Play your own thing

…is the title of the DVD ‘A Story of Jazz in Europe’. I’ve been watching a slew of these inspiring disks about jazz, generously bestowed on me by a friend who worked at Rainbow Media. This one featured unfamiliar (to me) European musicians who carry on the tradition of righteous creativity, unfettered by tradition or style -thus the title. I’ve known of Jan Garbarek forever, + Zawinul and Reinhardt, but I’m now obsessed with Joachim Kuhn, a German pianist whose work I’d love to be painting to. And Till Bronner, another young German trumpeter who also plays a mean flugelhorn.

It’s worth watching just to see Dexter Gordon walking through the streets of Copenhagen. The man doesn’t just walk, he bounces like a musical riff that demands to be heard. Too many more to mention, get the disk. 

Hard to find videos of the individual works online, but youtube does offer the trailer.

 

this kid schwings

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The Barackulus effect

This is too much fun not to post. My sis sent me a blog called Obamafoodorama. You’ll get a kick out of the site. Once there, check out HIS recent trip to Ottawa and the cookie shop, Le Moulin de Provence.

Here’s a brief excerpt.

Located in ByWard Market, a quaint, old-school shopping centre that houses a collection of small crafts and antique shops, Ms. Gonzalez said that Le Moulin de Provence is already very well known in Ottawa. It was voted the number one bakery in 2008, and supplies all kinds of baked goods, from breads to cakes, to the province’s high-profile hotels.

Ms. Gonzalez said that of course everyone knew Barack was in town, but the cafe had no idea he might visit. And then Secret Service agents showed up. Yes, guys in dark glasses whispering in to their wrist mics is always a bit of a heads-up that Something Barack This Way Comes.

“It was a very big surprise,” Ms. Gonzalez said. “The security came in, and asked if it was okay to bring in the president. I said of course, and they walked around and checked everything. Then they told me I would have to walk him inside.”

“He said he was looking for Canadian cookies, and I showed him all our Canadian cookies,” she said. “He liked the maple leaf-shaped ones, it’s shortbread with a red glaze, and has ‘Canada’ written on top.” 

Ms. Gonzalez said Bam wanted three cookies, and eyeballed other baked goods, but he said that he’d just eaten a BeaverTail, so he didn’t buy anything else. Actually, Bam didn’t “buy” the maple leaf cookies, either; one of the perks of being a president who’s more popular than Jesus is that people don’t want you to pay for food. The maple leaf cookies are each $2.25/Canadian, which translates to about $1.79/American (that’s 4.18 cookies per week, for those doing Cookie Stim Cash calculations).

.…Just an obvious prediction: The maple leaf cookies will now always be ordered as “The Obama Cookies,” or “The Shortbarack Cookies,” and Le Moulin de Provence will have to increase their baking run for quite a while…which brings to mind that old saying: God bless America, and God help Canada put up with them!

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Neoteric Art

I recently discovered Neoteric Art, a blog out of Chicago written by two painters, William Dolan and Norbert Marszalek. They conduct thoughtful online interviews on their site. This one is excerpted from one with the painter and printmaker Diane Thodos, who studied art criticism with Donald Kuspit and printmaking back in the early 1980’s at Stanley William Hayter’s Studio 17 in Paris.

I find it interesting that our influences include many of the same German Expressionists; artists like Kathe Kollwitz, Emil Nolde, Ernest Kirschner and others. I am especially impressed by what she articulates about the current state of work in the Chelsea, NY galleries and the absence of emotionalism in so much of today’s painting. No other writer on art criticism has even mentioned this ‘tamping’ down of exuberant expression. 

Here is an excerpt from the Thodos interview:

NA: What’s the difference for you in the working/thought process between making a print and making a painting?

DT: The two mediums were always in a dialectical tandem for me. We are living through a time when the mainstream artist is expected to produce art that operates by the rules of marketing, producing a “brand” name that cannot be tampered with. This is a profoundly stifling system. I have chosen the opposite route by giving my work an organic basis to develop a self-determining course. I do not believe in “anything goes.” I study drawing the classical human figure on a weekly basis and my work develops from the tension between the human body and my interest in Modernist abstraction/expressionism: if you will, the aesthetic basis of Modernism. Both my paintings and prints use some degree of automatic line drawing and mark making: a bequest that comes from the Surrealist movement through my study with Stanley William Hayter in 1984.

….I have come to see my themes have a life of their own not unlike the way actors in a play interact to develop and deepen their character. From the buildup of these automatic lines and marks subconscious images emerge on their own terms, sometimes in fairly complex ways.

