Art and Politics Now

Art and Politics Now Cultural Activism in a Time of Crisis is PUBLISHED

2011-01-26T11:29:00.000-08:00

This was the big week. Seventy people at the launch at Elliott Bay Books in Seattle. The book is now available from Midmarch Arts Press, 300 Riverside Drive, New York City. 1 212 865 5509. This will be my last post at this address. Please buy from my loyal independent publisher!! It is not on Amazon!! A stamp and an envelope is not too much to manage.
Today, I am moving my blog to
http://www.artandpoliticsnow.com/
You will see my homepage and the blog link. My blogs will also be posting to my Facebook as well.
See you there.
Susan

Contemporary Native Artists

2011-01-10T20:50:00.000-08:00

Lara Evans, art historian and artist, as well as Evergreen State College professor, has published with other authors a new book called Art in Our Lives, Native Women Artists in Dialog. She has also curated a wonderful art exhibition It's Complicated - Art About Home.
The two together give us new perspectives on contemporary native art. It is really exciting to have voices of a new generation. In the book, there are actually several generations, but the discussion is based on a novel format, a seminar among the artists.
The essays are overviews of various themes, Art as Healing, Art as Struggle by Gloria J. Emerson, Gender Women and Art Making by Sherry Farrell Racette, Space Memory, Landscape Women in Native Art History by Elysia Poon, and Crossing the Boundaries of Home and Art. by Lara Evans. The dialogue among these artist and others as the basis for the book. It is both personal and historical, spanning generations, and practices.

It is a wonderful addition to writing on Contemporary Native American Women Artists. The essay by Sherry Farrell Racette was particularly provocative in its references to the history of tribal gender roles. I was a little surprised though that unmentioned was what I understood as a fact ( perhaps it is not) that settlers declared they had to deal with a male chief in negotiations with tribes that had been matriarchal, and that caused a major shift in the gender power relations in many tribes. Also, in the Northeast, it was the rights of Native women that inspired the suffragette movement to demand more rights for white women.

But certainly, gender roles vary from tribe to tribe and era to era. Also the value associated to various activities have been arbitrarily assigned perhaps by outsiders. Why is it necessarily less significant to cure and cook fish than to catch them? Why is bead work or basketry less significant than sand painting?

The fact is clearly stated that for these women, they had to move outside expectations and norms in order to be artists. And it is evident that their work is incredibly varied, intriguing, and complex, based on the magnificent color illustrations in the book (according to American Indian magazine, the pubication of the National Museum of the American Indian, the museum provided significant funding).

The work at the top of the post is from the art exhibition. It is by Maria Hupfield, Flap Flap Flap 2004 plaster and paper mache. Hupfield is addressing ecological crisis with her dead birds, but their are so beautifully laid out on the floor of the gallery that it is possible to almost forget the actual subject. That edge of aesthetics and politics is crucial to this entire exhibition.

The artists are addressing intersections of native world views and mainstream. For example in one piece by Merritt Johnson, the animals are patching the Sky Dome, They are giving up their lives in order to keep the world going, A bear stands on top of a ladder offering his skin. We on the other hand just go on with our same bad habits. In another work by Johnson, an injured Turkey is protecting the sky. In a third she makes a reference to the BP oil spill

One of the themes of the art exhibition and the book is the changing relationship to the land for contemporary Native artists. But in spite of that the urban/reservation split is not absolute in any of these artists. They all move back and forth, between different realities, as does their art. That is the reason for the title of the exhibition "It's complicated, Art About Home.

Perhaps the most compelling work in the exhibiton was by Kimowan Metchewais.
Goodwill 118 Edmonton, it is an innocuous image of the place where people drop off furniture for Good Will, but as Lara explained it, many native peoeple furnish their homes from this drop off. In addtion, this detailed and extraordinarly beautiful painting was done by an artist who lost the use of one whole side of his body.There are other works, videos, youtubes of Phoenix Arizona ( other peoples' idea of home), a creation myth, a stunning pair of photographs by Sarah Sense.with an overlay of woven photographic imagery based on traditional weaving from the Chitimacha tribe who have a long tradition of basketry.
There are podcasts about the exhibition at this site.
Each of these artists both in the book and in the exhibition was previously unknown to me. How enriching to have this opportunity to expand my knowledge. Be sure to buy the book!

Alison Saar

2010-12-15T16:15:00.000-08:00

Blood Sweat and Tears, 2005 wood, copper, bronze, paint and tar

Lunarseas: Sea of Serenity, 2007 copper, tin and wood

York:Terra Incognita, 2010 cast bronze

This is the work of Alison Saar in the exhibition Bound for Glory at Lewis and Clark College in Portland. The main commission was to create a statue of York, the African American slave that accompanied William Clark on the Lewis and Clark expedition. Saar's sculpture is a permanent installation on the campus. Here is the main work and the back. Little is known about York. So the artist had to piece together ideas, but we know that a dry stream was named for him. His back as a map of scars with the dry stream marked is full of poignency. York is set in the midst of a group of granite rocks, each with a bronze tablet that inscribes the few words in the Expedition journals that refer to him.

York faithfully served Captain Clark, but he was not rewarded with his freedom. Clark was arrogant and selfish. In the statue York is holding a rifle, which he used to catch game during the expedition, but when they got home it was taken away from him.
This tragic story of inequality and abuse of priviledge is given dignity by Saar's sculpture.

The work in the exhibition was extraordinay. An excellent catalog with an essay by Linda Tesner (doesn't seem to be available to buy, they gave it out free at the gallery and would probably send you one if you asked) provides helpful insights into the art works, but these works are so strong and poignent that we cannot help but be overwhelmed by Saar's work. I think she is acheiving a whole new level of intensity in these sculptures.

There was one odd comment made by Tesner with reference to Travelin'Light, a bronze life size man in a suit hanging upside down. To me he was obviously being lynched, but Tesner said, he was "a little down on his luck." I read this three times to see if I had missed something!
But the rest of the book was very insightful. Lunarseas, Sea of Serenity (above) is "speaks to introspection about how things come to mind in a quiet way, but also suggest thjat within the removed quietude of serenity one might verge on insanity ..." Blood/Sweat/Tears at the top of the blog is self explanatory. There were many other really strong works as well.

Imaging Others Cultural Intersections in the Colonial Period

2010-12-09T09:39:00.000-08:00

Look at this wonderful image! It is a detail of a print by the Japanese artist, Yoshitora in 1860 looking at an American couple who are visiting Japan, probably in order to trade. The artist is carefully depicting their clothes. He has done a wonderful job of observing details and added his own subtle touch, like the woman in the foreground pointing, a very un Japanese gesture.

This is part of a a group of ukioy-e prints, called Yokohama-e because they are all based on observation of foreigners in Yokohama by Japanese artists. The work is from the collection of Professor Lenore Metrick-Chen, art history professor at Drake University. It is part of a fascinating exhibition that she has organized with Dr. John Monroe, a history professor at Iowa State University.
"Imaging Others, Cultural Intersections in the Colonial Period" is at the Anderson Gallery, Drake University,

It includes art work from Africa, China, and Japan, as well as photographs made in the U.S. in the late nineteenth century of "others".

The very first piece in the gallery was an African sculpture of a person with a painted white face and anglo features. It set the tone for the surprises of the exhibition, that criss cross cultural influences to the point where all clear distinctions of gender, place, style, and power, are called into question as we look at the work.

Some of the images are familiar subjects, like Chinese railroad workers in America, and the Columbian Exposition of 1892. But then we see two men who were posing in an African display relaxing as they are not being African symbols, but just taking a break and relaxing, and of course they are just regular people.

The works span from 19c to the present. Two of my favorites were the carvings of African Missionaries, who were incredible stiff and straight looking, not a sensuous curve to be seen anywhere.

It is a stark contrast to this figure of Mami Wata, a fabulous carving based on a religion of the late nineteenth century in the collection of John Monroe, history professor at Iowa State University. The image started from a German lithograph of a circus snake charmer and was transformed into a powerful religious figure in Nigeria who went in for exotic foreign accouterments.Mami Wata worship has spread all over Africa and the African diaspora..

In the US we always look out, and assume we are the dominating culture of the world, that what we have to offer is superior and desirable to everyone else. . But in fact what we send out is alien, perhaps unwanted, and corrosive. But the cultures that we visit ourselves on send back our intrusions through cultural acts that transform our ideas with irony, humor, and a sense of our foibles that we ourselves do not recognize..

This exhibition is entirely refreshing, and its catalog, written in collaboration with students' questions about colonialism, is a great format: .
Near the end, Dr. John Monroe comments :
"If we just reject racist images from the past without trying to work out what social, imaginative or cultural functions they were supposed to serve - which involves placing them in a broader context- we end up with less of an understanding of how and why racism emerges. It's never something that pops up in isolation: it always exists as part of a complicated web of attitudes and assumptions that need to be untangled. That of course goes for the present as well as the past."

Amazing Birds

2010-11-29T17:45:00.000-08:00

This is a trumpeter swan flying. They make an amazing sound, which is why they are called trumpeters. The white spots on the ground are more swans.They do an intricate social ritual arching their necks that was fascinating. We saw hundreds of them in the Skagit Valley. As well as hundreds of snow geese and thirty other birds including Kingfisher, Blue Heron, Bald Eagles, Red Tail Hawks, Bohemian Wax Wing - but now I am getting technical. I know nothing about birds. I was with two experts who identified what I called little brown birds. But I was good on the big white birds!
And the thrill of seeing so many birds is wonderful. IT awakens all of your senses to spend a day gazing at the sky, listening for bird sounds, an extraordinary symphony of sound that we blot out of our lives. Trumpeter swans migrate to Washingston State from Alaska, the snow geese come from Rangel Island where they have covered the island and eaten everything in sight. In the 1930s they were endangered. Which goes to show we can save the earth if we decide to.

. As we crossed route 20 hundreds of cars were headed to the mall. If only they would stop and wonder if they really need anything from there, get out and look at the birds and listen to their songs, they would have a free day of joy!

Take a look at Maya Lin's project What is Missing? for a sobering look at the escalating species and habitat loss we are causing. As she has said, we are in the midst of the sixth major extinction in the history of the earth, and the only one caused by a single species, humans.

And pursuit of fossil fuels is only getting more and more ferocious in its destruction of the earth. The precious Boreal forests in Canada for example, are being destroyed in the pursuit of tar sands. Rising Tide North America are a group of activists fighting this project, but the general public has no clue.

Inscape: Art in a former Immigration Detention Facility

2010-11-17T18:12:00.000-08:00

Inscape was an installation of art in a former immigration facility where people were detained until 2003 when a new and much bigger facility opened in Tacoma. Detention is a private industry that is making big bucks. Perhaps you heard the National Public Radio expose that the new Arizona Immigration Law was written by operators of private detention centers and passed word for word, along with corporate and political backing from some major heavyweights.

The artists were attempting to transform the energy in the building. We could all still feel the unhappiness and fear that lurked in these rooms. The building is available for artists studios, and quite a few artists are already working there.

The building was first built during the Alaska Gold Rush as an "assay" office, and the top floor remained that, a place to weigh gold and to establish its value. On that floor of the facility one of the works made a direct reference to that function. Megan Trayner had a piece on the floor with a gold leaf surface.

Other artists on this floor included Romson Bustillo whose characteristic abstract patterns with symbolic meanings and intentionally undecipherable titles ( to remind us of how it feels to not undersand a language) filled one end.

Nic Meisel's serendipitous installation, with its threatening sounds was off in another side room. I saw these pieces as it was getting dark, and the sense of ominousness in Nic's was definately present, in spite of his cheerful presence not too far away.

Some of the work was really inspired by the space and a radical departure for the artist, as seemed to be the case in the work of Katy Krantz ( judging by the art in her studio) who created a wonderful graffitti piece at the front entrance, based on simulating the actual graffitti in the small excersize space upstairs. Detainees from countries all over the world had written their countries on the wall in black tar from the roof. See piece at top of entry for Katy's artwork based on this graffitti..

The Chinese Men's dormitory inspired an evocative piece by Helen Gamble. The hanging cot beds suggested both the fragility of existence and over crowding. The races were segregated here, and a high percentage of the inmates were Chinese.

Jen Mills Landscape of Memory, a room full of seats made of salt, suggested instability.

Ju Pong Lin combined video and an ironing board with an installation of shirts that documented the many different ways that Asians had been expelled from cities in the Northwest.

Gail Howard's infirmary of shredded sheets draped over beds captured the idea of illness within prison, not much care, just enough to keep people alive.

Christian French made a floor game that suggested the labyrinthine bureaucracy and games of chance that people had to navigate in order to get out.

But perhaps most impressive of all was Ladan Yalzadeh's tour of the facility which gave us a complete history and guide to the various rooms and their functions. She had come from Iran in 1986 and been processed through these rooms.

Her personal experience was mild compared to what people experience today, when there is mostly only one way out, deportation, but she clearly described the experience of standing in line day after day, the cramped and crowded rooms, and the atmosphere of oppression and anxiety.
For another artist addressing detention in these very same rooms see my post on Eroyn Franklyn

Picasso at the Seattle Art Museum

2010-11-15T17:20:00.000-08:00

The Acrobat, 1930 Courtesy Musee National de Picasso, Paris

Finally, I have some time to post a comment on this extraordinary exhibition of Picasso's art work "Masterpieces from the Musee National Picasso, Paris, October 8, 2010 - January 17, 2011 at the Seattle Art Museum.

For all of us in the United States who have seen the same works from the Museum of Modern Art over and over, everywhere, this exhibition is delightful. Although some of the works are definately benchmarks, like La Celestina and the Death of Casagemas, others are completely unknown, like the self portrait with pentimenti for Les Demoiselles D'Avignon and the chunky wooden sculpture from the same time frame.

In fact Picasso's sculpture is way underemphasized in most discussions. It is consistently original and intriguing. In this show among works in recycled metal, wood, bronze, and paper is the original Bulls Head made from Picasso's bicycle seat and handlebars. You can look at the leather bicycle seat and think about Picasso sitting on it. In this exhibition there is also the Man with Sheep, 1943 and the Nanny Goat 1950.

So why am I so excited about the exhibition, I, the post colonial, feminist, political activist, art critic? Because it is intimate. We can feel Picasso thinking as we look at these works, the sketches for Guernica, the photographs of Guernica in progress by Dora Maar, the photographs from early years in Paris or during the war, murky, shadowy black and white.

But it is also dramatic : the juxtaposition of the wonderful bronze sculptures inspired by Marie Therese in the late 1920s and the paintings of that same period, one of my favorite eras of Picasso's work, installed beautifully in the gallery by Anne Baldessari, curator of the Musee Picasso in Paris

I have chosen only the image of the acrobat from 1930 for this posting, as it is such a brilliant drawing/painting. I see Picasso chasing Matisse in this outline, but never can he accede to the pursuit of the idea of an art work as a "comfortable armchair" that Matisse worked so hard to achieve. Picasso always struggled, resisted, absorbed, and reworked. The impossibly contorted acrobat is, as in all of Picasso's work, Picasso himself, of course, and the contortions of his art. It is in the room that introduces his pass through Surrealism.

John Berger's Success and Failure of Picasso (1965) is still worth re- reading after all these years.
He suggests that Picasso ultimately sought the primitive instead of the civilized.
He also suggests the biggest failure was Picasso's last works, when he did over elaborate re workings of old master paintings like Velazquez, over elaborate but empty.
Picasso, according to Berger, had a "failure of revolutionary nerve . . . To sustain such nerve one must be convinced that there will be another kind of success: a success which will operate in a field connecting for the first time ever, the most complex imaginative constructions of the human mind and the liberation of all those peoples of the world who until now have been forced to be simple, and of whom Picasso has always wished to be the representative." ( 206)
On the subject of "How Political was Picasso?" John Richardson has an excellent article in the New York Review of Books last week. Richardson knew Picasso over many years, and he watched all the acrobatics from both near and far.

All aspects of Picasso are represented here. We can all decide for ourselves what we think. And of course, all the women who inspired him are prominently included : Fernande, Eva, Olga, Marie Therese, Dora Maar, Francois Gilot, Jacqueline, and other women who are less famous.
Make up your own mind, but see this show. It is travelling to Virginia and San Francisco from Seattle, and then off to Asia. For an excellent more detailed discussion of the exhibition see Art Dish

Azar Nafisi in Des Moines Iowa

2010-11-02T15:12:00.000-07:00

When I went to visit my grandchildren in Des Moines Iowa, I was excited to discover that Azar Nafisi was speaking, sponsored by Drake University. She has a new book called Things I Have Been Silent About.
And of course she is best known for Reading Lolita in Tehran, perhaps one of the best titles for a book in the last ten years. But the subject of her lecture was culture and human rights, and the idea that books can speak across cultures in what she called the "Republic of the Imagination" She spoke of the power of literature to liberate and make connections betwen people. Perfect strangers can share their experiences of a book.
She also spoke about the imagination in contrast to the idea of smugness and complacency. Villains in books are those who are blind to others. The first target of totalitarian regimes is the imagination.

Curiosity is "insubordination in its purest form" The desire to know, to question yourself, to see ourselves as question marks. Alice running into the rabbit hole is an example of curiosity. At the heart of curiosity is learning about the "other" not thinking that we already know other people.

Of course, as an Iranian, she is well aware of how ignorant people in the U.S. are about Iran and Islam in general. She spoke of how the women of Iran have refused for 30 years to comply with the restrictions of the revolution there.
Freedom means choice, responsibilty, passion, risk,
"How much are we willing to give up in order to regain passion?" She sees a crisis of vision, to be self righteous is a sign of weakness.
It was a really inspiring presentation.

Can visual art play this same role in communication across cultures? I believe so, in spite of being so embedded in capitalism. In fact, it is a perfect example of imagination as subversive to the system. A New York Times article about artists being sent abroad by the State Department in a new grant program being administered by the Bronx Museum of Art quoted Michael Krenn, author of Fall Out Shelters for the Human Spirit: American Art and the Cold War, as saying that "artists are not easily controlled" !!

New York City Creative Time

2010-10-18T18:24:00.000-07:00

I have just returned from the Creative Tme Summit Revolutions in Public Practice. The entire conference is on line at the Creative Time website. My main impression was that Trevor Paglen and his session on Geographies was one of the most compelling group of presentations in the conference. The second riveting session was led by Laurie Jo Reynolds on governments. These two panels really got to the heart of artists addresssing social issues. Much of the rest of the conference addressed structures of the art world, art schools, food ( well that is a political issue of course, but we are drowned in that subject here in Seattle..). I did miss a few though, and perhaps some fabulous insights. I plan to watch those sessions online. And in the facebook discussion going on now there is still a lot of discussion on the subject of the "art world" and how to change it, which to me is not the point. The point is the rest of the world and how artists can connect to that in their art in order to contribute all their formidable talents to changing the world.
More soon.
I am overwhelmed at the moment with proofing my book. I have been to about six different wonderful events lately that I want to write about including
The incredible Picasso Show at the Seattle Art Museum. Do not miss it.
Coup de Foudre, a performance with music by Paul Miller aka DJSpooky, Corey Baker and Melvin Van Peebles based on Jean Cocteau's 1930 film Blood of a Poet
Nuevo York at the Museo El Barrio
Alison Saar at Lewis and Clark College in Portland
Inscape at the immigration building in Seattle
and much more.

Art and Politics Now goes to publisher

2010-09-28T16:00:00.000-07:00

This is the work of Hana' Malallah, an artist from Baghdad who is included in my book. The title of the work is "The Looting of the Museum of Baghdad."

