Smiles and Shadows

The New York day was jammed – with heat, with tourists, with smells, and with action.  Three museums, two plays, a movie, and a partridge…

Best of all though was walking the streets and letting New York happen.

Seeing “Skeleton Crew” by Dominique Morrisseau was brilliant enough in itself-so assuredly written and acted, characters thick with their (extra)ordinary struggles that transcend when put in Detroit in 2008.  The genuine acknowledgement of the craft at its peak with sustained applause through two curtain calls.  The wonder of discovering a gloriously talented playwright.

After, I had nowhere to be fast or slow.  As I strolled out the door onto the sweltering street, I smiled at a woman sitting on her stoop (Atlantic is on a residential street in Chelsea), and she smiled.

A tiny women, all bent over, asked, “so how was it?”

“Excellent”…”so good,” a young man and I answered together.

“I’ll get my ticket,” she said tottering toward the theater.

The young man, so pretty and sweet and gay and put together, and I compared notes, admiring the playwright, whom he worked with when he first moved to the City.  Turns out he’s 39, although he looked 23 at most, and an actor.  Of course.   We chatted amiably until parting for the next adventure.

I turned the corner, scanning for Blossom where I was planning to have a vegan burger with the onion ring and vegan bacon inside–crunchy and yummy by the way.  I stopped in front of a movie theater playing “Love and Friendship.”

Nothing feels so good as the cinema on a really beastly day.  Okay, I thought, I’ll just see what time it’s playing.

In 30 minutes.  So I got a ticket, now involving selecting an exact seat.

“You have such beautiful diction,” commented the ticket sales woman.

“I narrate for the blind.”

“See there?  I’m so smart.  I just at knew it,” she said proudly, handing over my ticket as she peered over her cheaters with a smile.

I smiled right back, then went outside to find Blossom.  The girl working as a greeter at the entrance to the theater looked with me across the street.  “I don’t know it,” she mourned, throwing her hands up in resignation.

I went across the street anyway in search and found its tiny storefront camouflaged behind the only tree on the block.

After my burger, I found the same girl stationed by the door, and she seemed delighted I came back to report to her.  We shared a moment about that tree.

The movie based on Jane Austen’s Lady Susan promised to be her most biting, with its true antiheroine.  But alas it was unfinished, and the movie feels the same.  Its sour cynicism is enormously amusing though.

After, even though the evening was still oppressively hot, I decided to walk the 20 blocks to the Broadway theater.  Still in Chelsea, virtually everyone responded to my sparkly glasses and goofy grim with a smile right back.  The tall, slim young man waiting for the 8th Ave bus, the bagel peddler, the barista selling iced, cold brew coffee.

My first sip exploded like a crunched, toasted coffee bean in my mouth, round, smooth, and strong.  Was anything ever so delicious?

Of course, entering the Penn Station  area, then Times Square, sobered me up fast, and I got back to people watching with my game face on.  The two girls, all brown flesh and swagger, in their rainbow-colored, twisted balloon crowns.  The three sailor boys in their Navy whites.  Wait!  One was a girl, her blonde hair braided and tucked under her cocked cap, and her thin, wire-rimmed glasses just cloaking her Times-Square-neon blue eyes.  The long, sweaty lines of theater goers waiting for that first whoosh of theater-cold air and relief.

Summer in New York can be horrible, but its neighborhoods and people never are.  The best part of any day.

Wonderful exhibits.  I was captured by the shadows, creating new works of art.

Moholy-Nagy, Twisted Planes, plexiglass and steel, 1946

Moholy-Nagy, Twisted Planes, plexiglass and steel, 1946 at the Guggenheim

Hellenistic Wrestlers

Hellenistic Wrestlers at the Met

Zeus' head and fist

Zeus’ head and fist at the Met

Greek theatrical masks

Greek theatrical masks at the Met

The Russian Thing and People Watching

Before Memorial Day, the beaches are still possible.  I hadn’t been to Brighton Beach before, so grabbed the opportunity to check out the densely-Russian-populated neighborhood in Brooklyn.

