Above the Line

I did my day backwards. Starting from a reflective, quiet experience, I ended with a quarreling barrel of noise and anger that fueled the Trump victory.

Story of my life at the moment. Escaping into art before being forced into reality.

Agnes Martin made over 600 paintings exploring emptiness, energy, seeing, and surprisingly, joy.

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The show at the Guggenheim opens with this oddly shaped room hung with the entire ethereal series Islands I – XII from 1979. Here in Martin’s signature style, the paintings explore light and form and formlessness. She challenges us to slow down and look in order to really see. This is the work of art. To make us slow down and think, feel, remember, dream, and aspire.Martin wants you to experience innocence, freedom, perfection attained and resisted.

Here shapes emerge. Stripes of pale blue and gray. Pencil lines. All revealed up close and melt away at a distance. The pieces unite and converse, push against each other for space. They look stunning with the architecture.

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Martin explained that she works in a meditative way, emptying her mind and waiting for inspiration. For her, inspiration is emotional, and the intellect does not produce artwork. So despite what you see, her works are not minimalist, mathematical explorations of line, color, shape. You can see the artist’s hand.

Loving Love, 1999

Untitled, 2004

painterly detail

painterly detail

Instead emotion fills her intention, and she argues the work, like the Abstract Expressionists. And not just any emotion.

Loving Love, 1999

Loving Love, 1999

Martin says she draws a line and chooses to live above the line, with happiness, beauty, and love. By this approach, I’ve been living below the line since the election. After 9/11, art pulled me above the line. I don’t know what will this time.

Going to the Jewish Museum certainly wasn’t the answer. Although ostensibly I went for the John Singer Sargent portrait on loan, aching for his bravura splashes of color after the austere monochromes of Martin.

But I was literally swept into the bright noise of Take Me (I’m Yours). This democratic space lets artists express in the moment, and the below-the-line anger oozed through the rooms.

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With objects to take ranging from pills to lemon water and t-shirts and ribbons to words on paper and words on the wall, I filled the bag provided. My bright yellow ribbon states “It is not enough to be compassionate” in hot pink serif letters. This was the cleanest saying hung for the taking.

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The t-shirt: “freedom cannot be simulated.”

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What tore my heart open was the poster created by Jonathan Horowitz before Election Day. I couldn’t bear to take one, although it was probably the most popular object in the exhibit. Now who’s face will join the portraits?

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Martin’s Taoism that had so calmed and uplifted me vanished immediately.

I don’t know why I decided to follow through on my ticket purchase for Lynn Nottage’s “Sweat.” But I went and found the violent yelling and seething racism of working class plant workers  just more than I could take.

Yes, the play was written and even opened before the election. I bought my ticket when I could assume my pedestal height to empathize with their struggles for work, which in my privileged way I share, so a connection. I couldn’t make it past intermission.

I get it: working class white America is angry. Now liberal America is angry. What do we do with all this anger? How can we get back above the line?

Untitled, 1960, looks like a textile

Untitled, 1960, looks like a textile

Or do we need to blur the lines or weave the lines? Try something new?

detail; see each one of us showing up

detail; see each one of us showing up

 

 

Sweet Charity

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In the aftermath of the election, much that I have treasured now has a bitter taste. Even escapist entertainment seems to contain commentary on lost ideals. I’m working on the lessons learned. We’re all different, and we’re all the same. What is it we all want? To be heard and treated with dignity and respect.

Well, not Charity. Sweet Charity will sacrifice anything for love–most definitely her dignity and self respect.
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But I’m sure your heart will break as mine did when you hear Sutton Foster sing about it. And you’ll get to see her triple threat in a small off Broadway house. Hard to believe but true.
 
I kept hearing metaphors in everything she sang. The endless optimism and “she’s a brass band” — so all American.
 
So when she’s kicked in the chin one more time at the end, what does Charity Hope Valentine sing?
Looking inside me, what do I see?
Anger and hope and doubt
What am I all about?
And where am I going?
You tell me!
 
For the first time, she sounds bitter.
 
I resonated with her despair, which I’ve been feeling since the election. I remember Charity as indomitable, but in this production, even she is left alone to make sense of a cruel world. 
 
And America is stumbling badly, too. Just like Charity. Where are we going?
 
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Is this what protest will look like, as it did in the ’60s?

 

Shining Future

Today has been my first day to not be brave and reasoned since the election. I spent some time wallowing in videos of post-election sense-making and then decided to take in this glorious fall day in downtown New Haven.