NA: You recently got together with Donald Kuspit in NY. How did that work out?

DT: We had a very engaged discussion about the current state of affairs in the New York art world. We discussed what is happening in Chelsea, the district where the NY galleries moved when they left Soho in the 90’s. Aside from a handful of exhibits I found the district had a predominately cold, regulated, corporate feel to it. I noticed a strong sense of “formatting” in the art: a glorified “graphic design.” It did not resemble, for all it’s pros and cons, the more dynamic varieties of art and individual dealer’s tastes on display in the Soho galleries throughout the 80’s.

NA: What is your take on the art world right now?

DT: The artists of tomorrow are being formed in the art schools of today, and to understand today we need to understand how we got here. Over the years I have observed a gradual moratorium put on importance of skill and subjective content within art, whether expressionist or traditional. This had been happening since the 60’s in conjunction with the growth of minimal and conceptual art. In general these movements that had the effect of slowly repressing and freeze-drying emotion. I have noticed that Expressionism in particular, that most subjective of art movements, has been deliberately excluded from the art world since the early 90’s. The last artists to reflect this were the German and Italian Neo-Expressionists and Susan Rothenberg in the US during the 1980’s. Certainly not all Expressionism from the 1980’s lives up to the greatest tension which art is capable of, but the overview was at least a lot richer than it is now.

This rigorous trend of banishing emotion from art persisted from the 90’s into the present. Ever more stringent and narrow models of influence, based predominately on Warhol and Duchamp, have been overwhelmingly emphasized in university art programs. This has extinguished the inherently intuitive and visual nature of art and replaced it with postmodern-based theory, fashion, design, entertainment, and kitsch culture. Like the political Neo Conservative labeling of “liberal” as a bad word, so has all sense of intuitive gesture or feeling, or even traditional skill in art been cleverly diminished through ideological browbeating and the misappropriation of French Deconstructionist writers as a power wielding rhetoric.

Unfortunately the numbing the effects of this ideological power grab has made glaring problems of exclusion look invisible, indeed nonexistent, from within art education and the art establishment. The situation in some programs has become so ideologically extreme that several skill-oriented teachers I know have discouraged skill-sympathetic students from applying to their programs. They wanted to save them the considerable expense and grief of entering a very hostile anti-art, anti-aesthetic, anti-tradition, even anti-historical environment which would be against the teaching of the very subjects the applying students were interested in.

Furthermore I find it hard to imagine that out of the hundreds of thousands of artists living in New York City when 9/11 occurred there has not arisen within the mainstream any kind art that is capable of expressing a profound reaction to this traumatic event, or its turbulent aftermath over the last 7 years. The difference is dramatic when compared with the Modernist response to their own era a century ago. This strange silence is testament to a real inadequacy within the art world, a sign of irreparable breakdown. I am concerned how that very insufficient world poses itself as a sterile model for our current system of art “education.” Arthur Miller had once stated in an interview from the early 90’s that great plays were no longer written was because the “good enough play” was no longer being written. Similarly the drastic (postmodern) attrition of, and undercutting of support for any basis of value on which to cultivate a genuinely creative art world has derailed the context by which anything truly significant can arise or even survive.

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It must schwing

A pal gave me the stunning DVD- BlueNote, A Story of Modern Jazz – guaranteed to make you jump up and schwing, to put it in Alfred Lion terms. Lion and his childhood friend Francis Wolff, built BlueNote into what it became from their pure love of the music. Lion was an immigrant from Germany when he arrived in NY with no money in the late 1930’s.  Jazz, the quintessential American music, discovered by Europeans. A new find is Junko Onishi – she’s a pianist who definitely heats up the room. 

Here’s ‘Senor’ by the great Horace Silver, who’s featured on the DVD. Excellent sound in a 1959 recording.

 

Then there’s John Coltrane, unmatched. My Favorite Things– a Rodgers and Hammerstein tune from The Sound of Music, another 1959 Broadway musical that my sister and I got to see, compliments of my dad. Mary Martin was the lead.

Here’s an incredible lineup; McCoy Tyner on piano, Elvin Jones on drums, Eric Dolphy on flute and alto sax. Nirvana.

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Snows of March

The blizzard, which is now nothing but melting snow and cerulean skies. A couple of paintings started and early morning sunrises. I hate to see winter go, but it’s time to plant. 

