One way of cheering myself up when I am about to sink into a prolonged period of the doldrums, is to look at how other people created art during difficult times. It is pretty amazing how many insanely talented people were out there – and productive – when fascism, war, and displacement ruled the day. A reminder that it can be done, with the requisite discipline and defiant attitude.
One of them who you have probably never heard of before, was Lotte Reininger (June 2, 1899 – June 19, 1981) who lived and worked in Berlin until she and her husband left in late 1935 to escape the Nazis. From then on they stayed in multiple European countries as long as their respective visas allowed, with a short interlude to care for her ailing mother back in Berlin, promptly being forced by the Nazi regime to help with their propaganda machine. Eventually she settled in England and became a British citizen in 1961.
Reininger, a writer, director and film maker, was friends with numerous notable artists of the time, Bertholt Brecht and Benjamin Britten among them. Her main focus, though was on making animated films with shadow silhouettes (Scherenschnitt) and a first form of a multiplane camera that she devised in 1923. They were strange films, some short, some feature lengths, with topics ranging from fairy tales, to operas, to parodies, with the occasional advertisement to make some money.
Her films were successful for their novelty and their strongly erotic atmosphere, but many of them had so many references to classical music and/or literature, that a less educated public did not exactly get all the action, irony or satirical jokes. They are genuinely fascinating, craft and creative content alike. They are playful, and integrate a number of cultural markers from different countries, referencing western and non-western art alike. The idea that all of the intricate detail was cut by hand and assembled, a century before AI where something akin could be devised in a minute, is mind boggling to me.
She pioneered “paper and cardboard cut-out figures, weighted with lead, and hinged at the joints—the more complex the characters’ narrative role, the larger their range of movements, and therefore, the more hinges for the body—were hand-manipulated from frame to frame and shot via stop motion photography. The figures were placed on an animation table and usually lit from below. In some of her later sound films the figures were lit both from above and below, depending on the desired visual effect. Framed with elaborate backgrounds made from varying layers of translucent paper or colorful acetate foils for color films, Reiniger’s characters were created and animated with exceptional skill and precision.” (Ref.)
I chose one of my favorites, Papageno, for you to enjoy.
It uses a number of tropical bird silhouettes, some almost looking like squirrels, some parrots, some emus. So I thought I’d dig out photographs of something semi-exotic, the lovely peacock. The music and the references to Mozart’s opera are self-explanatory.
If you want to enjoy the whole opera, here is a link to a 1971 Hamburgische Staatsoper production that I actually saw live. Man, I’m old.
And here is a link to a 15 minute overview of Lotte Reininger’s genius, produced by The Met.
If you interested in the art of paper cutting, here is an overview essay, that describes different ways of doing it and their historical and geographic origins, from China in the second century AD to Aztecs in Mexico, to Ashkenazi Jews in the 17th century. Scherenschnitt, cutting with scissors, as used by Reininger, was likely developed in Switzerland and then Germany in the 1500s. Pennsylvania Germans brought it to the US in the 1700s.
So, if this miserable weather does not allow for photography, maybe I should grab a pair of scissors. Or not. Too tempting to use it as a weapon, given my mood and the politics du jour…. so maybe watercolor instead.
““I am black; I am in total fusion with the world, in sympathetic affinity with the earth, losing my id in the heart of the cosmos — and the white man, however intelligent he may be, is incapable of understanding Louis Armstrong or songs from the Congo.”
Last week I visited Africa Fashion and Black Artists of Oregon at the Portland Art Museum, downstairs and upstairs in the main building, respectively. Downstairs was empty, upstairs was jumping, middle of a weekday, for a show that has been open since September. I started my rounds on top and my eye was immediately caught by a group of young women motionless, except for their heads.
What were they staring at? Bent over, studying, then four heads lifting in unison, looking at each other, then bending again, back and forth, like a silent dance. Once the young women left, I walked over to see for myself and found this:
damali ayo Rent a Negro.com (2003) You can listen to the artist explain the evolution of this work here.
What reaction would an interactive piece like this, riffing on the commodification and objectification of Black labor, elicit in high school students who are most likely not (yet) too familiar with conceptual art? One of the first satirical pieces of internet art, damali ayo‘s Rent-a-Negro is an ingenious take on the system that has progressed from purchasing and owning the Black body to leasing it (although prison labor needs to be considered a form of slavery, if you ask me,) to using token Blacks to satisfy demands for “diversity.” How would it be processed by the Black high-schoolers in contrast to those like me, old White folk? Rage and revulsion by those whose ancestors were subjected to exploitation and oppression, ongoing even? Shame and sorrow by those whose forbears might have wielded the whip and ran the auctions, with patterns of discrimination not a thing of the past?
Julian V.L. Gaines Painfully Positive (2021)
Ray Eaglin Maid in USA (1990)
Fanon’s insight that someone like me will not be able to understand certain forms of art as they would be by those from whom it originates, popped up in my head with urgency. And this leads to one of the elephants in the room that needs to get aired: how does a White woman review exhibitions of Black art with the depth and understanding they deserve, while aware that the racial, potentially distorting, lens cannot be abandoned? It is naive, bordering on ignorant, to assume that art can be seen, understood, felt in some neutral fashion, when our implicit stereotypes guide our interpretations, and when our lack of knowledge specific to the history of a community affects our comprehension.
Tammy Jo Wilson She became the Seed (2021)
Al Goldsby Looking West (ca. 1970)
Furthermore, any reviewer aware of their implicit biases and wishing to be an ally to those who are burdened with historical or ongoing discrimination, will walk on eggshells. You want to avoid harsh criticism, or piling onto stereotypes, or being overly deferential, despite all of that being already a form of unequal treatment, born from awareness of culture constructed around race. You so want to avoid putting your foot in your mouth and appear arrogant.
Or racist.
Thelma Johnson Streat Monster the Whale (1940)
Mark Little Despondent (1991)
Isaka Shamsud- Din Land of the Empire Builder (2019)
I vividly remember a lecture I gave about the psychology of racism on invitation by PAM in the context of a Carrie Mae Weems exhibition over a decade ago. I talked about the Implicit Associations Test – IAT – the psychological measure that confirms how many of us hold stereotypical assumptions associated with racism. It is a test that looks at the strength of associations between concepts and even the most liberal takers have gasped at their scores. Mind you, it does not mean you are a racist; it just tells us that we have all learned associations between concepts that involve stereotypes associated with Blacks. Some in the audience erupted in anger, astute, educated, intelligent docents among them. That could not be true! They fought against racism all their lives! I clearly failed in getting the point across: there is a difference between consciously acting on your stereotypes and unconsciously being affected by them. But even the latter was denied by these well-meaning citizens.