Yes, it is really true. My book is about to come out after all these years. You can read more about it on my website, Art and Politics Now Cultural Activism in a Time of Crisis. It has ten chapters on topics ranging from art against globalization, war, terror, censorship, racism, and art in support of immigration, border crossing, and ecology.
I include artists from around the world, but the emphasis is on socially engaged artists in the U.S.
Tomorrow, one of the artists, Cecilia Alvarez, is part of a group exhibition in Seattle.
Trevor Paglen is a keynote speaker at Creative Time, Daniel Heyman has been showing his art at university galleries, and the activists like the Backbone and Yes Men just keep on going.
That is just a tiny sample of the over eighty artists and exhibitions that I discuss. More soon. This is just a teaser.

Olivia Bouler and the Gulf Oil Spill

2010-09-22T15:02:00.000-07:00

Eleven year old Olivia Bouler began her presentation at the Audubon Seward Park " My name is Olivia Bouler, and I am here to tell you that one person can make a difference." The laid back Seattle audience was not used to such up front assertiveness!

Olivia has drawn pictures of birds and raised $150,000. for Audubon to help with efforts to clean up birds soaked in oil in the Gulf. So far the counted number of birds who have died is 8,000, but the actual number is much higher because off shore birds may have died in the thousands without our knowing about it. Then there are the sea turtles, the dolphins, the many many nesting grounds. All of us agonized. Olivia did something.

I have been expecting artists to have stepped up with an outpouring of art about the spill. Some of them have.

Someone sent me this photographic project by Jane Fulton several months ago. She actually posed people on Lake Michigan, but the point was obvious and affecting. It is called Crude Awakening.

Here is another work by artist Io Palmer

The installation is in her new exhibition at a winery in Eastern Washington State. She said that she was intitially thinking about stomping grapes because of the location of the exhibition, but as the images of the Gulf Spill overwhelmed us all summer long, she made this piece with its emblematic references to those trying to help. "The oil spill is one more emblem of America's incessant and uncontrollable greed and consumer driven desire"

The most recent issue of the National Geographic is a must see. It has a fold out map with the layers of life in the Gulf on one side and a map of the oil wells on the other, as well as photographs of the ravaged estuaries from oil pipes, dumping, and other polluting activities. A tragic photograph of a dead baby sea turtle in a sea of brown oily mud and an image of an oil covered pelican strike to the very core of humans' stupidity.

The reality is that this oil spill was inevitable, that the protected areas of these Gulf coasal zones are just a very thin area * as we see in the amazing National Geographic map of life and oil on the Gulf, which I cannot download for the blog*, compared to the ravaging, thirsty oil industry.

We all understand that half the population along the Gulf depends on the sea and the other half on the oil industry. So they will soon be back to drilling deep again.

But what if we all started living a different way, if we imagined a different future, and we insisted on it. We really have only two choices, the end of the planet as we know it, or going in a new direction.

I realized recently how fortunate I am that I hardly drive at all in my day to day life. The vast majority of people are imprisoned in their cars, sitting in traffic everyday. I walk, bike and take the bus. But I am lucky that I can. Lots of people would like to do that, but it takes time that most people don't have. And most or our urban and suburban lives are designed to require us to drive.

But what if everyone just stayed home and didn't drive one day a week, or stopped buying all those petroleum encased (organic) vegetables or just tried to buy food in packages we can re use at least once.
Small efforts.

As Olivia said at the end of her wonderful presentation in which she celebrated birds "If insects disappeared it would be the end of the world, if humans disappeared, it would save the earth." And then she said, "An individual can make a difference, but all of us together can make more of a difference." She not only drew pictures, she also went to Congress to lobby for another type of energy. I wonder if they condescended to her. She is more on the ball than they are. She has, apparently, been all over the news. But the real story is that she really cares and did something about it.

This summer and fall Congress voted billions to continue with our support for petroleum pursuing and consuming wars, as well as failing to pass clean energy support.

If the BP spill didn't wake up Congress, what will. And of course, this was really no surprise, BP has been a bad actor all over the place with their oil fields, Alaska has been full of spills they caused.

Here's to this young lady. She acted on what she believed in. If only we could all do that, even for one day it would really lead somewhere.

John T Williams Wood Carver Shot by Police

2010-09-20T15:14:00.000-07:00

John T. Williams was a seventh generation wood carver of the Ditidaht Tribe on Vancouver Island. He lived in Seattle, in housing created by the Downtown Emergency Center that understands that just because people have a problem they still need a place to live. John had a problem with alcohol abuse, he had been making his own way on the street since he was seven years old. He made his way by carving small totems that he sold to tourists. His father taught him, and in the old days, they used to make a pretty good living at it. Cyney Gillis writing for Real Change News has given the only coverage of the full story of John T. Williams life.

He was shot and killed by a white policeman as he crossed the street at an intersection on his way from where he lived to where he hoped to sell his art at Pike Place Market.

He was shot four times because he didn't stop when told to by a police officer who seems to have been terrified of his small pocketknife. John T. Williams is hard of hearing. He was simply crossing the street. Now he has died.

What an abrupt contrast to my previous entry of healing, and community.

Unfortunately, the fate of John T. Williams is what is going on today.

This small blog honors his art, his life, and his spirit, in keeping himself going all these years, without any of the supports of a middle class life that we all take for granted.

Thank goodness the Indigenous community has risen up in fury, they are holding daily vigils, marches on City Hall, confrontations with the Mayor. Here are a few pictures.

The last one is the tribal community in City Hall. The Mayor of course said it was a tragedy. But this is more than a tragedy, this is racist murder pure and simple.

The Confluence Project Story Circles at Sacagawea State Park

2010-09-15T19:18:00.000-07:00

At the dedication of the new Confluence Site in Sacajawea State Park in mid Washington State (now pronounced Sacagawa), Maya Lin is standing in front of drummers from the Confederates Tribes of the Umatilla Indians, at their invitation. It was a thrilling and sacred dedication. There were a lot of eloquent speakers, a trumpet piece, poetry, and eloquent indigenous speakers (including Anton Minthorn and Bobbie Connor, in a photograph below) but this drumming was by far the most profound moment. The drummers saluted the ancestors of present-day tribes, their spirits in that place, and their history. Right after I took this photograph, the Native drummers asked us to not take any more photographs, so we all simply listened and experienced the connections to the past and the future. We heard incredible music and singing that seemed to come from the depths of the earth itself.

The shape of their drums is echoed in the seven "story circles" that Maya Lin created at this site, the confluence of the Snake and the Columbia River, two mighty waterways.

Indians gathered here in large numbers for centuries, for trade, story telling and for ritual celebration. This is site no. 4 to be dedicated in the Confluence Project. Maya Lin was invited by Native leaders in 2002 to commemorate the loss of Native cultures as a result of the Lewis and Clark expedition because they were so impressed by her work at the Vietnam Memorial.

At other sites, Lin has been quoting from the Lewis and Clark journals that meticulously noted flora and fauna as they progressed down the Columbia, as well as the villages and tribes that they encountered. The extinction of much of what they say, including Indians, villages, and the natural world, is a theme of the Conflucene Project. At this site, Lin focused on the Native traditions.

She was intrigued that when L and C came to this Confluence they spent only a short day or two here, whereas, for native peoples it was a site of great importance and they tribes spent months here.

Each Circle has a different reference: welcoming, salmon, a longhouse, rivers and the dams, mythci time, trade and last what was called the Seasonal Round, all the different animals and animals that were here. I took pictures of all the circles, but the real experience is being there, seeing their relationship to one another, our relationship to them, and our relationship to the past, present and future of the river and the land.

The shape of the circle echoes the shape of the drums, and their sound enveloped us creating a sense of community coming together.
It was a very moving experience.

Backbone Localize This! Action Camp

2010-09-09T17:10:00.000-07:00

The Backbone Campaign sponsored "Localize This!" An art/action camp. Here we are at lunch. We had such a wonderful time. It brought together my three favorite activities, camping, politics, and art. I was only there for two days but it was really intense.

This is Kim Marks. She is part of Earth First, an international environmental activist group. She covered the many different aspects of civil disobedience, starting with someone willing to be arrested, and the support for that person, then media, legal, video, public liasons, as well as connections to workers affected, medical, and communications and de briefer. There were even more.
Her second theme was also valuable. Where do we fit in the process, at what point are we intervening?? There were six places, all of them important and she mentioned that the "mountain top removal" resistance project includes all six.

extraction, destruction
money ( production)
consumption (stores)
decision ( who is accountable)
assumption ( as in cultural assumptions)
envisioning the future ( Yes Men are an example)

Of course I realized that I am always intervening in the same place, at the point of consumption, as I stand and wave an anti war sign every week. We consume war as a commodity. We eat war, we drink war. Our society is permeated by war. When we email the representatives we are intervening at the point of decision ( but better is face to face meetings). Kim actually talks to CEOS. And then there are the YES MEN!

There were other workshops on theory as well like the one by Tom Kertes.
You can seem his theme, an amazing quotation from Martin Luther King
"Power without love is reckless and abusive and love without power is sentimental and anemic" He was talking about how to have power! Useful idea.

We also had a workshop from Jay Cookson and smart meme His subject was changing the story "How changing the story, changes the world." Again food for thought. He showed an alphabet of corporate logos, we recognized them all, then of plants, we recognized few. Our society is permeated by corporate marketing, we can change their story to our story.

The most devestating presentation by Rising Tide told us about the campaign to extract oil from sand (see http://oilsandstruth.org/) in Alberta, Canada. This is a vast act of environmental destruction that few of us even know about. 10,000 acres have already been clear cut (what is called the overburden) and that is just the beginning, in order to get oil - but very little oil for the amount of oil used to get it. Gigantic trucks are going over the narrow and treacherous, and beautiful, Lolo Pass, 210 feet long! 2 to 4 barrels of oil to get one barrel of oil. Two tons of sand for one barrel of oil, http://www.endgame.org/links.html
has a lot of helpful information on this and other campaigns to resist environmental degredation.

Salmon Dinner at Localize This Backbone Camp with Chef Maia in the foreground - she really had a job, 25 people, vegan and non vegan, in a non catering kitchen!

We chose kayaking, treeclimbing or making giant mache heads. This was a real camp!
So of course I chose making heads, but first I visited the tree climbers.

This tree climber, Kathleen, is a peace activist. Every Sunday she helps to put up a huge war memorial in Santa Monica. It is called Arlington West Santa Monica. This is her first time climbing a tree. A slew of young people were guiding her and she succeeded! These skills are for hanging banners and protesting forest devestation among other activities.
And here I am helping to make a giant paper mache ( I am wearing the pink tee shirt from the Ni Mas Una campaign, see earlier blog) We learned step by step starting with a big plastic bag stuffed with newspaper. The features are made with shrink wrap which can be shaped to form features, I made an ear. Then we tore up paper bags, and dipped them in the cornstarch and water goo that was boiled until smooth. We smooshed the paper to break down the fibers as we covered it with goo. Then we put it on one layer at a time, alternating print and non print, minimum of three layers. That's as far as I got with it. Here are a few more pictures.

And last but not least the agit prop band. Bill Moyer led the way as a drummer. He actually taught us how to make music for demos. I would love to play in a band at a demo sometime. I played the cymbals. Here are some pictures of forming the band starting with Bill on a makeshift drum set.

I can't tell you how much fun this all was. For one thing, I loved being with young activists who really care. I am so tired of people who actually make fun of activism, or say it doesn't matter. For another, we all had a

great time getting to know each other.

And we really learned a lot of organizing skills, which is the point. Now I am going to get involved with a campaign.
The camp itself went on for three more days and culminated in a flash mob at Target - a point of consumption because Target gave $150,000. to the anti gay, anti worker candidate for governor of Minnesota. They collaborated with a group called Agit Pop to
sing "Target Ain't People" as a protest to their intervention as a corporation in elections.

Oregon Shakespeare Festival

2010-08-28T15:20:00.000-07:00

AMAZING experience. We went to 8 plays in 5 days. They have three theaters running with two shows a day each. The actors were often in two different productions in one day. We went with Georgia McDade, a friend of mine who is a Shakespeare expert, so we got lots of insights. Also, Oregon Shakespeare Festival provides educational material, both printed, in lectures, talks after the performances, back stage tours ( we toured with the actor who played Prince Hal in Henry IV Part I,) musical adaptations (Shakespeare sonnets as hip hop). This was a total immersion.

They included multimedia in several performances, film, animation, text, etc. the lighting was part of the story. When Olivia in Twelfth Night fell in love the red lights suffused the whole Elizabethan stage. In Hamlet, soliloquies had green lights and freeze action. Throne of Blood had film, black outs, brilliant lights.

And aside from the contemporary and recent plays, where you expect it, Shakespeare is all about exactly the way we behave today. Nothing has changed, greed, power, land, love, lust, betrayal, its all there, with the poetic dialogue that we have to read over and over after the play in order to pick up all the nuances.
The plays we saw in order were

Hamlet, with Don Donovan in the leading role, performed in contemporary cocktail clothes and with a hip hop performance in the middle, amazing lighting, and of course, phenomenal acting.

The play within a play in Hamlet ( where he lets his mother and step father know that he knows they killed his father) was performed to music by Outkast, J-Z, LL Kool J, and Tupac. But the lines were all from Shakespeare. What a tour de force.

Hamlet ( Don Donovan) in a suit with pink rose petals floating all around him was the great promotional image. Here is the tee shirt "What a Piece of Work is Man"

So Hamlet, for three hours and more, was riveting as both contemporary and classical. When Claudius, the step father/king, sees the play that accuses him of murder he throws up in a modern black toilet, front stage center. I haven't ever seen a toilet onstage featured before. ( And of course, OSF has no problem with anachronisms, they love them).

The next day we saw Throne of Blood. This was Macbeth based on Kirosawa's adaptation in film, based on his relocation of it to ancient Japan and Noh drama with its reductive movements, sounds, and gestures. It was multimedia with a huge floating screen above the stage with stunning graphics and texts. Not to mention the set and the music. Evoking early Japan.

The dialog was an English translation of Kirosawa's clipped Japanese improvisation of the Macbeth story. So it was avant garde. It was intentionally not smoothly flowing, which I didn't get at first. I thought it was an awful lot of layers, Scottish king in English play, adapted by Japanese film director, re adapted by Chinese director for American actors.
But visually it was phenomenal.

The last Macbeth that I saw was a feminist interpretation with the witches doubled in number and becoming a covey around Lady Macbeth. In this version, there was a Forest spirit who seemed to be bisexual, and only "Lady Macbeth", now Lady Asaji played brilliantly by Ako, an actress trained in Japan, who really knew about the Noh theatre that the actions in the play adopted. She bolted the whole play together, as a tiny figure in red in center stage radiating incredible power, apparently backstage as well, in her coaching of the actors on Noh movements

The same day we saw Merchant of Venice which has that famous character, Shylock, the Jewish moneylender in Venice. It was played for the first time in Ashland by a Jewish actor, and it was an opportunity for lots of education of the actors and the audience. He was the undisputed star of the show. "If you prick me, do I not bleed?" He could have been speaking for anyone unjustly persecuted and treated as less than human.

Next day we saw She Loves Me, a fun musical. It felt good to laugh and enjoy good singing. Apparently these Shakespearean actors can also sing.

The stage froze near the last act when the electricity went out in Ashland, just as the lead singer Lisa McCormick had finished a song about vanilla icecream. She sat down on her bed and said to us "want some, I think I am stuck."
Her bed was supposed to whoosh away.

Twelfth Night is everyone's favorite play. We saw it earlier this year at the Seattle Shakespeare Company. Amazingly, a lead in She Loves me, played Olivia in Twelfth Night on the same day. Olivia is the rich woman who falls in love with Viola/ Cesario as a boy, one of Shakespeare's favorite games. Viola is pretending to be a boy after being wrecked at sea and left almost on her own, also falls in love with Orsino, the wealthy prince in love with Olivia. So we had in the original Shakespeare, a boy playing a girl who become a boy, who is still a girl. In this play it was a girl being a boy, not so hard, but actually the love relationships required enormous skill.
And of course, Shakespeare was so far ahead of his time in all this playing with gender identities.
He has wonderful powerful women in all his plays too.

The next day we saw Pride and Prejudice. Beautifully performed and staged, superb acting. And the man who played the wastrel George Wickham became that same evening
Prince Hal in

When this play started out, it was a bit draggy, I thought this is why I never before appreciated the history plays of Shakespeare. Lots of people being slaughtered, narrated by boring characters. But once the Prince Hal scenes began, with the wonderful character Falstaff, carousing among the people with Hal, it was thrilling. An incredible marathon for the actors, including deaf actor Howie Seago, who was incorporated right into the play with signing ( he was also part of Hamlet, as the ghost, but with far fewer lines). The fight scenes were staggering, apparently the sword scenes are rehersed twice right before the show goes on every single time, once at half speed, once at full speed, and Prince Hal matched off with Hotspur, another extraordinary actor, Kevin Kennerly, who also played the lead,Washizu ("Macbeth") in Throne of Blood.
And then the very next morning we had Prince Hal for a back stage tour at 10am after a double bill the day before.

Final play was American Night, with Culture Clash from LA, again a new media production, with singing and probably 10 costume changes per actor. American history seen in a dream before Juan Jose takes his citizen exam. He meets all the people left out or the perspectives changed, or the events excised, or the people who should have been included or not included. It was a brilliant romp and a telling political statement, going all the way up to the Gulf Oil Spill and the Tea Party, racist anti immigrationists in the present. Here is an interview with Richard Montoya about this play.

Apparently, I picked the right year to start coming to Ashland. Bill Rauch is from the heart of the LA alternative theater scene, and he is bringing in people, ideas, and vibes from that scene. It is really exciting.

So that was our marathon in Ashland.

Violence Against Women, Part II

2010-08-26T15:35:00.000-07:00

This spring in Philadelphia there was an extraordinary exhibition "Ni Una Mas/ Not One More/The Juarez Murders". It was held at Drexel University's new art space the Leonard Pearlstein Gallery. Although I was unable to attend the exhibition, I have received the catalog, and various other reference points, including photos posted on facebook and videos online.

The Juarez Murders have been going on for a long time: since 1993 more than 800 girls and women have been murdered. These killers target young women who are working in maquiladoras (sweat shops) in the "free trade zone". Mexico has 4000 maquiladors and one million workers. Women are lured to work in them because of the hope of making money for a better life, but in the factory life they exist outside of Mexican social structures. Inside the factory, they are prey to employers who treat them as sex objects. On their way to and from work, they are vulnerable to anyone on the street. Many Mexicans see these zones as places of economic prostitution between Mexican and the US. according to gender theorist Jessica Livingston:
"Global captialism depends on these women to assemble its commodities. While multinational coporations profit from the maquiladors in Juarez, the murdered women and their families bear the cost of global capitalism."

Diana Washington Valdez is the courageous and intrepid reporter for the El Paso Times who has analyzed why the killers have not been caught. She states that the murders come from different power relationships, gangs who kill as initiation rites, elites who know they can get away with it and kill for pleasure, serial killers and copy cat killings. The police and other authorities are often complicit in the cover-ups or lack of investigation.

Celia Alvarez Munoz's work is featured on the cover of the catalog Ni Una Mas, it shows a simple pink shift dress, with a razor with cocaine on its edge, at the crotch, blatently referring to the interersection of sex, drugs,workers, and death. These cut offs by Munoz raise the same issues with the red sequined zipper that resembles a flow of blood. These two works are part of a larger installation by the artist Fibra y Furia, Exploitation is in Vogue

The exhibition "Ni Una Mas" included a tribute to Frank Bender, who as a specialist in facial reconstruction used skulls of murder victims in Juarez to reconstruct their faces and help to identify them. He was in great danger as he worked on the faces, even drugged by high officials and threatened.

The exhibition also included well known artists like Kiki Smith, Yoko Ono, Coco Fusco, Nancy Spero, Tim Rollins and KOS. All together there are 19 artists in the catalog.

Some of them made works specific to the exhibition, others contributed work that pertained specifically to the subject, and others were more indirect.

Yoko Ono made a "heal" button, and a poem "Our body is the scar of our mind. We are the oasis of our planet, we can move mountains, heal planet, heal earth, heal us."

