Lighten up, lad: Diamond Jim, we hardly knew ye

Ah, 2008. The year when the fat got lean and the lean got leaner. The year when the big fat lie led to the big fat crash. The year when the faked memoir devolved from the merely mercenary and narcissistic to the unbearably sad and pitiable. The year, more cheerfully, when Obama won and the Yankees lost.

Oh, well. We’ll always have our heroes to look up to.

Oops. Turns out, Diamond Jim Brady was a fraud.
Or maybe just a garden-variety (make that stockyard-variety) glutton. Or maybe it wasn’t him so much as his image-mongers, who seem to have larded the truth like it was a prize-winning pie crust at the county fair. David Kamp, in a mortally funny piece of debunkery in this morning’s New York Times, has pricked Diamond Jim’s balloon, reducing his reputation like so much Slim-Fast: Turns out Brady was the bloated beginning of a reputational Ponzi scheme that leaves us tail-enders holding a severely depleted bag.

Granted, Brady’s an odd sort of hero in the first place — not a role model so much as a bigger-than-life phenomenon, a sort of Zeus (or maybe Dionysus) of the foodie set. Anything you could eat, he could eat bigger. And did, so the stories go, four or five times a day, in all-out cram-athons, often in the company of his gustatory inamorata Lillian Russell, the even more fabled songbird of the Gilded Age, whose appetites seemingly rivaled Catherine the Great’s.
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A scatter for the end of the year

OK, the last day of 2008, as per one method of reckoning the revolutions of one satellite around its star. Mostly as we’ve thought about it, this year, we’ve been stunned into silence. The complexity is simply too great for Art Scatter’s feeble resources. For 2009 we’ve got one resolution and one resolution only: keep it clean, keep it basic. Well, maybe that’s two resolutions. And though we like the sound of them, we’re not sure what they mean, exactly, though we know the source. We find ourselves confused so frequently, and so easily distracted. So clean and basic. Maybe that’ll work.

One thing we’ve enjoyed about 2008? Meeting you on Art Scatter. That’s mostly a testament to your patience and tolerance as we’ve thrashed pixels about in an unseemly fashion. We’ve worked through some things, though, and we can’t help but think that 2009 will be better. Really. Way better.

One thing we know for sure? That we wish you just the best 2009 possible. That’s actually less selfless than it sounds. If you’re doing great, we’re probably doing great, too! Here’s to doing great together. Happy New Year, one and all.

Scatter links: A beer with Henry James, a bail-in for Detroit, why NOT sell off some art?

Cool things to read in other places:

— Laura Grimes, charter member of Friends of Art Scatter, has a delightful piece in the Sunday Oregonian’s books pages about reading Henry James‘s The Ambassadors (or trying to read it) on the bus, and whether James was quite the sort of fellow you could sit down and have a beer with. Read it here.

— Also in The Oregonian, on Monday’s op-ed page, is a bell-ringer by Tim Smith on how to “bail in” the reeling auto industry instead of bailing it out. Smith, a principal at SERA Architects in Portland and a Detroit native, suggests: “(L)et’s reorganize GM to replace it. Why not fund a conversion of General Motors from a purveyor of private transportation hardware to a planner, fabricator and supplier of a renewed, nationwide public transportation system?” An elegant, provacative piece, with some historical sting. Read it here.

— And, in case you missed it in the New York Times the day before Christmas, this intriguing piece via Art Journal about the brouhaha over deaccessioning art at museums to raise bucks, a move that’s recently put New York’s cash-strapped National Academy Museum in hot-to-boiling water. Is it an idea whose time has come? Maybe so, maybe no. Author Jori Finkel talks with, among others, former Portland Art Museum director Dan Monroe, now at the Peabody Essex Museum in Masachusetts. Read it here.

Resolutions for MOCA and the new year

Art Scatter has taken an obsessive interest in watching the Los Angeles Museum of Contemporary Art as it tiptoed along the crumbly edge of the abyss. After all, MOCA is an internationally important arbiter and collector of new art with big curatorial ambitions (at this point, some might say too big), and its effect on how we consider the general “drift” of art in our times is out of proportion to its $20 million per year budget. Which is to say the museum gets a lot for its money.