Jason Hill Lion King (2019)
In any case, one can have read brilliant work like Franz Fanon’s about the Black psyche in a White world, racial differences, revolutionary struggle and the effects of colonialism until the cows come home, it will not ease the task of reviewing exhibitions like the one currently on view. Not that that has kept me from doing so, most recently with Dawoud Bey and Carrie Mae Weems in Dialogue at the Getty and Red Thread/Green Earthwhich showed work of several members of the Abioto family at the Patricia Reser Center for the Arts.
But it has made me aware of how much I already censor in my head, how worried I am about the reception of my takes, and the damage they could do, how my approach to work are colored by the political context, something that would not happen if I just walked into any old show of a collection of artists, race unknown.
Ralph Chessé The Black Women Work (1921)
Bobby Fouther Study in Black (2023)
***
The current exhibition was curated by Intisar Abioto after years of research into the spectrum of Black artists in Oregon, some famous, some locally known, some hidden in the embrace of their community. She put together a remarkable show, and her line of thinking as well as the expanse of the art is fully explained in a in-depth review by my ArtsWatch colleague Laurel Reed Pavic, who talked to the curator and listened to her podcasts about the exhibition. (You can listen to the podcasts yourself – they range from general introduction to a number of interviews with individual participating artists.)
My first association to the upstairs show was the contrast to what is exhibited downstairs, African Fashion. Previously shown at London’s Victoria and Albert Museum and the Brooklyn Museum, the latter was hailed as a vital and necessary exhibition by eminent art critics. It felt to me, however, like one of those luxury fruit baskets filled with luscious and exotic goods, wrapped in cellophane with a glittery bow – something that often does not live up to its visual promise when you are actually starting to peel the fruit.
Contrast that with the show upstairs: like a farm-to-table box dropped off at your doorstep, stuffed to the brim, packed to overflowing, with produce you sometimes don’t even recognize, but all locally grown and, most importantly, invariably, truly nourishing.
Katherine Pennington Busstop II (2023)
Latoya Lovely Neon Woman (2019)
Packed is the operative word here, 69 artists and over 200 objects, sorted into categories like “expanse, gathering, collective liberating,inheritance, collective presence, and definitions. The art is competing for space, focus, time and attention, with those limited resources not meeting demand. I assume it was a conscious curatorial decision. If you have, finally, a public space willing to open up to a neglected or even excluded collective of artists (collective in the sense of a shared history rather than a shared goal,) you might as well grab the opportunity and allow every one in the community a shot. This is particularly true when you don’t know what the future holds and which opportunities emerge in times where the racial justice backlash is raising its ugly head ever more prominently. Yet you do early-career artists, no matter how promising, no favor when placing them among the hard hitters.
Henry Frison African Prince (1976-79) with details
Alternatively, the inclusion of so many art works might have been a conscious attempt to demonstrate the diversity that is offered by a community long segregated from traditional art venues, never mind neighborhoods. It might be an attempt to shift what psychologists call the outgroup homogeneity bias, our tendency to assume that attitudes, values, personality traits, and other characteristics are more alike for outgroup members than ingroup members. “They are all the same! Know one, you know them all!” As a result, outgroup members are at risk of being seen as interchangeable or expendable, and they are more likely to be stereotyped. This perception of sameness holds true regardless of whether the outgroup is another race, religion, nationality, and so on.
That bias certainly affects what we expect (particularly, when our expectations are driven by other cognitive biases as well.) Our unconscious expectation of less diversity in the creative expressions of the art were certainly put in doubt with the plethora of work put up by Abioto. In confirmation of the bias – and thus the value of her curatorial decisions – I certainly caught myself regularly looking for a common thread of political statements, however indirect, commenting on the experience of being Black in Oregon, a notoriously racist state.
MOsley WOtta Baba was a Black Sheep (2023)
The history can be found here in detail. Simply put, Oregon had not one but three separate Black exclusion laws anchored in the Oregon Constitution and it took until 2001 to scrap the last bit of discriminatory language from the records.
We are one of the nation’s whitest states, and had at some point the highest Ku Klux Klan membership numbers nationally. Of our 4.2 million Oregon residents only about 6% are Black, and many of these have been displaced within the state over and over again, making room for construction projects and/or gentrification of neighborhoods. Nonetheless, Black leadership and organizations providing support for education, including the arts, are resilient and effective. (A recently updated essay by S. Renee Mitchell provides a thorough introduction to these achievements. Another informative article about Black pioneers can be found here.)
Arvie Smith Strange Fruit (1992) Detail below
Much of the art reflects the history, referencing the pain and injustice of lived as well as inherited experience. But there were also pieces that simply depicted beauty, documented landscape, revered what is. No message necessary or intended. It is a conversation I would love to have about all art, at this moment in time, how our ability and willingness to make art outside the need to bear witness, or instruct, or frighten, or alert to social change needed, is obstructed by multiple internal and external forces – but that has to wait for another time.
Sadé DuBoise Collective Mourn (2023) with detail
For this exhibition there was more art on display than could possibly be processed during a single visit. But all of it was nourishing, even in passing, as I tried to express in my initial description – food for thought, yes, as well as a feast for the eyes.
Natalie Ball Mapping Coyote Black, June 12 and 13, 1987 (2015)
Natalie Ball Mapping Coyote Black , June 12 and 13, 1872 (2015) (Artist new to me, enchanted by the work.)
I felt at times as if I was, if not an invited, surely a tolerated guest at a family reunion – meeting of long lost friends and relatives, happy to run into each other, artists introducing each other. It was a vivid, social experience during a time where I am still socially isolated due to the pandemic, even if I was standing double-masked at the margins, observing so many people truly engaging with art, potentially new to them. Twice (!) I was asked to take photographs of people who had met at the museum by chance and talked to each other in front of this or that piece.
I left the museum more hopeful than after any of the recent shows I’ve been reviewing (and the last year included some real winners!). The vibrancy of the work on the walls and the liveliness, even giddiness of the social interactions of many visiting generations all conveyed a sense of resilience and optimism that somehow rubbed off onto me. I might not get the songs of the Congo, but I do have an inkling, provided by this exhibition, of what local Black art stands for: a community that refuses to let go of history, no matter how painful. A community that believes in a more just tomorrow as well, forever willing to fight for it, no matter how hard that is made by the rest of us. A community standing its ground, with art that reflects that strength.