It’s very flattering to see one of my paintings on the front page of 1000Markets. That hasn’t happened in the two months I’ve been with another ‘famous’ online shopping experience.

 

That’s a Greenpeace ‘Stop Global Warming’ sign out front. My neighbors love me.

 

and the paintings that were inspired…

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Grow yer own

We’re in the middle of a winter storm with predictions of up to 10″ of snow….but that probably won’t happen. It’s blowing white outside and feels like one of those old-time blizzards in Nova Scotia  – with drifts that used to block the front door. Nobody’s driving on our road. I’m happy as long as the power stays on.

Here’s an uplifting email from one of my favorite blogs, Kitchen Gardeners. You better get those seeds started…

Dear Kitchen Gardener,

What’s a home garden worth? With the global economy spiraling downward and Mother Nature preparing to reach upward, it’s a good question to ask and a good time to ask it. 

There isn’t one right answer, of course, but I’ll give you mine: $2149.15. Last year, my wife Jacqueline suggested to me that we calculate the total value of the produce coming out of our garden over the course of the growing season. Initially, the thought of doing that was about as appealing to me as a recreational root canal. I remember replying something like: “OK, so let me get this right: in addition to raising three busy boys, managing two careers, volunteering in a school garden, and growing most of our own produce, you’re proposing that we weigh every item that comes out of our garden, write it down in a log book, and spend a few leisurely evenings doing math?” Jacqueline, an economics major in college and a native French speaker, answered with a simple “oui” and so the project began. 

There was a lot of work involved, mostly for Jacqueline, but as with gardening itself, it was work with a purpose. It didn’t take long for our log book to start filling up with dates and figures. Although we started eating our first garden salads in late April, we only began recording our harvests as of May 10th, starting first with greens and asparagus. Our last weighable harvest was two weeks ago in the form of a final cutting of Belgian endives forced from roots in our basement. 

By the time we had finished weighing it all, we had grown 834 pounds and over six months worth of organic food (we’re still eating our own winter squash, onions, garlic, and frozen items like strawberries, green beans, and pesto cubes). Once we had the weights of the 35 main crops we grew, we then calculated what it would have cost us to buy the same items using three different sets of prices: conventional grocery store, farmers’ market and organic grocery store (Whole Foods, in our case). The total value came to $2196.50, $2431.15, and $2548.93 respectively. For the other economics majors and number crunchers among you, you can see our crunchy, raw data here. 

There are things we didn’t include like the wild dandelion greens which we reaped but did not sow, the six or so carving pumpkins which we ultimately fed to our compost pile, and the countless snacks of strawberries, beans, peas, and tomatoes that never made it as far as our kitchen scale. There were also things we forgot to weigh like several pounds of grapes which turned into about 12 jars of jam. As with any growing season, there were hits and misses. The heaviest and most valuable crop was our tomatoes (158 lb/72 kg for a total value of $524). In terms of misses, our apple tree decided to take the year off and very few of our onions started from seed made it requiring me to buy some onion plants. 

On the cost side, we had $130 for seeds and supplies, $12 for a soil test, and exceptional costs of $100 for some locally-made organic compost we bought for our “This Lawn is Your Lawn” frontyard garden (normally, we meet most of our soil fertility needs through our own composting). I don’t have a scientific calculation for water costs, but we don’t need to water much and, when we do, water is relatively cheap in Maine. Also, I mulch my beds pretty heavily to keep moisture in and weeds down.  Let’s say $40 in water.  So, if we consider that our out-of-pocket costs were $282 and the total value generated was $2431, that means we had a return on investment of 862%. The cost of our labor is not included because we enjoy gardening and the physical work involved. If I am to include my labor costs, I feel I should also include the gym membership fees, country club dues, or doctors’ bills I didn’t have.

If you really want to play around with the data, you can calculate how much a home garden like ours produces on a per acre basis. If you use the $2400 figure and consider that our garden is roughly 1/25th of an acre, it means that home gardens like ours can gross $60,000/acre. You can also calculate it on a square foot basis which in our case works out to be roughly $1.50/ft2. That would mean that a smaller garden of say 400ft2 would produce $600 of produce. Keep in mind that these are averages and that certain crops are more profitable and space efficient than others. A small garden planted primarily with salad greens and trellised tomatoes, for example, is going to produce more economic value per square foot more than one planted with potatoes and squash. We plant a bit of everything because that’s the way we like to garden and eat. 