We stopped at La Brioche, which would seem to be French, but was full of interesting pastries of Eastern Europe origin.  I got a cheese filled thing and a pistachio cookie.  Very tasty and definitely worth the stop.  Once my handful of pastries was weighed, I owed a dollar.  Now that’s a bargain.

After a walk on the Boardwalk, we stopped at Tatiana’s to eat.  It’s right there, which is what makes it worth it, as I found the food too salty.  Never one to ignore kitsch, I just had to show you this gal pointing to the Tatiana’s restroom.  So chic.

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2016-05-22 13.20.22We poked in a few stores, and there was kitsch galore.  Lots of nesting dolls, although even I couldn’t resist this one, with its bottle of vodka hidden inside, for $7.  Now what do I do with that vodka?

I also thought this chess set was funny.  Hand painted in Russia, it features the U.S. presidents on one side (see if you can identify them all) and the Russian presidents on the other.  A perfect Cold War emblem, bringing back all those memories of the Spassky-Fischer matches.

 

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The walk from Brighton to Coney on the boardwalk only takes 10 to 15 minutes, and although the day was gray, the temperature was perfect.  I enjoyed the stretch between the two hubs, where things were a bit quieter.

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A quick stop to the New York Aquarium was in order.  A lot of it was under construction, but I still was mesmerized by the fish, got a jolt of energy from the joy the children took from the place, and laughed at the sheer cuteness of the otters.

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I’ve decided Coney is wonderful anytime.  I’ve captured it before mid-winter when it was empty and a bit eerie, in a compelling way.

Today, I just enjoyed people, kite, and mango watching.

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I watched this woman make her mango flowers for quite awhile.  She sold them just about as fast as she could make them, but for one moment, she had a small collection.  You can see how she displays them on her cart.

She was lovely about allowing me to film her carving the fruit.  She is a sculptor, for sure!

 

 

 

A day at the beach is a timeless thing in many ways.  It makes my heart happy.

 

 

Freedom, Tolerance, Acceptance

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The oldest surviving Colonial American synagogue is in Newport, representing Rhode Island’s commitment to religious, political, and personal freedom.  With the contentiousness and ridiculous attack on civil liberties by the presumed Presidential candidate, how refreshing to reconnect to principle American values.

Even George Washington thought so, writing a letter to the Hebrew congregation of Touro Synagogue stating “To Bigotry, No Sanction.”

With the Spanish Inquisition, specifically the Alhambra decree after their civil war declaring that all Spaniards must be Catholic, some Jews converted (Conversos), others pretended to convert but dangerously still practiced Judaism (Cryptos), and others fled.  This diaspora generally took Jews to Portugal, which soon found the similar need to Catholicize, and then Amsterdam, famously tolerant until the Portuguese took it over.

Fleeing the Portuguese again, the first Jews came to New York in 1654 and were barely tolerated by Peter Stuyvesant who enacted severe restrictions on Jewish involvement in civic life.  The next group decided to test Rhode Island, known for its separation of church and state.  Soon Cryptos were coming out by leaving Spain for Newport.  By 1677, the Newport group had enough demand to buy land for a burial ground.

 

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By 1763, the Sephardic congregation wanted a Rabbi and couldn’t find one willing to come to the hinterlands from progressive Amsterdam.  Until Isaac Touro, who hadn’t finished his training, came and became the namesake for the newly built synagogue.  The location is not off in some periphery, but adjacent to Newport’s historic center (just as its congregants were central to Newport life).

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What a beauty!  I’m a complete sucker for anything Palladio-inspired, and so was the architect Peter Harrison.  The Italian architect Palladio created pattern books, so his style spread through the European-connected cultures.  The secret was to know how to place the parts from the patterns.  Balance, symmetry, harmony are the principles.  Nice with the freedom, tolerance, and acceptance that Rhode Island embodied.

You can see how lovely the space is, with its dentil molding, arched Palladian windows, the ancient-Greek-inspired pediment, balustrades, and Ionic columns on the men’s level and Corinthian columns on the women’s balcony (yes, this was always and still is an Orthodox congregation).  Each column is a solid tree, smoothed before painted.