One of the great joys of parenting comes about when you realize your children actually share your interests, delight in the same things and show a curiosity for the world that matches your own. An even greater joy can be derived from realizing that they have outgrown you and know more than you ever did or will about some things – happily sharing their insights.
Just as I followed in the footsteps of my mother who introduced me to all things botanical, my son is now familiar with a lot of what grows and flourishes out there. It has become a joke between us that every time I think I’m detecting a mimosa – one of the earliest subtropical plants I was introduced to by my mother, at a botanical garden in Tenerife, an island south of Spain – I am completely wrong. What I am seeing instead is patiently explained to me by my son, often plants in the acacia family, or others I have never heard of before.
The joke has become so entrenched that every time I see something novel I’ll exclaim:”It’s a mimosa!”, met by satisfactory sighs and eye-rolling by the progeny. Luckily neither one of us has the characteristics of a mimosa (described in its name, Mimosa pudica (pudica = Latin for ‘shy, bashful, shrinking’ – for the plant’s characteristic to shrink and roll up its foliage at the slightest touch.) Joking is sweet with this beloved young man.
For his birthday tomorrow, then, here are some samples of mimosas – yes the real thing! – and just as I am guessing about things he knows, I will let him guess about things I’m still fluent with: the names of the respective painters – (truth be told, I was also too tired last night to type them and titles all out, can be delivered on request!)
HAPPY BIRTHDAY, mein Schatz – may nature, luminous colors, soft textures and creative juxtapositions be harbingers for what the year brings!
And may your own little one bring you as much joy as you bring us!
Music is shared taste as well – from South America, whence the mimosa hails.
Last night I had a horrid dream, likely tied to the day’s reading and writing about Caspar David Friedrich. Emotionally depleted from curating a show of Holocaust photography at a German Jewish museum, I took the wrong train, ending up traveling through Poland. Once we reached the Baltic Sea shore, the train stopped. Throngs of people, me among them, scrambled down the dunes and cliffs to the beach to see Orcas (! they live in all oceans except the Black and the Baltic Sea…) swimming in what looked like jet-black, glassy waves that were suspended in slow motion. Friedrich’s Sea of Ice had melted, but the water was not behaving naturally. I could not really see much given the wall of people, all with their back turned to me and then realized I had left my backpack, wallet and iPhone as well as my heavy coat in the train – what if it left? You can anticipate the rest – trying to scramble up the cliffs, heart pounding, stone crumbling under your feet…
My former hometown museum, Hamburger Kunsthalle, currently offers a blockbuster retrospective of works by Caspar David Friedrich. By all reports it is a curatorial masterpiece, guiding you through the evolution of the work by this preeminent romanticist painter, while the drawings and paintings are simultaneously grouped by thematic content, making for a more comprehensive visual experience. A whale of a show where you can see nothing on opening night because of the masses of visitors celebrating the occasion.
The cherry on top can be found on the second floor of the museum – a selection of contemporary artists whose work references, or is derived from, or parodies Friedrich.
I’d give an arm and a leg to see it, but my days of travel to Europe are over. Luckily we can get some glimpses on-line. Here is a general tour of the exhibition. And here is an audio tour for selected works – the second entry from top in the link is the english version. One below that is one for children, which I find an extremely cool idea.
Alas, nothing visually available in my cursory search on the modern artists who relate to Friedrich. But here is a recent review that goes into more depth.
Concurrent with the exhibition, a darling of Germany’s current literary scene, author and art historian Florian Illies, published a book about Caspar David Friedrich (CDF), Der Zauber der Stille – Caspar David Friedrichs Reise durch die Zeiten (The Enchantment of Silence, CDF’s travels through time – not yet translated.) I am halfway through it and must say it provokes a lot of different reactions.
For one, I have certainly lost my ability to concentrate across the years of the pandemic. Maybe it is just aging, maybe it is the lack of conversational interaction, or the stress levels that impede sustained reading. If the structure of a book is complicated I often get lost and/or frustrated. Well, this book does have a complex structure, but it held my attention by the sheer force of curiosity it instilled: where is the author going next? What seemingly unrelated bits of knowledge will be imparted in unexpected juxtapositions?
Like one of his successful previous books, Love in a Time of Hate: Art and Passion in the Shadow of War, 1929-39, which described the fates of numerous famous couples during the ascent of fascism in Europe, drawing relevant parallels to our own times, the new book is an accumulation of vignettes which constantly shift between times and perspectives. The book is divided in chapters referencing fire, water, earth and air as elements relevant to both life and work of CDF. A very helpful time table is in the appendix, as are recommendations for further writings by specialists on the topic. It is a book that helps you learn, without sacrificing amusement.
Reconstructed Frauenkirche that was destroyed in the allied fire bombing
If you ignore the somewhat self-congratulatory tone of an author who knows how clever he is, and his insistent descriptions of what and how Caspar David Friedrich thought and felt – a bit too presumptuous for my taste – you are in for a ride that elates. You learn so much about the artist, his times, the trauma that defined his development, the strange interactions with women (he decided he needed to be married in his mid-forties when the neighbor who kept his wood stove going while the artist went on his daily hikes, went on vacation. He asked for the hand of a 20+ year younger woman, who he had encountered in the store where he bought his art materials, and could not even remember her first name during the 2 year-long engagement…)
The kind of house CDF likely rented an apartment in.
Florian Illies is a quintessential story teller, and weaves tales that help us understand an artist whose rebirth into public consciousness, after long eras of almost complete obsoleteness, is no coincidence. Then and now a longing for something that juxtaposes or lifts the despair du jour was pretty central to people’s existence, and his work captured that longing (and its potential remedies) in ways not seen before.
But the author also makes us think about historical interconnections, often occurring by chance. For example, Walt Disney, during trips to Europe, collected art books galore and shipped them back to the US. When he was told by Thomas Mann, while both received an honorary doctorate at Harvard or some such, that Felix Salten’s tale Bambi would be a great script for a movie, Disney promptly acted on the suggestion and told his artists to use the CD Friedrich landscapes from the art books as the background for the movie. Hitler, a Disney fan, adored the movie. Never mind, that Felix Salten’s book, written by this Jewish author and perceived to be a cloaked substitute for Jewish persecution, was one of the first to be publicly burned.
The Nazis later appropriated Friedrich’s oeuvre into their canon of true Germanic art, to the point where every young soldier sent to his death at the rapidly deteriorating Russian front received a booklet called Caspar David Friedrich and his Homeland, containing black and white prints of his paintings of oaks and the sea. The introduction contained the assertion that the artist carried a life-long, unmovable, holy belief in Germany.