Clearly, this data is just for one family (of five), one yard (.3 acre), one garden (roughly 1600 square feet), and one climate (Maine, zone 5b/6), but it gives you some sense of what’s possible. If you consider that there are about 90 million households in the US that have some sort of yard, factor in the thousands of new community and school gardens we could be planting, this really could add up. Our savings allowed us to do different things including investing in some weatherization work for our house last fall that is making us a greener household in another way. Some might ask what this would mean for farmers to have more people growing their own food. The local farmers I know welcome it because they correctly believe that the more people discover what fresh, real food tastes like, the more they’ll want to taste. In our case, part of our savings helped us to buy better quality, sustainably-raised meat from a local CSA farmer. 

The economics of home gardening may not be enough to convince President Obama or UK Prime Minister Gordon Brown to plant new gardens at the White House or 10 Downing Street, but the healthy savings their citizens could be making and then reinvesting in their local economies could.

In the end, it might come down to the language we use. Instead of saying “Honey, I’m going out to the garden to turn the compost pile”, perhaps we should say “Honey, I’m going outside to do a ‘green job’ and work on our ‘organic stimulus package.’”  I bet that would get the attention of a few economists, not mention a few psychologists!

Happy, healthy March,

 

Roger Doiron

PS: Garden writers and bloggers: feel free to republish the text and photo above with a link back to KGI.  Thanks.

PPS: Do you have some home economics or a comment you want to share? That’s what our forums are for.

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New York and Jack Sals Re/Vision

I finally got into NY yesterday to see my friend Jack Sal’s exhibit at Zone Contemporary, a new gallery on 57th St that opened with his show this January. It was a whirlwind trip that ended with a very brief visit with pal Ali Hossaini in the West Village. Next visit will be to pick up his high res printer that he’s kindly lending to me. Note to self; searching for parking with a pickup truck on a weekday in Manhattan is a duel with absurdity.

While I’m not much of a conceptual afficionado and usually respond more to paintings, these works and Jack’s articulation of his intent made them meaningful for me. The elegant exhibit perfectly fits the newly renovated space that has shown artists Pat Steir, John Cage, Ruth Kligman – among others.

Sal’s early work, reminiscent of Mark Tobey‘s interest in the pictography and spirituality of calligraphy, reminded me a little of Egyptian hieroglyphs. When I asked him about that, he noted at the time he created these works, he was studying Talmudic texts.

Other earlier works include cliché-verre photographs and beautifully marbled, small lead plates derived from a permanent exhibit in Kielce, Poland, that Sal created in homage to the 42 victims of a 1946 massacre there. In the site exhibit, the lead plates are attached randomly to the monument, a visual representation of the date, street and physical shape of the original building where the massacred Jews had lived.

An insightful interview by Tom Butter in White Hot Magazine accompanies the show, excerpts here with photos from the exhibit below.


TB: So by applying the same elements to different situations, your intent is to illuminate the various situations.

JS: Yes, I think that is what one does in all one’s activities. You use your sense of self, and your sense of thought and you apply them to all your activities.

TB: But this is not exactly the modernist program.

JS: No, and that is part of the collapse of modernism-which is a democracy of language, but not a democracy of intent. This is where it breaks down. As an artist, one has to accept history, but not the consequences. Even within aesthetics or concepts within art, you can accept, be interested in, and apply, the ideas of modernism, but not necessarily accept the conclusions. Hopefully you will be able to break out and expand the vocabulary.

———

TB: Well art goes on, it continues. But aren’t you talking about inserting something that is subversive?

JS: What I am doing questions the permanency of things. Our experience in the 20-21st centuries is that we recognize and acknowledge the ephemeral qualities of life. Part of the problem of modernism is that it tries to arrest the ephemeral. Ironically, sometimes the best touchstone of that ephemeral quality is the very permanency that modernism proposes. I’m trying to make things that look as if they are in the legacy of modernist iconography, while they are actually changing in front of your eyes. Either they are changing because they have physical qualities that when you move they change, like the way the tape does on the large pieces, or when you are looking at a painting but then realize the space between them is a drawing although it isn’t made like a drawing; suddenly the space becomes line, which is a division. 

Without sounding too self-referential, the idea of using panels like this not only comes from modernism, but also comes from spending time in Italy, and looking at Renaissance, and pre-Renaissance panel painting. I live part of the year close to Assisi, where the Giotto’s are. The Franciscans implemented the use of a panel-narrative style. Understanding that many people were illiterate, they used methods of preaching through illustration. There was an emphasis on episodic events in sequence. The connection between them comes from a kind of program. So the format of things is not the by-product of architectural structure, they do not serve as decoration. Programming is part of the language- in this case, it serves a dogma. Painting is not used merely as illustrative means of depicting a story- but by its very framing, its presentation it is used to direct a certain point of view, a certain program.