Harrison had to work with more than Palladio’s pattern books to design for the needs of the congregation.  He may be turning over in his grave with the asymmetrical placement of the President’s box, where important people including JFK, Eisenhower, and presumably George Washington attended services. When the President of the congregation has been a woman, she, alas, sits upstairs, not in the downstairs box.  Some things just can’t be tolerated apparently.

The raised bemah placed in the center of the space for the Rabbi is a Sephardic tradition.  Opening the ark housing the Torah and bringing it to the Rabbi for the reading involves a short procession.  This synagogue’s Torah was already 200 years old when it was brought from Amsterdam in 1763, and we got a quick glance at its browned pages.

1760s eternal light and candlesticks bought for a bar mitzvah, by the bimah

1760s eternal light and candlesticks bought for a bar mitzvah, by the bimah

Throughout the centuries and today, the pull to America has been about freedom and the chance for a better life.  What a nice reminder that at some points in our history, those ideals were gloriously met, for the greatest good of all involved.

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Transitions

The semester is over, and as students yahoo into their summers, I feel a bit wistful.  Transitions are like that.  I turned to current Connecticut exhibits for insights, solace, release, inspiration, and pure joy.  Here’s what I can share with you.

Martin Lewis, Dawn, Sandy Hook, Connecticut, 1933, Flo Gris

Martin Lewis, Dawn, Sandy Hook, Connecticut, 1933, Florence Griswold Museum

Martin Lewis, one of my favorite under-known artists, marks that transition from day to night, the walk from the commuter train and New York City into suburban Connecticut.  It’s cheerless and lonely, but the sky promises something fresh and new.  I see that commuter taking off his coat and hat for springtime.

So I turned my closet around, putting bright spring and summer clothes out front, pushing those winter darks into the corners.  I remembered things I forgot I had and saw what new outfits I can create.

Claudia DeMonte, La Donna di Buona Fortuna, 2013, bronze, Mattatuck Museum

Claudia DeMonte, La Donna di Buona Fortuna, 2013, bronze, Mattatuck Museum

And I got a bit more organized.

Claudia Demonte, Female Implements, 1995, Mattatuck Museum

Claudia Demonte, Female Implements, 1995, Mattatuck Museum

Join me in saying goodbye to skating in perfect harmony for now.

Miriam Anne Barer, The Skaters, 1943, egg tempera on masonite, Flo Gris

Miriam Anne Barer, The Skaters, 1943, egg tempera on masonite, Florence Griswold Museum

Because there are strawberries to eat…

Charles Ethan Porter, Strawberries, 1888, oil on canvas

Charles Ethan Porter, Strawberries, 1888, oil on canvas, Florence Griswold Museum

…and flowers to whiff, while the gentle spring sun tickles the tops of our heads.

Edward F. Rook, Laurel, c1905-8, oil on canvas

Edward F. Rook, Laurel, c1905-8, oil on canvas, Florence Griswold Museum

Remember that life starts over for us each season, too.

So give yourself a quiet moment to reflect.

J. Alder Weir, Portrait of Ella Baker Weir, c1910, oil on canvas, Lyman Allyn Museum

J. Alder Weir, Portrait of Ella Baker Weir, c1910, oil on canvas, Lyman Allyn Museum

Talk a walk somewhere new.

J. Alden Weir, U.S. Thread Company Mills, Wilimantic, CT, c1893-7, on view at the Lyman Allyn

J. Alden Weir, U.S. Thread Company Mills, Wilimantic, CT, c1893-7, on view at the Lyman Allyn

Try something a little crazy, just to shake out the old energy.

Salvador Dali's Alice in Wonderland, on view at New Britain Museum of American Art

Salvador Dali’s Alice in Wonderland, on view at New Britain Museum of American Art

Write your thoughts upside down or in a funny shape.  What’s new about what it says now?

Excerpt, Salvador Dali's Alice in Wonderland

Excerpt, Salvador Dali’s Alice in Wonderland

Sometimes I just need to reframe something.  And then it’s new all over again!

Harry Holtzman, Open Relief, 1983, oil on wood, stone, Florence Griswold Museum

Harry Holtzman, Open Relief, 1983, oil on wood, stone, Florence Griswold Museum

And I’m ready to keep going…

Happy Spring!