Walking through the Yale campus, I paused at the chalk writings covering the plaza and sidewalk outside Sterling Library. Students declaring they’re still here. They’re not leaving. Everyone wants to be seen and heard. Everyone. This need is not limited to the victors.

Over on Church St, a march was noisily passing by.

I stepped into the Yale University Art Gallery for my now daily dose of art as medicine. I hadn’t yet seen the Yosemite exhibit and having taught the promise of the West with my students, I really needed to see what YUAG had uncovered from its own collection.

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Since the plethora of eye surgeries have created some new abilities, I was happy to discover another one. For the first time in my life, I can actually see the 3-D image form using a stereoscope. And it is marvelous! I sat with this one for several long minutes studying every detail.

Image result for underwood and underwood yosemite falls, from glacier point trail 1902

Underwood and Underwood. Yosemite Falls from Glacier Point Trail. 1902.

The flanks of the horses, the overlap to the lone shrub, the droplets of water seemingly visible from the falls, I marveled at every detail and “you are there quality.” I get it. I understand why these things were such a major form of entertainment in the late 19th and early 20th centuries.

This image was one of 3 with stereoscopes in the exhibit. I was arrested by it in particular, I think, because of the journey it promises.

Albert Bierstadt. Yosemite Valley, Glacier Point Trail. c1873.

Standing in front of this large painting by Albert Beirstadt, I realized something. As one tear slid down my check, I understood why this moment is even worse for me than 9-11.

Then, I felt shocked and stunned because we were victimized into an awareness finally that Americans are not universally beloved. Art was my savior then, too. I stood many mindless moments absorbing an Impressionist painting of a winter scene, part of a special exhibit at the Phillips Collection at the time, before I realized beauty was what I needed an an antidote. I turned my life toward art.

No, this moment is different. Americans are not victims this time. We have stabbed ourselves in the heart. I feel broken in a new way that became evident when meditating on this glorious evocation of the belief in the American promise.

That saturated golden light represents the future infused with American values, rights, and systems. The journey toward the spiritually evanescent light calls to all of us in the foreground to journey toward it, to be clear-sighted, and stay the course to the future.

That light for me now has been snapped off.

It’s been a long run and a mostly good one since this promise was made after the Civil War. Perhaps, in the grander scheme of things, it’s time for another country’s light to shine bright.

 

Subway Therapy and Therapy Beyond the Subway

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After reading about Subway Therapy, past election, I was really glad to participate. I thought the 6th Ave L train station was the site, but when I got to Union Square Station, the big crowd was the clue. Maybe there’s more wall space here, or the project has expanded.

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Communications have grown, yet the messages have stayed simple, as is the process.

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Take a post it note from the floor. Write on it, and stick it on the wall. I was glad to make a contribution: “resilience over fear.”

Read. Contemplate. Contribute. Connect. Whatever your transit schedule will allow.

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It is good. We are not alone.

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I reflected on a statement in a novel I just finished, which has nothing and everything to do with the election outcome: We’re all different, and we’re all the same.

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I thought about what makes us the same. What is it we all want? To be heard with dignity and respect. I certainly have been dismissive this election season. Many, many people feel neglected and threatened now. That’s my takeaway, rededicating myself to people who are now more vulnerable than ever, including myself.

So what’s the answer?

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Well clearly, one is to turn from the serious to the silly. Look at these ice cream cones.

Big Gay Ice Cream. What would our president-elect make of this?

How do I decide?! Ruben was my guide.

How do I decide?! Ruben was my guide.

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My cone was lined with peanut butter, along with the Salty Pimp. Oh my!

Silvermine mines beauty

After the disruptions of this week, I found myself under the spell of the exhibit at Silvermine Arts Center today. Just what I needed. I was bringing the Gallery Manager Jennifer some Artventures! Games for their newly opened holiday show when my feet compelled me right into the galleries and the “New Work/New Directions” exhibit.

The Silvermine Guild is comprised of 300 professional artists from around New England, and this show features the work of several. What immediately appealed to me is this work by Arlé Sklar-Weinstein.

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With “Rainbow Vines (Measuring Days)”, she works with cotton cord and tightly twisted yarn, playing with our conceptions of time. You know the idea of counting time on a stick. She riffs on that with these curly vines.

While they are sold separately, I love the curtain of vines as an installation. There’s something primal and snakey about them, while also patterned in the most pleasing way when seen as a whole.

This work by Camille Eskell is intriguingly titled “F-ezra: Made a Woman” from The Fez as Storyteller series.

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You can make out the fez as what the artist calls “the sculptural foundation.” A fez is traditional headgear worn throughout the Middle East.

