Vashon's Gravel Pit: Artists Fight Back

This is the cover and last image from Ann Leda Shapiro's beautiful small book about Vashon Island. She celebrates its natural beauties, its eccentric inhabitants, but she also calls attention to the dreadful plans for the gravel quarry on Maury Island.
There are efforts to stop it by the new Lands Commissioner, but it is an uphill battle. Historically Maury Island was a rich fishing ground for native groups. Today it is still a key spawning area for young salmon, a primary source of food for some orcas. The gravel pit will destroy everything, for what? For a road, a tunnel, Oh! Can't we get it? We HAVE to start thinking differently.
Backbone Campaign is running a one week environmental workshop which will produce giant puppets, orca trumpets made of recycled material, pvc pipe and plastic bottlesthatchildren can blow into to make whale sounds, and mosquitoes puppets making reference to the mosquito fleet of boats that used to serve Vashon, as well as a giant puppet with a recycled Rumsfeld mask as a corporate greedy capitalist! . All of it will be at the Strawberry Festival this Saturday on Vashon.

They are still working on the whale ( structure seen here of bamboo and everything else , but I got a glimpse of the art in progress. They have an amazing artist named Chris Lutter of Puppet Farm Arts helping them create imagery. You can barely see him in the background, planning how to image the issue with a group of artists. They are also collaborating with The Ruckus Society, the well known activist group.Here Ruckus is training people to climb on a scaffolding in order to release a banner. In another place people were learning activist kayaking. This is a great idea. Not just sports, but sports for a purpose. It can appeal to all those outdoorsy types who are politically liberal but don't know how to get involved.
These type of collaborations with specific issues are exciting and effective.

Seattle art and transportation

Last week I got out of my monastic isolation and thoroughly enjoyed First Thursday in Seattle. I talked with the folks at Revolution Books first, so I got an injection of hard core politics to set me up for the evening.They have a great show of photographs of the Winter Soldiers by Mike Hastie, not to miss either reading the book or seeing the photographs.
Then I went to The Monarch Gallery and met the director, Benito Rangel de Maria. I really like his complex train paintings, see detail above and he showed us his studio as well. He is focusing on Latina/o art in Seattle. Brave man. Tatiana Garmendia is coming up soon, a fabulous artist whose drawings about men at war are technically and conceptually riveting ( disclaimer I wrote her catalog).
Then we ran in Elizabeth Bryant, a writer whom I greatly respect, and
a fun show of the work of Alice Wheeler at Greg Kucera's
where I ran into Roger Shimomura.
His exhibition is opening at the Wing Luke in early September.


We also stopped by the Pratt gallery and saw some great works made with recycled materials, although I wish Carletta Wilson had been included. Her works are dazzling.
Molly Norris has a show of her cartoons at Gallery 110. Funny and smart.

The second half of my title is not really on art and politics, but just a comment. Usually I devotedly and perseveringly ride the bus. Yesterday I had to do a lot of things in different places. The difference was dramatic. I saved hours of time, got to places in five minutes in stead of 60 minutes, no wonder no one with a schedule would ride the bus. But today, back on the bus, I realize how much I love seeing all kinds of interesting people, being part of a community, talking to people. It is an experience that is in the city. Riding my car I was in my little box, fighting with everyone else to stay alive. So the art in this half of the post is the art of people just living their lives and being human beings, rather than the sterile experience of freeways and their debilitating stress.

John Feodorov's Spiritual Ambiguities

This piece Souls Awaiting a Future from John Feodorov's recent show "Ambiguities" at South Seattle Community College Nat 18 - June 19, 2009 looks straightforward. The title tells what's there. But actually, in the context of John Feodorov's work it is both funny and subtle. The souls lying on the floor flat are wobbly, perhaps in some in between state of being. There is a celestial television projection, as well as stars hanging from wires. There seem to be four realities at least at work here, our own ( and what we bring to the work in terms of belief systems), the clay in betweens, the video of outer space, and the wires hanging form the ceiling with small stars at the end.
Feodorov questions our assumptions with humor and humility.
He was raised in Whittier California as the son of a fundamentalist. He travelled with his family to the Navajo Reservation to visit his grandparents and relatives. No wonder multiple realities are his focus.
He also has a particular riff in store for new agers, particularly those who borrow Indian elements for personal spiritual quests.
In his recent show in Bellingham he also showed disturbing pseudo spiritual installations


The South Seattle Community College show included a video called "We're Feeding the Gods" dancers performing what appeared to be a type of ritual dance, but they are in a kitchen and other odd, random places, some of them pseudo beautiful. It is a real dance, but we can see that the context as it changes makes the dance seem pretentious and hollow. Perhaps that is John's attitude to institutionalized religion as well as New Age practices.
Also in the show is the Alphabet group of small works. Some have his characteristic puffy cheeked silhouette ( the artist ?) with various eccentric tableaux. The more you look, the more you wander off into some crazy land where nothing is quite as it seems.