View of Dresden from the surrounding hills
Anecdote after anecdote, one art-history related morsel after another. The extreme colors of the sky, reminiscent of those of his contemporary Turner? Why, Mount Tambora, a volcano on Sumbawa Island, now Indonesia, erupted in 1815, and ash particles that traveled across the world had an impact on how colors in the atmosphere were perceived. The theme of fire and ash replicates itself through out Friedrich’s life. So many of his works lost to fire, so many of the places he was connected to, burned.
The landscapes all constructed, rather than true life depictions, painted in a darkened basement room, fixed with the famous backside views of wanderers and women because the artist felt he could not draw people correctly, the back view being a welcome simplification. On and on it goes, deflating myths, augmenting admiration for a man who struggled with life-long depression, pathological shyness and poverty.
The river Elbe that crosses the city, where he walked during dawn and dusk, every day.
Until you have a chance to read it in English, here is some compensation for the wait: here is a link to a website that has accumulated titles of books that have a truly interesting or innovative structure. I can highly recommend Life after Life and The Warmth of other Suns.
Photographs today are from Dresden, where the artist lived his adult life.
Music today by Carl Maria von Weber, musical champion of the ideals of Romaticism. He overlapped with CDF in Dresden, where he became the director of the German Opera in 1817 and where he wrote the Freischütz. I selected an earlier composition, a beautiful piece for clarinet, though.
My original plan for today had been to show photo documentation of the damage to my immediate surrounds, wrecked by the ice storm. That will have to wait since a more immediate need has come up that got my attention and requires my solidarity.
Many individuals I know have suffered losses, neighbors and a dear colleague from OregonArtsWatch who had multiple trees fall on her house and destroy it among them. The folks at The Reser had to close the gallery – with quite a bit of the art on display completely destroyed – due to pipe breaks from the storm. And then yesterday I learned that Lillian Pitt‘s studio is under water with horrific destruction of tools, materials, and collections of art.
You may remember my review of Pitt’s last exhibition and her lifetime work in Portland’s public art spaces just 4 months ago. Resilient, flexible, forgiving: The Gifts of Lillian Pitt focused on the strength and determination of a Native American artist who forged her own way, while carrying lots of others with her, to make a lasting contribution by filling our lives with beauty. Importantly, she also kept the flame of memory alive, linking to the history of her people, often tied to losses and calamity.
Loss and calamity is what she is facing now, once again, late in life. What moved me to ask everyone I know if they can possibly help – as I do today, here, as well – is not so much the material loss, but the vision that this has made it impossible for the artist to create, to work, both to make it through this shock and also to provide the necessary daily livelihood. It is like taking the instrument away from the musician, the tools from the carpenter, the pen/computer from the writer. Something at the core of your being is forcefully blocked.
No matter HOW resilient, and that was, after all, the first adjective I used in my September description, something concrete needs to be done to remedy the situation.
There are several ways we can help:
Below are some images of works on sale (from the Star People series and three prints) that will also be shown in Eugene at the PRN Gallery until mid-April. If you are interested in purchasing one just from reading about them here, you can email Mary Rose at friendsfortvancouver@gmail.com, who is representing Lillian in this case. (Unfortunately I cannot link to this email directly.)
If you feel like acquiring one of them in person in Eugene, you can contact Analee Fuentes who will help make that happen.
Alternatively, you can plan an outing to the Friends of Fort Vancouver bookstore/gallery at Fort Vancouver. The Friends are the official non-profit partner of the National Park Service dedicated to supporting the educational mission of the Fort Vancouver National Historic Site. Executive Director Mary Rose also tends to sales on Lillian’s own website. There are many of the smaller items for sale at the historic site store and the Fort is always worth a visit in any case.
Finally, there is also a GoFundMe site for Lillian, organized by Analee Fuentes (another local artist whose beautiful work shown at The Reser was reviewed by me here.)
Here are images of the available Lillian Pitt art works: Star People sizes range from the smallest about a foot tall, to the largest at 26″. They are painted wood and some have embellishments including abalone discs or horn and tacks.
#61 $240 — — — — #72 $200 — — — — #62 $200
#63 $200 — — — — #64 $180 — — — — #65 $200
#66a $150 — — — — #66b $200 — — — — #67 $120
#68 $150 — — — — #69 $200 — — — — #70 $200
#71 $200 — — — — #74 $120 — — — — #75 $120
#76 $120 — — — — #77 $200 — — — — Star Person feeling grounded $300
Left to right: Star Person feeling peaceful $250 – Star Person feeling proud of his people $250 – Star Person feeling regal $250 – Star Person initiating four stars $250.
Lots of thoughts about dependency lately. Triggered by general sorrow about the ongoing wars, or specific preoccupation with weather-related problems, never mind an aging body necessitating caution. We are so intensely dependent on the actions and solidarity of others, their help and support, their wisdom, skills, presence and availability in our lives. “Nothing wrong with solidarity, support, wisdom, presence,” you say? I agree – but to depend on it also means to suffer if it isn’t available, and I experience a degree of helplessness just thinking about that scenario which bugs the hell out of me.
Antony Gormley – Horizon Field Hamburg, 2012, steel, wood, 25 m x 50 m, 60t (thereof 40t steel), 7.40m above hall floor, Deichtorhallen, Hamburg, 2012
Autonomy is shrinking in a world that closes in around you, with threats to your physical safety, most pronounced in war zones, but similarly present with a climate that wrecks havoc on your immediate surround, or age that insists on limitations. I find it most upsetting in regards to freedom of movement – or absence thereof – again in the life and death scenario of incoming bombs preventing relocation, or floods and fires forcing relocation, or a simple ice storm keeping you stuck inside without your daily refueling in nature because you can’t afford to break a bone or two.
Probably not a coincidence that I was drawn back to a poem by one of my favorite poets of all times, a poem that celebrates the independence of the soul (relative even to us, its bodily container), and also of quotidian objects like mirrors that exist and work regardless of anyone’s attention. It drives home several points: independence is desirable and we simply have to accept that we can’t always call the shots – even our own soul might or might not attend to us, depending on its own whims and wishes. But the poem also comforts with the suggestion that there are nonetheless states where gifts – and closeness – are still available. Its speculation of likely interdependence, made in the last lines, somehow softens the burden of dependence.
My favorite stanza, though, is this:
We can count on it when we’re sure of nothing and curious about everything.
Since this is my perpetual state, frankly, I cling to Szymborska’s suggestion that soul will be regularly on hand.
A Few Words on the Soul
We have a soul at times. No one’s got it non-stop, for keeps.
