All posts by Bob Hicks

I've been observing Portland and its culture since 1974, for most of that time as a writer and editor at The Oregonian and the Oregon Journal. I finally left The O in December 2007 so I could spend more time hanging around coffee shops and catching up on good books. My journalistic wanderings have led me into the worlds of theater, dance, music, the visual arts, literature and food. I'll continue writing about those and broader cultural subjects for Art Scatter. They're terrific windows onto the great mysteries of life, and thinking about them makes the mendacities of our wayward national political culture a little more bearable.
Bob Hicks, Books, General, Music

Le Carré for kids: Parry at the Berlin Wall

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By Bob Hicks

“Tuesday, May 22, 1990,” Rosanne Parry heads the first chapter of her newest novel. “West Berlin.”

Rosanne Parry's newest. Cover illustration Blake Morrow; jacket design Heather Palisi.Like a lot of writers, Parry just picks her scene and throws you right into the middle of it. Ah. Berlin. Nineteen-Ninety. Scant months after the jubilant tearing-down of the Wall.

Feels like yesterday — except that for the vast majority of Parry’s readers it wasn’t yesterday, it was before they were born, and so it might as well be a tale of the Peloponnesian War: it’s all ancient, and it’s all brand new.

Continue reading Le Carré for kids: Parry at the Berlin Wall →

Bob Hicks, General, Humor

Code o’ the West, rodeo clown edition

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By Bob Hicks

The other day we posted news of the Oregon Legislature’s impending adoption of the Code of the West as the official state, um, thing we adopt.

Rodeo clown Flint Rasmussen, April 14, 2007. Photo: Dave Hogg/Wikimedia Commons.The code’s as rugged as rawhide, which means it tends to get frayed if you leave it out in the rain. And it does rain hereabouts. Besides, some fella in Texas came up with the idea, and sells merchandise to go along with it. (We might actually go for a Code o’ the West jeans-pocket whiskey flask.)

The thing’s pretty much stampeded through the state House and is now sitting in the Senate holding pen. And while it’s tough to argue with the likes of “take pride in your work” and “do what has to be done,” in the interest of healthy public debate we’d like to propose for the Senate’s consideration a Counter Code o’ the West — something the rodeo clown in all of us might appreciate. (And let’s just say right here and now that being a rodeo clown requires an immense amount of grit, fortitude, courage and foolhardiness, not to mention a good supply of chewin’ tobacco.)

Continue reading Code o’ the West, rodeo clown edition →

Bob Hicks, Dance, General, Visual Art

Egypt’s Hawass is back in the saddle

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By Bob Hicks

How quickly the worm turns.

Less than a month ago, in a post detailing the ouster (or resignation: stories varied) of the legendary archaeologist Zahi Hawass as Egypt’s powerful chief of antiquities, we made this observation: “(T)he revolution is real, and Hawass, barring yet another turnabout, won’t be making any of its crucial decisions.”

The Great Sphinx, still partly buried in sand, ca. 1880. Wikimedia Commons.Well, the turnabout’s happened. As Kate Taylor reports here in the New York Times, Hawass is back in the saddle, reappointed by the new prime minister, Essam A. Sharaf. Hawass has made his share of enemies over the years, and was held in suspicion because of his close ties to the Mubarak regime, but was also known as a fierce and effective defender of and spokesman for Egypt’s cultural treasures. Plus, he’s a wily fox.

Separately, antiquities inspector Sarah Marei, one of the people trying to deal with safeguarding the nation’s collections during and after the revolution, wrote this piece for The Art Newspaper decrying the looting of museums and archaeological sites. “(T)he police presence vanished in the revolution and has yet to return to the sites,” wrote Marei, who’s been working in Giza. “The individual initiatives on the part of site inspectors and the townspeople from the remote areas is often the only current protection afforded to some of the world’s most unique and magnificent monuments.” Marei kicked up a bit of controversy by suggesting that collectors and institutions outside of Egypt might be providing a ready market for the looters.