From the photographs, the Art March (see the video linked above) was the high point of the event, taking the message into the streets with a march of hundreds of people wearing pink tea shirts that referred to the pink crosses for the women murdered in Juarez. The exhibition addressed real issues, calling people's attention to the problem and demanding that solutions be sought.

Of course, the powerful array of forces lined up in Juarez makes it difficult, but at least the gallery made a committment to making a statement and to publicizing the murders. If such an exhibition could take place in galleries all over the country it would really make a difference. Wake up Art World! Down with Narcissism.

Violence Against Women

2010-07-28T13:53:00.000-07:00

Lately there have been several different works that call attention to violence against women in our contemporary world. I will mention them in order of my encounter with them

First is of course Stieg Larsson's The Girl with the Dragon Tattoo,( original title, Men Who Hate Women) and The Girl Who Played with Fire ( I haven't read the third one yet). These two books describe a lot of violence against women, but there is also the fabulous heroine tough Lisbeth Salander, who has survived unspeakable violence against herself and is on a virtual crusade to punish those who perpetrate the violence. And we cheer her successes even though her methods are also violent because of the violence of her opponents. As a second theme, that relates to violence against women, the books are also a send up of the profession of journalism and the use of mindless sensationalizing smears.

The second forum for addressing violence against women is the play Ruined by Lynn Nottage. I have actually seen it twice, in London and in Seattle in a production by the Intiman Theater. The Seattle production was the original NYC cast and director. The night I went we had the understudy Victoire Charles, who was fantastically good in the lead part which required a huge range of emotions from sassy, sexy, and strong, to terrified and finally, happy (the hardest part to make believable).

Both productions confronted us with the position of women caught in the midst of meaningless war, guerilla conflicts, and their limited choices for survival.
1 be tough, tough, tough.
2 prostitution is preferable to sex slavery and rape
3. children are sacrificed toother people's violent desires
4 traditional society's perceptions of the position of women and contemporary war's utter disregard of respect for women are a terrible mismatch
The women of the cast were fantastically good, different types, different experiences, all of them riveting us with their personal stories. The stories are real, they are based on interviews that the playwright conducted by women from the Congo. The men of the cast seem more types, than individuals, but there were a lot of types within the general theme of guerillas, traders, and commandoes. There was one sensitive man, but each one had a range of strong feelings.
Then there is that other less emphasized theme, that the meaningless war was being waged today in the Congo for the rare minerals that go into all of our electronic gadgets. So as with the BP oil spill we are all implicated.

In partnership with the play Ruined we went to see the movie Call and Response at the Northwest Film Forum, sponsored by Seattle Against Slavery. The film was bascially a documentary about a Concert to End Slavery, organized by Justin Dillon who is interviewed about how he came to do the concert. He includes amazing musicians like Emmanual Jal who survived being a boy soldier, Imogen Heap, Natasha Beddingfeld, and Dillon himself, Talib Kweli, and interviews with Ashley Judd, and the actress Julia Ormond as well as Nicholas Kristoff and others. It also included facts like there have one million people enslaved in the US in the last ten years and only 50 convictions. That there are17,000 people in sex slavery today, it is the single most lucrative enterprise (but Ormond pointed out the continuous flow between guns, war, drugs and slavery).
The magnitude of the problem is staggering. Everything we buy is probably touched by slave labor. This is sex trade that is getting younger and younger, we saw children of six or seven offering sex services. We saw the drug induced prisons for women sold out of villages for tiny debts, but we also heard from people who are trying to help people to get out.
All these media, novels, theater, film, music, addressed the same problems, the same issues. Collectively they are overwhelming. But there are many groups working on doing something, the meaning of the title of the film is here is the call, let us all respond.

Art Sparks Occidental Square Summer 2010

2010-07-23T13:34:00.000-07:00

My office is on Occidental Square, and so I am familiar with all the regular people who like to spend the day there. They sit on benches pursuing various activities. They are guarded by the wonderful 1970s totems by indigenous carver Duane Pasco one of which you see in this photograph.

So I was surprised one day to suddenly see a red carpet rolled out and a women in ornate Victorian dress standing there.

It was Art Sparks, a program sponsored by 4 Culture

(whom I just highlighted in the previous entry). They have commissioned artists to come to Occidental Square all summer and spark it, that means, bring art to the parks that interacts with the public, and creates a more friendly setting for passersby.

The red carpet and the woman in Victorian dress, I learned, were part of that project.

It was AK Mimi Allin.

She was reading War and Peace in her period costume, as she walked up and down the carpet, and we were invited to accompany her for a round trip as she read. So I did. Twice. It was fun. The first time I was asked to hold her parasol, as she read a passage from early in the book, before the war takes hold. The second time, we were out on the battlefield dealing with problems.

I asked her about the project and she said she liked to take on challenges, like a very long book that we have difficulty reading these days.

She was there a whole week, every day, reading, sometimes alone, sometimes with other people keeping her company.

I went from dubious to enthusastic. I love books. Her perseverence and good humor won me over. I found her reading on a break in the Grand Central Building and she was really into the book. I asked her for my friend John at the Globe Bookstore which edition she was reading, and it was the latest. (The Globe Bookstore doesn't have a website. Go and discover for yourself on First and Main, now that Elliott Books is gone, it is a treasure that is to be relished all the more!)

So it was a great project.

Right next to her in the park was Tony.

Tony had brought his hobby to the park. It was a flight simulator. He said it was what pilots do to learn how to fly. He had a lot of equipment and he enjoyed showing me how it worked. But of course he wasn't part of Art Sparks. He was just there because it was a sunny day.

Then there was the canopy by Celeste Cooning, which was part of Art Sparks. It is

hanging in the trees. It is adding to the tree canopy. It is called Celebration and Fanfare. It is made of a "paper like plastic fiber" and hangs over our heads as we pass under it. It is delicate and casts shadows like the trees. I'll let you decide what you think. It probably appeals to a lot of people who like their art attractive.

Another group called City Meditation Crew, from NYC I think, made a meditation circle with reflective gum wrappers. They were wearing white costumes with big white hats. They definately stood out from the rest of us mortals. They created events including a walking mediation that called attention to daily living. (I couldn't stay for their events, but I thought about them as I passed by with my daily living) There was also a Butoh performance that I didn't see. There are other events coming up, listed on the website

There have been some other art events in the city outside the box. One important performance was by Garric Simonsen. This cart was part of his performance in which he wheeled a cart full of delectable inflatable toys and stuffed animals through the city from the James Washington Foundation which sponsored him as part of a residency. He walked from the Washington Foundation in the Central District, down Capitol Hill, and all the way to Occidental Square. He gave away all the toys on the cart and on the way he had a lot of great conversations with the public and a lot of fun. Simonsen and all the artists in residence at the Washington House are inspired by the spirit of James Washington. They respond to this famous sculptor's home and legacy in many different ways as they work in his studio. Simonsen responded to Washington's big commitment to children, community, and public engagement. He transformed that into his own exploration of issues that artists face about how to interact with the commercial systems of art (which he was obviously subverting here in a number of ways.) Washington was really brilliant at promoting himself by the way.

So how does one evaluate these type of art expressions? By whether some members of the public respond, then they all worked, by whether the public space is enlivened, that also happened. But still I am struck by the fact that Mimi was so much more really there than some of the other projects sponsored by Art Sparks, even though she had a red carpet and a Victorian dress. We could all walk with her.

I also really like the artists like Tony and Garric who just do their own thing out there.

And don't forget all those permanent residents many of whom are pretty interesting in their own right. I introduced my one year old granddaughter to my personal friends among the permanent people the other day and they were all delighted to meet her.

Here she is with me camping at Mt Rainier. I didn't catch the downtown greetings on camera.

Detained

2010-07-23T12:10:00.000-07:00

Here in the Northwest we still have a lot of support for art from the public sphere, King County 4Culture, the City of Seattle Mayor's Office of Art and Cultural Affairs, the Washington State Arts Commission. There are also many local non profits that support both visual art and the literary arts, theater, dance, opera, music and much more. Then we have street festivals, farmers markets, and impromptu creativity. We are lucky here.

But from my own perspective, I was really excited about an exhibition that is taking place at 4Culture gallery this summer, because the public support does not often, for obvious reasons, translate into support for politically engaged art. Sometimes there are subtle and indirect environmental references, and there has been a lot of support for artists working in the environment, but hard politics is a hard sell.

Eroyn Franklin managed to break through that with her amazing series "Detained."
Her drawings fill the walls of 4 culture with the stories of two immigrants going through detention centers in Washington State, the Northwest Detention Center in Tacoma, and its predecessor in Seattle, the U.S. immigration and detention facility. It includes crucial, specific details, it makes the vague information that we have about detainees visible.

She tells two stories. One man from Cambodia, Many Uch, who came here as a child, was placed in detention as an adult because he drove a getaway car in an armed robbery when he was 18, a crime for which he had already served a sentence. A woman, Gabriella Cubillos, was detained because she was pulled over for expired tabs, detained for unpaid parking tickets: she had entered the country illegally many years ago, when it was common and easy in the 1990s.
Eroyn had some important facts that don't appear in the drawings with their thought balloons about conversations among inmates in the centers or elsewhere ( above in a mosque after Mani was released)

2/3 of deportees are removed for immigration violations alone
90 percent have no legal representation, no timely hearings
80 percent of those detained are deported- they say they want to be deported in order to get out of detention
Immigrant law is different from criminal law
All immigration decisions are part of the Executive branch, there is no legislative involvement

The growth in this industry is huge: the old INS in Seattle had 200 beds, ICE in Tacoma had 1000 when it opened, and it has 1545 now. There is a lot of money available for this since 9/11. In 2008 there was a 35 percent increase in deportations to more than 10,000 people ! This is horrendous. Detentions are random ( often combed from prison populations), there is virtually no legal recourse, and many of the people deported have made their homes in the US for many years and have children here.
The injustice of the situation is blatent.
What has happened to this country, formerly so welcoming to immigrants and enriched by them.
Of the 16 detention centers in the US, 7 are run by private contractor GEO,
they make $150 on every person in the center. It is seen as an "investment opportunity" and a "growth industry" Another facility is projected for Yakima.

I would like to add from the Bill of Rights Defense Committee site that the Bureau of Immigration and Customs Enforcement ( ICE) spends 1.7 billion a year to detain 380,000 people

How did Franklin pull off having he"Detained" shown at 4Culture?
Well she is a photography graduate of Paul Berger and the University of Washington. That is a very helpful credential in this city.

Also, she was working with a journalism group who have done special reporting on this issue called The Common Language Project. They have done a four part series called Between Worlds/Behind Bars on "Seattle's Ellis Island" on the Northwest Detention Center in downtown Tacoma. So she had content that resonates, a crucial factor. She is engaged with her subject.

Finally, the work is difficult to read, as you can see from the image above. The fifty foot long drawings require serious effort for a gallery goer accustomed to sweep through a show at a glance. That makes it less obviously threatening to people who don't bother to read it. The writing is small for a gallery, it will be much easier when the book comes out. Here is the newspaper image.

PS. The old Seattle INS facility has just been sold online to investors who will work with the International District residents to address itthe history of immigration in Seattle which goes back to the detention of the Chinese in the late 19th century.

Shirin Neshat Women without Men

2010-07-13T17:05:00.000-07:00

I just saw Shirin Neshat's first feature length film, Women without Men, 2009. It has won a lot of awards, at the Sundance Film Festival, at the Venice Biennale, and elsewhere.

I wonder how many of the people giving awards and writing reviews have read the novel by Shahrnush Parsipur of the same title. This is the second novel by Shahrhush Parsipur that Neshat has used as a point of departure, the first was Touba and the Meaning of Night.

Parsipur seems to be supportive of the film, she is appearing in the photographs of the Silver Lion ceremony in Venice and she even plays a part in the film as the brothel madam.

The film is visually dazzling, Neshat's trademark, and her film is a logical direction from her early photographs, then the slow moving imagery of her installations, to now a feature- length film. Her husband Shoja Azari is also a filmmaker and collaborates with her. The film was shot in Morocco, with Casablanca as 1950s Tehran. This is a good review.

Women of Allah, her famous photography series in which she wrote the poetry of the famous modernist Iranian feminist poet, Forough Farokhzad, on the hands and face of (herself) wearing a chador, was a response to a visit to Iran after many years. She was shocked at the changes from what she remembered in the late 1970s as a small child ( she left in 1979 at the time of the Islamic Revolution). Paying homage to a great poet as a visual artist is common in art from Iran, Iraq, Egypt, and other countries in which poetry has been more important than visual art. (I would like to avoid the inaccurate term "Middle East")

Her film Women without Men appeared almost at the same time as the Green Revolution, an amazingly fortuitous circumstance for its success. The cast and Neshat wore green and held up the peace symbol in Venice during the award ceremony in September 2009 for Best Director.

The film is pure Shirin Neshat. She has stunning images of women in black chadors (she has a love hate relationship with chadors, she loves their visual effects, but not the oppression of wearing them.) A lot of her films include an emphasis on the black shapes of the chador.
I have heard Shirin Neshat speak, and she is very compelling. I can still remember her saying on a panel in Istanbul, " artists in Iran do not have the luxury to ignore politics."

On that note, the film's vortex is the politics surrounding the US coup of 1953 which overthrew a democratically elected government in Iran and reinstalled the Shah.
One of her characters, Munis, comes back from death and engages with the political activists who support Mohammed Mossadegh. They are represented as Communists, leafleting in the dark of night, resisting the supporters of the Shah in demonstrations in the streets.They are ultimately crushed both literally and metaphorically. That's Munis in the photograph above, floating in a sea of people, both there and not there ( she is after all resurrected from the dead.)

None of this is in the novel.
The sole reference to the coup in the novel is the date of the novel mentioned in the book, August 1953. There is unexplained turmoil in the streets. Munis is not a political activist, she simply visits a bookstore and reads some books.

Parsipur is a feminist novelist, she has been writing books and short stories since the late 1960s. Women Without Men was first drafted in the late 1970s, although published in the late 1980s. She was censored for referring to virginity and has spent time in jail. Her life has been both as an acclaimed Iranian novelist and as an exile since 1994 whose works are banned in Iran, an incredible tension. All of her novels include elements of the magical, the incredible, magic trees, magic women, women as trees, ( if you saw Touba by Neshat, the woman became the magical tree, in her novel Women without Men, a woman plants herself and becomes a tree).

But the main theme of Women without Men, the novel, is women together in a special place. In that place, a house with an orchard, magical events occur. The novel is feminist, focusing on four women from different social classes, a prostitute, a sister of a repressive and religious brother, a religiously observant woman in love with that brother, and a wealthy woman who leaves her general husband and buys a garden and estate in the country in order to be free and do as she wishes, including writing poetry, which she does badly. ( In the film she is a singer).

The main theme of Women without Men the film, is the coup d'etat, the role of the United States, and people's lives at that time. Neshat brings together the military, the Shah reinstatement, and the magical orchard where the women live by having the military who are searching for communists after the Coup come to a party at the house in the orchard.

The parties in the book are not connected to the military, they are a celebration of life and the aspirations of Fakhri to be famous. In the film, she is attached like a mother to the prostitute Zarin who hovers between life and death; in the book, Zarin marries the gardner and has a magical pregnancy ( becoming transparent), giving birth to a lily which is planted by the stream. Her mothers milk is given to the woman tree.

The place of music is crucial to the film. As the soldiers and officers sit at the table disrupting the party of the bourgeois guests who both support and do not support the coup, the tension is broken by the beautiful singing and playing of an elderly man. (earlier, before the soldiers arrived, the hostess Fakhri had performed herself).

So the question is what is the position of culture here? I found it provocative, on the one hand it was soothing the oppressive military men, on the other hand it was disrupting their oppression.

The other question is, why did Neshat keep the same title as the novel for her book. Her film is about the tension between life and politics, between freedom and oppression, the novel is about complex relationships between women, between reality and fantasy. They are entirely different. In the book all four women are in the same place. Munis does not go back to Tehran.

But one cannot argue with Neshat's power to call attention to political issues in an aesthetic context. This is the most difficult achievement for art. I salute her for that. But for those who are looking for an Iranian film, they will have to look elsewhere. She has said she wants to convey the complexity of Islamic culture, but contemporary Iranian women say that she has been away too long ( she is also banned from Iran now). Iranian women that I know do not like her work. They find it annoyingly cliched and superficial with respect to Iranian society and Iranian women.They refer to her art as "chador" art, or "veil" art, holding the Western gaze to Eastern art.

I suggest Bidoun magazine, an outrageously amusing and clever contemporary publication on culture in the Middle East (they call it that) and Arteeast, an online journal that has indepth articles on a range of subjects.

Nonetheless, Neshat is the primary female Western-based artist who is so prominently addressing Iranian politics in art for the international art audience. At least she is opening the door. The fact that we think all those chadors are what is happening in Iran then or now just shows how much we all have to learn.

Provence then and now

2010-06-19T16:36:00.000-07:00

In our trip to France, we visited St. Remy (the asylum where Van Gogh painted some extraordinary artworks), this is the view out of his window from his tiny room. It is my perverse nature to begin our trip with a view of his barred bedroom. The olive trees look just like his paintings.

The asylum continues in use today, and there was a mural created by children living there. I guess having had a really famous artist living there must be an inspiration to them.

Aix en Provence (Cezanne's home Jas de Bouffan, Cezanne's studio, and Cezanne's quarry, Bibemus) - Here's Henry in the quarry listening to the guide who told us the geology, the art history, and the history of the quarry. Just after this we turned around and saw Mont St. Victoire as Cezanne saw it.

Vallauris and Castle Grimaldi (Picasso), here is a sample pot by Picasso, no pictures allowed in most places, but I got this one in Vallauris. The sculpture is in a nearby plaza.

There were amazing contemporary artists working in ceramics also.

The Maeght Foundation (modern art especially Miro), here is a sample. Below is the facade with a mosaic by Chagall. Miro's work pays homage to the farmers who were still working there in the 1960s. He had an entire sculpture garden of work that needs a separate entry or a slide show. Braque had a tiled pool and stained glass. Every art work suggested new perspectives on old friends.

The Vence Chapel (Matisse), entrance, amazing stain glass inside

The Matisse Museum in Nice with joie de vivre, Sunday afternoon in France in the foreground.

The Museum of Prehistory (wonderful website, you have to search for it in French Musee Prehistoire so here's a link) in out of the way Quinson, Verdon. We were so lucky to get in with the school children with my press pass, since it is closed on Tuesdays, the day we showed up. It was a high point of the trip for me. Interactive educational displays and state of the art media. They took us through the stages of human development based on a cave discovered nearby with remnants of human life starting 700,000 years ago. The stunning museum was designed by Norman Foster. The school children in France are studying evolution. Here is also the earliest example of stone carving that they found in the cave.

This was near the gorge of Verdon that we hiked in

and the exquisitely beautiful town of Moustiere Ste Marie recommended by my good friend Romson Bustillo. Here is my salute to the good life in a small restaurant there.

The Museum of Resistance in La Fontaine de Vaucluse, called Call to Liberty 1939 -45 told the story of Petain's capitulation to the Nazis, his cult, his sending of French men to work in German industries, and then the amazing resistance movement with its multiple identities, courageous participants, and its successes (sabotage) and failures (killing and persecution). It had a whole section on the artists in the resistance, especially writers, like Paul Eluard.

One poet memorized 140 poems while in prison and then wrote them down when he got out.

In Avignon there was a national strike in France and a great March in the main street ending at the Papal Palace. Of course that was another high point.The French socialists had the best chants and were thrilled to meet an American socialist ( that's me) they didn't know there were any. The French were protesting the threatened cuts in benefits and pensions because of the economic crisis. Of course my personal ( absolutely unverified and unverifable) theory is that the privatization people wanted to force Europe to stop giving all those services, and the crash was a great way to force them into it.

