Archive for March, 2008

March 18, 2008 Uncategorized

It is fitting and appropriate that I just read a half dozen obituaries, published in a half dozen cities, about Arthur C. Clarke, contributor to the development of the communications satellite, promoter of the space elevator concept and science fiction writer.  It was the vision of Clarke and his fellows that forms one of the basic elements of our global information society.  Like many people, my first introduction to Clarke was through the film 2001, which I confusingly watched as a very small child at home on Selectavision (another childhood marker of my father’s poor choice of technology early adoption - which culminated in the late 80’s when only relative poverty and brief hesitation prevented him from buying a $3000 optical disk reader/future paperweight as “CD-Rom would never catch on since it’s not rewritable.”).  I remember 2001 as being difficult to watch as I think it came on two discs with four sides between them, which I can tell you is a format killing problem right there.  Later, I encountered his work through the novel Childhood’s End, and like all geeks, I’ve grown to consider 2001 to be one of my favourite movies of all time.

Only recently, I have been reading some stray Clarke novels as I came across them during the re-organization of my library.  It was my first encounter with raw, hard SF in a fair while - I generally think of myself primarily as a New Wave SF fan, which isn’t a place where hard science always has a function.  For the past several months, I have been struck by Clarke’s blunt, honest assessment that both interplanetary and interstellar travel, on a raw “moving mass” level alone, are so frighteningly difficult as to possibly be wholly pointless.  It’s enough to make one want to retreat from space exploration out of doubt and fear.  Yet Clarke’s novels, blunt and slightly boring in their calculations regarding the time, energy and various technical problems involved, always envisioned a future in which those tasks are undertaken, and in some ways routine, if our species has the want or is forced by circumstance into reach them.

I am also filled with hope.  I think of the difficulty of even crossing minor seas only millenia or two ago, of the space program-like expenditure that moved scholars from mainland Japan to China and back during the Tang Dynasty, to the network of coaling stations that made modern naval power possible, or the logistics of building the Pyramids.  Before Clarke and others envisioned using geosynchronous satellites as communications relays, the kind of modern information society we live in was as impossible as a Roman-era jet age, but great minds crossed the darkness and once again made the impossible an everyday experience.  Clarke was a true visionary, a hard science prophet with a saint’s faith in man’s ability to go beyond his limitations.  He will be missed, as an advocate for science, as a gifted storyteller and as a friend to the potential of the human race.

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Art, Museum

Just caught this last night, and got myself a copy. The California Video catalog, which normally sells for $39.95, is on sale at Amazon for only $25.05, when you include the 5% pre-order discount. The only downside is that you’ve gotta wait for them to get it in stock. But you’re going in saving fifteen bucks, so unless you’re in a desperate hurry to own a copy, it’s a good deal. Spent some time with the catalog while I was at the press preview on Friday, it’s a hefty document, and a surprisingly accessible one, much like the show itself. Too damn busy right now to write a proper review of the show, but I figured I’d pass on the tip.

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March 17, 2008 Art, Food, Performance Art

Edith Abeyta, Michele Hubacek, Michael Lewis Miller and I are kicking off a new project this Sunday. An idea that has festered, mutated and grown in Michael’s head for some time, the Portable Potluck Project is a monthly potluck-as-performance that we hope will spawn many more sister potlucks, for eventual simultaneous global potlucktacular action. The first project will take place in Barnsdall Art Park, in the Pine Grove, this Sunday at 6 PM. The park is at 4800 Hollywood Blvd., for those who haven’t been before. Bring food, fork and friend for best potlucking pleasure.

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March 16, 2008 Art, Gallery

I have been asked to jury this year’s Spirit of the Horse exhibition, an equine themed, juried exhibition at the Palos Verdes Art Center, a benefit for the Portuguese Bend Pony Club (note - funky website, but a ton of info about their parent organization, the United States Pony Clubs, can be found at their website) an organization that provides opportunities for youth to learn the core skills of horsemanship and to benefit from the discipline and leadership skills learned through that experience. This is a special opportunity for me to work both with PVAC, where I took my first art classes as a child, and also with the Portuguese Pony Club, which is based at the Portuguese Riding Club, where I learned to ride as a child. Learning to care for and ride horses was an incredible experience for me as a youth, I can’t begin to say just how pleased I am to participate as juror in this exhibition.

