Books are for lovers: Meet Josephine

Ex Libris: Confessions of a Common Reader by Anne FadimanI’ve been keeping someone to myself much too long. I’ve collected reams of notes and have a stack of material. Now I feel somewhat prodded, thanks to Rose City Reader, who posted this review of Anne Fadiman’s “Ex Libris: Confessions of a Common Reader.”

I left this comment on her post:

My copy of this book first belonged to my friend, Josephine, who was exactly twice my age when I first met her. She writes in pen in all of her books. She underlines words she doesn’t know, she makes little comments, she traces routes on maps, and on the very last page of every book she reads she signs and dates it and sometimes writes a short comment. It doesn’t matter if it’s a paperback or a gorgeous leatherbound edition from Easton Press. When I pointed this out, she shrugged and said simply she was a carnal book lover. When I was confused, she said I had to read this book and gave me her copy. In the middle of Fadiman’s essay about courtly vs. carnal book lovers, Josephine wrote in very scratchy script at the bottom of Page 40: “Mom used to use a bill to mark her place in a book. She told me to look through her books when she died. Yes, I found a few bills. I was astounded a couple of months ago to find $60 in a book I had read some time before. My mother’s daughter.” The last page is signed: “J.D.P. Jan. 16, 2009. Truly loved this book!” She was 92 years old at the time.

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A contemporary art museum for Stumptown?

At Portland Architecture, Brian Libby has posted an intriguing piece (citing an original story by Nathalie Weinstein in the Daily Journal of Commerce) about a possible contemporary art museum in a proposed gateway tower to the Pearl District.

At this point the proposal, developed by a group of Portland State University graduate students, is something of a pipe dream: there’s a recession going down, and developers are still pretty much in hunker-down mode.

John Baldessari, “Stonehenge (with Two Persons) Blue,” 2005. Mixographia print on handmade paper. Jordan Schnitzer CollectionBut as Libby points out, the museum part of the proposal gets interesting when you consider two things:

1. The new museum’s collection would be built from the holdings of Portland arts patron Jordan Schnitzer.

2. Schnitzer is president and CEO of Harsch Investment Properties, which owns the two parcels in question, between West Burnside and Northwest Davis streets and Northwest 13th and 14th avenues.

Schnitzer is a significant arts player on the Portland scene, and more and more, along the West Coast. His name is on the University of Oregon’s Jordan Schnitzer Museum of Art. His primary focus as a collector is contemporary prints, and he’s serious about it. (Libby’s post includes interesting passages from an interview with Schnitzer by The Oregonian’s D.K. Row). The son of important regional patrons and collectors Arlene and Harold Schnitzer, Jordan Schnitzer has displayed genuine enthusiasm for getting his own continually evolving collection out to museums and educational institutions around the Northwest: He wants people to benefit from what he’s pulled together.

Obviously this is a “soft” report: Nothing concrete is happening. But who knows what might be going on behind the scenes? Portland has longed for a contemporary art museum for a long time, and Schnitzer has both the collection and the educational interest to get something kick-started. In general, metropolitan areas with multiple museums have stronger art scenes, so a viable contemporary art museum would have a ripple effect. Right now, Portland has the Portland Art Museum and the Museum of Contemporary Craft. Our nearest big-town neighbors, Seattle and San Francisco, have much more diverse museum scenes, and that’s made a big difference to their entire arts scenes.

So. Pipe dream or not, let’s keep an eye on this one and see if anything develops.

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ILLUSTRATION: John Baldessari, “Stonehenge (with Two Persons) Blue,” 2005. Mixographia print on handmade paper. Jordan Schnitzer Collection

Damn everything but the circus!

Just in time, on a gray Portland day with far more static than electricity in its air, comes this note from Allan Oliver, who runs Onda Gallery on Northeast Alberta Street.

 "Show Time," acrylic on canvas, Deborah Spanton/Onda Gallery“Damn everything but the circus!” Allan advises, quoting the great, undercapitalized e.e. cummings, who wrote in full:

Damn everything but the circus!
. . . damn everything that is grim, dull,
motionless, unrisking, inward turning,
damn everything that won’t get into the
circle, that won’t enjoy, that won’t throw
its heart into the tension, surprise, fear
and delight of the circus, the round
world, the full existence . . .

Mr. Scatter finds himself in complete agreement today, and feels a sudden compulsion to wheel his unicycle out of the garage and go cavorting with a trained elephant. Citizens of the world, we have nothing to lose but the liars, lackeys and cheats!

Before Mr. Scatter dons his clown costume, though, he should explain why Mr. Oliver sent this most appropriate of poems. It was to announce a new, circus-themed show at the gallery of paintings and prints by Deborah Spanton (that’s her acrylic on canvas Show Time pictured) and prints by Gene Flores. The show doesn’t open until April 29 (it runs through May 25), but we simply couldn’t wait to spread the news.