Somewhere along the line, both the board and museum director Jeremy Strick made a nearly fatal error — when their income didn’t reach $20 million a year, they didn’t adjust. They just covered the shortfall from their endowment, which had peaked around $40 million and by this fall had dwindled to $7 million or so. Strick didn’t cut expenses sufficiently. The board and development staff didn’t find new sources of income — even during the height of the LA real estate bubble. And so, the museum found itself near extinction in November.
Continue reading Resolutions for MOCA and the new year

Eartha Kitt and the economy of desire

Martha Ullman West reminded us below in the comment section that Harold Pinter wasn’t the only death of a prominent artist over the holidays. Eartha Kitt departed, too. I imagine her in a heaven populated by Wall Street plutocrats, seducing a healthy portion of their ill-gotten gains out of them, though how the plutocrats got there in the first place, I have no idea — maybe they were just placed there to please Eartha. That’s not an electrical storm in the sky, that’s just Eartha Kitt sizzling.

When Ms. Kitt (to adopt New York Times formality for once, because frankly, it just feels right) was in the fullness of her celebrity-hood, in the ’50s and early ’60s, I didn’t quite get it. I was just too young. So yes, I remember her Catwoman turn on the old TV Batman and occasional turns on the variety shows of the time, to which my parents were addicted — the Dean Martin show maybe? Andy Williams? Or was she too hot for Andy? Probably. Because I followed politics and the Vietnam War, I remember her protest in LBJ’s White House. Her honesty extended beyond her frankness about all things sexual, apparently.

The New York Times obituary by Stephen Holden this morning connected a lot of the dots, or at least suggested what a lot of the dots were — Mae West on one end of her life and Madonna on the other, and then mostly European (or Europe-based) chanteuses, Josephine Baker and Edith Piaf, in the middle. I liked his description of sitting a little too close to the stage one night and falling under Ms. Kitt’s gaze — intense, frightening, captivating.

How much of this was representation, an elaborate and effective role-playing game, and how much was real? I suspect it was mostly enacted, the specifics anyway, though not the edge, the anger, the idea that “you have made me into this and now you will pay” she conveyed between such lines as “Give me a frank account/How is your bank account?”. We all have that edge somewhere, don’t we? We just don’t have Ms. Kitt’s legs or laser-beam eyes (well, I certainly don’t; I wouldn’t want to speak for the appendages of our well-proportioned Art Scatter readers!).

Golddigger. In the West it goes back to commedia dell’arte, yes? The rich old man marries the young fetching woman. And then she ignores him for a string of younger men, or if we’re feeling sentimental, for one true love. In short, he doesn’t get what he paid for. The Golddigger herself, we are mixed about, right? We don’t like the, um, naked desire, on the one hand, or the obscene gesture tossed at the Romantic Ideal of Love. On the other hand, though, we like the self-reliance, the moxie, the determination, maybe even admire the sheer cold-bloodedness of the exchange. During the ’50s, Marilyn Monroe made the Golddigger cute; Jane Russell reminded us that it wasn’t so easy.

The male version is the gigolo, who has turned into the pimp, I suppose, in these times, in the same way that entrepreneurial golddiggers turn into madams. This is what is below the tightrope that Eartha Kitt walked or rather vamped on until she died on Christmas day. She never fell off.

So long, Harold Pinter

Harold Pinter had one of those deep, dark provocative minds, the scary kind, and he used it to create characters that resembled almost exactly the furtive and often malign creatures that burrow around inside our heads and heart, alternately bullying us and cringing in the corner. I’m thinking of early Pinter here, the Pinter of The Caretaker, The Homecoming and The Birthday Party, plays written between 1957 and 1964 that Portland theaters still occasionally produce. Which makes sense, because there’s really nothing quite like them, the plays that gave us the “Pinter silence” — the tear in the fabric, the hole in the dike. Except for Betrayal, I don’t know the rest of his work nearly as well, and I only know Betrayal because of the excellent film version, adapted by Pinter and starring Jeremy Irons, Ben Kingsley and Patricia Hodge. It has a wistful tone, maybe it’s the score, that takes some of the sting out.

Back to Pinter, who died on December 24, having fought cancer since 2001. As his playwriting career began to wind down, he became more and more political, and his Nobel acceptance speech in 2005 excoriates the role America has played in the world, that record of supporting dictators and expanding our economic interests, and the consistent support Britain provided for our “adventures”, including Iraq.

We leave you with that 46 minute speech, or rather with a link. It circulated widely after he delivered it — by turns angry and bitter, the notes of a man betrayed. But if you didn’t hear it then, maybe it’s a fitting way to see him off today.