 

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Open space in Chester County

This past Saturday, I went to a well attended and inspiring meeting at the Chester County Historical Society, The Future of Open Space in Chester County’. Anne Pickering of the Daily Local Newspaper moderated a panel discussion between members of the French and Pickering Conservation Trust, Brandywine Conservancy, Chester County Planning Commission and Natural Lands Trust, along with Arcadia Land Company.

Daily Local’s Dan Kristie wrote up a brief article and highlighted Michael DiBerardinis’s passionate keynote speech. DiBerardinis is Secretary of the PA Dept. of Conservation and Natural Resources in Harrisburg.

State Senator Andrew Dinniman gave the opening introduction and Representative Duane Milne was also in attendance.

Robert Lonsdorf of the Brandywine Conservancy suggested that we need better use of easements and to think about how we approach our zoning ordinances in the townships. He said that large reforestation projects should be viewed in much the same way that recycling on a township wide scale, has been made an everyday process over the past decades. He mentioned that some townships have taxed themselves over a period of ten years, to protect open space with transferable development rights.

Bill Gladden of the Chesco Planning Commission submitted that we need to find new ways to compensate for open space and to keep preserving new properties. We should use the tools we have to be smart about preservation and conservation.

Pamela Brown of French & Pickering Conservation Trust, wants to see bike and walking trails connecting greenway corridors. She says these can eliminate ‘islands’ and have proven to be very safe, contrary to some public concerns.  Joe Duckworth of Arcadia maintains that if the developer shows potential home buyers the trail before development, people are thrilled to have the recreational opportunities and the value of the property increases. After development, there is an irrational fear linking trails to crime that needs to be dispelled. Numerous statistics and studies refute these claims, but advocates must work with citizens at the outset. 

Joe Duckworth, Arcadia’s developer, suggested that current zoning makes it harder for developers to utilize small properties or to create walkable spaces within them. There need to be overall revisions to all township ordinances for small-lot zoning, rather than large-lot as is most often currently offered. He reminded us that preserving open space is always cheaper than managing new development.

Molly Morrison of Natural Lands Trust, said an open space committee was originally required of every township in order to create the 1989 Open Space Bond. She says there is a growing interest in preserving land.

Adding community gardens to these spaces only enhances their viability to citizens for quality of life and recreation. Homeowner’s Associations are another target; they need to manage for invasive plants.

Secretary DiBerardinis reminded us that people leaving a population center and moving further away require more natural resources and this only increases sprawl. We need to change how we use energy, and renew alignments of economics and social trusts. In terms of reforestation and saving trees, the Wharton School of Business conducted a study showing that property values increase 15%, with tree lined streets within 1 mile from a park.  

DiBerardinis also mentioned local food production being a key issue here in the county. Yes, save local farms!

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You gotta dance

I love all types of dance and lately, haven’t seen enough live performances. I watched ‘Something to Dance About‘ last night on PBS, a biography about Jerome Robbins. The choreographer who partnered with Leonard Bernstein on West Side Story, directed Peter Pan, Fiddler on the Roof, Gypsy, and so many other wonderful musicals and ballets. My dad took us into NY to see Peter Pan on Broadway when I was 5, Mary Martin flying across the stage, singing ‘I won’t grow up’. NBC broadcast it a year later with Robbins on board as director. It was NBC’s first Broadway production in color and had a then record audience of 65 million.

He mentions in the documentary that no one would produce West Side Story, and it took 3 years to get to stage. Hard to believe now. There are some fantastic video interviews on the PBS site with those who knew and worked with Robbins, a demanding perfectionist.

Here in Debussy’s Afternoon of a Faun, is one of Robbins’ muses, the great Tanaquil LeClercq, whose ballet career was tragically cut short by polio. Jacques D’Amboise is her partner.

 

and then there’s Rudolph Nureyev, the God of Dance. Atlanta 1982, with the Boston Ballet in Don Quixote – I was lucky enough to see him before he died. The Russian Years is another PBS program featuring the great dancer and I hope the DVD arrives in time for my next birthday….

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Promoting the arts

I’m promoting the new online shop of my work at 1000Markets. They have a beautiful interface, and maybe 1/8th of the traffic that Etsy has. But they’ve already had some great press on Real Simple. You can read it here.

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