Day after day, year after year may pass without it.
Sometimes it will settle for awhile only in childhood’s fears and raptures. Sometimes only in astonishment that we are old.
It rarely lends a hand in uphill tasks, like moving furniture, or lifting luggage, or going miles in shoes that pinch.
It usually steps out whenever meat needs chopping or forms have to be filled.
For every thousand conversations it participates in one, if even that, since it prefers silence.
Just when our body goes from ache to pain, it slips off-duty.
It’s picky: it doesn’t like seeing us in crowds, our hustling for a dubious advantage and creaky machinations make it sick.
Joy and sorrow aren’t two different feelings for it. It attends us only when the two are joined.
We can count on it when we’re sure of nothing and curious about everything.
Among the material objects it favors clocks with pendulums and mirrors, which keep on working even when no one is looking.
It won’t say where it comes from or when it’s taking off again, though it’s clearly expecting such questions.
We need it but apparently it needs us for some reason too.
—Translated by Clare Cavanaghand Stanisław Baranczak
If the soul is an independent agent leaving us soulless for years at a time, it is interesting that we are nonetheless so committed to pave the way for its escape – think of the customs so prevalent in many cultures to shroud mirrors in the house after a death occurred, for fear the soul might be trapped in one. Souls and mirrors have a long history of connection in mythology and literature (as does death and mirrors, come to think of it. Break a mirror: 7 years of misfortune, likely leading to death! Make a mirror: death guaranteed at a young age, as it turns out. Fabrication of this luxury item involved the use of noxious substances, quicksilver included, until very recently, establishing an average life expectancy of but 30 years for the members of the guilds in Italy and France that produced mirrors as well as glass ware.)
The largest mirror I ever saw was an installation in a huge former market hall in my hometown of Hamburg, Germany, as part of the Documenta in 2012. Called Horizon Field, it was one of sculptor Antony Gormley‘s ongoing explorations of the interdependence of humans and their environments, both regarding their spontaneous interactions, or their effects on each other.
Imagine 3800 square meters of empty hall with a platform suspended from the ceiling, about 25 feet above you in the air. Made of 40 tons of steel, it took a full month to install.
The whole thing was 82 feet wide and 164 feet long, dark as night from below, and coated with a silver mirror on top, reflecting the flood of light coming in from the arched glass windows. A single person walking across it (you had to stash your shoes at the bottom of the stair case, guards making sure of it) could make the thing vibrate.
It was fascinating to watch how visitors were preoccupied with their own mirror images laid out underneath them, rather than exploring the strange doubling of architectural features of an industrial building that had played historically a huge role in the enrichment of the Hanseatic economy. Built between 1911 and 1914, the hall is one of the few surviving examples of industrial architecture from the transitional period between Art Nouveau and 20th century design.
It was also a perplexing sight to see a large proportion of the visitors now in their socks, slipping and sliding with child-like amusement, centered on their proprioceptive senses once done with visual self-admiration. It was somewhat challenging to photograph it all given the swinging of the platform, and a slight queasiness induced by the oscillations. But staying underneath, in relative darkness, was not the best option either, wondering, with the mind of a skeptic, if and when that thing would come crashing down. Too many associations with the impending doom signaled by breaking mirrors….
Well, I was free to move, then, and walked off to wander the streets still familiar to me. No bombs or ice storms keeping me from it – unclear, however, if in company of soul.
Music today is by Arvo Pärt, his 1977 Tabula Rasa (and not Spiegel im Spiegel as one might have predicted.) I just love those meditations, and they fit the travels of the soul as well.
May I suggest that when the weather permits you plan a visit to the Patricia Reser Center for the Arts in Beaverton? I predict you’ll find it worthwhile, telling by my own reaction when I was there on Wednesday.
Dialogues: An emerging Artist Showcase, shown in the gallery until February 17, 2024, is an exhibition with a sufficiently catch-all title that makes one wonder who is supposed to be talking to whom. The one voice that mattered, however, was heard – the art spoke to me. Or shall we say a lot of the art – so many varied voices: painting, sculpture, woodworking, installations, fiber arts, ceramics and photography – some loud, some whispering, some tongue in cheek and some refusing to tell a story unless you invested enough curiosity to find out.
In fact, dialogue is offered on multiple levels – the artists, all still in training, self-taught, or recently graduated, reach out to the viewer in direct appeals to converse. Or they confer with imaginary representations of the past, unraveling narratives that cloaked something else. Or they are settling scores with departed lovers, or yell back at a world that is intolerably judgmental, or deliver simple, but insistent monologues. Then there are the conversations between those looking at the art and offering different takes. Or, if you’re lucky, you get to listen to the curator, Karen de Benedetti, explain some of the works that benefit from background information. Much talk in this gallery!
The Gallery at the Patricia Reser Center for the Arts
The level of talent and expertise was as varied as the voices on offer, and that is a good thing. For me, one of the outstanding services The ReserGallery provides for the community is the approachability of art for populations that are not necessarily familiar with it or are shy to reveal their own lack of knowledge, putting “art” on a pedestal. Showing art by young people who are still in the process of finding their voice, or the facility with the tools to express their ideas, is so very encouraging for the rest of us who are drawn to it but might feel inadequate. It creates engagement and might spark artistic explorations for those who can observe here that work evolves and improves over time, far from perfect in early stages of a career.
Noelle Herceg Jellashells Installation
That said, there were creative ideas all around the building, and some serious beauty to be had, with or without narratives. I will not be able to talk about them all; after all you should visit and see for yourselves! Instead I chose a few of the story tellers whose stories moved me, and a few artists who helped me to stop thinking or forever running my brain, by presenting work that simply enticed with visual beauty, feeding my eyes and soul instead.
Jessica Joner Of What Was
Upstairs a table surrounded by chairs awaits you, quite literally inviting people to sit down and talk, with many following the invite during the opening night, by all reports. Everything on the table is made or created by the artist, Jessica Joner, who embroiders surfaces with encouraging messages, and offers pottery for a multiple course meal. I spontaneously use the word inviting, but that is really how her work feels on second thought: it invites you to be with her, her ideas, her audience, an act of sharing, opening dialogue in the community.
Jessica Joner Respite (left) Ceaseless (right)
Downstairs my eyes were drawn into a large, multiple-part installation that on first glimpse seems to tell one story, and upon closer inspection hides a second, underlying, much darker narrative. Katherine Curry‘s surface depictions, with computer-assisted cuts of wooden circles into the most intricate doilies next to a video of the slow unraveling of a delicately crocheted doily by the artists hands, tell of family traditions of specialized handiwork, patterns handed down from generation to generation. Behind the beauty and the shadow play of the wooden models lurks something uglier, seemingly making its way through the generations as well, with family represented in a large photograph behind the lacy screen, trying to put a conventional smile on the face of harshness, if not intimations of violence.