Button and Pie Memories

Today, New York was the stage for nostalgia, reminding me of my mother and my mother’s mother.

My grandmother was a seamstress, quite an extraordinary one according to my mother.  As a girl though, Mom hated wearing her mother’s hand-stitched garments to school, when all the other girls wore store bought.  How she regretted later that she didn’t have any of those garments when she would have appreciated the fine craft my grandmother practiced.

What she did have was her mother’s jar of buttons.

She and I would pull the jar out and gaze at it, jammed with all sizes and colors.  “Nothing ever wasted,” my mother told me, long after her mother had passed.

After my mother had gone, I opened that jar of buttons.  Big mistake!  It let out a stink so intense, it made made me choke.  Something like a cross between formaldehyde and a poorly cleaned public bathroom.  Phwew!

So I had to throw all those buttons, hundreds of them, away.  But not the memory.

Today, I made my first pilgrimage to Tender Buttons, a tiny store on the Upper East Side.

Nothing but buttons.

 

I bought a button for grandma, a button for mom, and a button for me.

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Czech glass for grandma, a rose for Mom, kitchen kitsch for me

The new musical Waitress is tangentially about pie.  Well, it’s a lot about pie.  Pie and love.

Jessie Mueller in Waitress

I think about pie and love and immediately think about my mother.  One of her best homemade dishes was peach or cherry pie.  While she rolled out the dough, I would have a little bit to play with.  “Roll it like a cigar,” I would giggle.

She would trim the edges of the crust dough, then re-roll that dough out, fill it with cinnamon and sugar, roll it into a log, slice it into little dimes, and bake them for my brother and me to snack on.  Better than the pie!

At the musical, a pie was baking when the doors opened for intermission.  Oh my, the aroma!

My seat mate encouraged me that getting some pie was worth it, and she was right.  The clever little jars of pie were peddled by diner waitresses around the theater.  Apple, key lime, and cookies and cream.  I went for the key lime.

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I certainly wasn’t alone.  Apparently, the baker makes 1000 pie jars per performance.  That’s a lot of happy audience members.  Like me!

Of course, the show was sweet, too –  all puns intended.  Lots of humor balanced the maudlin.  A great comic character is born with this show. Ogie has the two best numbers: “Never Ever Getting Rid of Me,” with its unforgettable choreography, and “I Love You Like a Table.”

Although the music is actually pretty forgettable, the whole experience is so full of delight, you might want to take your mother.

If you’re near her, give her a kiss on the cheek. If not, remember and tell a good story.  Happy Mother’s Day!

Provoking the imagination

At the 35th annual Connecticut Storytelling Festival, Valerie Tutson taught us how to clip and cluck in a South African dialect just right for our storytelling welcome.

She then shared the African story of how the stars came to be in the sky.  I do love a good origin story.

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Her dress, by the way, is made up of pieces of worker uniforms patched together.  Each bright color represents a different trade, and the patchwork quilt style has been worn by men for ages.  Tutson was delighted to find the style for women, while she lived in South Africa, gathering stories and fighting apartheid.

 

 

Judith Heineman told the story of her grandfather Oscar Markowitz and his turn in the Yiddish production of “King Lear” on 2nd Avenue in New York around 1900.  Dan Marcotte accompanied her story, using music from that very production.

 

2016-04-30 10.53.29Tim Lowry, from that period of the unpleasantness with King George, showed us what any Southern gentleman wore in his day.  The tricorn hat started out as a broad brimmed hat to protect from the sum.  But as soldiers, the barrel of their guns would keep hitting the brim.  A clever American innovated the pragmatic style of cocking the brim, and the tricorn was born.

Painting the town red.  You’ve heard the expression.  I didn’t know it came from the fashion of men painting the heels of their shoes.  In South Carolina anyway.  Think about it and party hardy.

Social grace of the South at time of American Revolution came in the language, too.  Dinner was served at 3 pm and was monstrous.  You would insult your host if you said you were full.  Instead you would say, “I fear I have suffered a sufficiency.”  Remember that when you’re at your next dinner party!

