flyover

Dave Hickey at the Nasher Museum of Art, Duke University (Jan. 14, 2010)

I was highly anticipating this lecture from Dave Hickey-- writer, freelance art and cultural critic, and MacArthur Fellowship winner among his many claims to fame. (As with any discussion of Warhol, the concept of fame itself played an important part throughout the evening.)   I had seen Dave speak one time before, in conjunction with his Beau Monde biennial at SITE Santa Fe, so I was eager to draw a comparison between the two talks.

But to be honest, I mostly went for the fun of just hanging out--for a short while and in a large crowd--in Hickey's presence. This was, I knew, the best place to enjoy his patented irreverence for certain aspects of life, his deft ability to pontificate on the intellectual underpinnings of American culture and democracy, and also where I could hopefully catch a brief joyride in the critical musings which, in the title essay of his collection "Air Guitar," he describes as "flurries of silent sympathetic gestures with nothing at their heart but the memory of the music."

Not many "rock star" art critics swing through the Raleigh-Durham area, so when it happens, ya gotta go.  As a participant in the endeavor of criticism myself,  I must admit a deep regard for Dave's writing, his cultural essays and "Art Issues" pieces in particular, for their accessibility, range and, like them or not, his compelling critiques.

I've had my home state of Michigan on the brain quite a lot lately -- and it's not just because, as I sit nearly snow-bound in Madison, Wis., I'm wearing the same U of M sweatshirt I've had since 1987.  While the economy is dreadful across the U.S., Michigan got hit earlier and harder by this recession.

But rather than focus on gloom and doom, I want to think about what's next for Michigan.  How can it envision a better future?  A friend who works for the state's office of historic preservation turned me on to the site "Let's Save Michigan," which just did a blog post on the role that the arts play in creating cities people actually want to live in.

My brother, who lives in Ann Arbor (site of my alma mater), sent me a link to a PBS NewsHour segment with Ray Suarez on that city.  Suarez investigates what has made Ann Arbor more recession-proof than the rest of the state (though, as Ann Arbor's mayor points out, the recession can't be kept at bay indefinitely).

Not surprisingly, it's investment in education and technology--and being a place that people actually want to relocate to--that has helped Ann Arbor.  Suarez doesn't really delve into the cultural scene (the closest he gets is foodie paradise Zingerman's), but any A2 resident knows that a steady diet of concerts, films, exhibitions, etc. is part of the town's appeal.  You can live in a city of manageable size and still have plenty to do.  In my college days, I went to poetry readings, saw The Replacements and Billy Bragg, attended my first opera and saw performance artist Karen Finley (whose "We Keep Our Victims Ready" I still remember as ludicrous, for what it's worth).

Other good stuff in Michigan includes the "Kalamazoo Promise," a program funded by anonymous, private donors that offers paid college tuition to students who graduate from Kalamazoo public schools.  The benefit can be used at any of Michigan's state colleges and universities.

I don't have any answers for Michigan; I haven't lived there for 17 years, although I occasionally think about moving back.  But I'm glad there are smart people thinking about Michigan's future and ways to make it brighter.

At long last, Madison, Wis., is poised to get a new central library branch.  Although the current building dates only to 1965, it's a pretty bleak, worn space.  I'm glad to see the city move ahead with this, especially in a tough economy.

But there's one aspect of the planning that's uncertain and quite troubling.  A mural by the regionalist Aaron Bohrod, a former WPA artist whose work was also featured in the pages of Life, Time and Look magazines, is in danger.  It's unclear if and how it will be preserved when the existing library is demolished.

For details, see Jay Rath's Nov. 13 article in Isthmus, "Will the Aaron Bohrod mural at the downtown Madison library survive?"  As Jay notes, a John Steuart Curry work elsewhere in town (on the UW campus) is being preserved amid construction.  Curry's gig as artist-in-residence at the University of Wisconsin-Madison (in the College of Agriculture, no less) was the first time any university had set up such an arrangement.

It would be a great shame if, as Madison moves ahead with one worthy cultural goal, it lets another one--preserving our heritage--fall by the wayside.

Update added Dec. 2:

The Wisconsin State Journal reported last week that the city has hired a conservator to study ways the mural might be preserved.  For details, see Dean Mosiman's article from Nov. 26.

Who couldn't use a little good news these days?  With that in mind, here's a smattering of positive arts news from Wisconsin, albeit an incomplete one.  Feel free to share your own good news in the comments area below.