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Good Korean dance: I have this review in this morning’s Oregonian of the South Korean contemporary dance troupe Laboratory Dance Project, which is finishing a three-night run on White Bird‘s Uncaged series. It’s a good company with excellent dancers and fresh ideas, and the Portland run is its West Coast premiere. Final show tonight (Saturday), 8 p.m., Lincoln Performance Hall.

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Photo: The Great Sphinx, still partly buried in sand, ca. 1880. Wikimedia Commons.

Bob Hicks, General, Visual Art

So this dyslexic guy walks into a bra …

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By Bob Hicks

You might have noted that today is April 1, also known as April Fool’s Day.

No foolin': Thirty-five grand worth of mouse.That accounts for the headline above.

But we’re not foolin’ about the picture. Artdaily reports here that this 1932 poster of Mickey Mouse, when he was a mere mouseling only 4 years old, pulled in $35,850 in a recent Heritage Auctions sale of vintage movie posters. Overall, the auction notched $1.5 million in sales, which also included a 1953 Paramount half-sheet for The War of the Worlds and a primo 1938 Boris Karloff Frankenstein.

Here at Art Scatter World Headquarters we can think of other ways to drop 35 grand — a term or two of college tuition for one of the Large Smelly Boys, for instance. But we admire the passion that drives a collector to such extremes.

If the folks at Disney will pardon the expression, that’s a mighty mouse.

One question: Is it OK to tack it to the bedroom wall?

Bob Hicks, Books, Environment, General, Music

Bronc bustin’ the Code of the West

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Buffalo Bill circus poster, ca. 1899. Library of Congress Prints and Photographs Division Washington, D.C./Wikimedia Commons

By Bob Hicks

So it’s happened. Oregon’s House of Representatives has officially endorsed the Code of the West, a business opportunity ridin’ hard out of the hills of Texas into the hearts of legislators from Cheyenne to Salem. A trademarked moral compass, as it were, ready-made for tryin’ times. Keep ‘er simple. Keep ‘er pure. And please buy the book.

Before the Code becomes part of Oregon law, the state Senate must also consider the bill. Bet on its passing. In tough times, this is quick and easy symbolism, roughly on the order of naming an official state lizard or proclaiming State Barleycorn Growers Appreciation Day. And basically as harmless, although the Code has whomped up a bit of consternation among people who point out that the settler ethic didn’t work out so well for, say, the native Americans who were here before the place was called the West. Or the Chinese and Japanese settlers who made the mistake of thinking they were free to carve out lives of their own on the frontier. Or the black families legislated brusquely elsewhere by Oregon’s strict exclusion laws.

Still. That was then and this is now. The cowboy code, if historically imperfect and a tad romanticized (and isn’t all history imperfect and much of it romanticized?) is not a perversely unreasonable document. It appeals to the virtues of good old-fashioned common sense. It’s also considerably shorter, easier to understand, and vastly more entertaining than the Oregon State Building Code. By comparison, the Code of the West is downright literature.

Continue reading Bronc bustin’ the Code of the West →

Bob Hicks, General, Visual Art

All fired up: from out of the kiln’s belly

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A selection of finished pieces from the March 2011 firing of the East Creek Anagama Kiln. Photo: Brian Feulner/The Oregonian.Brian Feulner/The Oregonian

By Bob Hicks

Art Scatter regulars may recall Mr. Scatter’s adventures with the East Creek Anagama Kiln in the Coast Range foothills outside of Willamina, where he attended a firing earlier this month at the invitation of Nils Lou, the noted potter and teacher who’s been doing these firings since 1985. Mr. Scatter told the story twice — in this piece for The Oregonian, with photos by Motoya Nakamura, and in this more detailed piece for Art Scatter, with photogaphs by Richard Yates.