The show opens June 6, and the deadline for entries is Friday, May 9, either hand delivered before 5PM or postmarked. It’s open to both 2 and 3 dimensional works, and for $25 you can enter as many as three entries. Works must have been completed in the past three years, and you can submit either slides or images on a CD. There are cash prizes for 1st - 3rd prize and honorable mentions, as well. You can download the prospectus here to get all of the details.

March 15, 2008 Burgers, Food

Marshmallow and Gummi Hamburger - melted 1 - the most distubing thing I've ever put in my mouth

So we bought a box of marshmallow gummi hamburgers at Smart & Final for my birthday, and they are, by far the most disturbing item I’ve ever had in my mouth.  It’s like eating a slice of citrus flavoured tire (the three layer gummi portion) sandwiched between two cheap, stale marshmallows.  It’s both hard to chew and alien tasting.  I’ve had to give them away to people with a “these totally suck” warning, and they’re one of only two foods that I’ve seen my food soul brother, Bret Berg, spit right out of his mouth in the decade I’ve known him, and that man will eat nearly anything.

The one above (top view here) melted in the back of my car, and I feel pretty confident in saying that the melted gummi may have formed a chemical bond with the plastic tray.  On a molecular level how different are gummi and plastic anyways, based upon how similar in taste both are, possibly not very different at all.

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March 14, 2008 Uncategorized

Busy Bee here, too busy to break the weekend down.

California Video is on view as of this weekend (I’m checking it out at the press preview today).  Also on view at the Getty is Lessons from Bernard Rudofsky, over at the GRI.   the everyone’s talking about the Kara Walker show, My Complement, My Enemy, My Opressor, My Love at the Hammer, but no one seems to have made it there yet. Have fun.

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Burgers, Food

Paula Deen is my kitchen MILF, and I have no choice but to love her. And I love burgers. I’ve eaten burgers all across this country, I’ve planned trips around the schedules of lonely road burger joints, and I’ve spent the past 2-3 years perfecting the hamburger in my home kitchen. I could bore you to death talking about hamburgers. Burgers are the Zen meditation of food to me.

Thank you Paula, for advancing us one tick closer to apocalypse (and therefore its more aesthetically pleasing companion, the post-apocalypse) via your promotion of the “Lady’s Brunch Burger.” Michele (who has a brand new webpage, where I have a feeling that my many, many verbal slip-and-falls are about to be highlighted for posterity.) forwarded me this link from the burger lovers over at A Hamburger Today, which actually has a series of posts devoted to Madame Deen, titled Paula Deen is Trying to Kill Us.

The above is an unholy abomination. Egg and bacon are essential and primal burger toppings, but to use a glazed donut as the bun crosses a line. Part of me wonders if this recipe is a gag, a bit of filler invented to pad out a webpage or cookbook. I don’t know. I’ve been watching Paula for years, listening to her buttery voice as she touts the pleasure of lard and other delights. So I think it’s totally plausible that she sits around on Sunday mornings, boozed up and laying in bed next to a platter of these babies. The sad part is, I know that I’m going to end up making one, because I have to know. I can feel the diabetic shock coming on already.  When is brunch?

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March 12, 2008 Art, Museum

Looks like this week I’ll be typing a fair bit about the Getty, especially since we’re right at the cusp of the opening of California Video. This one’s news to me. In December Vicki Porter, Getty Trust Web Manager for Editorial and Audience Development, set up a wordpress blog for the Getty, A Different Lens. It’s interesting, although written in very PR language. I’m sympathetic, because I know the kind of self-editing I have to do when I write for the Angels Gate blog - running an institutional blog can be tricky work. It also has an Open Forum feature, where they are actively soliciting ideas for posts and reader generated content. I only discovered it today when Vicki linked to my Object in Transition Videos post from last week.

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March 11, 2008 Art, Museum

Okay, now they’re pandering to me. I suspect that the Getty’s total purpose for the acquisition of Paul Gauguin’s Artii Matamoe (The Royal End), pictured above is 100% motivated by their knowledge that I will write a post about it, given its severed head-ness. Either that or it has nothing to do with me whatsoever. You be the judge.