Excuse us, please. We’re off to find the hurdy gurdy man.

Scatters revisited: Let’s play catch-up

Art Students and Copyists in the Louvre Gallery (for Harper's Weekly), 1868, wood engraving, National Gallery of Art, Washington, D.C.

Art Scatter is considering a new motto: All the news that fits, comes back to bite you again.

Maybe it’s not as elegant as the New York Times’s All the news that’s fit to print or as slobberingly juvenile as The Onion’s Tu Stultus Es (translation from the Latin: You Are Stupid). But we seem to be getting pingback, and we are not referring simply to those odd “comments” that pop up semi-regularly from online hucksters selling axle grease or whoopie cushions. (Mr. Scatter attempts to zap those into oblivion before our readers have a chance to see them, unless the links are unusually entertaining, such as the one that seemed to translate this post into some unknown language and back to English again, transposing “large smelly boys” into “vast sharp boys” and “Portland public schools” into “Portland open propagandize system.”) Stories don’t always end when the writer thinks they do. So consider this a chance to revisit some of our recent hits, with updates and amplifications:

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COPY CATS: In our recent musings on the value of museums (we had worked ourselves into something of a dither, a century late, over the idiocies of the Futurist Manifesto, which called for abolishing them) we tossed in this aside: “Why are our young artists not haunting the halls of the museums? Rarely – almost never – do you see someone set up with easel and paints in a Portland Art Museum gallery, copying the masters to learn their techniques, a sight that is common in European museums.”

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Wendy & Waggie: play it one more time

Wendy Westerwelle stars in Martin Sherman's "Rose." Photo: Don Horn/Triangle Productions!

Blink, and it’s 1984 all over again.

Over here: Waggie and Friends, skipping sweetly through the landmines of improv comedy, quick wits and crack timing in tow.

Over there: Brassy Wendy Westerwelle, going for the gold in a one-woman show.

Turn off the radio, will you, please? Sounds like they’re playing Karma Chameleon again.

No, this is not an April Fools joke. Through some sort of cosmic coincidence, the ghosts of Portland past are flitting across the city’s stages starting tonight. The sweetly funny Waggie, pioneers of comedy improv in Stumptown (they were the first group to bring TheatreSports to town) are taking over the Brody Theater stage for a two-nights-only reunion Thursday and Friday.

Waggie and FriendsAnd Westerwelle, the irrepressible onetime Storefront stalwart who scored a big hit with her Sophie Tucker show Soph: A Visit With the Last of the Red Hot Mamas, takes on a very different personality in the Northwest premiere of Martin Sherman‘s play Rose, opening Friday at CoHo Theater.

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Waggie’s reunion gig at the Brody is a smash before it opens: both nights are sold out, and, as producer Domeka Parker says, she has “a waiting list for the waiting list.” The good news: there’s already talk about scheduling more dates, although nothing’s settled yet.

Waggie was so good and so influential in Portland not just because it was early to the improv game but also because its performers were seasoned veterans of the legit stage; actors who had both dramatic and comic chops. Domeka Parker’s parents, Scott Parker and Victoria Parker-Pohl, were core members, and they’ll be joined onstage by fellow alums David Fuks, Eric Hull, Cindy Tennant and Bob Zavada. Original funnyman Gary Basey couldn’t make the trip from his California home. His spot is being taken for these shows by a shirttail Wagger, Domeka Parker’s cousin Ian Karmel, who is a Groundlings alumnus and a member of her improv group, the Gallimaufry. (The younger Parker may not have been born in a suitcase, but she was “raised in the throes of improv,” and she’s become an improv performer and teacher herself: “I cannot escape it, and I promise you … I have tried.”)

Waggie, which stayed together until the mid-1990s, worked up a fine sweat on the TheatreSports circuit, playing tournaments in San Francisco, Los Angeles, Seattle, Edmonton and Calgary. It opened shows for the likes of gonzo journalist Hunter S. Thompson, Monty Python’s Graham Chapman, and cartoonist Lynda Barry. And it performed plenty of shows for the home crowd, including some memorable New Year’s Eve gigs.

Obviously people remember, and they’re eager to turn back the clock. Let’s just leave Kenny Loggins and Duran Duran out of it, though, shall we?

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In England, Martin Sherman’s Rose was nominated for the Laurence Olivier Award as best new play in 2000. It hasn’t enjoyed such a welcoming reception in the United States.

“No one in this country has done it, except Olympia Dukakis,” Westerwelle said a couple of weeks ago over coffee and tea at Costello’s Travel Caffe. “And I talked with her on the phone yesterday, for 20 minutes. I don’t know how I got hold of her. I just called everyone I know across the country, I said, ‘How do I get hold of Olympia Dukakis?’ And I did.”

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