That was fine, and fun. But the question remained: What were those 500-odd pieces going to look like once the 2,400-degree Fahrenheit woodfire died down and the flames had done their job? Last week, three of the participants — Cindy, Don and Mya Hoskisson — motored into Portland from their home in the Willamette Valley town of Dallas and brought a small sampling of the results into The Oregonian’s photo studio, where yet a third excellent photographer, Brian Feulner, took studio shots of them. His photos, and Mr. Scatter’s brief story, are in the How We Live section of Monday’s Oregonian. You can pick up a copy of the real printed-on-paper deal, or see the feature online here at Oregon Live, with even more photos.

Sure, art is process. But sometimes it’s good to see the finished work, too. Go ahead. Check ’em out.

Bob Hicks, General, Music

Portland arts for Japan: $267,000 plus!

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By Bob Hicks

The Oregonian’s Kelly House reports on Oregon Live that Sunday’s two-show Japanese disaster benefit at the Aladdin Theatre has raised about $250,000 for Mercy Corps‘ relief efforts. Congratulations to organizer Stephen Marc Beaudoin, Aladdin general manager Tom Sessa, all of the performers, and the 1,300 people who bought tickets for the sold-out shows. Added to almost $17,000 raised in an earlier event sponsored by Portland Taiko and Portland State University’s Department of Music, that’s $267,000. And there’s been more from other corners. Plus, you can still contribute directly to Mercy Corps. Congratulations, Portland. Let’s keep it going.

Bob Hicks, General, Theater

‘Good Citizen’: when it did happen here

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A Japanese American unfurled this banner the day after the Pearl Harbor attack. Dorothea Lange photographed it in March 1942, just prior to the man's internment. Wikimedia Commons.Japanese American storefront, 1942. Dorothea Lange

By Bob Hicks

In 1935 Sinclair Lewis published his novel It Can’t Happen Here, about the Hitler-style takeover of the United States by a power-grabbing populist president. The book’s title was satiric. Lewis meant that it very much could happen here, and if we didn’t pay attention, it just might.

On February 19, 1942, scant weeks after the Japanese aerial attack on Pearl Harbor, President Franklin D. Roosevelt signed Executive Order 9066, authorizing the rounding-up and “relocation” of Japanese American citizens, mostly from the Western states, into internment camps for the duration of World War II. More than 140,000 people, all of them uprooted from their ordinary lives, ended up in the camps.

Minoru Yasui, the real-life hero of "Good Citizen."On March 28, 1942, little more than a month after the roundup had been set into motion, a young Japanese American man named Minoru Yasui — he’d been born on October 19, 1916, in Hood River, and earned his law degree from the University of Oregon in 1939 — walked into a police station in Portland and dared the officers to arrest him for breaking curfew. They obliged. Yasui landed in jail and eventually in a relocation camp. Yasui wanted to test the constitutionality of the internment law, and his case finally went to the United States Supreme Court, which ruled that his arrest and incarceration were legal. Yet he kept fighting, during and after the war. He was a Good Citizen.

On Monday, March 28 — 69 years to the day after Yasui’s arrest — Artists Repertory Theatre will present a staged reading of Good Citizen, Portland writer George Taylor‘s play about Yasui’s good fight. The play, which is still getting a few revisions, is a finalist for the 2011 Oregon Book Awards. It’ll be performed at 7:30 p.m. on the theater’s Morrison Stage; tickets at the door only, suggested donation $8.

Continue reading ‘Good Citizen’: when it did happen here →

Bob Hicks, Dance, General, Theater, Visual Art

Links: weaving, ‘BoomCrackleFly,’ more

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By Bob Hicks

A few Friday hot links to go with your early-weekend bagel and eggs:

Laurie Herrick, "Three Giraffes," 1970. Linen, cotton and wool, 72 x 32 inches. Collection of Museum of Contemporary Craft in partnership with Pacific Northwest College of Art, gift of Ken Shores; 2006.05.01. Photo: Dan Kvitka.

