000-pound concrete elephant with a tiger on its back. Installation technician Phil Docken designed the logo after receiving two drawings, sent by a registrar in Paris, on the correct and incorrect ways to lift the hulking pachyderm (the image, above, shows the wrong way to hoist the animal: 'Non!')"

The Geometry of Homer Simpson

This Sunday on the Cal Berkeley campus, the writers of the Simpsons will come clean as closet math geeks. "We couldn't handle the pressures of academia", they might say, "but at least we kept our day jobs in animation."

MSRI’s Archimedes Society invites you to this FREE public event
Mathematical Writers from The Simpsons and Futurama
Sunday, October 16, 2005 • 2:00 p.m. to 3:30 p.m.
Valley Life Sciences Building's Chan Shun Auditorium
(Rm. 2050) at UC Berkeley

Writers David X. Cohen, Ken Keeler, and Jeff Westbrook have kept their math habit alive by sneaking in hundreds of mathematical and scientific references into The Simpsons and Futurama. Join in as the writers discuss their mathematical backgrounds, favorite theorems from Homer and Bart, along with thoughts on the representation of mathematics in Hollywood.

In honor of this event , and in anticipation of the upcoming Simpson's Halloween special, we join The Simpson's episode "Treehouse Of Horror VI", which originally aired on 10/30/95, in progress:

Homer Simpson has disappeared into a wall in the living room. He is trapped in an alternate dimension as a 3-D rendering in a digital world and all the attempts to save him by Professor Frink, Police Chief Wiggum and Ned Flanders are useless -

Lisa Simpson: Well, where's my dad?



Professor Frink: Well, it should be obvious to even the most dimwitted individual who holds an advanced degree in hyperbolic topology, n'gee, that Homer Simpson has stumbled into...[the lights go off] the third dimension.

Lisa Simpson: [flips the light switch back] Sorry.

Professor Frink: [drawing on a blackboard] Here is an ordinary square....

Police Chief Wiggum: Whoa, whoa - slow down, egghead!

Professor Frink: ... but suppose we extend the square beyond the two dimensions of our universe, along the hypothetical z-axis, there.

Everyone: [gasps]

Professor Frink: This forms a three-dimensional object known as a "cube," or a "Frinkahedron" in honor of its discoverer, n'hey, n'hey.




Homer's voice: Help me! Are you helping me, or are you going on and on?

Professor Frink: Oh, right. And, of course, within, we find the doomed individual.

Once again, it falls to Bart to save the day, but he fails when the digital universe implodes, sending Homer into an even scarier world: ours.



I must admit that in a fierce playa dust storm a few years ago during Burning Man, I got brutalized in a game of Simpson's trivia by an old dorm buddy from UCLA. It was uncanny. He seemed to have some sort of inner Simpson's knowledge. Who was this David Silverman and how did he get so smart?

"A Weapon of Beauty": Shirin Neshat in the Los Angeles Times

(Jennifer S. Altman / LAT)

"I try to find beauty in the middle of the horror, and vice versa," she says. "Sometimes, really horrible things — you can turn into a weapon of beauty."
-Shirin Neshat in an interview with Tyler Green

Tyler Green's article on the Iranian- American artist Shirin Neshat in the Los Angeles Times is well written and provacative. A must read:
Shirin Neshat: Trapped Between Two Worlds



More on Shirin Neshat:
Shirin Neshat: Photo Essays- Time Europe

"You Just Don't Give Up": The Life of Harold Leventhal

HAROLD LEVENTHAL
1919 - 2005

Harold Leventhal, died on Tuesday at the age of 86. A renowned folk music champion, Leventhal acted as promoter, producer, and manager for Woody Guthrie, Pete Seeger, Bob Dylan, and countless others. Leventhal presented a 21-year-old Bob Dylan at Town Hall in New York in Dylan's first major concert hall appearance on April 12th, 1963. Harold Leventhal was featured most recently in Martin Scorcese's documentary "No Direction Home: Bob Dylan" in which he provided glimpses into Dylan's early years in New York.



Harold Leventhal enlisted in the US Army during World War II and was stationed in India from 1944-46. These years had a profound impact on his life both politically and artistically. In India, Harold's political interests led him to seek out members of the Indian National Congress. He met with Jawaharlal Nehru and Mahatma Gandhi.

Harold Leventhal and Jawaharlal Nehru,1945

Jorge Arevalo, in the concert notes to the Tribute to Harold Leventhal Concert at Carnegie Hall on November 29th, 2003, explains how ""the influence of both India’s first Prime Minister and consummate peacemaker would alter and forever affect Harold's life, particularly during America’s civil rights struggles of the 1960s when he met with Dr. Martin Luther King, Jr. Dr. King asked Leventhal to recount Gandhi’s ideas on his political strategy of non-violence."

Because of his politics and social activism, Harold Leventhal was tailed by the FBI during the McCarthy era and was unable to even get a passport to travel until 1960. Recently, upon reading the thick FBI dossier on his activities during the 1950's, Harold was taken aback by the detail and thoroughness of the Bureau's investigation.