Katherine Curry A Nuclear Family Details below
A bit further into the room, handmade soaps covering photographs of family members echo the theme of a film of civility cloaking the tension underneath.
Jessica Joner Wash your Mouth out Again and Again and Again
One returns, if these are the interpretations that formed, almost with relief to the video where the unraveling of a pattern now takes on a restorative tone: there is an end of the line, the string freed, and the path to something new is open.
There are other stories to be found in the gallery: the miniature perfection of a dream meal envisioned by someone with allergies suffering a restrictive diet (Leah Yao well aware of the consequences of junk food down to the grave.)
Leah Yao Mini Memento Mori Details below
A letter written after having been abandoned, Eliza Williams‘ incantations feeling like an attempt at self hypnosis to get over the spell cast by the lover. You’ll see for yourself, if you have a chance to visit, how many variations there are of engaging in one or another form of speaking out.
Eliza Williams I used to know you Details below
Quieter work, or shall we say work absent a storyline, was also well represented. There were ceramic containers by Kelsey Davis Hamilton, carefully placed on chosen fabric echoed in some form or another in her voluptuous sculptures that reminded me of tropical succulents, their lack of restraint juxtaposed with these constrained patterns from tartans to the dot alignments familiar from eastern European stoneware.
Kelsey Davis
Kelsey Davis Her House of Laughter
There were Tanner Lind‘s works on paper, radiating joy, the smaller ones more successful than the larger ones. The former were not shy to allow background breathing room to provide a stage for the perceived movement of the affixed figures. It is terrific work, reminiscent of Alexander Calder or Joan Miró if you blink, but in no way derivative. Leaving space empty when there is a lot of space to fill is definitely difficult – but Lind’s unerring sense of geometry and color should propel him towards solutions.
Tanner Lind Microzone 1 (left) and Microzone 2 (right) (perfectly placed above the recycling containers that lend themselves to a Gesamtkunstwerk….)
Tanner Lind Microzone 3 Details
I was absolutely smitten by an installation of organic shapes that hung in the window on the ground floor. Noelle Herceg creates these ephemeral shapes from gelatin, a material that makes them prone to fading, breaking, given that Jell-O skins are not exactly meant to last. I first thought they were made out of glass. Learning that they were not, added a memento mori quality to the work that enhanced the appreciation. Herceg’s website (link above) explains both process and underlying thoughts about her approach in better detail, both concerned with memory of a past and a loss thereof.
Noelle Herceg Jellashells
A few months ago I had explored another exhibit with organic shapes hanging from above, albeit huge ones. Woshaa’axre Yaang’aro (Looking Back) by Mercedes Dorame is an installation at the Getty Center in L.A., conjuring the views of ocean coastlines of the Tongva People, with the suspended sculptures representing abalones – a culturally important mollusk for the Native peoples. This artist, too, relates work to memory and the constructs built around what gets handed down. I found the size overwhelming, though, and the opaque pastels too saturated.
Mercedes Dorame Woshaa’axre Yaang’aro (Looking Back) at the Getty Center
Herceg’s work, in contrast has a gentleness to it, a cautiousness almost, as if there’s fragility all around us, one sharp look potentially shattering skins. Really hard to convey, and perhaps just my personal echoing of the theme, but the installation is worth exploring, something digs deep.
Noelle Herceg Jellashells
Last but not least let’s make some room for talking with your hands… or at least one prominent finger extended to all those engaged in fat shaming – here’s to holding your ground! The zest for life depicted in this painting -oh grant me just a small percent of that!
I expect we’ll see many of these young artists more prominently in the years to come, if we are lucky to be around. The Reser show certainly raised hopes for that.
A scientific paper I recently encountered set off an intriguing line of thought about our reactions to art and artists. Let’s start with the obvious fact that artists are people, and so some of them are lovely folks with good values; and some are jerks. Should our assessment of the artist as a person color how we think about their artistic productions themselves? The article I read starts with a striking finding. The authors, Joe Siev and Jacob Teeny of the University of Virginia and Northwestern University respectively, surveyed 634 cases in which university faculty had been punished for some type of sexual misconduct, and went through an elaborate rating process to assess, first, how serious the transgression was, and, second, how serious the punishment was.
Helen Frankenthaler Skywriting (1997)
Skipping all the details, the blunt finding is this: at whatever level of transgression you choose, the artists received more extreme punishment than scientists. Specifically, the average level of punishment for the artists included the fact that they were suspended, or placed on leave, or their contracts were not renewed. For the scientists the average level of punishment was less severe. Honors were revoked or salaries reduced, but they were less likely to lose their jobs on average.
Helen Frankenthaler Free Fall (1992-93)
What is going on here? The authors of the paper offer the suggestion that, for artists, we cannot easily separate their professional output (their paintings, sculptures, compositions, etc.) from who the person is. This notion is rooted in the idea that artists’ output is, in important ways, a reflection of the artists’ emotional makeup, their perspective on the world, and their personality. For scientists, it is proposed that we can more readily separate who the person is from what they do professionally. Presumably this is a reflection of the assumption that scientific work is more likely to be objective, more likely to be governed by rigid rules about procedure and analysis, and in all of these ways just less personal. The authors therefor propose that a process referred to as moral decoupling, the ability or willingness to sever the work from the person, applies to scientists more readily than to artists.
Helen Frankenthaler CEDAR HILL (1983)
I worry that this explanation to some extent mythologizes how scientists work. I also worry, that there may be other ways to think about the data. (The article lists multiple follow-up experiments designed to exclude alternative explanations, something I do not have the space here to discuss.) And note: the contrast between artists and scientists disappears if the moral transgression is directly related to their work, for example an instance of outright plagiarism or fabrication of data. These work-related offenses costs scientists as well.
Yet the upsetting fact of differential punishment for the respective professions remains, and is troubling in a number of ways. As one concern, it raises questions about inequitable treatment, when some professional commits some moral offense. But the result also invites questions about whether we can, or should, separate our evaluation of the artist from our evaluation of their work.
Helen Frankenthaler Spoleto (1972)
One famous example is the huge condemnation of Woody Allen for his misdeeds, a condemnation that has led essentially to a boycott of his movies by many people, myself included. It is interesting to ask, whether this condemnation leads people to believe the movies themselves are less good, or whether the experience of watching a movie by Allen has itself become distasteful (I come down on the latter explanation.)
