All posts by Barry Johnson

Barry Johnson has edited and written about the arts in Portland since 1979.

Random July notes: LA Times Book Review oblivion

Although the Los Angeles Times hasn’t made a formal announcement, four former editors of its esteemed book review section have protested the paper’s decision to eliminate it and move book reviews to the paper’s Calendar section. Their letter to the newspaper reads in part:

Angelenos in growing number are already choosing to cancel their subscriptions to the Sunday Times. The elimination of the Book Review, a philistine blunder that insults the cultural ambition of the city and the region, will only accelerate this process and further wound the long-term fiscal health of the newspaper.

I don’t live in LA nor am I a regular reader of the LA Times, so I’m in no position to judge how important to the LA basin’s literary culture its book section has been. But I suspect it’s considerable, at the very least as an important link in the book business chain and in championing the writers of the region. I know the Tribune Company, which owns the paper, is in a severe cost-cutting mode across its many papers — spend a week glancing at Romenesko’s newspaper news and gossip blog on Poynteronline if you want to find out the gory details in Baltimore, Chicago and various other newspaper points in the Tribune domain. No doubt the book section doesn’t attract lots of ads, though I suspect its readership numbers are substantial. But it does speak to seriousness of purpose: How intellectually rigorous the newspaper is.
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Back to the caves for some paleolithic multi-media

Art Scatter has declared its keen interest in Cave Doings in the past. What attracts us? Maybe it’s just that we see ourselves. Not ourselves specifically, of course, not with our sense of direction, not rooting around in the back of a cave where carbon dioxide levels are high enough to induce hallucinations and strange blind fish look up at us from cold, mineral drenched water, perhaps attracted by the pungent aroma of our dingy torches. Do fish smell? I mean with their own olfactory devices? I digress.

Those cave people, homo sapiens, were us, at least in terms of the intelligence they brought to bear on their environments. I haven’t ever seen any studies that suggest the human brain has evolved dramatically during the past 50,000 years or so. If you have, please let me know, because that would be interesting, too. So, their brains were operating in the world like ours, except without the same sort of technology, which has “evolved” over time. What we can piece together of their creativity in the face of the universe can’t help but be interesting in a deep way.

So we are preambling toward something — Judith Thurman’s story on cave art in The New Yorker. Thurman’s story examines a couple of recent books on cave painting, tests their propositions with experts studying the caves on the ground and then eyeballs those paintings itself (or rather herself). In her lead-in she cites the famous Picasso observation about the Lascaux paintings, reported by his guide: “They’ve discovered everything.” The list of painting “advances” includes perspective, Pointillism and stenciling, various colors and brushes and as Thurman points out, the “very concept of an image.” What I like about the article was the sense of amazement that Thurman conveys at just how perceptive the cave painters were — both about the caves themselves and the surfaces they offered for image-making AND the animals they created on the walls. But the primary point is to describe the dispute among cave historians, which basically comes down to this: To what extent is it possible to interpret accurately the “meaning” of the paintings.
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pdXPLORE: Thinking about Portland

Before all of the thoughts generated by the pdXPLORE panel discussion on Tuesday exit my brainpan altogether and my notes go stale, I wanted to get something in a post, even if it’s not completely organized. The five panelists — Carol Mayer-Reed, Rudy Barton, Michael McCulloch, architect William Tripp and Richard Potestio — have each produced elements for an exhibit at PNCA that makes a few stabs at how we can think about Portland’s future in a creative way. I haven’t spent a lot of time with the exhibits, but they didn’t seem integrated into a whole “concept,” at least not to me, so perhaps a more haphazard report makes some sense. So we’ll just jump directly into the highlights.

Portland is a river city. Well, yeah. But both Mayer-Reed and Barton pointed out that the city does a poor job of celebrating its rivers, reaching out to them, dipping its collective toes in them, especially the Willamette. I’ve been hearing this comment a lot lately, which makes me think that the idea of burying I-5 on the east bank of the Willamette may be back in play in a more serious way.

