Bob Hicks, Books, General

Dangerous doves, problematic preachers and four-dollar words

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Quick hits on a Tuesday with lots of other things on its agenda:

Mourning the doves: It might seem eccentric verging on preposterous here in proudly liberal Portland, where a John McCain lawn sign is as rare as a cup of coffee out of a Maxwell House can, but dovishness is not a universally admired trait. I haven’t read Louise Erdrich‘s new novel “The Plague of Doves,” but I love the title. A plague of doves? Sounds like it could be the title of a neocon screed, something by William Kristol, say: If only those end-the-war-now wimps had a streak of realpolitik in their heads, they’d realize you don’t win world peace by singing Kumbaya. You gotta be tough, you gotta be mean, you gotta fight fire with fire, even if it takes 100 years. A plague on the doves!

Ever since that ancestral white bird spotted land and an olive branch on the side of Mt. Ararat, we’ve been soft on the species. But it turns out there really is such a thing as a plague of doves, especially if you’re a farmer and they’re eating all your freshly planted seeds. That’s the kind of bird Erdrich is aiming at in her new novel, which takes place in the fading hamlet of Pluto, on the edge of Ojibwe reservation land in North Dakota. Reviews of this multigenerational (and multiply cultural) book have been enthusiastic. I’m putting it on my get-to-soon list. No matter what Ann Coulter thinks.

Them’s fisticuffarian words: This morning’s New York Times contains a front page story by Alessandra Stanley about The Rev. Jeremiah A. Wright Jr.‘s recent television appearances to expand upon his theories of patriotism and the God-damning of America, and if I could get past the four-dollar words I might have a sense of what Stanley thinks of the whole spectacle. Continue reading Dangerous doves, problematic preachers and four-dollar words →

Music

Your scatter tip of the week

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Da Bearcat sez: That Mahler Nine the Oregon Symphony is doing? It’s aces, my fine scatter friends, aces. If you are in the money, give them a call, tell them Art Scatter sent you (that will definitely confuse them), secure tickets (the upper balcony is great for sound and cheaper), prepare for 80 minutes/no intermission (you know what I’m talking about) and settle in for a finely detailed account of Mahler’s last completed symphony. The symphony couldn’t play this way before Kalmar arrived, with this sort of energy and attention, enough to keep something like this interesting second by second. And Mahler in a transition state — on the brink of modern art, on the brink of death (at least he thought he was), on the brink of leaving Europe for New York — is pretty involving stuff. More scatter thoughts on this at a later date…

Barry Johnson, Books, General, Music, Visual Art

Friday hyper-scatter

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So, what’s Art Scatter doing this weekend, you might ask… One-third is headed for Willow Lake, South Dakota, to visit its aunts and relive childhood memories. One-third is headed for the Hood Canal and oysters, glorious oysters. But what about the third that stays at home, what about that third, the third that blew his travel budget on an all-day TriMet pass last week?

1. The Ceramic Showcase 2008: We are admitted suckers for crafts — making something from the essentially nothing (clay, tall grasses, etc.) just gets us excited. It’s like alchemy! Plus they align us with John Ruskin and William Morris and the craft traditions of Asia… sweet. And actually we need a serving bowl (crash — “sorry!”) and four plates. Fire in the kiln… at the Convention Center.

2. The Stumptown Comics Fest: When we were a little kid, see, there were these three giant boxes of comic books collected by our uncle (are you starting to see the limitations of the 1st person plural? we are…), and every time I visited my grandparents, well, you get the idea. This is the most important comics event in Portland this year (and Portland is a serious comics town). Just about all of our local stars will be there, and we have lots! You don’t have to be totally geeked out to go, either. I have a feeling the “spotlight” sessions with the likes of Mike Richardson (Dark Horse Comics), Craig Thompson (long-form graphic autobiography), Brian Michael Bendis (comic book supernova), etc., will be jammed, so pick a couple and get there early. To get you in the spirit, here’s Mike Russell’s comics introduction(published in today’s Oregonian) — it’s a beauty. The convention is at the Lloyd Center DoubleTree hotel.