Merry Chriftmas, one and all: Feaft like lords and ladies


Now Chriftmas comes, ’tis fit that we
Should feaft and fing, and merry be
Keep open Houfe, let Fiddlers play
A Fig for Cold, fing Care away
And may they who thereat repine
On brown Bread and on fmall Beer dine

(Virginia Almanack, 1766)


I have discovered, of late, a dangerous aisle at Powell’s City of Books.
More accurately, I have discovered the center of an aisle, in the cookbook section, beyond the volumes by celebrity chefs (where, among the Paula Deens and Mario Batalis and the occasional Peg Bracken I Hate To Cook Book you can sometimes find an old copy of one of Vincent and Mary Price’s grand collections of old American recipes or recollections of their adventures in great world restaurants) and before you hit the Great Big Collections of Foolishly Complex Recipes From Famous Magazines.

Here, in the middle, is a small row of shelves labeled collectors books (aren’t all books in a bookstore for collectors?) and on the shelves sit a continuously rotating selection of scruffy old volumes. Some are from the beginning of the last century and most are of little consequence but every now and again the shelves yield a true find for anyone interested, as I am, in the history of foodways and its interconnection wth the daily life of the past. It was here I found, not long go, the daftly entertaining 1938 Cheddar Gorge: A Book of English Cheeses, edited capriciously by Sir John Squire and peppered with delicious illustrations by Ernest H. Shepard.

More to the seasonal point, here is where I found The Williamsburg Art of Cookery, or, Accomplifh’d Gentlewoman’s Companion: Being a Collection of upwards of Five Hundred of the moft Ancient & Approv’d Recipes in Virginia Cookery, a 1966 reprinting of a book originally copyrighted in 1938, which was itself a collection with commentary of receipts and reminiscences from the 1600s to the mid-1800s. This is where I found the quote from the Virginia Almanack at the top of this post. And it’s where I found this report, filed by “Monfieur Durand, a Frenchman journeying through Virginia in the Chriftmas holiday Seafon in 1686″:

We were now approaching the Chriftmas Festival. Milor Parker was, as I have faid, a Roman Catholic … He wifhed now to pafs Chriftmas Day in Maryland, and as we were only five or fix Leagues diftant and had no Defire to leave him, it was agreed that all fhould go to fpend the Night with Colonel Fitzhugh, whofe Houfe is on the Shore of the great River Potomac

Mr. Wormeley is fo beloved and efteemed in thefe Parts that all Gentlemen of Confideration of the Countryfide we traverfed came to meet him, and, as they rode with us, it refulted that by the Time we reached Col. Fitzhugh’s we made up a Troop of 20 Horfe. The Colonel’s Accomodations were, however, fo ample that this Company gave him no Trouble at all; we were all fupplied with Beds, though we had, indeed, to double up. Col. Fitzhugh fhowed us the largeft Hofpitality. He had Store of good Wine and other Things to drink, and a Frolic enfued. He called in three Fiddlers, a Clown, a tight rope Dancer and an acrobatic Tumbler, and gave us all the Divertifement one could wifh. It was very cold but no one thought of going near the Fire becaufe they never put lefs than the Trunk of a Tree upon it and fo the entire Room was kept warm.


As your guests plow through the Great Blizzard of Aught Eight to get to your holiday table,
may your fiddlers and clown and dancer and tumbler also arrive safely and happily. Even if it takes them 20 Horfe to get there.

Terry Toedtemeier memorial service time and date

Just a short item, because we saw this is on the Portland Art Museum’s website:

A memorial for Terry will be held on Sunday, January 4, 2009 and begin at 2 p.m. with a viewing of Wild Beauty. The memorial program is scheduled to begin at 3 p.m. in the Fields Ballroom in the Museum’s Mark Building. The program will include remarks by friends and family and a slide show of Terry’s work.

Merry solstice, pagans, scientists and true believers

Today is Winter Solstice, and as my late father-in-law used to say, have you noticed the days are getting longer?

Well, no, not in the afterdaze of the snowstorm that’s punched the Pacific Northwest and reminded me, if briefly, of my stint living in Upstate New York, a long time ago. In those days I knew how to drive in the snow — even a pathetic yellow Ford Pinto that would start only after I opened the hood and stuck a stick inside the solenoid so the fuel could get going and do its job. This required a procedure involving a return to the driver’s seat to turn the key, then another trip outside to take the stick out of the solenoid and slam the hood down, making sure I’d set the dodgy emergency brake in the meantime. It was a neat trick in winter weather that might be 15 degrees above or 15 below, but when you’re in your 20s you’re capable of miraculous things.