Portland isn’t as green as it thinks it is. Mayer-Reed pointed this out, based on her researches that compared the city to its near West Coast neighbors San Francisco, Seattle and Vancouver, B.C., but several of the panelists mentioned that Portlanders shouldn’t be smug about their density and sustainability initiatives because other places actually have had better results along these lines.
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The Shakespeare festival is so theatrical!

We were in Ashland for our summer run at the Oregon Shakespeare Festival: five plays in all this time, meaning we missed some good ones, Othello, Our Town, and Fences, most prominently. Our colleague Bob is heading down THIS weekend so perhaps will set up a little online back-and-forth when he gets back to talk about the individual shows we have in common and the festival in general.

What was I looking for? Well, the usual, I suppose. New descriptions of old plays, new descriptions of my reality, a little inspiration here and there, something dazzling, the OSF comfort food (reliably good acting and good production values). But something else, too. This is the first year in the reign of Bill Rauch as artistic director of the festival, and I was looking for changes. I wasn’t expecting MUCH. OSF is the aircraft carrier of American theater companies, the largest non-profit theater company in the country (at least it once was) with many decades (since 1935), even centuries one might say (enter Shakespeare), of tradition to uphold. But maybe, I thought, I’ll be able to detect a new hand at the tiller. When Henry Woronicz took over from Jerry Turner in 1991, some changes were immediately apparent, notably the company’s far wider recruitment and employment of minority actors, part of the “color blind” casting movement that has become common at regional theater companies (you know I think that’s a good thing, right?). On the other hand, Libby Appel continued many of the initiatives that Woronicz started when he left the festival abruptly in 1995 (yes, we know the gossip). Her interests emerged and colored the festival more slowly and less dramatically.

Cut to the chase. What do I think I detected? I will enumerate! But first the caveats: I saw five of 11 plays on schedule this year; veterans of the festival might say, “I’ve seen them do that before,” and may even by right (though I think my points will still stand on the matter of degree); memory is a tricky thing.
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Scatter fourth and multiply

Art Scatter has an acquaintance with the Declaration of Independence, and the first part of that great second paragraph, Scatter can recite (with a little prompting):

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. — That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, — That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness.

On the other hand, we feel distant from these founding principles, and not just in time and place. This is the kind of government we signed on for — derived from the consent of the governed — and yet everywhere we look, we, the people, are thwarted. As all political science students know, we measure a democracy by the distance between two points: the will of the people and the policy of the government. The closer, the more democratic. And so on this celebration of American independence, of American democracy, we find our government in need of repair, profound repair: because that distance is so great; because so many powerful forces are determined to keep it that way; because it all seems so irreparable.

Government of the people. I spent the morning in Ashland, Oregon, watching that city’s Fourth of July parade, and if you know Ashland at all, you know it was, well, idiosyncratic. Would the Naked Lady of Ashland show up and if so, would she be wearing a bikini as she said she would, for propriety’s sake, or would she be skating, um, free? I count it a triumph of the Pursuit of Happiness that she was indeed skating free (though not in the official parade) and that though she was skating fast, it wasn’t because she was being chased by the Civil Authority. The city’s hula society paraded and so did its belly dancers, its gymnastic and circus academies, its veterans and its peace activists, various small bands and one large one assembled on three large flatbed trucks. The ACLU marched with some members dressed in orange prison suits with Abu Ghraib sacks over their heads. I could go on.

And then as the last drummer passed by, the street was filled with the unofficial part of the parade, the citizens of Ashland themselves, transformed from onlookers to participants, strolling down the street on a cool morning, enjoying the freedom of walking what has become a very busy street over the years. You know already where I’m going with this — onlooker AND participant, the perfect metaphor for a representative democracy. We watch and we join in. It’s crowded, it’s painful, and sometimes you think no intelligent consensus can possibly come from all of these people walking down this street — except there we all are, walking on that street, freely and with good intent. It’s enough by itself to make you want to fire a rocket in the air.

Happy birthday, Franz Kafka!

Yes, July 3 is the date of Franz Kafka’s birth in 1883. If he hadn’t died of starvation brought on by tuberculosis in 1924, he would have been 125 years old today! I imagine the news report: “A doddering Franz Kafka celebrated his 125th birthday today surrounded by friends and the uncomfortable notion that he had unwittingly invented some of the more profound absurdities of the modern state.”