The digital images, Hebrew letters, coins beaded together, and the braid all represent the melding of the cultures of Iran, India and Sephardic Jewish traditions in her family, as well as gender representations. Notice the elegant Islamic style patterning as well. This piece is large, 55″ tall. Imagine actually wearing it!

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These toy-like sculptures called “Once Upon a Time” by Marilyn Richeda look soft and cuddly, until you get up close.

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Surprise. Now you can see the textured clay that makes up the piece. It almost looks like concrete. Just a little cold. Not so fuzzy-wuzzy after all.

Plays of light and texture make this artist’s work amazing, too. Joycelyn Braxton Armstrong has created these winged creatures out of clay. Yes, that’s not fabric, but clay. 2016-11-11-11-54-00

This work called “Tempest” references the white dove, a symbol of peace. Take a moment to fully take this in, in its spare, elegant beauty. Just the salve you may need as much as I do right now.

The work sold as part of the Silvermine Holiday Show is equally arresting. I’m so pleased to have Artventures! as part of this beautiful place. So go visit now for the holidays and absorb these celebrations of human creativity and possibility.

 

 

Fall-time cider

The New York Times reported this week that the one upside to global warming is that the foliage in autumn is more vivid. The drought we’ve been suffering means leaves make a vivid shout out to fall and cling to the trees longer.

Today, as I wandered toward B.F. Clyde’s Cider Mill, I jumped off the highway to avoid an accident and took some winding roads through scorching hot foliage territory. Spicy reds, sunshine-ing yellows, and sparkler oranges. Thank you, global warming, I guess…?

By the time I got to the Cider Mill though, the trees were already bare. I guess it’s just a tidge cooler there.

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Operating since 1881, Clyde’s is the only steam-powered mill still in operation. Six generations of the family have worked the press, and I was there to see the apple cider get made. They can make 500 gallons an hour of cider. That might seem like a lot to you, but when you figure how many people had the same idea as I did today, well, maybe not so much.

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The apples are loaded into the chute as you see above. Today’s were Honey Crisp. The cider and baked goods all shift in flavor through the long season depending on the apples that are harvested and used.

Once the apples are washed, they are funneled into a grinder, making a really thick apple sauce. The sauce is raked, yes raked, four times and put on a rack, swung around and pressed until the liquid flows. The smell is just wonderful.

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The engine room powers the machinery. This cider mill is a, wait for it, National Historic Mechanical Engineering Landmark, for all this original equipment. They have a little historical display, and I was most taken with the pamphlets and articles on prohibition, one extolling the virtues of drunkenness. What?

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Well, Clyde’s makes 8 kinds of hard cider. I visited the tasting area, where a long line formed so that each of us could taste four of the 8.

While waiting, Mary became my guide for all things cider. She had tasted all these various styles of hard cider and knew all about the subtle flavor shifts as the apple harvests come in. What a palette!

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Mary also clued me in to the apple cider donuts, which I admit are pretty outstanding. Who knew that a Honey Crisp donut would taste different from a Micun!

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I’m most grateful to Mary for turning me on to Shagbark Syrup. Turkeywoods Farm was there selling various syrups they create from hickory trees. Without Mary’s deft guidance, I might have fallen for hickory nut syrup or the hickory ginger syrup. They are wonderful.

Shagbark. That’s the find!

Mystic Hickory Shagbark Hickory Syrup

Now with wine tastings, you have all these descriptors that distinguish the various nose, mouth feel, etc. You know how it goes.

Same thing for syrup. Shagbark Syrup has a complex flavor profile, blending woodsy, earthy, nutty, smoky, even honey overtones. This from the bark of the hickory tree. Not the nut, not the sap like a maple tree.

So yes, I’ll be eating bark with my French toast for some period of years to come. That’s how long it will take me to finish a bottle this size.

Okay, bark with some processing. It is boiled and then aged. Yes, age your cheese and your bark. Then the aged bark is blended with natural sugars. It’s divinely delicious.

And no trees are hurt in the process. The shagbark hickory tree naturally sheds its bark starting at age 7. The bark is harvested when it falls from the tree or carefully removed when loose.

We can thank the Connecticut Native American population, likely the Pequot, for this wonder. They drank tea prepared by steeping hickory bark in hot water, sweetened with honey. It’s supposed to help with arthritis. But who cares? It helps with my spirit.

So did my visit to nearby Enders Island, home to the St. Edwards retreat/monastery.

Enders House at St. Edmund's Retreat

I watched rocks and water for a peaceful retreat of my own.

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