3. Mahler’s Ninth Symphony: The Oregon Symphony takes on the last finished Mahler symphony. It’s long (90 minutes without intermission), but I will prepare: I’ll eat right, plenty of exercise and do some puzzles for my mental agility before arriving. Maybe I’ll also drift over to Music Millennium and buy a recording of it before heading in. I like the idea of a massive Mahler overlay of the comics convention! Arlene Schnitzer Concert Hall

4. Portland Timbers v. Seattle Sounders: And if the weather behaves itself at all, those mighty Portland Timbers will play a bit of footie (that’s soccer) against their hated Northwest rivals. We love Chris Brown! PGE Park

General, Visual Art

Scatter news and scatter notes

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\"Gross Clinic,\" Thomas EakinsNews: The Philadelphia Museum of Art and the Philadelphia Academy of Art have raised the $68 million necessary to buy Thomas Eakins’ “Gross Clinic” and keep it in Philadelphia. Without a city-wide effort to purchase it, “Gross Clinic” would have headed to Bentonville, Ark., and the Crystal Bridges Museum of American Art, founded by a Wal-Mart heiress.

Notes: So, the question arises, what paintings residing in Oregon would (or should) generate a similar effort to keep them in the state? My quick, short, wrong list: 1.) The C.S. Prices at the Central Library. 2.) The Hilda Morris bronze sculpture in front of the Standard Insurance Building on S.W. 6th Ave. (and maybe her sculptures on the lawn at Reed College). 3.) The Isaka Shamsud-Din painting of the pool hall. Isn’t it at the Portland Art Museum? 4.) Cindy Parker’s big painting at the Convention Center. 5.) The multi-paneled James Lavadour that usual resides at the Tamástslikt Cultural Institute in Pendleton. But that’s a very fast, rough cut (obviously!). Help me out!

News: Francis Bacon’s 1976 Triptych goes on sale at Sotheby’s in New York on May 14 and is expected to fetch somewhere around $70 million. It’s the last major Bacon painting still in private hands.

Notes: Yesterday, we connected the British painter Francis Bacon to Portland artist George Johanson — Bacon, David Hockney and the Brits he met at the Birgit Skiold printmaking studios in London helped to confirm his decision to leave Abstract Expressionism behind and re-embrace the figure. Art Scatter has a certain fondness for Bacon, both his gruesome paintings and his tumultuous personal life, from his days in the Weimar demi-monde to Paris to London. We like the sense of dread that hovers over his paintings, his reduction of humans to slabs of beef, those famous gaping mouths that suggest torture. He prefigures, maybe even predicts, Abu Ghraib and Gitmo and the Dark Ops rooms in Eastern Europe, although he was probably citing Nazi torture chambers. It’s possible that this reading is too political, though; maybe he thought he was representing the human condition period, not the human condition in extremis.

Although I don’t have the receipts in front of me, I’m pretty confident that no George Johanson painting has ever commanded $70 million. Heck, the prints at Pulliam Deffenbaugh are $850 apiece, not to equate them with Triptych, which is a major Bacon painting. But the sensuality of Johanson’s paintings, without a glimmer of S/M in sight, has a dark, mysterious element, that speaks to us, too. Things are about to happen in them, voluptuous things, sexual things, passionate things, rarely creepy things. I like their possibility.

News:The San Francisco Ballet is in the middle of a festival of new work — 10 new dances by the likes of Mark Morris, Paul Taylor, James Kudelka and Christopher Wheeldon.

Notes: Lots of those names will be familiar to White Bird and Oregon Ballet Theatre fans. And the San Francisco Ballet itself will be in town for White Bird’s “4 X 4 — The Ballet Project.”

Barry Johnson, Books, General, Visual Art

George Johanson, printed and embossed!

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The busy, intersecting circles and lines of Milton Wilson paintings catch the eye first at Pulliam Deffenbaugh Gallery — they are on the wall opposite the door after all and their hum is hard to ignore. But this isn’t about Milton Wilson. Take a few steps more and pivot to the right and the maneuver leads to a set of seven sweet prints by George Johanson.

Maybe they won’t read as Johansons to many of us who own Johanson prints — those great Portland night scenes, with the river below us full of rowers, the volcano erupting in the distance, a cat streaking across the frame, full of interesting textures and visual delights. The prints at Pulliam-Deffenbach date back to 1970 — no night scenes, no cats and, of course, no volcanoes. There are seven of them — part of the 10-part Juxtapositions series, that Johanson created on an Arts Advocates grant in London at the Birgit Skiold studios — consigned to the gallery by their owner. And, not to make too big a deal out of them, they make a great case all by themselves for what has made Johanson so much fun to follow during his career, namely, his skill with line, his happy refusal to allow any “school” to limit him, and his imagination, which we already know about from his later prints and paintings. (No one I can think of has re-imagined Portland to the extent Johanson has, a theatrical Portland, filled it with sensual mysteries and a taste of the surreal, where the carnival never stops, all staged on a deck somewhere in the hills above the city.)
Continue reading George Johanson, printed and embossed! →

Bob Hicks, Dance, General

The Kirov takes it on the chin

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It’s been fun watching from afar the struggles of Alastair Macaulay, the erudite, entertaining and occasionally uber-quibbly lead dance critic of the New York Times, to explain his love/hate relationship with the Kirov Ballet. The Kirov, that bright and shining survivor of the isolated and inbred Soviet art world (the company is based in the royal-bubble city of St. Petersburg, now a favorite haunt of the globe-trotting old and nouveau riche, and is known on its home turf as the Mariinsky) has spent the past three weeks in residence at New York City Center, and Macaulay has been by turns enthralled and unamused.