Did Kafka actually prove that the worst and darkest ideas operating in the deepest recesses of the human dreamscape will eventually manifest themselves as government/business policy? I think maybe he did, though it took a while for us to get it. He got the very heart of our paranoia — the ways in which we don’t trust ourselves. It’s a little strange to toast such a thing, but there you go.

To one of the Titans of the Art Scatter pantheon, happy birthday!

If we sacrifice the semicolon, will the sentence live on?

Earlier, we were musing about the alleged death of the sentence. We didn’t understand it. Didn’t we frequently, ourselves, muster a sentence or two? But then the Voice Inside Our Head replied, rhetorically, “You call that a sentence?” Our sentences weren’t just NOT sentences; they actually killed The Sentence as they were constructed. We sometimes hate the Voice Inside Our Head. How could we not?

We have new evidence that the sentence is not dead! It’s simple, really. If we aren’t completely sure that the semicolon has passed away, tossed into the rubbage bin with a wink, then surely the sentence has received a premature burial. The French started in back in April, though maybe the whole thing was a joke, oui? John Henley writing in the Guardian exhausted the topic, we would have thought. Every clever thing that has ever been said about the semicolon was in his article. And as a good journalist must, he left the question open: Dear, reader, it is for you to decide. But then Slate’s Paul Collins got in on the fun and proved that Henley had left some things unsaid. His point was simply that the semicolon is either always misused or always dying; we’re not sure which.

We have struggled to have an opinion on the semicolon, and a real opinion, not just a wisecrack. We find that we use them just to give our pinky a bit exercise from time to time. See? We’re just not capable of it. And did you notice the short sentence there? We aren’t just irreverent about semicolon usage; we frequently employ short sentences, even “non-sentences,” instead of erecting handsome, well-made sentences, with their interlocking pieces secured by the semicolon.
We could go on: Something makes us think that if we continue to talk about semicolons, somehow we aren’t killing the sentence.

Friday Scatter: Back to business

So, yes, Scatter had a momentary, um, hiatus. Yeah, that’s the ticket. Actually, we were up in Seattle, lots of us, and we took hundreds of slides! There we are with Gramps splashing in the pool. Uh, Gramps? Pull up the trunks. Yeesh!

Anyway, the best thing about traveling, even just up I-5 a ways, is coming back and telling your dear friends all about it. Which would be you. Stop that cringing once and for all! This is going to be quick…

Northwest African American Museum: Part of a reconverted school in Seattle, this museum is small — and almost perfect in its way. Its first show features the art of Jacob Lawrence (who moved to Seattle in 1970) and James W. Washington Jr., a neat pairing, both deeply interested in the African American history and daily life. But for me the real revelation was the permanent exhibit, most of which is a big timeline of African American history in the Northwest. Dense with information and photographs, it does an excellent job of conveying basic knowledge — the faces of early black settlers, the churches they built, what their lives were like. But then it brings us back to the present with video interviews with present African American residents of Seattle, Portland and Yakima, who talk about what it’s like to live here now. It’s great stuff. I would say Portland should have a museum like it, but this one has taken since 1981 to build (it opened in March), so maybe it’s best to concentrate on this excellent beginning.

Wing Luke Asian Museum: The new building of this museum is also excellent — a conversion by architect Rick Sundberg of an old tenement into a light, airy museum that still reminds us of the tenement it used to be. But the Wing Luke could take its cue from the African American museum on coming up with a clear historical timeline of Asian American history in the Northwest, although it should work well as a community meeting place. Another Seattle artist, sculptor George Tsutakawa, is featured here, though perhaps not given enough space. The best idea? Moving the shelves and counters from a Chinese store that opened in 1910, the Yick Fung Company, and re-installing them stocked with goods in the new building.

Olympic Sculpture Park: OK, you already know about this, right? Sculpture by the likes of Louise Bourgeois, Richard Serra, Tony Smith, Louise Nevelson, Mark di Suvero, Anthony Caro, Alexander Caro, etc., in a new park overlooking Puget Sound and staring straight at the Olympic Mountains? Some of the moments are beautiful: In a clearing of white Aspens nests a large black Tony Smith rectangle that creates its own clearing inside the clearing, an arena inside an arena. But maybe it’s best as an “urban renewal” project. The park straddles and spans a major arterial and a railroad track, reframes and reconditions them, and then gives us a great view across the Sound. A bit of urban design genius by Marion Weiss and Michael Manfredi.