Seeing the art of these famous artists in the locations where they lived and worked was enlightening. (We missed out on Leger, that will have to be on the next trip).

They moved to Southern France when it was dirt cheap, one after the other, Cezanne came from there and never left, and he painted in his own back garden as well as a quarry and his studio. Amazingly limited geography. He was forced to the sea during the Franco Prussian war and painted the Meditaerranean "l'Estaque" like a big blue wall. No crashing waves for him. Van Gogh of course moved for the sun and color.

Matisse in Nice were a perfect match of light and color, Picasso went there in 1946 (having spent the war years in Paris) and spent three months painting with makeshift materials at the Grimaldi Castle. It is now a Picasso Museum right on the water, in what was a grim old castle. Today it is filled with light and air and an extraordinary group of paintings, many of them in tones of grey and brown.There is also a stunning group of black and white photographs of Picasso painting in the Palace, with Francois Gilot, the only woman who every left Picasso, from those same months. And then there is Picasso's amazing pottery. He painted on preexisting pots in Vallauris and restarted the entire pottery production there.

Apparently he didn't like the fact that Matisse made a chapel for nuns at Vence. He was an atheist, but a very competitive one, so he did a chapel in Vallauris with War on one wall and Peace on the other wall. It has been closed down though. Here is War. Peace will come soon. Below is a photograph of the Chapel from the web. The murals are painted in a Romanesque chapel with a barrel vault and he painted it completely. Of course the formalists don't like any of Picasso's political work.
I've never even see these work reproduced before. Not part of the MOMA canon, that's for sure.

And then there is the Maeght Foundation. We went there on a perfect Sunday morning, blue sky, sun, green grass, the building designed by Jose Sert, the unity of artists, site, and spirit was perfect. Aime Maeght was close friends with the artists represented here, he supported them right after the war and they supported his museum. There is a unity of place, persons, art that is rare in the art world. It belongs to a lost time, the 1940s - 1960s, before the Cote D'Azur went crazy and became what it is today, a rich person's play ground.

We managed to find one tiny beach S Juan des Pins, that was public and had a picnic and took a quick swim. Apparently that is where the famous photograph of Picasso holding the umbrella over Francois Gilot was taken.

I didn't know that Matisse moved to Vence during the war, after the Germans occupied Southern France, or that his daughter was tortured by the Gestapo. I didn't know that the Resistance was centered in Provence because of the rugged countryside or that the US Allies bombed Avignon killing many civilians, in order to prepare for the invasion of France (sound familiar? ). I also didn't know that Picasso had lived in Aix following the footsteps of Cezanne and ended his life near Avignon. Right to the end he was soaking up other artists work. Matisse was always the man of pleasure that Picasso could never emulate, his line he said was "a description of the states of the soul". Picasso was always striving, stretching, and creating big failures as well as big successes.

His "three keys of Antibe" painted in pale gray on the wall of the Grimaldi Palace is simple mystery, perhaps a magic charm. I was not able to photograph it, but I did draw it. Maybe I can scan that.

I am on the emotional side with Picasso, but I can still enjoy Matisse. Cezanne I felt was so priviledged, how could he fail to be a success. All he had to do was paint!

There will be more pictures soon. Here we are reflected in the water from the famous Avignon Bridge

Henry Moore, Steve McQueen, "War and the Body" and "War Horse"

2010-06-14T15:20:00.000-07:00

This shadowy photograph shows a sculpture by Henry Moore at the Tate Britain. It is in the permanent collection, not part of their new exhibition of Moore's sculpture. It represents a sculpture based on one of the shelter drawings from World War II, with its flowing robe and awkward pose, it has been pulled from the many drawings he made in the London Underground and other shelters during the Blitz.

There was footage in the Tate show of Moore actually walking through the tube underground stations. He explained that he only drew people afterward and usually sleeping as he did not want to be too invasive. I didn't realize that these famous drawings in the London Underground depicted sleepers on the platforms ( of course they did, if you think about it) and that the people there were in non sanctioned shelters. They just went there in droves. After the fact, the government sanctioned it as a shelter.
Moore commented (and this explains some of the drawings), "the only thing at all like those shelters that I could think of was the hold of a slave ship." You see emaciated cadavers in facing rows and close up couples. Moore found that their gestures while asleep told him a lot about their state of mind. He also found the sight "pathetic, sordid and disheartening." According to the museum though, he "transformed London's poor into heroic figures and the uncertainty of their situation into stoic resignation. "

One of the most fascinating details in the exhibition were his sketches of preliminary ideas for drawings ( he was commissioned by the government to paint the war). In his tiny sketches he drew burning cows, and sheep with airplanes flying overhead. How rarely we see the impact of war on animals.

The heart of the exhibition was the war period. His drawings of miners in the same time frame, commissioned by the War Artists Advisory Board, are equally strong (his father was a miner), suggesting claustrophobia, as well as courage and perseverence under incredibly difficult conditions deep inside of mines.

The framing of Moore by the Tate aside from this section which cut through their efforts like a knife, was to focus on sexuality, surrealism, modernism and materials. The exhibition brochure was organized by medium, a particular stone, a specific wood, etc.
I went through the exhibition with my inlaws who had been to Moore's studio with the artist. He felt that touching the sculpture was crucial to understanding it, but of course in the musuem, the materials were simply an aesthetic reference, not a tactile experience.

The gallery materials gave us no biography (such as his roots in working class England), and only cursory references to his exploration of other art forms such as Egyptian and Meso American (which the museum calls Ancient Mexico "dominated by sex and religion). It mentioned the importance of Roger Fry's book Vision and Design, without saying when it was published (1920) and included some wonderful sketches.

Moore's art and his own words trumped their efforts. For example he said " Trunks of trees are very human. To me they have a connection with human life." So from a material, wood became an active spiritual presence.

Steve McQueen's "Queen and Country" at the National Portrait Gallery is a very different type of art about war, also commissioned by the government. He has been on a long campaign with Royal Mail to get these stamps used on letters. He has created 160 sheets of stamps, each stamp with a single face of someone who has died in Iraq in 168 stamps.

Steve McQueen is part of a long tradition in England, the official war artist. He went to Iraq in 2003 to try to make a piece but was barely able to leave his room. That's when he thought of stamps. But Royal Mail and the Ministry of Defense have been very difficult to deal with in creating the project, he couldn't get the addresses of soldiers who had died. And this article raises the question of how such a project would be received in the US where even photographs of flag draped coffins are censored.

Meanwhile at Blackall Studios, London, there is an important exhibition called "War and the Body." I didn't get to see it although an installation "The War Experience Project," which was shown in Seattle by Rick Lawson was included. Lawson is a veteran who works with veterans on painting military jackets with their own war experience. He hands these jackets together and the result if deeply moving. Furthermore, the artist,
refuses to narrate his experience, saying it is far too traumatic to tell in a sound bite.
Another artist included was Sama Alshaibi, an important Iraqi/Palestinian artist.

The important premise of the exhibition was that war is "embodied", that seems like a pretty straightforward idea. But when you think of the real physicality of all those young people on both sides, as well as children and babies, who are killed in war, it really hits on the essence of why war is insane.

We also saw an amazing play in London called War Horse, which used life size horse puppets made of pieces of flexible cane and leather. They moved with three puppeteers ( head, tail, and heart) of the Handspring Puppet Company, that amazing company from South Africa directed by Brian Jones and Adrian Kohler. The puppeteers manipulate the puppets directly with their hands in an extraordinarily dexterous and gymnastic performance. The emotional life of the horses, expecially the star Joey in the play, are conveyed in its tail, skin, eyes, ears and even the movement of its body in breathing.

We were utterly convinced of their souls and spirits. The theme of the play is the role of horses in World War I, their courage and needless deaths, in the midst of the mindless slaughter of trench warfare. The World War I music was beautifully arranged, and the story of young innocents going to war only to be killed was direct. But the star of the show were the horses, in their movements on stage, galloping, falling, nuzzling the people who cared for them. The poignency was heartbreaking. When the main horse was caught on barb wire we all cried with him.We felt the mindless, stupidity of war.

The play is based on a book, (Michael Mopurgo, War Horse, 1982, a children's novel written from the perspective of Joey, the main horse in the play). but the memories of the role of horses in World War I are taken from conversations with someone who was part of that War The other interesting fact is that it was similar to the multimedia approach of William Kentridge, with animations, puppets, music, and real actors, although here all the components were more literal and easily understood. The shadow plays and other techniques were abstracted, but not avant-garde.

Two Iraqi artists and one Palestinian artist

2010-06-07T13:27:00.000-07:00

I had the good fortune to meet two Iraqi artists during a brief stay in London. First Hana' Malallah, whom I have written about on this blog before. She left Baghdad in the fall of 2006, reluctantly driven out by the war. She has been in London for two years now and has a studio where she is producing art works using canvas that she partially burns, then rips, cuts, and collages onto larger canvases. The result is imagery that is both painfully specific and absolutely abstract, a rare phenomenon. Naturally the paintings recall the destruction of art in Baghdad and the destruction of Baghdad which now, she states, has no government. The change has been shocking and absolute, particularly for professional women. Those who remain must be covered when they go outside and still risk being killed everytime they walk in the street.

Hana' taught at the College of Fine Arts, Baghdad University. She also earned a Ph.D. in art theory there. Art students came from all over the Middle East and Europe, and could attend free of charge. Saddam Hussein abolished private universities. Now the University where she taught has lost its faculty to diaspora, it building was ravaged, its library destroyed and private universities are returning to Baghdad.

She told me of the deep contradictions of life under Saddam Hussein, there were no elections and if you joked you could die, but prior to sanctions she could travel freely. She had six works purchased by the government in the Modern Art Museum.
During the sanctions, Hana' went to the archeological museum for inspiration.
She stated that she belongs to a group of artists who are pursing the theme of ruins, who all belong to what she called the "80s" generation in Iraq. They include Kareem Risan who left in 2004 for Syria and now lives in Canada, and Nazar Yahya who is in Jordan.

At the end of my trip I visited a second Iraqi artist, Dia Azzawi. He is older than Hana'. He has a degree in archaeology in 1962 from Baghdad University, then a degree in Fine Art in 1964. He worked at the archeology museum until the mid 1970s when he left Baghdad. He said it was "politically obvious that he could not stay. "

Azzawi is a fiery, brilliant artist. His creates monumental abstract sculpture, large paintings, mixed media "objects" and small book art works. He is currently working on a monument to the over 600 PhDs who have been killed in Iraq. The targetting of intellectuals has gone almost unreported in the media. This is a preliminary study for the monument.

Azzawi makes detailed references to Arab poetry and historical art. For example, in a recent work a photograph of his father shows him wearing a type of scarf as a headress that we associate with the Palestinians, but he juxtaposes it to Gudea of Lagash, the ancient lawgiver of Mesopotamia who wears a similar headdress. Fortunately we had just seen that stunning work of art in the Louvre.

He bemoans the lack of knowledge of their own history of art among Iraqis.

He is also a collector of contemporary art from Iraq.
He suggested to other artists the idea of book art, a new format for Iraqi artists that was easily transportable. Selections from his book art collection have been shown in the U.S. in several venues with the title Dafatir, curated by Nada Shabout.

Azzawi is also a curator. He has just created an exhibition called My Homeland of the work of seven Iraqi artists in Dubai and is also contemporary art advisor and curator for the Qatar Museum.
He explained to me that there is a big market in fake contemporary Arab art. As the market demand has grown for contemporary Arab art, particularly among the emirates, who have a lot of money, but don't know much about contemporary art, the collecting of works of name artists has led to the production of fakes. Jawad Salim for example, a was a premier Iraqi modern artist who was commissioned in 1958 to create the Monument to Liberty in Baghdad, by the newly created Iraqi Republic (1958 - 1963, led by Abd al-Karim Qasim whose ties to Nasser led to his assasination by Baathists in collusion with the CIA) Jawad Salim died in 1961 before his sculpture was completed. His work is currently being forged from old photographs.

Finally, the work of Palestinian artist Larissa Sansour is in an exhibition in Paris. Above you see her Palestinauts. I have followed her video work for two years and I think she is one of the most talented video artists addressing Palestinian issues (and the competition is stiff)

This show featured "Intergalactic Palestine. "All of her videos are riffs on populist genres, from cooking shows to horror movies, with the deeper metaphor of the anguishing condition of Palestine. But her trademark is that we laugh as we cry.
This video is a riff on science fiction about space. She even uses a remastered sound bite from Stanley Kubrick's 2001 "A Space Odyssey."
It starts with the artist, as a Palestinaut (cosmonaut plus astronaut), in her space ship, getting ready for take off. We hear "Jerusalem, we have a problem" , then "everything is back on track." She lands on the moon and plants the Palestinian flag, walking carefully in her moon boots. She declares " One small step for Palestinians, One giant leap for mankind" as she waves to the earth. Then she floats away into space and disappears.

The artist has explained " The work reflects the fact that Palestinains are in limbo, without a state, as their homeland shrinks like a spot on the horizon . . . The moon landings reflect a widespread anxiety, that in leaving home, we might never be able to return home again.Yet because this anxiety is universal, the pain of the real forced exodus of the Palestinians is doomed to remain a private grief, forgotten by the rest of the world."

T.J. Clark on Guernica

2010-04-30T11:37:00.000-07:00

Two great minds, Picasso and T.J. Clark matched in a lecture. At first I was dubious, when the first statement Professor Clark made was "Space was the form truth took for him as a painter." This seemed unduly formal, detached. But by the end I was fascinated, and only slightly unhappy, with his analysis. At the beginning Clark declared "The twentieth century appeared in his (Picasso's) work as a way of life coming to an end. ... It was the end of the "room" in art, the world view of being and having was shattered to the core." ( these quotes are based on my notes they are not exact). He did not elaborate on this comment, about which much can be said.

What I will add is that the metaphor of the room as a secure domestic place filled with our objects as the focal point of life, based on capitalism, acquisition, and obvliviousness to the rest of the world, was destroyed in World War I ( of course that isn't true, it was only the hegemony of the British Empire that was destroyed) - but the painters in that crucial early twentieth century era sensed the impending destruction and altered the domestic space in art into the layered, complexity of cubism. (Clark confusingly later refers to the destruction of Cubist "room-space" by Picasso, the Cubists were not actually concerned with room space, but with disrupting it, in my opinion. I think Clark overprivileges Picasso)

OK
Then point 2 , which was the most compelling insight for me, was that this was "the new face of war" of what has become the war on terror, our permanent war forever. We know that this is the first representation in art of deaths of civilians by bombing from the air ( the Germans were testing new planes in collaboration with Franco, just in case you need that fact filled in). Such a death is now so commonplace that we digest it with our breakfast.

Professor Clark stated that ""certain kinds of death break human contact" There is a "special obscenity" of this new death. "Privacy is torn apart, the room gives way to the street." And this new reality led to Picasso' s new way of imagining a public and political that is outside, rather than the interior sexual domesticities that had been his focus. ( Well there are the Three Musicans, from just after World War I, they are in an ambiguous space and they are scarey and scared).

Again, there is much elaboration possible. Clark showed us an odd sketch in outlining this movement outdoors, but he did not show the famous bone paintings of the early 1930s which are all on the beach and, to me presage, the nightmare of Guernica in thier frightening shapes. But of course one difference is that those giant "vagina dentata" heads are threatening, whereas in Guernica they are being attacked. He also failed to every mention the "dreams and lies of Franco," that well known etching series. It presages Guernica in many ways, it is set outside, it has direct formal connections. When I asked about it in the questions, he first said it was not relevant, than brilliantly backtracked and rethought it as he talked about it.

A major point in the lecture was the enormous scale of the Guernica (mentioned again in the "dreams and lies" answer which he reminded us were tiny) the largest painting he ever did (of course determined by the scale of the site for which it was commissioned, not Picasso's inclinations.) It was this scale as well as the subject AND the site itself, the pavilion of the Spanish Republican government as it fought for its life against unified fascist forces of church and state, that forced Picasso to change his way of working as well as out of his self referential narcissism. The result is a monumental homage to the doomed people of Guernica. It is not the first time that the female victims of war have been represented, (look at Kathe Kollwitz), but it is because it is by Picasso, the most famous.

One of the most intriguing parts of the lecture was Clark's detailed analysis of how Picasso achieved this transformation of his inclinations to represent the interior, personal, and the sexual, to the exterior public death, by his removal of sexual references, of references to Greek, to males, his step by step ( based on those daily photographs by Dora Maar) changes in the relationships in the painting.

But then Professor Clark declared that in the painting we have "flatness finding its feet" ( it was a pun too, as he emphasized the feet in the painting) . WHAT, we are talking about re defining the idea of pictorial space in response to tragedy, and we have "flatness". Flatness is of course that tiresome idea of Clement Greenberg's. The flatness here is defined by Clark as "the collapse of modernity" . That's not hard to disagree with as an idea, but actually there isn't flatness in Guernica, it has all sorts of erratic spatial relations, and it is the erratic relationships that suggest the tragedy, as far as I am concerned. Some of the figures are flat, some of them are in the extreme surface of the painting, but others are not, particularly at the bottom of the painting, there is an indication of recession or at least volume. ( he talked a lot about the bottom of the painting as a complex problem) But the flatness here is, then, humanity run over by a war machine.

Clark's final statement that these are "hieroglyphics of states of agony" was wonderful.
His lecture was about HOW an artist transforms his personal response to disaster into the elements of a painting, and for Picasso, according to Clark, it was in the transformation of space.

Of course, this almost eliminates the content completely. The bull, the light, all symbolism. The possiblity of resistance is nil, mankind is simply a victim and of course that is the case so often in war, the human is simply a pawn in a system of power, and this is the representation of that moment according to Clark. But emptying all content, except the moment of bombing, I think is unduly flattening the painting. Eliminating all reference to resistance (the woman flying into the center with that incredible light which for me suggests humanity and resistance) makes this image only one of despair.

Clark has become a formalist? Or is he re defining formalism in a social context. I think the latter. I hope so. I hope this is slight of hand, play the vocabulary of formalism into a new context. Clark is, of course, of that particular breed, academic marxists. They are all brilliant, but on some level, they all disturb me. They are so dry and removed from feeling the horrors. Their social concern for the state of the world is undoubtedly real, but their writing is so turned inward that it contradicts what Marx realized was necessary in the age of industrial capitalism, resisting oppression through collective action in public spaces. Clark and Picasso's public space (or ambiguous public private space) actually is not a committed activist space. We know what happened next to Picasso, he joined with the Communists and the Resistance during the Occupation of Paris. Then he went back to his old domestic ways for the most part in his later years. We have to acknowledge that Dora Maar was the radical that really was a key to Guernica.

Two plays about war and one "quilt"

2010-04-28T17:24:00.000-07:00

Theaters can make statements about war, directors care, but sometimes it is a little ambiguous what the plays actually say. Two plays in Seattle, Henry V and An Iliad (a modern play performed by one actor, that refers back to the classic but also inserts contemporary references), each one is obviously responding to our permanent war culture.

The first Henry V by Shakespeare is really celebrating victory against long odds in war. It was used to rally the British morale during World War II, with a film version starring Laurence Olivier. Prince Hal was a pretty wild kid, but he became King Henry V.When the Church gives him a chunk of money (to avoid having their lands confiscated according to the play's beginning), he's off to war in France, based on some shakey premise that France is actually belonging to the English because of way back when family connection (that sounds like Israel in Palestine). Anyway off he goes and he beats the complacent French at Agincourt because (although this wasn't emphasized but my knowledgable husband informed me) they use the older technology of the longbow while the French used a cross bow with a shorter range. The real story of the war not included in this play, is rather grim, with many women and children dying in a siege.

So is this an anti-war statement??? The Director said in the program that her best friend's son was in Afghanistan. It seems to me the play was an homage to the courage of soldiers.
But then there is Shakespeare's own perspective. It has been said that on the one hand he creates heartfelt speeches by King Henry, on the other hand suggests he is ruthless, and his men mock him.