Unamused? Downright irritated is more like it. This morning, in his review of the Kirov’s final performance in New York, Macauley gave it to the dancers squarely on the chin — a chin, he complains (and I exaggerate only a little here) that the female dancers hold so resolutely high and upwardly angular that its determined thrust makes it seem almost a fifth limb to be integrated into the five positions. “In consequence,” he writes of dancer Alia Somova’s physical relationship to her onstage lover, “she was literally looking down her nose at him. House mannerisms like this make the Kirov’s kind of classicism seem the least sensible in the world.”

Now, I haven’t seen the Kirov dance since 1999, when I was in St. Petersburg and took in a performance of Marius Petipa‘s supremely nonsensical “Le Corsaire” — a sublime performance in a blatantly showmanlike style that had been rooted out of Western ballet traditions many decades before. It was a bit like jumping into a time machine, and that was a good deal of its charm.
Continue reading The Kirov takes it on the chin →

Barry Johnson, Dance, General

Mary Oslund: the wonder of the dance

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bete-3.jpgAt the conclusion of Bete Perdue, Mary Oslund’s beautiful new dance, singer Lyndee Mah, still in the glow, said it was like a symphony. I think she was talking about how it cascaded by, sometimes in unison, all eight dancers carving space similarly, according to his or her “voice,” sometimes in solos or duets or trios that mixed, matched and reformed, sometimes in pairs of duets or even four duets, weaving in and out, occasionally interlocking. It swept by, pulsing with action, small moments and large, establishing its own time. When it was over, how long had it been going on? It was hard to guess, it was so absorbing. And so, yes, like a symphony.

If someone had taken a psychogram of audience members during the performance it would have registered many different states, and that’s like a symphony, too. Let’s see: delight, reverie, anxiety, keen attention, even a series of undifferentiated states that could turn into almost anything, from aggression to love, the stem cells of all our emotions. But mostly satisfaction, not as in “fat and happy,” but as in this typifies the complexity, tension and release, and ultimate harmony of great art.

That’s not a claim I make lightly. But building on the great success of last year’s “Sky,” this dance finds Oslund creating something amazing at both the smallest and largest levels, micro and macro. A shoulder shrug from dancer Keely McIntyre sends a shiver of recognition and contains deep expressive possibilities. So does the rush of multiple dancers, arriving and departing, lifting and being lifted, sliding past each other in erratic orbits. Like a symphony, it’s too much for the brain to process, but you can “understand” it in your own particular way as a whole.

Continue reading Mary Oslund: the wonder of the dance →

Books, General

Blessed Unrest: Hawken, Lopez & Solnit at the Gerding Theater

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hawken72bw_lg.jpgWe did not find out how or when the State will wither away, but perhaps it was enough that Paul Hawken, Barry Lopez and Rebecca Solnit –- gathered together last Monday, April 14, by Literary Arts to explore the ideas in Hawken’s recent book, Blessed Unrest: How the Largest Movement in the World Came Into Being and Why No One Saw It Coming –- proclaimed the possibility that we’ve reached “peak” Empire. It was a stimulating intellectual adventure, a noisy and crowded philanthropy of good ideas, and my initial misgivings dropped away in the audience’s collective exhalation – of relief, astonishment, long last recognition of all that’s been there right before our eyes if only we could have seen it – which rose past the slanted timbers of the set to Sometimes a Great Notion at the Gerding Theater, which formed the backdrop for the trio’s discussion. But something nagged. I asked myself, “Why does hope, so freely marketed, seem like a sub-prime mortgage?”

But I wander too far ahead, and afield. As Lopez, the moderator, noted, the three were gathered in our “little part of the world” for a conversation about what they know (and what of it they could pass on in memorable form) about the forces they see leading to reconciliation and re-invention of community in the world at large. Hawken sees a common thread in community groups –- non-profits and non-governmental groups (“NGOs”) –- around the world: a restorative impulse in the face of the inability or unwillingness of governments to address the plethora of social and environmental crises. In Blessed Unrest, Hawken describes the emergence of these groups all over the world as a spiritual awakening, or the creation of a new “civil society,” a term that means the “third sector” of voluntary organizations that functions alongside government and the marketplace.