Leave ’em hanging: In this morning’s A&E section of The Oregonian I reviewed Laurie Herrick: Weaving Yesterday, Today and Tomorrow, the new show at the Museum of Contemporary Craft. Herrick was a prominent loom weaver in Portland beginning in the late 1950s; she died in 1995. And she was well aware of art trends, as her ca. 1970 Op Art wall hanging Three Giraffes, shown here, attests. Teaser: “If Jackson Pollock created action painting, this is action weaving.” Read the review here.

Coolest-sounding show in town: Speaking trippingly on the tongue, that would be BoomCrackleFly, the brashly smooshed-together title of Charise Castro Smith‘s new play, which opens tonight at Miracle Theatre.

On Blogorrhea, Mr. Mead Hunter has a crackling-good interview of his own with Smith, in which he questions her, among other things, about how the theater is going to pull off the vision of “people bobbing in a world covered in water.” To which, in part, she replies: “I think one of the great things about theater is the fact that if an actor stands on stage and says something is true, then at that moment it’s true. It’s the huge imaginative possibility of theater to call all sorts of things into being with language.” Read the interview here.

Paper dance: What’s old is new. What’s outre is cool. We’re talking newspapers. The printed page. Good old-fashioned hold-it-in-your-hands-and-flip-the-page minimalism. Who’s reviving this retro craft? Why, Portland’s contemporary dance scene, that’s who (or what). We’ve been hearing rumors of the impending birth of a local dance newspaper, and now Marty Hughley has the inside scoop on Oregon Live (which is the not-printed version of the printed Oregonian). It’ll be called Front. Read the story here. And read Alison Hallett’s take on The Mercury’s Blogtown here.

Lanford Wilson, R.I.P.: The noted American playwright, whose many works were frequently staged in Portland, died on Thursday at age 73. Wilson‘s career spanned Off-Off, Off, and Broadway in addition to lots and lots of regional productions, and ranged from early hits such as The Hot l Baltimore to his Talley Trilogy (Talley & Son, Talley’s Folly, Fifth of July) and the high-octane Burn This. Several seasons ago he was the featured artist for Profile Theatre, the Portland company that spends each of its seasons exploring the works of a single playwright. At a time when household-name playwrights are pretty much a thing of the past (is Edward Albee the last of that breed?) Wilson was one of the noble practitioners who have kept the fabulous invalid alive and vigorously kicking. Read Margalit Fox’s obituary for the New York Times here.

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Laurie Herrick, “Three Giraffes,” 1970. Linen, cotton and wool, 72 x 32 inches. Collection of Museum of Contemporary Craft in partnership with Pacific Northwest College of Art, gift of Ken Shores; 2006.05.01. Photo: Dan Kvitka.

General, Visual Art

Thursday only: Art for Japan benefit

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The benefit events for Japan earthquake and tsunami relief keep coming. This just in from Charles Hartman at Charles A. Hartman Fine Art in the Pearl District:

ART FOR JAPAN
Charles A. Hartman Fine Art, Augen Gallery, Froelick Gallery, PDX Contemporary Art, Pulliam Gallery and Nazraeli Press invite you to please join us for ART FOR JAPAN, a fundraising event to benefit Mercy Corps’ Japan relief fund.

Thursday March 24th, 5 – 9 pm
1100 NW Glisan Street, Portland, OR 97209

We wish to do something to help right away and at the same time honor and recognize the artistic and creative importance of Japan. We are banding together, hosting a modest event to raise money for Mercy Corps’ Japan relief fund. Each participating gallery will have on view and for sale art by Japanese artists as well as artists who feel they have been influenced by Japanese culture.

25% of sales from this event will be donated to Mercy Corps/Peace Winds Japan.

A good opportunity, for an essential cause, featuring several front-line galleries and the fine-and-applied-arts Nazraeli Press. Check it out?