Category Archives: Bob Hicks

Ballet in do-si-do; Mueller flies high

Anne Mueller in Christopher Stowell's "Eyes on You" at Oregon Ballet Theatre. Photo: Blaine Truitt Covert.Anne Mueller in Eyes on You. Photo: Blaine Truitt Covert

By Bob Hicks

“Oh, look!” Mr. Scatter said, glancing up from his program. “The music is by Wiwaldi and Corelli. You’ll like that.”

The Small Large Smelly Boy snickered. “Why do you always say ‘Wiwaldi’ for ‘Vivaldi‘?” he asked.

“Because sometimes you need to do things just for the fun of it.”

One works small life lessons into the conversation when one sees the opportunity.

Julia Rowe (foreground) and Olga Krochik in George Balanchine's "Square Dance." Photo: Blaine Truitt Covert.When George Balanchine created Square Dance for New York City Ballet in 1957, he must have done it at least partly just for the fun of it. What a mashup! — the measured musical courtliness of two Baroque master composers, a stage filled with neoclassically trained ballet dancers, a small Baroque-style orchestra about the size and sonic configuration of an acoustic hillbilly band, and off in the corner, resplendent in Western shirt, bolo tie and cowboy hat, a 20th century American square-dance caller shouting out the do-si-do’s. It took a brilliant creative leap, on a much higher level than the whimsical substituting of a few “w”s for “v”s, to make these cross-century connections, and to make them seem so obvious after the fact: the balanced regularity of Baroque music and country-dance music; virtuoso turns on the 18th century violin and the 20th century fiddle; the stylized courtship patterns in both Baroque and modern country dance; the easy back-and-forth between high and popular art; the backward glance, from the modern ballet stage, to the more rudimentary yet charming forms of the art in Corelli’s and Vivaldi’s times. The incongruities work because, underneath, they really aren’t incongruous at all.

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Nan Curtis? Pick up the phone, please

Portland interdisciplinary artist Nan Curtis is the 20th recipient of the annual Bonnie Bronson Fellowship Award. There’ll be a free public reception for her from 6 to 7:30 p.m. Monday, April 25, in the Gray Lounge of Kaul Auditorium at Reed College.

Nan Curtis, "My Mom's Cigarette Wrapper" 2009 cigarette wrapper, paper, frame“My Mom’s Cigarette Wrapper,” 2009

By Bob Hicks

Don’t call them. They’ll call you. But you really do need to pick up the phone.

“My cell phone rang at 8:30 at night,” Portland artist Nan Curtis recalled the other day over coffee at inner Southeast Portland’s J&M Cafe. “My kids had just gone to bed, and — I didn’t know that number, so I didn’t pick it up.”

Then her land line started ringing. This time Curtis figured something must be up, so she answered.

Nan Curtis, "Mom Rocket," 2010. Steel, afghan, pillow.It was Christine Bourdette, the Portland sculptor who was the first recipient of the Bonnie Bronson Fellowship Award 20 years ago and is chair of the Bronson fund advisory committee. Congratulations, Bourdette  said. We chose you. Oh — and you can’t tell anyone for two months.

Just like that, Curtis joined a distinguished list of Oregon artists who have been named Bronson fellows. In order, the fellows include Bourdette, Judy Cooke, Ronna Neuenschwander, Fernanda D’Agostino, Carolyn King, Lucinda Parker, Judy Hill, Adriene Cruz, Helen Lessick, Ann Hughes, Malia Jensen, Christopher Rauschenberg, Kristy Edmunds, Paul Sutinen, Bill Will, Laura Ross-Paul, MK Guth, Marie Watt, David Eckard, and Curtis.

“Those are totally the artists that I grew up beneath. It’s a pretty cool list of people,” Curtis said.

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Portland Photo Month, all over town

"Still Life with Lemons, Grapes and Apple," Kerry Davis, at 12x16 GalleryKerry Davis/12×16 Gallery

By Bob Hicks

Quit fooling around with Photo Booth stretchy faces on your new iPad: time to get serious about this shutterbug thing. April is Portland Photo Month, aligning itself with the biannual Photolucida portfolio extravaganza, and high-quality photo shows are all over town.

On Saturday, a big handful of Pearl District galleries will be open late for receptions, generally until 7 in the evening and generally with the featured photographers on hand. Get details at the Portland Photo Month Web site, which has the advantage of also being an excellent virtual photogravure of what’s going on this month. You’ll also find listings of various artists’ talks: for instance, the excellent nature photographer Ron Cronin speaks at noon Saturday at Augen Gallery.

Mitch Dobrowner, "Bear's Claw," Blue Sky GalleryMitch Dobrowner/Blue Sky Gallery

In print: Meanwhile, I have brief reviews in this morning’s Oregonian A&E section of several gallery shows: Sean Healy’s small-town cultural lament Upstate, which involves a lot of cigarette butts, at Elizabeth Leach; Isaac Layman’s big manipulated household photos, also at Leach; Eirik Johnson and Julie Blackmon’s radically differing but equally appealing photos, at Laura Russo; and Kentree Spiers’ small bright semi-abstract landscapes at Blackfish. Pick up a dead tree and check it out, or see it online here.

Previews of coming attractions: This afternoon I’ll be having coffee with artist Nan Curtis, this year’s winner of one of Portland’s most coveted arts prizes, the Bonnie Bronson Fellowship Award. We’ll be passing along some of what she has to say. A public reception is coming up 6-7:30 p.m. Monday, April 25, in the lounge of Reed College’s Kaul Auditorium.

Last week I sat down with the excellent Portland actor Michael Mendelson (he’s opening soon in The Cherry Orchard at Artists Rep) to talk about his newest passion, the Portland Shakespeare Project. The new company, for which he’s artistic director, opens this summer with one of the Bard’s best comedies, As You Like It, plus a staged reading of Jeffrey Hatcher’s Compleat Female Stage Beauty, a comedy about English theater in the days when men and boys still played the women’s roles. More to come.

Finally, Mr. Scatter is getting ready to embark on yet another expedition into the wild and woolly northlands, on beyond the concrete canyons of Microsoftia and into the frontier territories of Bug and Jam. Who knows what wondrous unanticipated adventures might occur?

First Thursday: better than the movies?

 Allen Ginsberg, "Neal Cassady and Natalie Jackson conscious of their roles in Eternity," Market Street, San Francisco, 1955 gelatin silver print 16 x 20" framedAllen Ginsberg/Elizabeth Leach Gallery

By Bob Hicks

Tonight is First Thursday, the monthly gallery walk when spaces across town (but mostly downtown and in the Pearl) throw their doors open and hope at least a few party-hoppers will drop back soon to actually buy something. There are lots of other openings as well, of course, but First Thursday is the marketing focus. And thanks to Photolucida, April is Portland Photo Month. We ran this incomplete guide in this morning’s Oregonian; check it out.

Here are a few Scatter possibilities:

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Le Carré for kids: Parry at the Berlin Wall

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.

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Code o’ the West, rodeo clown edition

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.)

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Egypt’s Hawass is back in the saddle

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.

So this dyslexic guy walks into a bra …

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?

Bronc bustin’ the Code of the West

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.

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

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.