This play was commissioned by Queen Elizabeth because the Irish troubles had already begun, so perhaps it was intended to give heart to the British. But, of course, underlying it, is the ordinary people and their ordinary thoughts, always a feature of Shakespeare. And of course they were wet, dirty and sometimes uninterested.

To further mitigate its anti war statement, in this production there was a mix of 1940s war costumes, seen here, and 1960s Pop around the Princess Catherine of France who at the end marries our Henry V, which did bring peace. So that makes the war worthwhile??? Or could he have married her anyway and no war. He was offered her at the beginning of the war. ( It is a little like the Vietnam War, Kissinger was offered a peace before it started and in the end had exactly what he was offered at the beginning, after so many years)
Odd Play. Here is another opinion.

An Iliad (this isn't much of a picture but it is all they have on the website, obviously the character was posed before the production) , created by Denis O Hare and Lisa Peterson (who also directed it) was an entirely different matter. It was a tour de force performance by a single actor, Hans Alweis, and he played the entire range of characters ( Hector, Achilles, Ageammenon, Patroklus, Priam, Helen, Paris, Andromache, Astynax the baby son of Andromache and Hector , Zeus, Thetis, Athena) brilliantly, as well as himself (perhaps Homer) and himself again ( a contemporary who sees the meaninglessness of war).

The selections from the Iliad, the parts that were chosen, were perfect to convey the stupidity of war, the needless suffering, the insanity of killing, the arrogance, the egos, the hesitation, the thoughts of avoiding war that were not acted on, all of it was there. The recital of wars from ancient history to the present was staggering, presented in a soft voice that seemed to come out of the actor like a slow drip of blood. It was a similar intention to the slide show at the end of Henry V of art works about war, but had much more impact. The simple recital fit with the poetic homage of the play as a whole.
An Iliad gave us the full persepctive on what war is about and an extraordinary performance.

But then there is the Srebenica Quilt made by the widows, sisters, daughters of survivors of that terrible massacre. Each square is an homage to a lost loved one. Each one is actually woven, it is not a quilt, it is done in the flat weave kilim style, a heritage of the Ottoman Empire in this area. It is done by a group of brave, activist women who are extraodinary survivors, who are claiming a burial ground for their loved ones, who are reburying them, who are organizing to declare that they are going forward. This is the message of woman. I wish there were a play about that.

From Oppression to Liberation

2010-04-12T19:04:00.000-07:00

"Boycott Israeli Apartheid" the pro Palestinian protest at Westlake Plaza in downtown Seattle had a huge audience last weekend because it coincided with a "flash", a coming together of young people. The Boycott, Divestment Sanctions campaign is a long project. It is just beginning. The people of Palestine and pro Palestinian Israelis and other people around the world are urging the world to support this campaign that compares the current situation in Palestine Israel to apartheid in South Africa. The Palestinians are trapped in their cities by endless checkpoints. They are living in open prisons, they cannot get to work, their fields are being stolen by the wall. The campaign is asking people not to buy Israeli products, like Naot shoes, and to advocate for divestment of investments in Israel such as Motorola and Caterpillar. Here is an image with some of the companies that do business in Israel.

Of course the largest factor in the situation is the enormous US support for the Israeli military budgets. We send untold billions there every year. End the Occupation is a project to help us educate the American public and lobby Congressmen on the issues.

Not far away from the pro Palestinian rally, there was an immigrant rights rally, hundreds of people protesting the deportations, proposed horrendous legislation, and advocating for their rights. They oppose further militarizing the border, and they support legalizing their status. They came here simply to make a living because many people are increasingly unable to do so where they live, often because of our Free Trade policies that are dumping cheap agricultural products in Mexico, putting farmers out of business.

Last weekend there also was a South Asian Film Festival with films by South Asian women and about South Asian women including the talented Gazelle Samizay.

Her five minute film was stunningly beautiful, psychologically intense, and metaphorically layered all conveyed by the washing of a sheet that got bigger and bigger and dirtier and dirtier.

The film festival was sponsored by Tasveer, which has been going for about nine years, an amazing and enterprising operation. It is partnering with Chaya, a group that advocates for and provides services to South Asian women who are victims of domestic violence. Yoni Ki Baat ( Vagina Monologues) was a series of courageous monologues by women who addressed dating, marriage, cultral traditions, sexuality, coming out, childbearing, and female circumcision.

And finally, there was an Indian PowWow, a celebration and example of an extraordinary resurgence of American Indian cultures, traditions, languages, and pride. Far from being obliterating, tribes are asserting their rights and recovering their languages and traditions.

So from oppression to liberation, from the beginning of a resistance, to the results of resistance, from people in the midst of struggle to people healing themselves to people celebrating their liberation.

Very inspiring. People organizing together really do make a difference, they really can change the world. And artists are an integral part of that. Doing nothing or just talking really does waste that potential. As Arundhati Roy says in one of her brilliant essays in Field Notes on Democracy " "There is something pitiable about a people that constantly bemoan its leaders. If they've let us down, it is only because we've allowed them to."

Kiki Smith 2 and Milton Rogovin

2010-04-10T14:53:00.000-07:00

So I went back to the Henry Art Gallery's Kiki Smith exhibition "I myself have seen it" for another look. It is a complex exhibition and deserves a lot of looks. First I watched the Art 21 video which was really helpful . She talks about death masks, her grandmother's, her father's, her sister's. She herself is cast, that is terrifying. And she talked about Genevieve the savior of Paris.

So when I saw the series about Genevieve in the exhibition, it was clear what she was doing. The exhibition includes six photographs of parts of the sculpture, a profile face, lips, a hand, the legs of a wolf ( perhaps signifying the enemy that Genevieve's prayers staved off from Paris), the wolf's furry face, four animal feet. Together they create an imaginary narrative, much more than the sculpture in which G calmly steps over a supine animal, but this narrative is another story, a story of fragments of bodies that seem to be frozen, even as they create, collectively, a sense of anxiety. The stasis is perhaps related to Genevieve's spiritual nature. But there didn't seem to be any suggestion of the actions that she took to save the people by bringing grain.

Going through the rest of the show starting with a young girl trapped (floating?) in a branch, to odd photographs that seem to evoke fragments of organs, to Mary Magdalene ( we know her story, Christ's "fallen" woman) , to Lot's Wife (who turned to a pillar of salt, if you remember), to the Harpies (perched about on mouldings high above us) , to the witches, to the little girls, dead white animals, dead black crows, shredded puppet, worms, and a photograph of just Guanyin's head on its side (the image is in previous post) which does not suggest her power as a goddess of love and mercy and childbearing. There is only one message for me - violence against women, and especially little girls. The show is presenting frighened girls and oddly powerless witches. Even fairy tales where little girls succeed, like Alice in Wonderland, seem to be oddly ambibuous - will she succeed in escaping her pursuers??

The question is why doesn't Kiki Smith say what her real subject is, why is she so unwilling to be an advocate for all the victims she creates in her sculptures?? Why does she make victims from powerful goddesses and biblical women. Why can't they fight back? Why doesn't she fight back? My intelligent friend Deborah Lawrence talked me out of saying it is about personal trauma. What do I know, but why is Smith so obsessed with this single subject of death and threats of death and powerlessness.

The contrast to Cindy Sherman comes to mind who works from film, that, like fairy tales, are often about violence against women (in fact the new mythology), but we know they are re-staged with herself as the main actor, and she is opposing violence against women by calling attention to it.

Kiki adds to the victims in the world without doing anything for them. As far as I am concerned this is not feminism.

In an intriguing revelation, she mentioned that she had worked with Bread and Puppet theater for awhile. But she takes their confrontational approach and empties it of all resistance in making these prone or frozen or fragmented women and girls.

And what an amazing contrast to the adjacent gallery at the Henry with the photography of Milton Rogovin.

He has photographed the working class for fifty years. He went to Chile ( the image above is from Chile,) Appalachia, photographing. among others, the families of miners and the miners themselves (particularly resonant at the moment with the horrifying greed propelled, mine accidents in the non unionized mines )and repeatedly to the Lower West Side of New York City. His people are dignfiedand strong. He honors them with his photographs.
He wrote poetry about the subjects of his work.
Here are a few of his comments.
"They are regular people just like the rest of us. We must not abandon them."
"Everybody should have an opportunity for a better education."
" All around we saw people with great potential but we knew none of them would realize it under the conditions of our society."

Here is a man who cares deeply about the human condition and has spent his life recording it and speaking up for what he believes.

Kiki Smith

2010-04-02T20:13:00.000-07:00

The Kiki Smith exhibition at the Henry Art Gallery, curated by Elizabeth Brown, in collaboration with the artist for many years and years, is a tour de force, not to be missed. Together they went through about 80,000 photographs to arrive at the show. Hats off for a great show and a great installation.

Brown wrote her dissertation on Brancusi's photographs of his own work, those haunting black and white photographs that were first published in the Little Review in the early 1920s by the eccentric genius Jane Heap. (See my website for more information on her). But what a difference. Compared to Brancusi's actions which were relatively straightforward, although the results were beautiful, Kiki Smith, is like walking into a complex game in which we have no idea which way to go or what the rules are.

The title " I myself have seen it: Photography and Kiki Smith " refers to the fact that these are Kiki's photographs of many different types, documentary, journalistic, casual, creative, serendipitous.

Those of us in the press conversed with the artist informally -a great opportunity to try to get a little more straightforward information from the artist ( her artists talk was aggravatingly indirect, and my bete noir, about her materials and where she got them, although she had some good one liners).

Naturally, I asked her if she was concerned about environmental issues, since we were standing in a room with a lot of simulations of dead white mammals, and also a crucified Christ photograph ( that's my nod to Good Friday, today). She said she didn't like to be polemical, she didn't like to tell people what to think. Where have we heard that before? But in her case, it is true. She lays out the work, the death, the damage, the anguished adolescent girls, the mythic women, the fairy tale girls, the composite bird women, but they are all strangely passive. Oddly, she said the same thing as William Kentridge, that making art flows from her subconscious, she doesn't know what she is going to do ahead of time. But with wildly different results. Kiki Smith does not engage social political issues, we must conclude that spontaneity is conditioned by who we are. In Kiki Smith's case, I think this show gives us a whole new perspective on who she is and what her work is about.

When I asked her about AIDS, since that was the first work I saw that impressed me at the height of the epidemic (in the art world), she said, oh I just happened to be doing work about the body then (she also said when she took emergency medical training it was just to clinically analyze the bodies) .But her sister had jsut died of AIDS! So where is the anguish, the emotion, the passion? Anyone that can produce this much work has passion, but there is a strangely absent quality, a sense that somehow her consciousness is somewhere else.

Now I am going to make a big leap and a big guess. When I saw the movie Precious, one of the key devices was that when she was being raped, she would escape into fantasy, wonderful living color celebrity status fantasy. She was absent from the world in those times.

I see the same absence in Kiki Smith, her women lie wounded, or stand introverted, her crows are dead, her imagery of Little Red Riding Hood morphing into a wolf/girl doesn't suggest she is empowered by this transformation. Lilith, another woman who has had a raw deal, is just Lilith, not all conquiering Lilith. So what about Kiki's absent emotions. Is this a result of early traumas? I am not going to go further with this and get more explicit, but that was the message of the show for me. Going from Kiki Smith to William Kentridge, from the "feminist" introvert standing or lying passively, to the male activist declaring greed and capitalism wrong was quite a contrast. I still haven't digested it. I respect Kiki Smith for what she has done, but I wish she would stand up and declare herself. We have to penetrate the obfuscating indirectness ( which is strangely, deeply allied with sixties modernism, as became clear in the lecture).

But the show is really wonderful, dozens of images, all of them beautiful in themselves, that together give us a whole new perspective on Kiki Smith. The Seattle Weekly had a nice analysis of the experience of looking at the show, up, down, and eye level. Sharon Arnold did a wonderful analysis from a completely different perspective than mine.

Plum Blossoms in the Spring Pure Poetry

2010-03-26T14:28:00.000-07:00

This is my springtime celebration.

I stood under our plum tree and photographed it.

I felt the sheer beauty of the tree, its blossoms, its unpredictable branches

and

I understood why

gnenerations of artists in Japan and China have painted this subject.

In the midst of our war filled planet, and my militarized country,

I was grateful that I could pause for a moment

to immerse myself in this tree.

The William Kentridge Moment in New York CIty

2010-03-20T13:58:00.000-07:00

I was privileged to be there, during what was referred to as the "William Kentridge moment" in New York City. It combined his major exhibition at the Museum of Modern Art, "Five Themes", a lecture at the New York Public Library "Learning from the Absurd" and his groundbreaking production of "The Nose" at the Metropolitan Opera. William Kentridge directed, made the set designs (with Sabine Theunissen), and staging, (including a nose the size of a human being dancing around and even singing ), proscenium curtain, and banner. Also part of his team was Urs Schonebaum from Munich, who did the lighting, and Catherine Meyburgh from South Africa who did the video compostions.

Dimitri Shostakovich wrote the opera in 1928 at the age of 22. It was produced in 1930 ( in Leningrad/St. Petersburg). It was not performed in the Soviet Union again until 1974. Shostakovich survived Stalinism, unlike many of his brilliant contemporaries, but he was shattered by it. "The Nose" represents a watershed moment of brilliant experimentation.

At the Metropolitan Opera the music was conducted by world famous Shostakovich expert Valery Gergiev. Its extraordinary music is atonal and non lyrical, as well as filled with satirical references to traditional musical forms like folk music and chorales. But its main characteristic is the incredible use of unpitched percussion. It is based on a Gogol short story of ten pages called The Nose, written in 1836. The nose is a character on its own. The owner of the nose wakes up to discover his nose is gone, he has various adventures ( as the nose dances around the stage in both real time and on the animated film sequences that Kentridge created, borrowing from all sorts of Russian, modernist sources.) The extraordinary singing by Paulo Szot, who played Kovalyov, the mid level bureaucrat who lost his nose when he had a shave ( it fell into the barber's flour supply and reappeared in his bread the next morning) and therefore his position in the world, is a Brazilian baritone who sang almost non stop for one and a half hours. He was thrilling. I am now a convert to opera.

Kentridge animated the stage and its surroundings with the Russian avant garde art of Lissitzky, Malevich, with moving red squares, black lines, red circles. The costumes ( by Greta Goiris) drew on Popova's famed constructivist inspired dresses. The proscenium curtain was a giant collage with all sorts of amusing references, such as a list of the hierarchies of people under the tsar that starts with angels, the tsar, with actors way down the list with slaves, then thieves, pirates, gypsies, Jews/Muslims, animals, plants and finally stones. Then there was the hierarchy in Stalinist Russia, self seekers, loafers, careerists, morally corrupt, cadets menshiviks, democratic centralists, workers opposition, three times contemptible degenerates. Then there is the hierarchy ( not on the curtain, but recited in the lecture) of apartheid South Africa, Whites, Japanese, Chinese, Other Asians, Indian, colored, black. And we know about Mexico and its mind bogglingly complex castata. Which is to say that all hierarchies are futile exercises in arbitrary and meaningless status driven by the desire for power. The Nose, short story, opera, performance all refer to the absurdity of stature and how it is endowed.

Kentridge has also done a performance that related directly to the Opera, "I am not me, The Horse is Not Mine," which I wrote about when I saw it last year ( search the blog under Kentridge). His theme is the great aspirations and tragic failure of the Russian Revolution and its artists. And yet, the exuberance of his set and the staging of the absurdist play suggests his love of this art as well as its hopes. The performance began with an animation of the silhouette of a marching worker carrying a red flag across the stage. ( We all know about the importance of processions for Kentridge with the layers of meaning from protest to desperation)

Kentridge as a white South African and genre defying artist, working in animated film, drawing, prints, and collage, is deeply political, but he defined it, in a conversation at the New York Public Library, as conveying the political as surprising, as having an "uncertain ending." His work is laced with the humor of the Cabaret Voltaire defiance of World War I and its absurd performances. He throws us off from any certainty, he plays with the ridiculous, the illogical, the embarrassing , the accidental, the digressive, selecting from various experimental actions what will work in his performances. He has given us "sketches" in a DVD accompanying his book Five Themes that include some of the ideas he didn't use. He is absolutely in tune with Gogol and Shostakovich themselves, who perpetuated the same kind of disruptions with the novel and music respectively.

His animated films, including the story of Soho Ekstein, the greedy capitalist, and Felix Teitelbaum the neurotic lover, along with Mrs. Eckstein are about greed and love (love as a type of greed). His technique of animating drawings by sequential erasers is poignent and deeply moving. Ubu and the Truth Commission, with Ubu referring back to another Dada character, the impossibly self important despot Ubu from the Alfred Jarry play, is another performance that uses puppets, as he did last year in "The Return of Ulysses." "Ubu Tells the Truth" a film from 1997 has some shockingly violent sequences, including a person being chopped up and exploded three times.
From the Soho and Felix group, here is a line of starving workers and nearby the greedy capitalist stuffs his face from Kentridge's first film, Johannesburg, the Second Greatest City after Paris, 1989. One vivid image in this film was the capitalist using a coffee press, and the press goes right down into the deep underground and sets off charges that explode into the veins of a mine.

The Nose opera, the exhibition at the Museum of Modern Art, the lecture, all together comprise the astonishing work of one of the most extraordinary artists working today. He draws on not only Russian avant-garde art of the 1920s and Dada, but also on German Expressionism, that great style of political protest art in Germany.

Living in post apartheid South Africa and having lived tin South Africa all his life, he is acutely aware of the absurdity of contrived hierarchies that make some people superior to other people. He is undermining those certainties of who is important and who is not, and Gogol's short story and Shostakovich's opera with their wandering nose looking for status, removing it from its owner, and giving it to another person of "higher rank", etc, is a perfect ( he would say literal) example of the absurdity of who is powerful and who is not. That is the most subversive political statement I can imagine.

Of course, I am myself very opinionated about politics, and I feel that opinions and taking a stand for what I believe in is important. So why does Kentridge appeal to me so much? Because I can feel that underlying the wonderful humor, the absurdities, there is a man who cares very, very deeply about humanity. His work "the Black Box," addressing the ravaging of Africa by whites in the nineteenth century, is filled with pathos. The arbitrary slaughter of rhinocerous shown with vintage footage, connects directly to our continuing random slaughter of the planet for sport and greed.

But Kentridge also believes that humor, of which he makes such use in many of his works, can encompass the experience of the many, while tragedy only the experience of the individual. So he relies on humor, our collective laughter, and our recognition of our shared humanity as we laugh, to get ideas across.

In The Nose performance, and the related section of MOMA exhibition, Bukharin, that most deeply intellectual of the early Russian Revolutionary idealists, speaks up for humanity, may also speak for Kentridge, even as the words are those of a man who is laughed at, and, ultimately, condemned.
There is a lot more to say, but I will stop there for now. Kentridge will be the Conclusion of my book on Art and Politics Now so buy the book next summer when it comes out for more analysis.

Kentridge at the New York Public Library.

PS And the contrast could not have been starker with the shallow and failed works in the 2010 Whitney Biennial. I hope those artists attend Kentridge's exhibition.

International Women's Day March in Seattle

2010-03-08T17:48:00.000-08:00

On Saturday March 6 we had an amazing march. We walked for over two hours and went to a recruiting station, the King County Jail, the ICE Immigration Center and Seattle Human Services, with a rally/ speaker in front of each place. We ended at Occidental Square where the Duwamish were there in spirit. We had all ages, all ethnicities, all issues, all political positions joining together. Radical Women were well represented. Also Amnesty International, as well as National Organization of Women, and Pinay, Gabriela, CARA, photographs below and more information. It was exhiliarating and inspiring.
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Pinay Filipina group. Gabriela was also represented, a mass solidarity group that is politically leftist and really activist.
They led us in chants.
This child is left behind after his parents were deported. He is an American citizen so he got to stay here all by himself. He looks like he is about four years old.