I’m not, in any way, enthusiastic about Gauguin’s work. I think he is naive and exploitative, and not a particularly good painter, either. Maybe if I was living in the tail end of the 19th Century and had an extremely limited and somewhat racist perception of the world, I might be sympathetic or have an interest in his work. On the other hand, I’m glad that he did visit one of my favourite subjects, and his body of work does shed light on the European attitude towards other cultures at the time.

Suzanne Muchnic at the LA Times has a write up as does Edward Wyatt of the New York Times. Apparently the acquisition of this work was eight years and millions of dollars in the making. The work will go on view in April - it hasn’t been exhibited publicly since 1946. Wednesday, March 12th, there’s a free panel discussion Building the Getty Collection: A Decade of Acqusitions. Although their site and PR for the panel discussion makes no mention of this particular acquisition, I would presume it will be discussed.

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Art, Museum

On my brief visit to LACMA the other day, I was jaw dropped and kicked in the cojones by the newly installed Robert Gore Rifkind Gallery for German Expressionism in the Ahmanson building.  All of these images come from this important gathering of works, with the exception of the sculpture at bottom which hovers nearby.  I didn’t have much time to properly photograph every amazing object, so I’m giving a shout out to Käthe Kollwitz, who isn’t represented here.  This is a generation of artists who were direct actors in some of the most important events of the 20th Century.  Looking at these works, and just thinking about who these people were, I am reminded of the power of art to be important and relevant both in its time, and long after.

Max Pechstein - Das Vater Unser - Und Die Kraft Und Die Herrlichkeit - LACMA

above Max Pechstein, Und Die Kraft Und Die Herrlichkeit (And the Power and the Glory), from Das Vater Unser, woodcut, 1921 - Eye of Providence and everything.  This is one of twelve images from a very, very hard to photograph series of prints depicting the Lord’s Prayer. I am positively awestruck by the psychedelic symbolism and colour of this series.  It’s God as father, fuhrer and guru, all rolled up into one, at once German and also at the same time primeval. Robert Anton Wilson eat your heart out.  Primary label for this series is here, as is a crappy shot of the whole body of work.  Go see this one for yourself - the colour must be seen to be believed.

Max Pechstein - Das Vater Unser - Der Du Bist Im Himmel - LACMA

above Max Pechstein, Vater Unser Der Du Bist Im Himmel (Our Father, Which Art in Heaven), from Das Vater Unser, woodcut, 1921 -  From the same series.  This is somewhat frightening presentation of God, as here and now, as immediate and passionate in a way that I find intimidating and which reduces me to universal smallness, which I suppose is one of the functions of Judeo-Christian religious art.

Otto Dix - Sturmtruppe geht unter Gas vor - LACMA

above - Otto Dix, Strumtruppe gehr unter Gas vor (Shock Troops Advance under Gas), from the portfolio Der Krieg (War), etching, 1924 - One of a portfolio of 50 prints, this is possibly one of the most haunting and frightful images I’ve ever seen in a museum.  The various images in this portfolio are almost a rejection of the presumed glory of battle painting - they are each like a hyperlink to what would actually be happening in a conflict, rather than the fantasy of pre-photographic military art.  Label is here, and image of Verwindeter Hebst (Wounded Man), 1916, Bapaume is here, also from the same series.

Wassily Kandinsky - Phalanx 1. Ausstellung - LACMA

above - Wassily Kandinsky, Phalanx 1. Ausstellung, lithograph, 1901 - Made while Kandinsky was in Munich, a beautiful modern treatment of Greek subjects.  Label is here.

Ernst Barlach - God the Father Hovering (side) - LACMA

Above - Ernst Barlach, God The Father Hovering, plaster, 1922 - I loathe vitrines. They make it impossible to get a good 3/4 view of sculpture. This is the only piece not in the Rifkin Room, but it’s an amazing pairing to the Max Pechstein works up top. I’m totally mindwarped by the religious enthusiasm present in this work - it almost seems immediately Jewish and familiar, although Barlach was not Jewish.  I wish I owned this.  Label is here.

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