• The Milwaukee Ballet recently received a $1 million gift from the Dohmen Family Foundation, and its school has become fully accredited by the National Association of Schools of Dance.
• Spring Green's American Players Theatre, a classical repertory company, opened its second stage this year.  The 200-seat, indoor Touchstone Theatre now complements APT's main stage, a 1,148-seat outdoor amphitheater.  Ticket income for the 2009 season was up 1% over the previous year, despite a smaller patron base of just over 101,000 attendees.  Some Touchstone shows were so successful (like Jim DeVita's one-man show, an adaptation of Ian McKellen's Acting Shakespeare) that extra performances were added.
• The Wisconsin Book Festival, which took place in Madison Oct. 7 to 11, was once again a splendid event.  Presenting authors ranged from Wisconsin residents with national profiles (Jane Hamilton, Lorrie Moore) to comix legends Harvey Pekar and Lynda Barry to thinkers like Wendell Berry.  Events are typically packed by grateful audiences--all events are offered to the public free of charge by our state humanities council.
• While the Madison Repertory Theatre folded earlier this year--very sadly, in the midst of its fortieth anniversary season--new professional companies are starting up in an attempt to fill the void.  (While Madison has dozens of community theater companies, the Rep's closing left a hole in the professional sphere.)  One I'm excited about is Forward Theater Company, which will stage the first production of Christopher Durang's Why Torture is Wrong, and the People Who Love Them outside of New York.  As Jennifer Uphoff Gray, Forward's artistic director, told me in a story for Isthmus, "We reached out to Chris Durang directly. He actually responded the next day and was really supportive. He said, 'Oh, I had heard about the [closing of the] Rep,' and he was really upset about it."  We need timely, provocative, professional theater here, and I'm glad there are people willing to fill that need.

Lecture at the Nasher Museum of Art
October 27, 2009

 He was affable, humorous and generally seemed like an all around great guy.  Not exactly the typical description you might expect to hear of an artist's lecture in a formal academic setting like a university museum. But then again I'm talking about Fred Wilson, an artist who thrives on the unexpected, and whose lecture I attended this evening at the Nasher Museum of Art at Duke University.  I believe it is no small part of Wilson's success as an artist that he is a likable and engaging character.  This good-naturedness allows him easier access to a rather privileged world he loves to tinker with, the inner workings of museum culture, in order to produce work that reframes, rethinks and challenges the status quo.

 Wilson's work explores curatorial practice itself and often relies solely on existing artworks in museum collections as subject matter which he rearranges and displays in unconventional and compelling ways.  Working in this manner allows him to produce startling exhibitions which provoke and confound our expectations of museums, their role as cultural arbiters, and their interpretation and presentation of artworks themselves.  This working method has in fact become Wilson's main methodology especially since his exhibition "Mining the Museum" at the Maryland Historical Society in 1992 - a breakthrough event he concedes changed his life forevermore afterwards.   After this landmark show, recontextualizing works of art (and in turn our interpretations of them) through bold curatorial juxtaposition became Wilson's signature.  Just one look at the well known image from "Mining' of Wilson's display of slave shackles and elaborate silver tea goblets together in the same display case is really all you need to start reconsidering the notions of historical accuracy, authenticity, and truth.  History is written by the winners as they say.

In the years since "Mining the Museum" Wilson has gone on to produce other provocative displays in museum and galleries worldwide. Representing the U.S. in the 2003 Venice Biennale afforded an opportunity for international cultural exploration and Wilson fittingly explored how the Moorish culture and Africans exerted and continues to play such a large part in the cultural life of Venice.  His large ebony chandelier entitled "Speak of Me as I Am" became a metaphorical exploration of Africans' impact on the culture of this particular city through one of their rich traditions- glassblowing.  His large chandelier was rich in form and seductive in its understatement of its medium.

 Wilson spoke of how he loves the idea of bringing two differing things together to produce a third thing - namely some unexpected concept or rethinking of the work itself - and this notion is one that continues to drive much of his artistic production.  His work reflects his own perspective of course so his reworkings of museum collections still provide a highly personal take on history and how it's been told- a fact the artist readily acknowledges.  Yet he does it with such gripping force that it has the effect of stopping you in your tracks.

The fundamental core of Fred Wilson's art is the idea that historical accuracy and representation are not all they are cracked up to be.  There's more than one way to organize a show he tells us.  And in that telling, Wilson's art explores not only how strongly museums impact and shape our cultural view but more importantly how we consider and understand ourselves.


Fred Wilson, "Mining the Museum"  Maryland Historical Society, 1992

As it wound down its run towards its final weekend, the group show entitled "The Conquerors" at Artspace seemed to be crying out for a final close look. So I was more than happy to oblige. 