M F Husain
"Artist and Model"
187cm x 187cm acrylic and lead on canvas 1990

As well as promoting American artists, Harold Leventhal over the years supported the arts of India by arranging painting exhibitions, concerts and theater productions.These included shows of Jamini Roy's paintings at the ACA Galleries on 57th Street in 1952, a solo exhibition of Satish Gujral's works in 1953 and M F Husain's first exhibition in New York in 1963.

Leventhal was also New York's first world music promoter, introducing Ravi Shankar in concert at Carnegie Hall. Harold Leventhal was also instrumental in the arrangements for the poet Rabindranath Tagore's off-Broadway production of "King of the Dark Chamber" in 1961.


The following is from a conversation with Harold Levinthal prompted by the Tribute to Harold Leventhal Concert at Carnegie Hall:

Michael Kleff: "Thinking of the present political situation, is it hard to still believe in America?"

Harold Leventhal: "Well, honestly, I feel somewhat depressed, politically. This is the worst in my history of being around as a citizen. We got an administration that is on the border of [being] neo-fascist, in my opinion. And this is it. This is a calamity."

Michael Kleff: "Thinking about all the years you fought for a better world, how do you feel now? Is it painful?"

Harold Leventhal: "I don’t think it’s painful. Disappointing is the word. That doesn’t mean I shouldn’t continue being in progressive causes, or causes that are for the better of minorities. Those causes are still there. You just don’t give up. You’re always somewhat optimistic that somewhere along the line whatever you stand for is gonna come true. It’s the struggle of getting there that has become very difficult. The atmosphere in our country today is extremely difficult. We don’t have enough forces that we might have had 30 years ago to rally around good causes. We’ve been marginalized. Apparently the right wingers don’t care what we say. They let us say it because they know, or they think, that we don’t mean anything. This is what’s happening to a great extent."

"I’m optimistic because, look, we got rid of Nixon! Whoever heard of a president being kicked out? There is the ability in this country, in spite of its faults, in spite of its difficulties, you can open your mouth. You might get arrested in some places (laughs) but you get out. There’s a lawyer gonna get you out!"

More on Harold Leventhal:
harold leventhal in the times
woodyguthrie.org

Shahzia Sikander's Sea of Stories at Otis

Shahzia Sikander
(detail from dissonance to detour, mixed media on paper)

Shahzia Sikander, who has traveled from Pakistan, to Rhode Island, to New York is now in Los Angeles for a short time, as a guest artist at the Otis College of Art and Design. Her recent work is on view until November 12 at Otis' Ben Maltz Gallery. Shahzia Sikander's exhibition "Dissonance to Detour", curated by Meg Linton, features new paintings on paper, a digital video animation, and a large wall painting.

There is a rich fluidity to this work, especially in the details which play with the idea of 17th century Mughal miniatures. There is an expectation of narrative and resolution within the paintings. But upon closer examination, the works slip into a vivid flux of color and line. By shifting the viewer's expectations from narrative to paint, Sikander refuses to create the works that might be expected. Instead Shahzia Sikander's exhibition evokes an imaginative response. While viewing the work, I put any thought of Pakistani-Indian politics aside and felt the spirit of Salman Rushdie's novel "Haroun and the Sea of Stories".

Two walls of very large paintings on dusty pink prepared paper dominate the room. The watered down paint puddles and skips in these works. Some of the lozenged painterly moments in the elephants (shown above), bring to mind the same sort of abstracted marking found in Chuck Close's recent paintings.


Shahzia Sikander
(still from digital animation)

The digital projections shown in the darkened room off the main gallery surprised me with their force when blown up to wall sized images. At Shahzia Sikander's show in New York at Brent Sikkema (now Sikkema Jenkins & Co.) in 2003, this type of work was presented in small frames that emphasized their connection to Mughal miniatures. Here in Los Angeles, magnified to silver screen size, the flow of images evoked thoughts of Terry Gilliam's rich film imagery.

Los Angeles is a city of many cultures-numerous villages, some almost third world in many respects- with only a thin veneer of Hollywood gloss laid on top. Los Angeles is also a city of images: digital, celluloid, tabloid - with a few hand crafted drawings and paintings scattered about. Shazia Sikander's artwork firmly shows that even in Los Angeles there still is an important place for images created by the mind and the hand.



Otis College of Art + Design
Ben Maltz Gallery
9045 Lincoln Blvd., Los Angeles, CA 90045 (just north of LAX)

Web site:
from dissonance to detour

Hours: Tuesday - Saturday, 10am-5pm; Thursday, 10am-7pm

Shahzia Sikander is the inaugural artist in the Jennifer Howard Coleman Distinguished Lectureship and Residency Program sponsored by the Samuel Goldwyn Foundation. A catalogue of the exhibition will be available for sale in late October.

Also see:
shahzia sikander on the practice of art



shazia sikander