I wrestle with these issues in my own approach to certain art works and artists. For example, I took off my walls work by Emil Nolde, someone I had revered since childhood and had personal connections to, once his moral transgressions as a supporter of the Nazi regime, NS philosophy and virulent anti-Semitism became clear. (I wrote about all this previously here.) Even though my assessment of his work product, his art, has not changed – I still consider it brilliant – the man and the work have been canceled in my house. I simply refuse to be reminded of the betrayal.
Similarly, I had recently written a long diatribe in these pages in favor of canceling Salvador Dali, unable to decouple his work, still considered amazing, from the moral failures of that artist.
Helen Frankenthaler Westwind (1997)
Then again, I continue to listen to Wagner, even though he embraced Nazi ideology and was generally a pretty wicked human being. It is a guilty pleasure, listening to something that should be ignored if I were only true to my own standards. Not exactly a principled approach.
The possible connection between artist and their output was also felt in my reaction to the works on display in today’s photographs, the prints of Helen Frankenthaler currently on view at OJMCHE. Let me hasten to add I know of nothing she has done wrong, in sharp contrast to Nolde, Dali or Wagner. I just know that she was in a 5 year relationship with a critic who I despise for political reasons. I also know that she very much tried to make her mark as a woman in a field then dominated by men, even though her talent towers high over many of them. These bits of background information colored the way I read her prints, and how I experienced her work in ways that struck me as a tad too demonstrative and intellectually constructed (with one exception, a flowing print I really liked, below.) (For a positive, learned, detailed review of the show by my ArtsWatch colleague Laurel Reed Pavic, go here. I should also add that Frankenthaler’s work is incredibly beloved by most viewers. I seem to be the odd person out.)
I wonder how I would have reacted to the work if I had no idea who produced it.
Helen Frankenthaler Flirt (2003)
In sum, I wish I had a clear vision of why I canceled Nolde, but continue to regard Wagner’s music as tolerable even if listening to it has to be acknowledged as a guilty pleasure. These are mysteries to contemplate. In the meantime, and consistent with the article I discussed, it’s plain that, at least some times, I am unable to separate my views of the artist from my reactions to the work. Why this happens, and why there is inconsistency in how this plays out, remains to be answered.
Helen Frankenthaler Untitled From What Red Lines Can Do (1970)
Music today is in memory of a brilliant talent who died today 8 years ago. No guilty pleasure here with his last album, just pure, unadulterated longing that David Bowie could have lived and made music a little longer.
“I cannot help remembering a remark of DeCasseres. It was over the wine in Mouquin’s. Said he: “The profoundest instinct in man is to war against the truth; that is, against the Real. He shuns facts from his infancy. His life is a perpetual evasion. Miracle, chimera and to-morrow keep him alive. He lives on fiction and myth. It is the Lie that makes him free. Animals alone are given the privilege of lifting the veil of Isis; men dare not. The animal, awake, has no fictional escape from the Real because he has no imagination. Man, awake, is compelled to seek a perpetual escape into Hope, Belief, Fable, Art, God, Socialism, Immortality, Alcohol, Love. From Medusa-Truth he makes an appeal to Maya-Lie.”
When I visited the current exhibition at the Columbia Gorge Museum, a small portrait immediately caught my eye amongst the many large, scenario paintings by Christopher Pothier. Unclear how it ended up joining the selection of art brought together under the title Bring Your Damn Checkbook: Painted Visions. Most of the other work, spanning about a decade in the artist’s career, has distinct narratives critical of how life unfolds – or is manipulated – in our modern times under the pressures of capitalism and political ideologies, down to the commodification of relationships,
Christoper Pothier The Prenup (2022)
invasion of foreign countries,
Christoper Pothier My Vacation Nightmare: Self Portrait as a Political Prisoner (2016)
Riot Police encounters,
Christopher Pothier The Ultimate Cure for Stage Fright (2018)
and (mis)management of pandemic diseases.
Christopher Pothier American Apocalyptic (2020)
The portrait that drew my attention is simply called La Mujer en el Viento, the woman in the wind. No clue why the title is in Spanish, one of several mysteries surrounding the painting. Here is a wind strong enough to blow the entire mane of gorgeous blond hair towards the front of the person, completely covering her face, static electricity perhaps keeping the lighter strands in the air. Yet the slender figure seems to be neither leaning into the wind nor bent by it, wearing a white shirt too thin to protect from cold, too long-sleeved to be appropriate for sciroccos. The beautifully curved female upper body is situated against a body of water whipped into waves by the gusts, a backdrop of distant mountains, and a sky-scape that radiates rays reminiscent of medieval paintings’ practice to indicate a halo.
Christopher Pothier La Mujer en el Viento (2023)
Maybe just a woman in the wind. Maybe someone blinded by her own beauty. Maybe a kind of saint walking on water, we have no clue where the lower body resides. Or maybe a Medusa in the making, with all that sinuous hair soon transforming into snakes, petrifying us the moment they move to reveal her gaze.
It’s in the eye of the beholder, art finding its meaning by eliciting the viewer’s thoughts.
This is what makes this exhibition interesting: Pothier, who holds a bachelor’s in fine arts from the University of Massachusetts at Amherst, MA, and has been working as a painter as well as a muralist, uses realism as an art form, depicting, however, visions that at times embrace magical scenarios.
My eye, of course, expected the Medusa. Remember the myth of the three Gorgon sisters? Raped by the God Poseidon in Athena’s temple, Medusa is punished by the Goddess, in true original form of victim blaming, by transforming her hair into snakes and cursing her with the ability to turn everything that meets her eyes into stone. Later on, a gaggle of Gods provides the Greek hero Perseus with a handful of tricks (Athena’s mirror shield, Hermes’ winged boots and Hades’ helmet of invisibility) to slay the Medusa and bring her head, still powerful even in death, back to grace Athena’s shield.
Medusa-Truth, as Jack London coined it, is about facts and reality – in this case the Hellenic invasion and destruction of religious shrines whose priestesses used Gorgon masks, apotropaic faces worn to frighten away the profane, in the 13th century B.C.
Gorgon, after all, means protector, and “the masks were symbols used to protect from and ward off the negative, much like the modern evil eye. She represents a dangerous threat meant to deter other dangerous threats, an image of evil to repel evil.” (Ref.)