Co-curated by Raleigh's own Paul Friedrich of Onion Monster fame and Lia Newman of Artspace, the show presents five nationally known artists prominent in the field of 'zine illustration and the Lowbrow style of painting.  This style, finally edging its way eastward from its '80's West Coast origins, is a funky amalgam of the bawdiness of underground comic graphics, hot-rod car culture and the ever scintillating aesthetics of punk rock all rolled into one.  It also throws in a unique incorporation of certain elements of traditional painting subject matter filtered through a streetwise sensibility.  It is worth noting that almost all the artists in the show are also crossovers, having achieved success in much larger media outlets producing graphic work in television, music and national publications.  

Mark Bodnar wins the Tim Burton award for his figures set in generic, yet seriously strange landscapes.  Bodnar's subjects are typically involved in a kooky and mysterious contemplation of their next move in any given scene all the while casting a wary eye about with Betty Boop-like beepers. His observations stand as an eccentric looking glass into a world in which your own emotions take flight couched in disowned, unloved cartoon characters trying to find their own place in the world.

Mari Inukai's paintings are sumptuous in their technique and direct expressive qualities.  Her underlying sense of sentiment and desire stand like beacons to ground her painterly figures in a realm which seems as influenced by Vermeer and John Currin as Manga and Anime.  I felt mesmerized by her tactile paint handling and strong emotive yearnings.

Bonnie Brenda Scott produced "Reactor" a large mural which dominates a full wall in the gallery.  The work is composed of writhing figures rendered in cerebellum-like matter that wind their amoeba shapes across the wall's expanse in a flurry of orange, pink, and blue.  Smoke like shapes flutter up above and her shapes seem at once to be menacing and contemplative as if engaged in some weird conversation to which we are not fully privy.

Bill McRight sticks to black and white imagery exhibiting a loose amalgamation of monsters hanging out and doing scary beasty things. They also cavort a little though and also do things like ride motorcycles.  He purposefully leaves the work a bit vague so that you're forced to fill in the blanks. Yet the strong graphic presence of his pieces (probably the boldest in the show) propels you into a dialogue that leaves you feeling like the work is always going to somehow win the battle on its own terms.

Liz McGrath has the only sculptures in the show exhibiting a trio of flying bunnies elongated in mid-leap (ala Barry Flanagan style) though hers are clothed in odd, hand-stitched, quasi military uniforms. She also has a pair of boxed relief works which depict an elephant and a mosquito in an elaborate ceramic framed and velvet lined animal reliquary. They stand out like some sort of carnival sideshow attraction at once mystically repellent yet so elaborately crafted that they command attention.   

The Conquerors at Artspace
September 4 - October 24, 2009

Picasso and the Allure of Language

Nasher Museum at Duke University

August 20, 2009 - January 3, 2010

I will be the first to admit that I approached this show with caution and also a bit of trepidation.  The thought crossed my mind that the jig was up and it's just that our museum-going selves haven't caught on as yet.  I mean, can there really be that much more to be said in a Picasso exhibition that hasn't been said already?  The blockbuster shows, of which there have of course been many, have effectively worked over the terrain of Picasso as artistic genius to the point of exhaustion, but "Picasso and the Allure of Language" the current show at the Nasher Museum at Duke proves there is still fertile territory to be plumbed.  This show's perspective takes a beguiling multi-faceted approach with the primary aim of exploring the role and influence of language and writing in Picasso's work.

 

Organized by the Yale University Art Gallery in conjunction with Yale's Beinecke Library and support from the Nasher, the show displays manuscripts, letters, book projects, catalogues, and poetry both from Picasso himself (I have to admit I didn't know he had written such a large amount of poetry) and his contemporaries such as Georges Braque and particularly writer Gertrude Stein.  Surprisingly, fewer paintings are on hand than might be expected though the show includes a multitude of prints, drawings, and various illustrated book editions. There are also archetypal cubist-style Picassos included that were either created on newsprint or utilized newspapers as source/ subject material such as the work "Pedestal Table with Guitar and Sheet Music" from 1920.  One of the more intriguing works is entitled "Dice, Packet of Cigarettes, and Visiting-Card" from 1914  in which the artist remade one of Gertrude Stein's and Alice Stoklas's calling cards (left at Picasso's door when they called on him in his absence) into a collage work itself regifted by the artist and left at Stein's and Stoklas's door shortly afterwards.