Hawken’s recognition of this phenomenon sparked the creation of the World Index of Social and Environmental Responsibility, “WiserEarth,” an online directory of international social justice and environmental organizations, more than 100,000 of them cataloged and indexed in user- and contact-friendly fashion. Its breadth and utility as a searchable database is astonishing. One wonders how many contract employees in Homeland Security it must take to re-index this information in terror-threat priority and monitor the activities of the organizations, as well as the interests and contacts, of those who use the site. (The enormity of that task may account for some of the State’s withering.)

Continue reading Blessed Unrest: Hawken, Lopez & Solnit at the Gerding Theater →

General

Housekeeping, scatter style

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533px-pangaea_continents.png We are more than two months into Art Scatter. Sixty generations of fruit flies have come and gone. One bad knee was replaced by a superior robotic product. We’ve mustered 55 total posts. Our most popular ones have dealt with the Sherwood middle-school theater controversy, Ornette Coleman, graphic non-fiction books, the firing of Deborah Jowitt and getting old. (At least according to our powerful online analysis tool, which is inconsistent enough to make us wonder about its overall accuracy, powerful or not.) So, yes, we think we’re doing our fair share of broadband scattering. It’s fun!

So what are we complaining about? We want more comments! Smart people are visiting, smarter than we are, we know, because the comments they DO leave are so good. We encourage you to leave a trace! What would convince you? Open threads from time to time for your general comments and observations? A question of the week? Let us know by clicking artscatterpdx@gmail.com in the column to your right. What’s on your mind? Remember, more scatter is good scatter.

What else? There’s some dance in our future, for sure, maybe some late-in-the-month gallery hopping, too. But mostly, we are feeling transitional in an evolutionary sort of way, mutational even. There are rumors of war and new software from WordPress. Our tech-head web-man, Nathan, is working on it. (He’s also the star of a feature film that promises to be a big hit in Puerto Rico — long story.) The continents are speeding toward each other at warp drive, yearning to tangle in one supercontinent yet again, and we’re along for the ride…

Note: Image of the Pangaea supercontinent courtesy of Wikipedia

Barry Johnson, General, Music, Visual Art

Joplin, Ditto, Duchamp, Machu Picchu, more!

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A few random events that caught our eye.

images-2.jpg Is writing about visual art just getting worse and worse? That’s what Eric Gibson, the Wall Street Journal’s Leisure and Arts feature editor, contends
in a column today. Look, I know what he means, and I don’t disagree with his primary charges (actually, he employs several other writers to make his case for him) — that arts writing often takes hundreds, if not thousands, of messy, imprecise words to make the very simplest points. Use fewer words and/or have better thoughts.

But I don’t buy the conclusions he draws from reading impenetrable criticism (the Whitney Biennial catalog is the case study). First, he blames the “unwitting” Marcel Duchamp for the current state of affairs. Come on, was Duchamp ever unwitting about anything? Gibson suggests that Duchamp introduced “philosophy” into “art,” and that gave critics the license to abandon good old-fashioned aesthetics for philosophical riffs. Decay then set it. Then obfuscation. We note that Gibson uses the word riff here as a pejorative, and so Art Scatter must take offense. After all, we are nothing if not a collection of riffs! We’re just trying to make the clear riffs, no matter how half-baked. And we love to read riffing in others, something maybe that applies Lacan, say, to Invasion of the Body Snatchers: Long live Slavoj Zizek!

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Admittedly, since the recent discovery of very early human DNA in the Paisley Caves of south-central Oregon, which we, um, riffed on in Cave doings, Art Scatter has had artifacts on its mind. So, we were attracted to the announcement yesterday that Peruvian researchers have counted more than 40,000 objects in the collection of Machu Picchu artifacts taken by Hiram Bingham in the early 1900s (after he “re-discovered” the site) and delivered to his alma mater, Yale University. That would be about 10 times what Yale said it possessed. The university and Peru reached a complex agreement last year that involves repatriation of the objects, the construction of a museum, research rights for Yale, etc., and the first step was this cataloging. So, it’s too bad things that Peru has reason to be immediately distrustful of Yale, still, more than a century later. Just for the record: Our new arts-based foreign policy initiative would have directed the U.S. to help Peru preserve, study, display and otherwise broadcast its Incan art heritage once we learned about it, not colonize the best bits. Here’s hoping, along with Eliane Karp-Toledo (writing in the Times in February), that Yale acts responsibly from here on out.
Continue reading Joplin, Ditto, Duchamp, Machu Picchu, more! →

a Portland-centric arts and culture blog