These are Iranian women offering us information for supporting the women of Iran

This is Margo Heights speaking in front of the Jail and across the street from ICE ( Immigration Detention Center). 1 our of every 3 women on the planet who are in jail is locked up in the United States.
Most women are imprisoned for economic crivmes. The majority of women convicted for violent crimes were defending themselves or their children against abuse. In the U.S. a woman is raped every six minutes.

These are people listening to the speaker from Real Change about homelessness in front of the Seattle Human Services.

These are women from CARA, Communities Against Rape and Abuse

This is a general photograph of us taking over downtown.

Seattle Labor Chorus

Raging Grannies

The Duwamish watching over us in this space that used to belong to them, although they didn't make the totem pole and totem poles are not a Duwamish art form, at least it is a reference to the Indigenous people who lived in Seattle.
No explanation needed

A young feminist ready to play songs for us.

Break the Silence Olympia-Rafah Solidarity Mural Project

2010-03-08T17:08:00.000-08:00

These are a few of the leaves on the Olympia Rafah Solidarity Mural Project. It is intended to build solidarity among people globally
Take a look and see below for more information.

"If you have come to help me than you are wasting your time. But if you have come because your liberation is bound up in mine, let us walk together"

Break the Silence Mural project has been collaborating with communities in Rafah and elsewhere in the Occupied Territories to paint murals for nineteen years. The mural in this post is in Olympia Washington co-sponsored by the Rachel Corrie Foundation, the Middle East Children's Alliance, the Gaza Community Mental Health Community, Program and the Olympia Salvage Company.

It was inspired by the life of Rachel Corrie as part of her dream of creating a sister city project between Olympia and Rafah, Gaza Strip.

It includes over one hundred and fifty separate large leaves on an olive tree that spans one hundred feet. It was painted by peace and justice groups from all over the world, a remarkable job of collaboration, and logisitical organization. Hundreds of artists of all ages contributed to the mural.

Each leaf will eventually have a recording that tells about the group that made it, or some information about their political concerns. You can see there are a range of different ideas, resistance, peaceful solidarity, women's rights, and anti racism.

In the image just above you can see a dove flying off to the right. At the top is Gail Tremblay's leaf, which has maps that compare in red land belonging to Palestinians in 1948 and 2005 and below, land belonging to US Indians in 1775 asnd 2005. It has caused controversy among some Jewish people in Olympia, because it is clearly sympathetic with the plight of the Palestininan people. But Break the Silence is the project of a several Jewish artists who cannot remain silent when the Israelis are acting in their name to kill and oppress the Palestinians. In fact, most of the artists that I know about who are most active in making art about the Palestinians are Jewish. Selma Waldman for example, whom I have mentioned often here, and who would certainly have contributed a leaf if she were still alive.

Here are a few more leaves. It would be better to have a close up of each leaf. I will try for that on my next trip to Olympia.

This is the whole tree, it is on a 35 x 100 foot wall of the Labor Temple in Olympia, Washington.

Radical Printmaking in the Bay Area

2010-02-26T15:31:00.001-08:00

The Great Tortialla Conspiracy. Prints on Tortillas. Here they are cooking at the opening. And you can see they are anti war tortillas

Christina Empedocles made this amazing tree out of birds. The detail is below

Enrico Chagoya wove this rug.

THe Electric Works, Collaboration: anti war slot machine

Enrique Chagoya If you look hard you can see this is a one recession bill

Victor Cartagena did these commemorative tea bags for the disappeared of El Salvador.

This is an installation by Victor Cartagena about The disappeared in El Salvador. He is using photographs that he found in a passport photo shop that were never picked up. They are not necessarily the same people who were disappeared by the military regime, they evoke the disappearance of individuals.

This stunning and provocative exhibition Prints Byte is at SOmARts Cultural Center in San Francisco. It is all the imaginative ways of making a print, these are only a few works in the show, and they are all anti war. More to come

Black History Month in Seattle II City Hall

2010-02-20T16:36:00.001-08:00

This is the sculpture of Roosevelt Lewis who is featured in City Hall with sculptures and paintings in the main lobby. Roosevelt Lewis is a Seattle artist with roots in the Black, Creole, and Cajun people of Louisiana, a place near the Cane River of intensely mixed cultures. This piece is called Do No More Violence to Women.
It honors the women of his family and all women as they stand up to violence in our society.

This sculpture is called Generations. You can see one generation rising out of another in the single carved poplar log. The sense of a connection over time, suggests his deep connections to his past generations in Louisiana

He is also showing paintings what might be called a folk art style by mainstream critics. He is self taught and began making art by scavenging in dumps as a child in Louisiana. He had no library or art works to look at. When he was in the army in France he saw African art for the first time.The forms of his paintings are simple and flattened, his sense of color and space aligns with the work of Jacob Lawrence ( see below) as well as somewhat like Matisse. What makes the difference between what is considered folk art ( unsophisticated) and what is considered so called fine art? Of course for a long time people characterized Jacob Lawrence as a folk artist.

What is exciting about the exhibition is that it is an intervention in City Hall as you can see in this installation shot. Lewis is prominently displayed in the main lobby. On the balcony above ( which you can't see) are black and white photographs of white men lined up in rows.

This is Marita Dingus's well known work "Buddha as an African Enslaved" inspired by her visit to China in 1995 when she saw a gigantic Buddha statue. She chose to put work on a lower floor so that Roosevelt Lewis could be prominent in the main space. Her sculpture is experienced from a very close perspective as you walk down a narrow hall. I think it is hard to appreciate it from such a close perspective, but you can see in detail the way that she uses recycled materials.

Black History Month. Yes, it is true that we still need it. Our society does not yet have an integrated public discourse. So lots of focus on African Americans this month is providing us with some important insights, especially in the age of Obama. I have been hearing on our community radio station a lot of discussion by middle class black professionals about Obama. They are suggesting that he show more spunk and stand up to the pressures on him. Of course, they support him, but they wish he would be willing to be more of a leader and drop all of the bipartisan emphasis. I see Obama as surrounded by incredibly powerful forces. We can't expect him to change everything single handedly. We have to get out and shout for what we want. No more war, single payer health care, peace in the Middle East. Black man in the white house or white man in the white house, we still have to get out and shout. These exhibitions remind us of how much of our country's heritage is hidden from sight. So are many of our good ideas. We can't let the oligarchy or the tea party make off with our real identity as an energetic, diverse society.

Black History Month in the Seattle Art Scene

2010-02-20T15:44:00.001-08:00

The Ethnic Art Gallery in the Seattle Municipal Tower is on the third floor. It exists thanks to the hard work of a group of dedicated city employees. Esther Ervin curated the exhibition for Black History Month called Interpreting the Black Journey Eight Viewpoints. These are two of her works that were not in the show . The one in the foreground is called River of No Return and refers to Salmon runs.

There are eight artists in the exhibition. Yadisa Boija, Esther Ervin, Al Doggett, Eddie Walker, Sultan Mohammed, George Jennings, Donald Leonard, and Fasika Moges. How many of those artists have you seen shown in Seattle art galleries?They don't fit the mainstream definition perhaps, their work is too realistic, or too abstract, or too personal ? There is a subtle difference between artists whose work is acceptable for commercial galleries and art that is not. Most of these artists went to art school, most of them support themselves in an art related field. But they follow their own paths. They are not trying to fit in with a current style or a current issue.

They are all artists of African American heritage. But there are other artists of African American heritge who show in commercial galleries also like Ron Hill and Marita Dingus, so this is not a simple question of racism. I will do an image gallery to show you all of their work. You can decide for yourself why they don't swim with the famous fish of art.

Sultan Mohammed Riots 2007 This is the story of the revenge and rebellion of Queen Yodit (Judith)who ousted the ruler of the ancient Axum Kingdom. and ruled as a warrior queen for forty years, according to legend.

George Jennings NaKeesa A portrait of his wife

Fasika Moges Dawn Dancing
referring to women playing drums. Fasika is Ethiopian

David Leonard David ( as in David and Goliath- overcoming obstacles of his life)

Al Doggett Samburu Land -looking over his lost land. The guard in the exhibition told me how much he loved this work because he was from East Africa and was eager to tell me about the Masai who live there.

Eddie Walker, James W. Washington Jr. Working

Yadisa Boija Recession an artist from Ethiopia. He says "We hear about the struggles of corporate financial institutions. We worry about the spending habits of consumers, charts, polls graphs. But who cares about ordinary people?"
The title of this work is Invisibles and Boija's label says that it "chronicles the life and struggles of immigrants new to their community and unaccepted in their homeland. They walk quietly unnoticed and unrecognized. "

Sanctions, Divestment to End the Israeli Occupation

2010-02-09T10:58:00.000-08:00

That is eighty year old Judith Kolokoff next to me at what we called an informational demonstration at Trader Joe's. We are nationwide and internationally joining people who are calling for divestment of Israeli investments and sanctions against Israeli products. Trader Joe's carries cheese made on a farm that was land taken from Palestinians.

It carries herbal pastes and coucous with a Trader Joe package that come from Israel. We are letting people know that they should not buy these products in support of the international boycott. Personally, I brought some of the cheese up to the service desk and complained and they said the company policy was to let people vote with their pocketbooks. So I have voted by not shopping at Trader Joe's anymore ( that I realize is too extreme for most people, but their packaging is also terrible, and they carry endangered fish as well). The Israeli boycott campaign is not asking people to stop shopping at Trader Joe's, only to stop buying products made in Israel.

Judith Kolokoff has a beautiful smile. She is a beautiful person. She told me that she has been demonstrating since she was ten years old in Chicago, when her parents were opposing Franco, Nazis, and fascism in Spain in the Spanish Civil War. She is a testimony to the fact that demonstrating is good for your health! I felt much better after this one hour of participating, than just sitting at home grumbling. If everyone got out for a cause just one hour a week, we would all be happier.

People say it doesn't make any difference to demonstrate. But did you know that fire ants brought down the super conducting, supercollider in Texas. They were all on it and they destroyed it. We can do the same.

The new Obama budget includes 3 billion in military aid to Israel, but we can't afford basic health care for people in the U.S. If you want to know how much your state is spending on military hardward for Israel, look at this website. In my state, Washington, up to 2018 we are giving 731,757,769.

Liana Badr Eye of the Mirror

2010-01-31T18:32:00.000-08:00

This will be a short but heartfelt post about Liana Badr's The Eye of the Mirror, a book in the Arab Women Writers series. It was published in 1991 and has just appeared in English. Badr spent seven years interviewing survivors of the massacre at the Tal el-Zaater ( or Tal Ezza'tar) Palestinian refugee camp. This book gives us a perspective on women's lives in a camp during an onslaught of attacks, in this case in Lebanon in 1976, by "Christian" militias. The description of the progression from a barely lived life in the camps to the attacks and eventual massacre and evacuation of the people who lived there ( including some flashbacks to life in Palestine before the camps)is riveting and heartbreaking. It forms a partner to Joe Sacco's book discussed below, as it provides the women's experiences. While Sacco talked to women, this book gives us the day to day detail of their lives, cooking bread, giving birth, surviving with less and less, the courage of children, the deterioation of people even as they keep going, the final fall caused by the loss of the last waterpipe. The constant barrage of sniper's bullets, the final massacres, random violence, and wanton looting and destruction of the little that was left. There are many characters, mothers, grandmothers, grandfathers, fathers, children, adolescents, young women, all strong people. The book is described usually in terms of one main character, but I felt that all the characters were equally important.

Howard Zinn

2010-01-29T15:36:00.000-08:00

Irreplaceable, outspoken voice against fascism. He never stopped speaking up. He is an example for all of us. Like Edward Said, his voice will be heard through the next generation of people he inspired. Terrorism and War 2002 is the book I have read most closely. Written right after 9-11 it zeroes right in on the gigantic military budget and the fact that it has "absolutely no effect on the danger of terrorism. If we want real security, we will have to change our posture int he world - to stop being an intervening military power and to stop dominating the economies of other countries. "

Martin Luther King Day

2010-01-19T16:52:00.000-08:00

This is the third year that my grandson Max and I have gone on the Martin Luther King Day March and he is only two years old!. The first year he was only two months old. I have a picture of that on my Flickr site. Last year he was just over one year, and I put that on my Christmas card This year as he marches along he makes it to the blog. His shirt and mine are supporting health care, education, housing and jobs, these are the same issues of economic justce that Martin Luther King spoke so eloquently about as the means of real equality for all races as Bob Herbert wrote so eloquently in his editorial today. As my grandson and I marched, we were surrounded by people who agree, who care, who are uplifted, as I am, every year, by this holiday. The march in Seattle always begins with workshops and a rally, it is more embedded in activism than the church concerts and community celebrations.

We urgently need to keep political activism going in the community. Last year this day coincided with the inaguration of Barack Obama. Blacks were thrilled, we were all hopeful.

This year we see reality. We are still in the struggle.

Obama may have had all the right ideas inthe world, but when he comes up against the huge forces of power, the corporations, the military, he plays ball. Under FDR the bankers got the first stage of relief in the 1930s, but then he turned to the workers and created huge jobs programs. We can perhaps attribute this and his funding of the arts to Eleanor Roosevelt's emphatic tours of the country as the eyes and ears of the President. Could Michelle play the same role, it doesn't seem so.

So Max and I marched for his future, and the future of all of us, and the planet, and in support of a better path. I would love to start a group of activist grandmothers who want to join me in political marches. (can't join the Raging Grannies, I don't sing), but who knows how to go about it. I would like Max to understand that organizing in groups and collaborating is essential to a better world. Marching alone is one step, marching together is the next step. Collaborating is the way to power to resist oppression.

I got to one workshop sponsored by Veterans against the War and other groups on how to resist recruiting in high schools. It was really good. The military are going into even elementary schools to start the seduction for recruitment. A young Iraq veteran explained why he had enlisted, for "freedom" which as he said, is at the expense of the oppression of poor people around the world, for "serving a noble cause" which as he said was a lie, as you are killing, torturing and terrifying women, men, and children, and locking up journalists.

Joe Sacco Footnotes in Gaza

2010-01-15T16:44:00.001-08:00

Joe Sacco is profoundly engaged with the experience of war in his new book. It is a major work of art, a telling of the Palestinian Israeli conflict from the ground in Gaza, a layering of time frames, a balance of personal ( not his experience, but that of fighters and families in Gaza) and political. I haven't read the whole book yet. It is so important that I re-read most pages three times. First for the text, then for the images, then for the ideas. He alternates between large landscape scale images and close up heads of people he talked to, old fighters, survivors of massacres, from decades ago. Sometimes he has a sequence of smaller heads or a family scene. The scenes of families trying to live their lives in one room for twelve people, or having another child because the father may die are heartbreaking.

The stories that the old soldiers tell, of their house being invaded by Israeli soldiers in 1956 and the mass murder of young men, simply lined up in a square and shot, are horrifying. These men escaped through luck ( they didn't quite die, when the Israelis shot them over and over, or they ran away), but so many didn't. Sacco gives us the up close experience of war, hatred, civilian confrontation. Sacco offers no solutions, although he is obviously aware that these people are pawns in political power games, but in depicting the house on the inside, or in one case we are in the line up of the men about to be shot, or we are seeing the devestation from above, we are somehow there. Not really of course, but more than in a photograph, a novel, or a painting.

And I have only read the first 100 pages of 400 pages.

Joe Sacco came to Seattle to speak about his book. One friend of mine described his presentation well "he spoke with the precision of a diplomat, walking through a minefield with a book balanced on his head." On my first impression, Sacco was understated and modest in his presentation, there was no heavy emotional load on the talk ( only one questioner said what we were all feeling, all the nightmare of the injustice). But then, I thought, he has so much in the book that he doesn't need to be emotional, and if he were it would have killed him long ago.
His survival is based on his care. His care in research, in protecting his sources, in negotiating war zones, in his brilliant art.

This book is a must read. It is far more complex than his 1996 book Palestine, which was more personal and had moments of humor. This book is set deeply inside Gaza framed around two massacres that occured in 1956 in Gaza, in Khan Younis and Rafah, but giving us backwards and forwards the conditions on the ground for people in Gaza. It was completed before Operation Cast Lead, or at least that atrocity is not cited in the preface. But the devestation it depicts is the same as that of any military conflict of soldiers killing in villages.

The first shock was the image of people literally digging in the sand to find shelter in 1948 when the refugees first arrived. Then the image of them crossing over the lines of Israel to their former land and being called "infiltrators." Then the fifties style development of housing by the UN, and now the seasoned soldiers who have fought continuously since the 1950s, understanding that the new battle today is beyond their human capabilities to fight, it is about the Israel/U.S. sheer technical killing power with machines.

Sacco wants to make sure that history is not entirely written by people who forget the early massacres that planted the seeds of hatred, as he puts it, quoting from one old man who was a child in the 1950s and saw his uncle die. As Sacco succinctly put it, it is as though the Battle of Britain has been going on continuously to the present day. There is no time for people to recollect, record, they have been in survival mode since 1948. He knows his book can't really change anything. There are huge powers at work that he cannot affect. But at least we can all know more about the history of this horrible conflict, as the last escape hatch is being sealed by Egypt and Israel with a fence manufactured in the United States.

We all share in the war crimes. We are paying for the equipment. Our support for Israeli military operations this year is almost 3 billion.

Read this book. there are lots of reviews and discussions on line. Here is an example

Joe Feddersen's Vital Signs

2010-01-04T11:01:00.000-08:00

These are installation shots from Joe Feddersen's exhibition "Vital Signs" which closes on Sunday at the Tacoma Art Museum. The exhibition sings with the artist's poetry based on geometry and landscape. He celebrates ancient history as well as the contemporary land of today. The landscape of the Okanagan , shown in this detail of his wall mural of 500 separate pieces, is open and rugged. He refers to contemporary landscape destructions, like clearcutting, suggested in the brown triangles, and to geometric towers for the high tension wires that gallop across the open land in the center part of Washington State. The Okanagan is, for those who are driving to Spokane on the interstate freeway, a desolate empty landscape, made more desolate by the Grand Coulee Dam which was completed just after World War II. That dam destroyed the ancestral fishing streams of the Colville Indians, the Spokane Indians, and other tribes. There were no fish ladders at that time, the fish were completely unable to return to their spawning grounds.

Joe Feddersen is a Colville Indian. He comes from that land, it is part of him and his ancestors. After the dam was built, he worked for the power companies, a common occurance with Indians, whose only choice for a livelihood is the use of energy based on exploitation of their lands. But he knows those electrical towers, so when he includes them in a painting they are personal.

He has taught at Evergreen State College for the last twenty years and understands modernism, he understands color theory, his work draws on a sophisticated contemporary aesthetic, and materials- like the shining orange fish traps in glass, or the large vessels with reflective paint on which he has sand blasted the contemporary designs of parking lots and tire treads. In the exhibition he has also included some traditionally scaled woven baskets with tire track designs. He is commenting out of a deep silence and reverence, he accepts the present land, but he reminds us of where we come from, and suggests where we are now. He does not predict the future.

The exhibition has a curiously calming effect, as though we have gone into the landscape to meditate. I could feel his energy flowing through the exhbiition, as the various media, scale, colors, and geometries interacted. He is a master printmaker, a weaver, an artist of sand blasted glass. His connection to time immemorial is moving through all of the works. They are objects for sale now, not integrated with daily use, but they speak of their former functions. Since natives see our relationship to nature, to history, to prehistory, to each other, to animals as all part of a continuous non hierarchical flow of energy, these paintings and other objects suggest that idea as well. Abstract modernism has been re energized with its real sources of power in ancient abstractions.