And here we are, 35 years later, in another season of miraculous things — or coincidental occurrences, or events fully within the statistical model of probability, depending on how you view these things. Last night at 11:38 my mother-in-law arrived at Portland’s Union Station on an Amtrak run from Seattle that had been scheduled to arrive at 5:50 but was slowed down by little inconveniences that included a derailed freight train and several frozen couplings that had to be unfrozen so her train could pass. No, I don’t know how they do that. Somewhere along the line, when it became apparent that the train was going to be several hours late, the Amtrak people offered their passenger-hostages a movie to while away the wait — if they paid four bucks. Some people will regard the train’s eventual safe arrival as a miracle. All people will agree that Amtrak’s version of hospitality under duress falls well within the statistical model of probability.

Today, on the solstice, all is well. We might not make it out of the house (or beyond the lure of snowballs in the yard, although both cats have ventured trepidatiously out of doors, and I’ve just been reminded that the neighbor across the street is throwing an open house later this afternoon, with lots of food and drink). But the larder is full, and a log’s on the fire — it’s made of compressed coffee grounds, which I’ve persuaded myself come from organically grown, fair-trade, visions-of-a-better-life beans. Tuaca and bourbon and cider and eggnog are available, and the resident 11-year-old, master of decorative gift-wrapping, has been busily bundling presents not destined for his own stash and then arranging them beneath the Christmas tree, which seems glowingly unaware of its dual role in Christian and pagan symbolism.

One of those presents, which my wife discovered a few days ago, is a Wiccan cookbook filled with delightful old woodcut prints and recipes that may or may not actually be useful: In a case like this, the recipes aren’t really the point. This one will be opened by a devotee of the culturally alternative and pleasingly esoteric. We like thinking about the old ways, even if we also think that electricity and modern medicine are pretty nifty things.

There will be no Wicker Man in our household this season. Our traditions are more Christian and, in my daughter’s case, Jewish. But these things get smudged and crossed and fused. We are all, inside our heads and traditions and belief systems, something like Frankensteinian monsters, stitched together from who knows what? — and that’s really not such a bad or alarming thing.

This morning I cruised through Art Knowledge News, a site I like to check out every couple of days, and discovered a pair of intriguing exhibitions arriving soon in England that illustrate, coincidentally, the hybrid quality of contemporary life. The first, to be shown starting in February at Yale and then moving to the Fitzwilliam Museum in Cambridge, celebrates the bicentenary of Charles Darwin’s birth by showing the effect of his revolutionary recalibration of natural causation on the world of art. The second, opening in April at the Tate Britain, is a restaging of William Blake’s only solo art show, in 1809, with all of its mystic, angelic, otherworldly vision of something vastly beyond the commonplace.

Somehow, historically and culturally, I find myself able to embrace both.

I suppose that’s a miracle.

Winter’s tales: Halldor Laxness on love and ice – and fire

“Not much ever happened to him but weather.”
— Willa Cather, A Lost Lady

I think of love stories in winter weather. Perhaps it’s my own small town South Dakota youth calling, remembering my own 60s romance with the love of my life, cold winter nights parking at a turn-out on the gravel road out past the airfield, burning gas, fogging the windows — all manner of heat, and dreaming a life not far different from the one we’ve had. So I can relish without regret cold love stories that are tragic, like William Dean Howells’ A Modern Instance, which begins with a winter sleigh ride, or a poignant tale like Willa Cather’s A Lost Lady, with its blue shadows of the winter season and its intimations of the longer blue shadows of human behavior. Even thinking of it brings one of those who-can-tell-what-is-in-a-human-heart shivers.

But here is a cold-storage love story, one that pushes beyond what’s between a woman and a man, beyond the temperament of a season, striking at the ice or fire dilemma of creation itself.

“Where does creation end and destruction begin?” Here’s the preacher’s answer, in the form of a parable about a horse swept over a waterfall:

“He was washed ashore, alive, onto the rocks below. The beast stood there motionless, hanging his head, for more than twenty-four hours below this awful cascade of water that had swept him down. Perhaps he was trying to remember what life was called. Or he was wondering why the world had been created. He showed no signs of ever wanting to graze again. In the end, however, he heaved himself onto the riverbank and started to nibble.”

This derelict minister, Pastor Jon, has himself fallen from grace in Halldor Laxness’ novel Under the Glacier. His parish church stands at the foot of the glacier, its broken windowpanes boarded over, its door nailed shut, and its pews and altar stolen and used for firewood during “the spring of the great snows” several years past. Pastor Jon is now more tinker and local repairman than preacher to his flock. And into this strange world –- the center of creation or the end of the world, depending on who is consulted –- steps the narrator, who calls himself “Embi,” short for Emissary of the Bishop of Iceland. This young prelate has been sent to make inquiries and gather facts regarding rumors of strange goings on at the glacier parish.
Continue reading Winter’s tales: Halldor Laxness on love and ice – and fire