Dominating everything is the teddy bears, a theme John has taken up before ( see an example of his Totem Teddy here) , early in his career. In this show at South Seattle Community College there are a lot of empty teddy bears on the ground and their stuffing has been put together as a giant teddy shaped apparition, as though the ghost of all discarded teddy bears is collectively haunting us, and lurking behind that ghost is the real bear, an heroic creature, outraged by this travesty of cuteness for his grandeur.

Iran

How can we think of anything else right now. The courageous uprising of the people of Iran, across class, religious, and both urban and rural ( although most demonstrations are in Tehran). The youth of Iran led protests in 2003, but now everyone has joined in. Their dignity, commitment, and bravery is formidable. As the traditional press are expelled, BBC commentator John Leynes was told to leave yesterday, we must all communicate about the new revolution in Iran. For that is what it is. The people are tired of the fraudulent politics, hypocritical religious posturing, and totalitarian oppressions. More links soon.

I couldn't help compare the outpouring of focused and committed demands from the Iranian people to an event I went to in Seattle on Saturday night, in which exactly the same age group were freely expressing themselves, dancing, singing, painting, performing in a whirlwind of creative expression. But most of it didn't have much substance or any point really, which was too bad.The only point was that they were being encouraged and supported in being randomly outside the box, as in a chorus of young women dressed as angels, men in lab coats climbing up the theater to the tune of trumpets ( I liked this piece), and a young man painting perfectly terrible paintings. I went because my amazing yoga teacher was performing, and he didn't disappoint. He is a butoh dancer, and his range of expression with his body was astonishing. One felt the absolute disruption of facade and the revelation of the violence underneath in every human being simply through the expressions, body movements and gestures.

This is the freedom that the Iranian people are fighting for. The contrast couldn't be greater, between the young people of Iran, focused, brave, insistent on their right to be free, and the freedoms taken for granted here by ( at the Moore) predominantly young white people.
These two posters by Lida Red bring together art and the uprising in Iran.

Shakespeare's The Tempest Then and Now

Ahh how perspectives change and yet trully insightful people all get it right in the first place. Shapekeare's The Tempest, known as his "American Fable" currently being performed in Seattle by the Seattle Shakespeare Company, presents a contemporary perspective on the play as suggesting forgiveness. Yet this play only a few years ago was recognized as a parable of the earliest years of European colonization in the Americas. In 1609 the British were founding a colony in Virginia and England was excited. Shakespeare wrote this play using diaries by shipwrecked crews who landed in Bermuda and other primary sources.
So the story is that of an Italian duke whose dukedom has been stolen by his brother while he was brooding over books. He has landed after a shipwreck on an isolated island, but one which had indigenous inhabitants, represented in the play by Caliban.
Here is what surprised me. In 1964 in his book Machine in the Garden, Technology and the Pastoral Ideal, based on ideas he developed in the late 1950s, Leo Marx referred to this play as An American Fable did a protracted analysis of it as a reference to European civilization taming nature, the contradiction of nature and culture, etc etc.

But when I saw it, I was astounded by Shakespeare's acute understanding that Europeans were going to take over, destroy and enslave the Indians in their path. A speech by Caliban states just that. Of course his position as a"primitive" and "uncivilized" human being in the play echoes the dominant perspectives of Europeans in the seventeenth century ( and still really), but Caliban speaks eloquently of his love for his island, and the fact that after he showed the invadeing European around, the Duke enlsaved him. But Caliban's eloquence in spite of his constant assault as a sub human being by the Europeans, suggests that in the early seventeenth century there was also awe and respect for Indinas. Indeed, they were perceived as independent kingdoms, and their leaders were often celebrated as fellow royalites in these early days of European contact.

Then more Europeans ( Stephano above with Caliban) land on the Island, the result of a storm that the Duke (Prospero) caused by his magical powers in order to bring his brother and fellow plotters there.
They also want to take over the island. They suggest taking Caliban back to England as a trophy, which is exactly what was happening then with people like Pocohontas, who died very young in England. An amazing portrait of her survives in Elizabethan clothing.


The new arrivals give alcohol to Caliban and he immediately becomes tamed and subject to their will ( another perceptive prediction on Shakespeare's part, perhaps based on a reference in a contemporary diary about the susceptability of Indians to alcohol.)
But in the end the Europeans depart, back to "civiliation".