And a tribute to the Gaza Solidarity marchers

2009-12-31T15:55:00.000-08:00

From 42 countries 1300 people came to honor the nightmare of Gaza and the Egyptian government closed the border at Rafah, the only point into Gaza not controlled by Israel. Some are on hunger strike in Jordan. We are all with them. Last year there were marches all over the world in support of the horrors of the Operation Cast Lead. This year people have gone there in support, spurred on by a call from Code Pink and other groups, but are being barred from entering. Protest in NYC . Michael Ratner spoke of the fundamental violation of human rights by Israel in Gaza. He went to Gaza with his family. Currently a few hundred people from the international delegation were allowed to enter, but it was regarded as not enough and an effort to divide the delegation. Thousands gathered on either side to honor the dead and to call for an end to the blockade. In Cairo Freedom Marchers were brutally attacked by the police.

Honor the Iranians

2009-12-31T15:42:00.001-08:00

http://www.youtube.com/watch?v=9y98r5CVP7U
There are several moving slide shows on You Tube of which I am giving a link to one. The photographer Farhad Rajabali has courageously signed some of his photographs. We see so many different people. It is incredible that Ahmadinejad can attribute their activism to Israel and US who have every reason to keep the current government in place as an easy enemy to target.

On this New Year's Eve we must honor the young Iranians who are showing so much courage in protesting the fascist regime in Iran. It no longer has anything to do with religion, it is a police state. These young people are resisting on so many levels.

Do we have the courage to do that in this country? It is striking to compare the police confrontation in Iran with the one in Copenhagen, young people being arrested by police. But behind those police uniforms are mostly more young people. And in Iran there are also the Basijis the young paramilitaries in the pay of the government who beat up their contemporaries.

The People's Summit in Seattle and Climate Change in Copenhagen

2009-12-16T15:12:00.000-08:00

Two weeks ago in Seattle there was a group of people who were preparing for Copenhagen - they were looking back to N30 ten years ago in Seattle and looking to the future planning for the planet. Alli Chagi -Starr told us about her Art and Revolution Another World is Possible Road Show that promoted the anti globalization protest in Seattle. That is her giant puppet above from the original Seattle anti globalization protests. It represnets an corporate octopus that has been muzzled. There were dozens of giant puppets there.

Dena Hoff as a farmer talked about La Via Campesina, the international peasants movement for food sovereignty, a group that is in Copenhagen joining the mass actions as seen in this image

Also speaking was Jihan Gearon of the Indigenous Environmental Network. Jihan is a young woman who is with that group's Energy and Climate Program and networks with tribal nations to give them support for better solutions and green economic opportunities (instead of the historical opportunities for indigenous peoples to destroy themselves and their culture through accepting jobs in mining coal, oil, and uranium on the reservations). Jihan is talking about where we are now. As she said, we are all going to have to face the lies: we cannot buy our way out and we cannot stop climate change without changing our lifestyle. We must move away from greenwashing ( like carbon offsets) and toward protecting what we have left. The Indigenous Environmental Network is much in evidence in Copenhagen. Thank goodness. They really know what they are talking about. One of the big campaigns is against Tar Sands in Canada.Watch this amazing video. There was a die in in Montreal. to support them.

It is hard to believe how violently the UN and the Danish police are treating both protestors and legitimate participants in the Climate Change conference. This bear is from the Backbone Campaign in Seattle, but the fact that thousands of protestors are being arrested and legitimate groups like Friends of the Earth International are being expelled from the conference, is hard to understand. Could the UN be afraid of the people of the world?

Olivia Zaleski has some good posts about the conference covering youth, grassroots organizing, and exactly how the anarchists were simply a small group who were intentionally disruptive.within thousands of peaceful protestors Amy Goodman has interviewed NNimmo Bassey, Nigerian leader of Friends of the Earth International as he was being expelled from the conference. Today was a plan to "Reclaim Power".

Is this what it has come to, complete alliance with corporate interests and despoiling the environment? And what about Denmark, it has entirely lost its image as a happy place with socialist leanings ( it was pretty shaky already after the incident of the Mohammed comic book a couple of years ago). We see fascist looking police beating up and putting plastic cuffs on protestors, preemptively arresting thousands. This is incredible. The future of the earth is obviously in the hands of the corporations who have no concern at all except their own profits. They don't seem to get the fundamental principle that the earth is finite.

Roger Shimomura and other shows

2009-11-07T15:58:00.000-08:00

I miss my blog so much, I am really tired of editing my book, so here is a quick entry late on Saturday afternoon.
The Roger Shimomura show "Yellow Terror" at the Wing Luke Museum is a rare opportunity to see the artists collections of racist kitsch juxtaposed to his paintings. The kitsch collections have been given to the Wing Luke Museum, but the really urgent reason to go the show several times is to see the way he brilliantly uses these racist stereotypes in his art. He barely transforms them, except in scale. We can hardly believe how well he does it.

Yellow Terror, the title piece of the exhibition- this is a detail- is a dizzying array of World War II "Japs," crammed against each other, flying through the air, climbing on top of each other At the center is the artist himself calmly self caricaturing himself in the midst of the mass of caricatures. The caricatures sources are all on display next to the paintings, and unbelievably, we find ourselves laughing at Shimomura's humor, at the same time that we know he is deadly serious. Racist stereotyping is so awful, it is hard to believe.
As in Different Citizens, 2009, above, a self portrait next to a Japanese stereotype This is a large painting,three feet by almost four feet. There is Roger on the right, he is an understated quiet person, a distinguished professor. There is the stereotype, the big ears, slanted eyes, big mouth, buck teeth, and the officer on the left. But the point here is not old/new, The point is that the World War II stereotypes are still with us. Everyday, everywhere. That is why he has included a collection of salt and pepper shakers. Racism with your salt.
It permeates, it sits there. The salt and pepper shakers are passive little stereotype"Orientals" in ethnic clothes, waiting to be picked up by larger powers!

Even at the opening, he pointed out an account of a new racist film The Goods, Live Hard Sell Hard" which has a mob beating up a Japanese American. Nothing has really changed except the surface..

Roger's artistic facility with different vocabularies is also astonishingAs seen in the other painting here, American Portrait no 2, 2002, Shimomura can play with traditional Japanese images, Walt Disney cartoon types, Marvel superhero comics, formalist principles, and all arranged in amazing compositions that are far more complex than they appear to be. This composition with its boxes within boxes and the idea of a may different types of stereotypes juxtaposed to the Kabuki actor playing a warrior from Ukiyo e prints ( is this an "authentic" stereotype?), is all by itself worth a long analysis.

I highly recommend Jen Graves article in the Stranger as a great review.

On the subject of opposing racism, a different perspective is offered by the James Washington House exhibition of artists who have had residencies there which is currently on view at the Pratt Gallery. The opening itself was a delight. Tim Detweiller has brilliantly brought together a wonderful mix of artists from different backgrounds, all of them making provocative work inspired by the studio and left -behind materials of the sculptor James Washington. In this installation shot you see Joe Max Emmenger well- known Seattle artist next to Charles Parrish work known only to some communities.This is Daniel Minter's work New Path Revealed. It is a subtle work, a broom, with beading and a silk shower cap like top that becomes a ceramic okra plant. In the background are prints of various African American figures in traditional types of work.
Then there is the wooden sculpture by Romson Bustillo called A spell to remember or forget. Bustillo is a brilliant artist and community activist. He is from Mindanao, Philippines. He draws on abstract patterns from textiles here, and other sources to create evocative pieces that contain magical energy.
Esther Ervin's Pipe Dreams is self contained, elegant, and dreamlike. Ervin is an artist with a subtle sensuality that plays out in different media. At the James Washington House she worked with the wax thread on spools from old recording devices.
Other artists in the exhibition included Marita Dingus, and Jite Agbro, but I am out of time for now.
The point is that each of these artists is approaching the inspiration of James Washington from their own perspectives and different backgrounds. And the opening was a truly mixed group of artists and audience. Bravo James Washington Foundation.

Bumbershoot How Times Change

2009-09-10T16:27:00.001-07:00

I am finishing my book, so my blog has taken a back seat, but I must write a quick note about Seattle's art festival Bumbershoot 09. I have loved going to this arts festival since I moved to Seattle in 1998. But it certainly has changed. It used to be full of informal creativity, clowns, the amazing spoon man, acrobats, magicians, simply moving through the festival. There was an entire paviilion for publishers and literary readings lasted all weekend.

Now we have high tech spectacles like Flexion by Wise Fool of New Mexico ( muscle acrobatics) and Rockstar Energy Drink Vert Ramp ( skateboarding ). They were big machines . Man and Machine. Also there were lots of other techie booths. The arts and crafts which used to be a highlight have declined dramatically. A few survivors include my favorite hat store, but most of them are not too interesting. That is probably because of the increased cost of a booth has shut out all but rich people, and people who sell well are usually less aesthetic ( I shouldn't generalize like that, but I can't help the facts on the ground, the jewelry and clothing was less individually interesting to me).
Literary arts are now simply a few readers and a small display from the Unviersity Book Store. Granted the readers were in a big theater, but the numbers are small. And guess what they were all white people. Whoops. They were funny, talented and in some cases amazing, as in the case of Tara Hardy, who is really formidable. But is spoken word poetry a type of white rap??

The creative performances that I saw were terrific, but they were all really professional! Like Bach's 40 Goldberg Variations performed entirely by heart by an amazing pianist named Francoise Papillon, accompanied by Mark Haim ( here is one dance) and assorted other dancers ( apparently Jerome Robbins did dances to Goldberg variations, but they costumes were not modern, Improvised Shakespeare, and Performance Space 122 from New York City.

Thank goodness for Greg Lundgren!. He brought back grass roots creativity with his Vital 5 projects. He believes that "our ability to communicate through art is what defines us as human" according to his web site.
He had people dressing up for photographs in random creative clothing,

designing buildings in cut out paper

and a documentation of a third project, making an art work in a shopping cart. They were all in the context of his "Dada Economics" which is one of many projects that he pursues, in this case, random financial awards, that encourage ordinary people to be creative.

A puppet show

2009-08-07T15:54:00.000-07:00

At the recommendation of a friend of mine, I went to see the Puppet Show at the Frye Art Museum. It came from the ICA in Philadelphia and co curated by the Vera List Center for Art and Politics at the New School. So naturally I expected something political. As usual when looking for politics in mainstream interpretations, I was deeply disappointed.
What an odd show, and an odd interpretation of the importance of puppets. The show had an historical segment, with no labels and no explanation at least in the Frye showing. I think maybe there are some labels in this picture from the ICA
Then it had a big room of hot contemporary artists that we are familiar with, lots of videos and sculpture.
The explanation for the broad inclusion of big name artists was that they "evoke topics associated with puppetry such as manipulation, miniaturization and control" OK, so you see where this is going. First we have a lack of historical information, then we have a focus on technique, rather than topic. Then the next sentence of the gallery blurb said "Perhaps it is the puppet's power as an allegorical object that makes it so relevant and liberating.In a time when communication seems increasingly mediated and individual agency diminished, puppets abstract the drama, mysteries, anxieties and personas we might all project onto a shared stage."

The key word here is "abstract". That is of course not the point of puppets at all. It is perhaps the point of the contemporary art by Louise Bourgeois, Annette Messager, and other contemporary sculptures, but puppets are about politics, about speaking truth to power, about saying exactly what you think. They are not about miniaturization, but about creating a parallel universe that is very political. It can also be mythical, romantic, and historical, aesthetic, and really, really funny.
They also tell stories. Fun stories with second dark meanings. But none of those basic ideas are present in either the show or the gallery discussion.

In spite of all efforts to obfuscate and play the abstract card, there was some great work by William Kentridge including his seminal collaboration with The Handspring Puppet Company from 1994 in Johannesburg called"Ubu and the Truth Commission." It was about the Truth and Reconcialition Commission. This was worth sitting through entirely.
The Survival Ressearch Laboratories also had an odd early piece of robots and lots of conflagration from the summer following the World Trade Center attacks. It seemed like a statement about contemporary society to me, but a little too Terminator and Hollywood.
There were some other videos like Kara Walker's that I have seen before, with the usual Walker issue. Does it perpetuate racist stereotypes, or offer horrifying revelations of sexual assualt during slavery. An article in recent analysis I have read suggested that Walker needed to see a therapist.
And of course the main idea of a puppet being manipulated by some higher power is always something to think about, except for us activists, who want to get people moving, not have the idea that we are all pawns in a bigger picture where we are not holding the strings.
But puppets are really political, they are not games, they are not really passive. We pick up the controls ourselves, it is a populist art of resistance. That was missing of course.
Where was Bread and Puppet Theater for example.
What about puppet traditions like Karagoz that include both Turkey and Greece and which is full of ancient stories with modern resonance.
What about Indonesia where puppets are a central art form.
What about actually engaging with the history of puppets, rather than contemporary artists with name ID who really have nothing to do with it, or who do feeble spin offs from Sesame street(Christian Jankowski) that are more aggravating than important..

The contradiction of life and death

2009-08-03T12:04:00.000-07:00

I am seared by the contradictions of life and death. On the one hand I have a beautiful new baby grandchild and a lovely 19month old grandson who is still innocent of the world, but expanding his skills everyday. On the other hand, I am living in a country that funds death and war as its first priority, cuts human services as the most dispensable government services, supports bankers at every opportunity. It stimulates the economy with road building and car buying. Where is the drastically new thinking that is necessary for all of our children's and grandchildren's futures????

To try to do something I am joining a lobbying campaign to try to convince our US representatives to stop funding death and destruction by Israel against the Palestinians. In the Gaza offensive there were massive violations of international law 13oo people killed, 5500 people injured, 4000 buildings destroyed. From January 2001 - November 2008 Israel killed 2086 Palestinian Citizens not taking part in hostilities. Of those 723 were children under 18.
And of course that is only one place that our tax dollars are killing people.

It is unbelievable that the US people are so inhumane, so stupid, so oblivious, that we go on spending billions and billions for killing human beings all over the planet. The birth of one human being is a miracle, the death of one human being by the murder that we call war is horrifying. But the level of our world wide killing and training for killing, as well as our torturing in prisons both in the US and elsewhere is psychotic. I have to accept that our smiling facade masks the soul of a serial killer.
So please join the campaign to End the Occupation campaign to talk to Congressman in August to call for a change in our policy. Join the campaign to sanction Israel. modelled on the plan to end Apartheid in South Africa.
There are also major efforts to activate artists to get involved with this campaign to inform people about Palestine. A recent article in the New York Times stated that Hamas is prioritizing culture over throwing bombs.
There is a campaign for artists to help end the occupation.
Everything makes a difference.

New Grand Baby Eleanor with her mother and her father and her brother Max

2009-07-28T11:35:00.001-07:00

The complete miracle of new life is astounding. This is Eleanor at three hours old. Big brother Max is now 19 months. They seem to be getting along so far.

Vashon's Gravel Pit: Artists Fight Back

2009-07-15T18:07:00.001-07:00

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 gravel quarry on Maury Island.
There are efforts to stop its expansion 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 and eels, a primary source of food for some orcas, a delicate ecosystem that nourishes the entire Puget Sound. The gravel pit has already damaged it, it should be removed, not expanded. What is the gravel 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 called "Localize this!" to develop activist strategies to protes the expansion of the Maury Island gravel pit. ( Ideally it should be shut down. ) They have made giant puppets, orca trumpets made of recycled material, pvc pipe and plastic bottles that children 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!

The whale structure is seen here of bamboo. I got a glimpse of the art in progress.
Here is the finished whale, now called Morrie the Orca.

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. Here he is holding a drawing of another puppet Count Bleed ya Dry, under construction.

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. They are being trained to go out on Puget sound to block the further development of the gravel pit. Here is a report posted on the Backbone website local paper and King 5 news. 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.
Backbone created the Procession for the Future which went to 16 cities and conducted 8 workshops, providing activist material like freeway banners, puppets and silkscreens. A lot of the focus for Backbone ( Backbone for the Democratic Party that is) is environmental these days. Goodness knows, that is really crucial. They list on the video of the Procession for the Future, how much we could do to save the planet with all the money wasted on wars.
This anniversary of the Moon walk today, just makes it all the more obvious that we have a precious, special planet and we need to stop, stop, stop being fools about how we live here.

Seattle art and transportation

2009-07-08T11:13:00.000-07:00

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

2009-07-01T13:06:00.001-07:00

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

2009-06-22T11:54:00.001-07:00

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

2009-06-08T13:56:00.000-07:00

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

2009-06-04T17:40:00.000-07:00

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

2009-05-21T16:26:00.000-07:00

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!

We Shall Remain

2009-05-09T19:41:00.000-07:00

This PBS series in five parts is trying hard to tell us a new history, American history from the Native American perspective, as in they were friendly, smart, brave and strong and we wiped them out because we were stronger, ruthless, perfidious, and really really greedy. It includes a lot of re creations, Indian languages, history that is unfamiliar. It only has photographs when it gets to Geronimo, the fourth and best of the series so far. At least it pointed out that Geronimo really ruined his whole tribe and they don't love him for it. Also that he was not even a chief at all, really a renegade. But the best part was the instant switch on the part of whites from fearing Geronimo to making him into a hero of the lost wild West.

This week is Wounded Knee.
The big problem is that they have left out the communal character of Indian culture, the importance of women, the role of shared resources rather than ownership of the land. Very brief references are made to selling their land, but no explanation of the fact that that is an alien concept in Native cultures. Also, the important role of women is ignored completely, This is great man history with Native male chiefs as stars. Is it that we can't take too much at once, women and Indians? Community sharing and social cooperation?
There are many Indian cultural consultants, but still it is the same old PBS formula and the same old American History formula.
The Wounded Knee segment was by far the best! It covered the gap from late ninteenth century to the present, with references to the damage of the boarding schools, and the urbanization policies, then the radical coming together of Indians from all over the US at Wounded Knee with amazing footage. No re creations here. Interviews with participants ( men and women) many of whom are well known now. Of course the present chapter is different again, but the revival of Indian cultures certainly started at Wounded Knee.

They are making huge comebacks. The website for the exhibition does talk about that and the image above is from that discusssion called "Native Now". The website has a lot of interesting information, but still no discussion of women or alternative perspectives on the earth, like the fact that natives are the primary ecologists of our history.

Titus Kaphar at the Seattle Art Museum

2009-04-26T20:20:00.000-07:00

Titus Kaphar's exhibition at the Seattle Art Museum is a brilliant response to the mythmaking American art exhibition from Yale, Life Liberty and the Pursuit of Happiness. Kaphar is literally laying the conqueror to rest as seen in this cut out conquistador who is now removed from his heroic context and lying on the ground. He was part of a performance piece that Kaphar did in Soho, in which he actually included the cutting of the canvas in the performance.

This is called Mother's Solution, it is about passing in the African American Community, passing for white of course. It is deliberately painted in a pseudo untrained style, as thought this bourgeois black family couldn't afford the more slick technique of the top artist. The cut out woman is passing for white. Her space is empty, but next to her is her mother obscured by the shreds of her disappeared daughter, hiding behind a sea of canvas tangling her face.
This work is about tarring and the punishment for blacks who are discovered to be passing.

George George George - the hand you see in the lower left is from the famous George Washington Crossing the Delaware as is the image of George. Titus is calling attention to the fact of that black hand, the hand of George's slave, and he has flipped the image of George into a playing card like double. George Washington played some tricks. He had lots of slaves, and he didn't come out against slavery. But of course all of the founding fathers left this blight on our country's founding for economic reasons.

William Kentridge revisited

2009-04-26T19:31:00.000-07:00

I am writing again about South African artist William Kentridge because I have learned a lot more about him from the catalog for the amazing exhibition in San Francisico, which I won't be able to see. This image is from Stereoscope, eighth of nine animated hand drawn films that Kentridge made about Soho and Felix. Soho is a bureaucrat who is buried in the system. Felix is a creative sensual personality who has an affair with his wife. In this frame from the film, you see Soho in 1999, after the end of Apartheid, after the Truth and Reconciliation commission, with his suit crying a sea of blue. The blue water is flowing everywhere, he is dejected. The blue water is cleansing, but his world has disintegrated. He knows he is guilty, he cannot deal with it. His whole world was numbers, control, greed, money, paper pushing. In the final film of the group, Tide Table, Soho is on the beach reading a newspaper, as people go in and out of the water. It seems to be a type of remission.
The work by Kentridge is about the position of the privileged white artist in the midst of a political system the he rejects, but is also part of, with the white bureaucrat who is greedy and rich, and the creative artist as stand ins for aspects of Kentridge himself. Apartheid, a system of detestable oppression, formed him , supported him, and made him a famous artist . He refers to it as a rock that he carries within him.