 

It is a natural that this show emanates from Yale in that the literary influence of Gertrude Stein on Picasso's work can be directly traced from and supported by the Beinecke Library's vast archive of her writings.  An early benefactor of Picasso, collector of his work and his primary patron during the crucial formative cubist years of 1905-1914, Stein was a larger than life expatriate figure with an enormous influence in Parisian artistic life of the time.  The real heart of the show lies in precisely her particular literary lineage and influence and it becomes apparent that the impact of writers and poets upon early 20^th century visual artists cannot be underestimated.  This literary influence which, as shown here is always a strong undercurrent in Picasso's work, is unfortunately often overshadowed by the sheer bravura of his artworks themselves (as well as his mythic persona and larger than life reputation.)

 

It is to the show's benefit that it possesses such strong multi-media appeal (a snazzy touch-screen video display with digitally turning manuscript pages kept many viewers' rapt attention while I visited the show)  and is quite interdisciplinary in nature.  In this sense, it is in keeping with our media enthralled age to a degree and yet also able to strike some common ground with appeal for lovers of the visual image, the written word and the printed page- vintage bibliophiles, art fans, and Twitterers alike. 

While the chronology of the show is vast - exhibited work spans across Picasso's life from age 19 to his 87^th year - the intimate feel of the show in the Nasher's gallery gives it the feel of a retrospective in miniature form.  One in fact will likely leave feeling a bit dazzled by it all... but also refreshed.

 

(author's special thanks to Thornton Wilder for his suggestion to Stein to donate her literary archive to Yale in the first place.  Who knows how much longer we would have had to wait before some intrepid scholar would have tracked down these literary linkages otherwise?) 

(image courtesy the Nasher Museum of Art, Duke University)

Using a box of Froot Loops and some Go-Gurt as props, Michael Pollan--looking natty in a sportcoat and tennis shoes--spoke to an enthusiastic crowd of about 7,000 people last week at the University of Wisconsin's Kohl Center.  Not too shabby for a weeknight author event.

 

Yet I wasn't surprised in the least by the turnout:  here in Wisconsin, food matters.  As Pollan noted, the state has been on the leading edge of current issues surrounding food, and he wasn't just trying to curry favor with us cheeseheads.  From farmers' markets to urban farming (like Will Allen's Growing Power) to CSAs to larger debates about food policy, people in Wisconsin care about food, even if we don't all agree on the best way to produce it.

 

As one of the speakers introducing Pollan noted, about 10% of Wisconsinites work in agriculture-related jobs.  While no one in my family farms anymore, my grandparents (now both deceased) raised hogs and Angus beef cattle.  My aunt and uncle ran a family dairy farm and still live on that land.  As for me, I don't even garden and hay makes me sneeze like you can't believe--but I'm truly proud of the farming my family members have done.  Farming is physically demanding and financially risky.  If you like to eat, you should appreciate what farmers do.

 

But back to Pollan:  part of what I appreciate about both his book and his talk at the UW is the way in which culture has not been left out of the equation.  In fact, one of the big drivers behind Pollan's Madison visit was the UW's Center for the Humanities.  I believe they had already lined him up as a speaker for their "Humanities without Boundaries" series even before the UW at large selected the splendid In Defense of Food:  An Eater's Manifesto as the inaugural book in its new "Go Big Read" campus-wide reading program.

 

Just as food is a big part of Wisconsin's economy, it's a major part of our cultural heritage.  It helps us define who we are, from grass-fed beef and wholesome CSA produce to the more indulgent side of things:  brats, cheese and local beer.  While Pollan may tick off some food scientists and nutritionists (two professions he has taken to task), he does underscore a simple and oft-forgotten message:  before we turned food into a medical and scientific minefield, it was simply a part of life.  Kudos to Pollan for being one of the voices reclaiming food's rightful place as a part of culture and daily pleasure.

 

Local visual artists have also engaged in food-related issues.  I still remember an excellent show the James Watrous Gallery of the Wisconsin Academy of Sciences, Arts and Letters did on the theme of farming in 2007, "Wisconsin's People on the Land" (my review is archived here).  And, timed to coincide with Pollan's multi-day stint in Madison this month, the local artists' group artsTRIBE exhibited at this year's "Food for Thought" festival, which also featured Pollan.

 

While I've never been completely disconnected from my food, Pollan has inspired me to make the extra effort to buy local food more frequently and do "real" cooking more often.  (Yet I'll never, ever, give up the occasional donut; life would no longer be worth living.)  It's not just about me and my health or quality of life--it's about being invested in this place where I live, in many senses of that word.

The web-based culture magazine The Curator kindly published this piece on mine in August exploring the future of music magazines and the difference between them, the music industry they cover, and all the buzz over the fate of newspapers. Thanks to AW.