TJ Norris: signs and no-signs

Let’s say you’ve just gotten back from a weekend in Seattle, taken for the sweetest of reasons (a wedding!), hurried back actually, because you’d waited until the last possible day to see the TJ Norris installation, Infinitus, at the New American Art Union. A long drive, after a couple of long days, which also included a visit to the Olympic Sculpture Park, and that was on your mind as you walked across I-84 from Northeast Portland to the gallery. Because that’s how we often arrive at our art experiences. After long drives. After long days. With other stuff, even other art, on our minds.

You take the Norris video installation lying down, facing upward at two screens suspended from the ceiling, which show different portions of a 71 minute video loop. Actually, those inclined benches are pretty comfortable and they have pillow-like substance at the top where your head goes. You enter the gallery, get your bearings and take a bench. I was alone most of the time on Sunday, the two screens flickering above me. At first they both had automobile imagery going, one of highway traffic shot from above and the other of traffic shot from the side through the diamonds of a chain link fence. So, my pulse still elevated from the walk and the lanes of I-84 on my mind, I immediately began to think of cars, mostly about how boring they were and that this as much as their destructive effects on cities and the environment was good enough reason to seriously limit their use. Seriously. TJ Norris’s installation has nothing to do with that, at least I don’t think so, but “boring” is a good thing to remember, boring as in “mundane.” The installation itself isn’t boring, of course. I found the experience that it offered just the opposite, once my pulse rate slowed and I stopped thinking about cars.

I situated myself on a bench between the two screens, the better to watch both. That was difficult at first, my attention diverted, eyes darting one way then the other. What did I see? I think the most lasting impression is “movement.” Images in motion. Some of them were abstract — tiny lights flickering and fluttering or shapes morphing across the screen. Bubbling emulsions. These passages could last quite a while. The cars, yes, and other “real” objects or places. Long corridors that the camera wanders down. A disco ball. A convex outdoor mirror, the kind they use to help you see around corners sometimes. Shadows of strange objects. Escalator stairs in motion. Buildings and steel “structures.” A close-up of a plant that, as the camera pulls back, is revealed to be behind a barbed wire fence. And speaking of barbed wire, razor wire. Quite a bit of razor wire. This list could go on, but just imagine these things moving along at a good clip though often in long takes, so you can “watch” the motion.

Nothing happens.

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Well and truly sentenced

The question before us today is the question before us every day: Is the sentence dying? It was posed by James Billington, the Librarian of Congress, who then answered it in the affirmative. And that set Washington Post writer Linton Weeks on an imaginative reporter’s journey to test his conclusion. It’s a clever little trip. In typical reporter fashion he finds Important People to agree with Billington and Important People to disagree, and concludes with a trope newspapers seldom employ. He gives us a quote about the whole sentence problem that seems to agree with Billington, but he has taken it from an old Atlantic magazine (October 1937) and out of its context (that the loopy sentences of John Dos Passos and his kin were undermining the sentence with their complexity). Which just goes to show that language changes, and maybe that’s OK. Well played, Mr. Weeks.

The key paragraph of the story has this quote from Billington:

“We are moving toward the language used by computer programmers and air traffic controllers,” he says. “Language as a method of instruction, not a portal into critical thinking.”

He’s talking about texting, IM-ing, commenting on blogs and how these activities are seeping in the language as a whole. Sentences lurk beneath these crypticons, of course, but not good sentences, not beautiful sentences, not important sentences. The language of technology is replacing the language of… falconry. I made that last bit up, but my point is that technology always affects language, special languages do too, and for that matter so does the mode of communication. The old telegraph “language” was masterfully compressed (stop). So are classified ads (talk about a phrase that’s about to exit the language in a hurry). They save keystrokes, space and money. Modern texting is the same thing: an exploration of how little language it takes to make sense.
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