In the exhibition at the Henry Art Gallery, Stereoscope is on exhibit along with Memo, a shorter film that is also about a bureaucrat in the midst of a sea of black ink that eventually takes him over. Other works in the show are filled with classical references, the Three Graces, Melancholia. and of course his famous Procession that encompasses the procession of refugees, of political marches, of protestors, of disenfranchised, of mindless followers, all are part of it. Kentridge, since the end of Apartheid refers to South Africa as a post anti apartheid society.

His interest in Mozart's opera, the Magic Flute, with a dancing rhinocerus in the animated proscenium setting behind the singers, suggests the absurdity and the beauty of the world. Kentridge does not suggest solutions to political problems, he does not advocate, instead he offers simply his own personal confusion and misgivings. He owes a lot to the early Russian avant-garde of utopian art after the Russian Revolution as well as Duchamp and Dada. But he too is dejected, he recognizes that utopias have always failed, ideologies don't work. What is left for us. Perhaps only sitting on a beach reading a newspaper as the inevitable tide of water washes over us.

Rita Robillard's beautiful exhibition

2009-04-21T15:10:00.000-07:00

Well I decided it was time to get personal. This is Henry and me sitting inside Rita Robillard's installation Lookout/Outlook about fire look outs. Well it isn't really about fire lookouts, its a statement about the environment paired with an homage to a lost friend. You can see the glowing images set in the midst of dark backgrounds in the installation in the background. Those glowing images are sunsets photographed from fire look out towers, where Rita stayed with her then partner Doug in the 1990s. Doug recently died and this exhibition is a type of homage to those special experiences she had with him. The darkness of the ground is both a darkness of the environment, the shining sunsets, the light of love, but also the life and death of her own relationship, as well as the forest itself. There are a lot of layers here. Robillard has created subtle, rich surfaces with experimental types of printmaking on a large scale. The works are technically subtle, but the overall effect envelopes us. Outside this enclosed space were other images that related to the threatened environment.

Rita and I go all the way back to Gramercy Park in New York City, a beaux art park from the 19th century, which is now a precious piece of real estate with most of its old trees gone, as well as its hedges and its charm. When we lived there it was an ordinary park, rather useless for young children to play in, too much gravel and no playground equipment. We made up games in the dirt about cowboys and indians, but were usually chased away.

Rita and I have had long conversations about life in New York City as our lives have intersected in so many places since then ( including the rusitc, rural Pullman Washington.). We are both marked as New Yorkers for life. The edge of nature/culture is sharp for those of us who grew up in New York. We feel its preciousness, its vulnerability acutely because we had so little nature in New York. I remember walking around the park on the sharp iron spikes that protected the park.
Here is a picture of Rita and me in front of a piece about Gramercy Park,

Art and Activism

2009-04-14T11:15:00.000-07:00

This last weekend I went to two amazing fundraisers that both featured art and activism. The first was a collaboration between Chaya, an organization that helps domestic violence victims from South Asia that live in the Seattle area. and Tasveer, a non profit that sponsors South Asian independent film festivals . They presented films, dance, non fiction readings, and an amazing performance piece called Yoni Ki Baat based on the Vagina Monologues from a South Asian perspective. Ten woman told their stories with dignity, drama, and humor, ranging from childhood traumas to adult dating.

The second fundraiser was CARA, Communitites against rape and abuse. They also emphasized the intersection of art and activism, with hip hop performers, many of them quite young offering inspiring lyrics about their lives and the street and their losses. The audience was mainly African American, but the keynote speaker, Andrea Smith, was a Native American activist and she said CARA was also organizing around justice for Indian boarding school victims. The boarding schools introduced sexual abuse and drug abuse into native communities. Andrea is the author of INCITE: Women of Color Against VIolence.

The contrast between the two groups was dramatic. The first, Chaya, featured only women performers, many of them elegantly dressed although one was a Tibetan transgender who wore a suit and necktie. But the performances were on a stage with sophisticated projections, sound and music.

The second group was very grass roots. We met in a room that felt like an old defrocked store with wooden floors and big windows. We had a wonderful dinner and everyone was relaxed and chatting. The performers wore various low key clothes like the street related low pants look.

But the biggest difference was for Chaya the focus in the performances was on domestic violence related to specific South Asian cultural practices and prejudices. The dance performance focused on the selling of young girls into the sex trade. The dancer adapted traditional Asian dance to tell the story of one young girl who was sold into sex, but then was able to escape.

At the CARA event the focus was on communities in a more public sense, the problems of instiutitonalized violence, jails, police, and gangs. We have had a lot of gang murders in Seattle lately.

Both of them were reaching out to the community though. And both embraced young people being given a way to express themselves through creative words, music, dance, film. In both cases we saw the power of art to give a means of expression to people.

Both are great groups.

Basia Irland at Evergreen State College

2009-04-04T19:26:00.000-07:00

The Nisqually Watershed Active and Proposed Restorations

Basia Irland and the musical group Shooting Stars

This is a carved ice book with elderberry seeds by Basia Ireland

I want to report on the stunning exhibition by Basia Irland at the newly re-opened gallery at The Evergreen State College.

Basia is from New Mexico. She has been the fortunate recipient of a Tom Rye Harville award at The Evergreen State College that has made possible "A Gathering of Waters, The Nisqually River Source to Sound," Basia's special focus is water in its every aspect. The Nisqually Gathering Project has lasted a year and it is not yet finished. There will be a final ceremony when the gathered water is returned to the river. She worked with students, scientists, biologists, children, all sorts of people who live along the Nisqually River in Central Washington State. Each one gathered a little water in a container and wrote in a log book about their experiences of the river, the water, as they gathered it.

I confess I was a little dubious about this project when I first heard about it. I was afraid it was a little too grassroots, literally and figuratively. I was afraid it was a kind of fake ritual based idea. But what really works is that the project is about water, it included scientists and ecologists and park rangers. It created connections with people and water, and educates us about the crucial place that water has in our lives. We see the Nisqually River watershed on a map, not the state highway system!

The Nisqually is particularly appropriate for such an endeavor: it starts at Mt Rainier, travels through various tributaries and a national park, national forest, military reservation, and finally ends in a delta on Puget Sound that is a bird sanctuary. Not very long ago ( 164 years to be exact) this land belonged to the Nisqually Indians. They still havesections of their reservation along the river, although much of it is now controlled by the military base at Fort Lewis. They have fought hard for their fishing rights and they are still fishing for salmon there. I did another blog entry about them. They are also collaborating with whites in restoring the river.

The exhibition documented the gathering of waters, as well as groups of student works from The Evergreen State College who made their own art work, or students in environmental sciences who studied the ecosystems.It included their displays, video made by Basia of the project, and her own art work, which is books made from the materials she gathered along the river such as barnacles and sand.

It also included videos of her ice books. The ice books have been frozen with seeds embedded in them in her freezer, then carved into books. They are placed in the water and they dissolve. The plant seeds are good for natural plant growth on the banks of the river and hopefully will land and germinate.

Basia is a poet and an artist. Perhaps her biggest contradiction is that she has such a strong sense of aesthetics that even when she is representing pathogens like e coli as a reference to water borne illnesses, she makes them beautiful. Her videos and her art work are so carefully crafted aesthetically, that it almost gets in the way of her crucial political engagement. Her gentle personality is also subtle. How can such a lovely person change the world? Only through the power of her concern about the planet. At the opening she thanked everyone and then reminded us all that someone dies every 8 seconds from a preventable water borne illness. She is urgent and intense under her gentle facade.

The opening included a dedication of the gallery by Skykomish elder Delbert and music by the Shooting Stars, a young group of native musicians who write music in response to the sound of water.

What I really enjoyed is that Basia is truly interdisciplinary in her outreach, there were science professors, biologists, a park ranger (photographed here, this is Marne McArdle at the opening from Mt Rainier National Park), and each one had their own story, their own relationship to the work. The students also eagerly recounted their experiences. This is a successful endeavor, when everyone is involved and cares.

At the same time the exhibition is a major presentation of the artists work. She included work from earliers projects. More about that soon.

No More Seattle Post Intelligencer

2009-03-18T22:17:00.001-07:00

I am too sad to say anything much. Our great paper has been done in by the Hearst corporation who wanted to put it online, by lots of people who read it online already, by commuters who drive (nobody has mentioned how using mass transit means you read the newspaper everyday, as I do), by young people who love their electronic gadgets, but older people who love their electronic gadgets. By Craig's list ( that's a big one), and by so many other forces. So many great writers are now online alone including my friend the art critic, Regina Hackett.

It is a sad sad day. I tried to look at the online version and aside from David Horsey's editorial, I could find nothing but fluff . I know it saves trees, but computers use electricity that is consuming resources also. I WILL NOT do all my reading of news digitally. Thank goodness for the New York Review of Books.

As a journalist, I am crying.

Coffee Strong GI Coffee House and Counseling

2009-03-18T21:40:00.000-07:00

Coffee Strong is a GI Coffee House near Fort Lewis Military Base between Tacoma and Olympia. It is a place for a good cup of coffee and great conversation about war, resistance, how to know your rights whether you are in the military or not! They gave me a card that documented 51 people who had the courage to resist " Support the Troops who refuse to fight"

Robin Long is the most recently publicized case of a war resistor who was sent back to the United States by Canada and is currently being held in a brig in San Diego. It is important to support these brave people. It is so easy for us to go to a demonstration and hold a sign and yell and march, but these people really put their personal lives on the line to say no to war.

They also gave me a card about the GI Rights Hotline. Another invaluable piece of information for everyone is "what are my rights" that said if a police stops you you can ask if you are free to go . If the answer is yes, just consider walking away. If they say you are not under arrest, but are not free to go, then you are being detained. The police can pat down the outside of your clothing, if they have reason to suspect you might be armed and dangerous. If they search any more than this say clearly "I do not consent to be searched. " You do not have to answer any questions.

This is good information for anyone who is an activist. You might be asking about the art part of this post. Well, they had that covered too. Great 40 remixed propaganda posters like the one posted at the top of this blog.

Kentridge Return of Ulyssses Opera

2009-03-12T18:14:00.000-07:00

I have already previewed this amazing work. The full production was absolutely fabulous.
How lucky Seattle is that Stephen Stubbs decided to found Pacific Operaworks in Seattle and to bring us this phenomenal performance.
The Monteverdi opera is, of course, the story of Ulysses return to Ithaca after all of his adventures where he was waylaid by various beautiful women and natural disasters, wayward gods, and adventures ( Homer's Odyssey). The Opera was presented by extraordinary singers. The baroque era is clean and melodic compared to later opera. The singers were mostly paired with a large wooden puppet for each character, ( except Ulysses who had two), Penelope was the star, seen here with the brilliant singer Laura Pudwell and her "handler" , then there was Telemachus, Ulysses son, Zeus and Eumaeus ( a shepherd), and there was also Athena, Neptune, Time, and more
The baroque music was performed on stage with amazing period instruments including the chitarrone played by Stephen Stubbs. For an informed review on the music see the Post Intelligencer writer R.M. Campbell The stage design itself was Kentridge's idea, it was a seventeenth century theater.
Behind them was Kentridge's animation. It was brilliantly correlated with the action on stage. There were flowers growing when love was sung about, body parts and medical imaging - including colonscopy, open heart surgery, sonograms) for the dying Ulysses in the center of the stage ( a Kentridge addition to put him in Johannesburg, South Africa), images of flowing water for the wandering Ulysses evoked by Penelope and other life forces. When Penelope was sewing we had Kentridge lines at strong diagonals moving around, when she sang of love plants turned into bodies, hearts turned into plants; lovers were blotted out when Penelope sang about the brevity of love, when the courtiers tried to woo her a scale appeared with gold on one side and a heart on the other. I loved the scenes when Ulysses was travelling and the animation traversed cities, landscapes, Greek temples, as he swayed in front of them, utterly convincing, like those old movies when people were in cars, and the landscape moved behind them.
It all worked incredibly well. He did finally get home, inspite of Penelope's doubts. In Kentridge's staging, the two re united over the dying Ulysses in a hospital in Johannesberg. So it fit with his performance. No matter what, we want to hold onto our dreams and ideals, and carry them on our backs forever. It was of course obvious that Penelope would ask after the joyous reunion
"where have you been big O?" but the play ended first.
The action of the puppets was unbelievably subtle, utterly convincing as movement of actors.
The singers were stunning.
Don't Miss It!!

For another opinion you can read this article on artdish. I completely disagree with what is written there, but I should at least honor that it has been written. And perhaps you might agree with it.

William Kentridge takes Seattle by storm

2009-03-12T17:55:00.000-07:00

This week we were on the cultural map with a performance by William Kentridge on Monday and an opera by Kentridge on Wednesday.
At the Henry Art Gallery, the performance, "I am not me, the horse is not mine"had its North American Debut. Naturally, I wasn't allowed to take pictures. This is a picture of a related idea, as you will see. I did take a few notes
The stage set echoed his studio, with a simple scaffolding, a working wall, with pentimenti of work removed, and the artist running through sets of notes. Back projected on the studio wall appeared the artist himself, once, twice, three times, at various times. The real Kentridge sometimes seemed to chase off these other Kentridges, sometimes dictate to them while they took notes, sometimes bore them to tears, and sometimes collaborate with them, as when he threw his real notes away and his photographic double caught them.
He started out with Gogol's The Nose from 1837 which was made into an opera by Shostakovich in 1928 at a critical transitional moment in the early Soviet Union, when creative thinkers were still allowed to work, just before the Stalinist era began. (Kentridge is actually going to present this opera next year)
He told some of the story ( one can't help but notice that the artist has a prominent nose, and therefore perhaps is attracted to stories about disappearing and reappearing noses)
He went backwards to an earlier version a story in a story from the seventeenth century, then Don Quixote.
Meanwhile the wall also projected some of his "stone age animation" images, and such images as video footage of himself (already mentioned above) and him awake at four am with a busy mind. The title refers to cut out collage pieces that seemed to form a horse for us, and as it fell apart, we still saw horse forms.
Here are a few quotes, that I found provocative:
"how much of the outside world do we need inside us to make sense. And we cannot stop making a meaning from shape, even as it disappears we hang onto it.

We hang onto a skeleton of utopia.
Constructing meaning in the world is half of who we are.
We are heads banging against our own limitations. "
Meanwhile, animated images of things falling down including "that ridiculous blank space"
The animation also included the familiar marches of burdened people, but here they seemed to be carrying slogans from revolutions, rather than their worldly possessions as in his works that focus on South Africa.

The idea for me is that this performance speaks to a time when things in the world are changing ( as they are now, the performance was presented at the Sydney Biennial in 2008) when we carry dreams and ideals around until they have no meaning, much as we carry things around. Since Kentridge was shaped by apartheid South Africa, the post Apartheid era has been just that. Where do we carry our ideals and principles now. How do we go forward with our old ideas of equality and liberation.

It speaks also to our current state in the United States: as Obamamania gives way to reality, that he is of course part of the same system as George Bush, and a pawn in a larger system than he can possibly really change, what do we do with our hopes and dreams? Do we keep on lugging them around. Of course we do, even as they come crashing down. We go on demonstrating and protesting.

A long section at the end of the play was reading from the trial of Bukharin, one of the most pivotal of the early revolutionaries, as he was forced to explain himself, and yet taken off to prison. The crashing of his ideals is in every line.

Trespassing in Bellingham Washington

2009-03-08T20:54:00.000-07:00

One top image is by John Feoderov Totem Teddies, the bottom is by Tanis S'eilten, Blood for Shares.

This exhibition is only up until March 22. It is in the Whatcom Museum in Bellingham Washington. But what a great show. It includes all contemporary Native American art by John Feoderov, Tanis S'eilten ( two friends of mine whose work I really admire) as well as Roxanne Chinook, Ka'ili, Larry McNeil, Ramon Murillo . The works are quirky, funny and intensely political. Tanis addresses issues that relate to Alaskan natives, like the pollution from cruise ships, land grabbing then and now, and the corporate culture that was forced on native tribes in the first oil agreement for exploring the North Slope. Fedeorov is relentlessly mixing contemporary culture and religion, kitsch shamanism in works like the Office Shaman and Temple. The other artists all address environmental and cultural issues. It is so refreshing to go to show where all the artists have something to say and aren't afraid to say it.

Garden and Cosmos Seattle Asian Art Museum

2009-03-05T15:46:00.000-08:00

The work just above is Mahraj Bakhat Singh at the Jharokha Window of the Bakhat Mahal, 1735, 37 x 29 inches. You see the Maharaj seated in a window looking down to women who are dancing.
The work at the top is Jallandharnath and Princess Padmini Fly over King Padam's Palace, 1830.29 x 37" This is taken from Hindu stories.
These are huge paintings.

This is an astonishing exhibition We are so fortunate in Seattle to have extraordinary exhibitions come to our city. We have the ONLY WEST COAST SHOWING of this amazing group of GIANT Indian miniature paintings, that were discovered in a chest in the home of the current Maharajah of Jodhpur. Literally, in a closet, according to Debra Diamond the curator. And they re wrote the history of Indian miniature painting. The exhibition just goes on and on with fascinating revelations. I went to this exhibition an astonishing eight times, revelling in its intricate detailed renderings of trees, birds, flowers, fish, and of course, Hindu mythology and Kingly pursuits. The first room has the Maharajah apparently relaxing entirely amid the ministrations of dozens of beautiful women. Of course I thought, oh dear, how decadent.

But appearances are deceptive. According to expert historians, the kingdom at this time (1735)was going through massive transitions from security to insecurity, from the security of affiliation with the Muslim Mughal Empire, to the insecurity of being ordinary leaders of kingdoms with ( in the case of Marwar-Jodphur one of the Rajput Kingdoms in the North) few resources. The purpose of these miniatures is to "Maintain a Kingly Aura in Hard Times" . This is the phrase of Purnima Dhavan, an assistant professor of history at the University of Washington. She gave a brilliant lecture explaining this with big arrows sweeping across the state from various directions. Therefore we can see that these paintings, like those in "Life, Liberty and the Pursuit of Happiness", are also government propaganda.

The next two sections of the show are using religion to promote kingly power, Hinduism, and Nath yoga "aesthetic" yogis ( apparently they were very well off). But it is actually all about power plays, how leaders use the people around them, or other people to stay in power. How do artists respond to this desire by painting the invisible, that is what we learn in the last sections of the show. We of the West look at the colors, shapes, lines and say how beautiful. But there is much more to it. According to Michael Shapiro these miniatures are about sharing emotional states called Rasas. anger, fury, fear, tranquility, eroticism, pity, compassion. Perhaps that is more obvious to us now that we have all seen Slumdog Millionaire.

I am addicted to this fascinating exhibition about a period of art that I know nothing about. At the end of March, the current Maharajah Gaj Singh II came to Seattle from Jodphur. He was a delightful and modest man. He has founded an international organization that addresses head injuries because his son suffered from a serious injury in a polo fall. He is also encouraging women's education. His position is now what he calls "tribal" . Under the British Raj in the late 19th and early 20th century, the traditional status of Maharaja's was diminished. Then after democracy, they were further moved out of the political system. But Maharajah Gaj Singh II is still a regal figure with a deep concern for the people in his region. He pointed at the painting of the installation of the Maharajah centuries ago and said he remembered the same event in his own life when he was four years old.
This piece is called Cosmic Oceans, 1823.