It is an image that almost any half-way educated person can identify, through the ages. From Greek mythology, to Roman poetry, to Psychoanalysis, to modern Feminist scholarship, interpretations abound – all tied to fable and imagination and reiterated in art throughout the centuries, so decried by London in his despair over man’s unwillingness to face reality. Whether the Gorgon represents the fear of castration according to Freud, or the fury of raped, debased and victimized women according to more modern psychological accounts, one thing is obvious: her strength is boundless and her image has had staying power.
Christopher Pothier The Mafia Lawyer (2019)
As a scientist, I decry the way facts are ignored, dismissed, ridiculed, and replaced by wishful thinking, or “truthiness,” that sense of reality that is derived from the gut and based on emotions, never verified, given place of honor in defining our world, instead of being thrown out into the bin.
Yet I am the first to agree that art has something important to contribute. Imagination, whether anchored in the artist’s depictions or elicited in the viewer or reader of a particular piece of art, can help us to attend to facts, to understand the world or draw meaning from it, contrary to London’s assertions. In some ironic way, realism in art often coincided with imaginative idealization or caricature. It could be found in Greek depictions of life-like wrestling figures right next to the embellishment of vases with the Gorgon motif. 17th century painters in Spain and the Netherlands depicted true-to-life scenes next to imagined feats of mythological heroes or biblical scenarios. As an aesthetic movement Realism emerged in mid-19th century France, rejecting the tenets of Classicism and Romanticism, starting with Gustave Courbet. Closer to home, Thomas Eakins’ work in the U.S. was a prime example of this move to naturalistic depiction of accurately observed daily life.
Disillusioned by WW I, artists in Europe used realism to express their disgust with political forces, cynicism running high in that movement of “Neue Sachlichkeit” (New Objectivity.) During the 1950s there emerged a tendency to add imaginative detail to realistic scenes, a Magic Realism, with Chicago native Ivan Albright being one of the American painters often cited in that context. By all reports, he spent years on a single painting, trying to manipulate surface characteristics, which cannot be true for Pothier’s work, looking at the quantity of his output, and the contentment with relatively flat canvasses, more characteristic of photography. These two artists do share, though, a taste for revelatory titles, for the most part, a kind of narrative provided for the viewer, often imprinting the message of the painting with a dab of humor.
Christopher Pothier It’s Just another F***** Monday (2016)/Detail
Whether that practice makes sense is also in the eye of the beholder; after all, it might dilute or distance us from the visual message. Personally, I like humor, even – or particularly – the gallows kind, because it has helped me through the most catastrophic, life threatening events in my own life. The support of loved ones who can still crack jokes when you are trying to fight off overwhelming dread, anchors you. If the situation was truly existential no-one would dare to make jokes, would they? So it cannot be as bad as feared, leading to stress reduction and renewed commitment to fight.
For art depicting social dilemmas and political catastrophe, humor might have an analogous function. Rather than being overwhelmed and shutting down, we might be encouraged to look more closely and respond to the call to check out the facts, at a minimum, even if they are embedded in surreal depictions, or heed the call to action, in a best-case scenario.
Of course, The Woman in the Wind, to come back to the work that stood out for me, provides no narrative, humorous or otherwise, in the title. We can rely on the facts – windblown coiffure, the end – or we can supply our own imagination – tresses turning to snakes in a microsecond, symbolizing the strength of women so feared by the world that they need to be destroyed. Hair or no hair, she stands up to the storm and protects instead of slaying, gaze shielded. If hope is our perpetual escape, as London phrased it, so be it – hope for strength will manifest as strength, eventually.
In this particular instance, of course, it doesn’t matter if we choose fact or fiction. We are not asked to make decisions about pandemic policies, or workplace safety or declarations of war, all of which MUST be based on factual evidence. Instead we can relish art that provides us with a link to history rather than simple escapism, to ideas and ways to engage with the world that either affirm or question our perceptions and values. Exactly what art, after all, is meant to do, and what Pothier’s ideas ask of us in this exhibition.
The Columbia Gorge Museum
Christopher Pothier – Bring your Damn Checkbook – Painted Visions – until end of January 2024
990 SW Rock Creek Rd. – Stevenson, WA. 98648
Open Daily: 10:00am – 5:00pm
Closed: December 31 and January 1, 2024
Music today is a seminal piece by Henze, written as a requiem to Che Guevara and using a text by Ernst Schnabel and passages from Dante’s Divine Comedy. Not exactly easy listening, but a good final offer for 2023 since it depicts the horrendous consequences of war and/or colonial exploitation, in this case survivors of a sunk French naval vessel trying to make it on the raft of the Medusa and cannibalizing each other.
I figured, given all the doom and gloom this week, we’ve earned some amusement.
Meet Clive Smith, then, whose birds I find delightful. According to his website, he is interested in both genomic technology and art as a medium to envision possibilities of creation:
“While I was researching advances within genomic technology, I became enthralled by the progress biologists were making in the study of endangered animals. These molecular biologists had set themselves the goal of re-engineering previously extinct species and returning them to life. For example, The Flagship Project proposes to bring back the extinct Passenger Pigeon. To achieve this they would use the DNA of specimens found in natural history museums. These preserved DNA fragments would then be engineered with its closest living species, the band-tailed pigeon, to recreate a new breed that is as close as possible to the extinct bird.
I became fascinated by the creation of new, yet familiar breeds. By combining an existing bird, and mixing it with the DNA of a painting I wanted to create an entirely new, and wonderful subspecies. I have engineered these new breeds by thinking about how a certain birds’ patterning and color could match the DNA of a specific painting. There is an interesting correlation between brush-strokes and feathers. Plumage, like paintings, has evolved to evoke very specific emotions: aggression, warning, seduction, joy.”
His smart importations of other people’s paintings encouraged me to use his models as company to my own avian visitors – thus the band-tailed pigeons (now gone until they return in the spring.) (His other birds can be seen if you click the link on his name.)
Meet models and montages.
Clive Smith Richter Pigeon (Colomba Haus Sohl) (2022)
Clive Smith Richter Pigeon (Colomba Apfelbäume) (2022)
Clive Smith Dupré Dove (Zenaida the windmill) (2022)
Clive Smith Richter Pigeon (Colomba Wolke) (2022)
Clive Smith Malevich Pigeon (Columba suprematism) (2023)
Did you know that Antonin Dvorak loved pigeons? (For the musical history-inclined here’s an interesting essay.)
For the rest of us who yearn for the music, here is one of my favorite compositions. I don’t care that it is a war horse. Cellist’s shirt, depending on the light, is sort of pigeon-colored too…which is why I chose this performance. Below this one is the version that I have on CD.