The program of the Tempest said not one work about all this.
All we got was "forgiveness" and that forgiveness is not Caliban's for his oppression, but the Duke for his brother's perfidy. So much for the new age of post racism. Well, of course Shakespeare doesn't exactly explain Caliban's feelings at the end of the play. The ending is unlike Shakespeare except for the dramatic death of the senior Duke. Everyone else just seems to move on without any explanation.

The trappings are Shakespeare, but the content is radically different. Go see it!

Sweet Crude A film about oil exploitation in the Niger Delta

Sweet Crude a film by Sandy Cioffi confronts us with the human cost for our thirst for oil. Everytime we get in a car, we are part of the problem represented in the movie, the ruthless oppression of the people who live in the Niger Delta, the poisoning of their water, killing of their fish, razing of their villages, beating and murder of their resistance leaders.

We need to know that if we don't get out of our cars, our airplanes, and whatever other oil consuming toys we have,we are the reason that this part of the planet is bleeding literally and figuratively.
This brilliant film combines aesthetics and politics. It is full of information, human interest, and data presented against a backdrop of an abstract painting that suggests rusted oil drums. The footage of the river, the villages, the boats, is not aestheticized, we are not looking at pretty landscapes. We are looking at small pieces of a ravaged and ruined ecosystem. The film is documentary, but the stunning resistance, energy, and perseverence of the people who have been invaded by the thirst for oil, in spite of attacks by military of their own government, is the real message of the movie. They wanted peaceful resistance, they wanted to negotiate, they want some benefit from the enormous profits pouring out of their lands. They have no schools, no clean water, no health clinics, no fish. Yet they stay because they have nowhere else to go. They have lived there for centuries.

There is a straight line from their ruined lives to our plush comforts, connected by oil pipelines.

One of the best part of the movie is when the ABC newsman is trying to force a peaceful negotiator for MEND (Movement for the Emancipation of the Niger Delta) to say he was an armed terrorist in league with Al Queda. It was easy to see how the news forces its own narrow cliches onto its subjects. MEND began as a non violent group that tried to work with the government, but they were repeatedly betrayed, killed outright, and subject to massive retaliation, so now they have an armed wing. It is impossible to fight massive military attacks and full betrayal of trust without armed resistance. ( And I believe in peace)

The government is currently launching an all out attack against what it refers to as militant camps. The success of these resistance groups in shutting pipelines has been impressive. Why can't we do anything more to support them.
They must fight against Shell, Exonn, Total, their own government's massive military assault, and world indifference. It is simply greed that prevents the governmnet and the oil companies from respecting these people, giving them the basic survival necessities. What they want instead is to remove them, just as we removed our Indians, so they can completely destroy the entire Delta is the purusit of oil production.

In twenty years, where will the planet be. We just can't seem to change course! Instead of bailing out GM, how about paying the workers to learn how to make non polluting transportation. ?

The Future

Here is my grandson Max again. I haven't posted a picture of him since he was born. You can see that he is a jolly little boy now. He is a great little boy at 17 months. He loves books, he loves to play. He loves music. He loves people.
So I am thinking about his future. Will he only have electronic books to read, will he have to read the news only online, will he have a small electric car to drive.
As I read the news that says "has the recovery started?" "Obama suggests 50 mph in ten years"
as I receive organic foods in plastic containers, and keep on driving my car, I wonder why we aren't getting it. We can't recover back to what we did or my grandson and everyone else won't even have a planet to live on. I feel as though I am living in an alternate reality. Do the people working for plastic industries have grandchildren, do car manufacturers have grandchildren? Why aren't we talking about tiny vehicles like the parking people drive, why aren't we just totally getting completely a new perspective.
We can't recover back to building more sprawl, on the road suspended.

Then there is a family on my block who has lived here for about forty years. They lost their house because of a 20,ooo dollar loan. It was auctioned for 120,000. bought by a developer, who is remodelling and will get probably 450,000 for it. Is this recovery? I call it inhumanity and greed.

And then there is the scandal of health care. In the one year I had insurance I saw the way the doctors were milking the system scandalously requiring unnecessary tests etc.

I am teaching my favorite subject, Art and Politics in the 1930s. at the moment, the subject of my previous book ( ten years ago). At that time artists worked in collectives encouraging each other to represent the problems with capitalism, with racism, with health care, with poverty.
Where are those artists now when we need them to re -imagine our planet completely. Where are those artists putting pressure on the government to completely change directions.
Where is imagination going? A strange article in the New York Times yesterday talked about artists "hard times loosens creativity" . Apparently lack of sales is encouraging artists to think more creatively. That was the way the colletives started in the 1930s, no sales, so they could do what they wanted, and what they wanted was to address the problems of the world.
I hope that happens again!