Few things get Quincy Jones riled up like death.

First, it was Michael Jackson’s. Then, it was Vibe’s.

The monthly magazine covering black pop culture was shuttered suddenly last month 16 years after Jones co-founded it. The private equity firm that owned it failed to find a buyer. That was the only way to keep it solvent. The next day, after the news emerged, Jones vowed to revive it: “They just messed my magazine all up,” he told the Associated Press. “I’m’a take it online because print … is over.”

…

The problems facing newspapers right now have convinced some, like Jones, to think print is over. But what newspapers are facing seems categorically different from the current plight of music magazines. Significantly, newspapers haven’t had to deal with piracy, which over the past decade has reconfigured the entire recording industry and by extension reconfigured the landscape that music magazines cover. For newspapers, news is news, whether in print or online. Distribution is the problem, not the nature of journalism. For music magazines, the problem is existential. What is the purpose of a music magazine in light of the dramatic shifts of the past decade?

In 2000, CD sales, having survived Napster 1.0, continued their decline, but slowly. By the middle of the decade, they were in free fall. Just two years ago, estimates ranged from 1 to 2 billion illicit downloads a year. That figure is surely low now. The marketplace value of music has cratered. It’s expected to be free. Few really expect paid downloads to match, much less surpass, former profits. Most industry insiders, including musicians themselves, consider CDs to be a marketing device for live concerts. To have a hit record, furthermore, is almost meaningless when that means selling a few hundred thousand copies. Meanwhile, those able to top the charts are fewer and fewer in number. When people say Michael Jackson’s death signaled an end to an era, they in part mean there won’t be superstars like him ever again.

The whole she-bang …

If you live in the Midwest--and especially if you live in Madison, Wis., as I do--one of the most curious things about following coverage of author Lorrie Moore is what that coverage reveals about attitudes towards this region.  Moore, whose long-awaited new novel just came out, has lived here since 1984, when she joined the faculty of the University of Wisconsin-Madison.

 

I covered A Gate at the Stairs, the new novel, for this week's issue of Isthmus, Madison's alternative weekly, and this aspect of her critical reception is one topic I tried to address (with regard to her previous books).  In a nutshell, too many reviewers have cast her in the role of pithy, coastal intellectual trapped in a land of corn and slow-witted people.  (Just one example:  Ploughshares commented that "the predicaments of East Coast sophisticates landlocked in the Midwest" is a theme in her work, and implied it about Moore as well.)  This has become a cliché that Moore herself is tired of (see her quotes in my article).

 

It's that same sort of attitude that led my co-bloggers and I to somewhat sarcastically call this blog "Flyover"--so you can imagine my amusement when Michiko Kakutani wrote unironically in the New York Times that "[Moore] gives us bright, digital snapshots of flyover country where nearly every small town has a local Dairy Queen..." (something Kakutani apparently finds exotic and noteworthy). 

 

Jonathan Lethem's piece for the NYT also touches upon similar territory.  Rather puzzlingly, he wrote that "Moore's class diagnostics are so exact she can make us feel the uneasiness not only between town and country in a single landlocked state, but between different types of farmers on neighboring plots."  This comment tells me more about Lethem than Moore.

 

Lorrie Moore certainly has her laser-like descriptive gifts, but being able to distinguish in a work of fiction between a Madison-like college town and a rural community is not an extravagant feat.  The differences are obvious, as are the ones between a boutique farmer of gourmet potatoes and a big commercial operation.  Would Lethem be impressed if someone could tell the difference between a yuppie-ish college town in New York and an upstate farming community?  (I won't even get into Lethem's description of Wisconsin as "landlocked," but he might want to look at a map of the Great Lakes.)

 

For my part, I found A Gate at the Stairs problematic and not entirely satisfying, even though there are plenty of things to like about it.  Not only are the differences between the fictional towns of Troy and Dellacrosse obvious, they're on the verge of hardening into stereotypes (as I wrote in Isthmus, "we're left with fairly stereotypical impressions of a hick rural hamlet and a navel-gazing, lefty college town").  I also thought, as one example, that Tassie's inexperience with things as commonplace as Chinese food--especially given her worldly parents and growing up near a college town--was implausible.  Do these people never go anywhere?

 

It's great when a Wisconsin writer--and after 25 years here, I think Moore qualifies as such--is also a writer of national and international stature.  There are a number of outstanding people here:  Jane Hamilton, Michael Perry, kids' author Kevin Henkes.  Just don't look so surprised, OK?