Lowry also advises avoiding religion and politics as polite conversation at any gathering.  No one has said anything to our current day politicians about this, for sure…

We got to sing a bit, too.  Songs from the period.

Who said learning has to be dull?  Incorporate storytelling as provocation, not instruction, Jo Radner told us.  Provoke the desire to know.  Engage the imagination.  Sounds like good teacherly advice to me!

I took Radner’s historical storytelling workshop and worked on a story about this provocative goody from my mother.  Ask me sometime and I may tell you the story.

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The Housekeeper’s Dance

Lizzy WillsIt’s 1887, and Lizzie Wills has offered to take us through the house.  Miss Lizzie is a maid in the Mark Twain House, and boy, does she have stories to tell!  She always seem to have been conveniently hiding in a closet or cleaning in the next room…well, you get the idea.

Nobody is allowed to touch the piano, except the five family members.  But when the family’s away, Lizzie has no qualms about running her fingers along its keys.  She’s happy to take a break from her work and dream of romance when one of the girls plays “The Sweet By and By,” the song Sam Clemens (Twain was his alias) and his wife Livy sparked to.  Lizzie read to us from a letter that just happened to fall to the floor while she was dusting.  It tells us just how romantic Sam and Livy are.

Three to five formal dinners are held in the house every week.  Dinners with many more courses than our largest meals today.  And the cook has to start at 5 a.m. making the servant’s breakfasts.  The long days, plus Clemens’ was notoriously crotchety about food.  No wonder the average tenure for a cook is only a month.

But Lizzie sticks around, listening in on the jokes told by Twain at these dinner parties and equally happy to gossip away with us.  Believe me, she’s less than happy that the china cost $150, as much as she makes in a year!

So she feels more than justified in telling tales.

Twain travels a lot, and once staying with the cartoonist Thomas Nast, a Twain quirk came out.  He hates a ticking clock, and as Nast’s guest, he went around the house and carried all the ticking clocks to the front lawn.  When he missed his train the next day because his own alarm clock was on the lawn, Nast made this cartoon.

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Miss Lizzie is proud of her employer though.  She shows off his inventions in this very modern house.  The annunciator is the call-system for servants, working off push buttons.  Annunciator, as in annunciate.  Lizzie had us touch the pages of the self-pasting scrapbook, Twain’s most successful invention, which earned him $50,000.  Clever, right?  (He later would bankrupt the family by investing all their money in a failure that also cost them this house.)

The burglar alarm of his invention was the source of many a story.  Controlled from the master bedroom, once Sam and Livy were awakened by the cellar’s alarm.  Livy was worried a burglar had broken in.  Sam replied, “Well, I don’t think it was the Sunday School Superintendent!”  Funny, even in the middle of the night.

Lizzie has Clemens to thank for that burglar alarm doing its job.  Her gentleman caller Willy Taylor was supposed to leave the house before 10 p.m., when the alarm was set.  When he triggered it, Sam forced him to marry Lizzy that very night.

The house and the Clemens family’s Hartford years were happy times, and Miss Lizzie tells us many stories of the 3 daughters and their adventures in the house.  Clemens had the girls home schooled.  Their German governess Rosa Hay taught them in her native language.  Although Rosa was beloved, Suzy complained she didn’t understand anything the teacher said.  Lilly Foote, neighbor Harriet Beecher Stowe’s cousin, soon took Rosa’s place.

The girls would study in the morning, but then the afternoon, they teamed up with neighbor children, playing piano and singing and putting on plays.  Miss Lizzie’s favorite was the Shakespeare Club, particularly the Balcony Scene (side note: Happy 400th-death-day, Shakespeare!).  At one point, the girls tried public school, but Clara racked up 13 detentions.  They were spoiled for conventionality.

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Girls will be girls, and these daughters fought so continually, that a reward system was devised.  For every day they didn’t argue, they earned a piece of candy.  A piece for peace, I say.  Lizzie tried it for the quarreling servants, with a shot of whisky.  That idea didn’t fly.

Yes, the servants squabbled a lot.  Clemens commented that the staff had “all the makings for warfare,” with their different countries of origin, languages, backgrounds, and religions.  They could insult each other in Russian, Polish, Irish, and Southern English.

Only George, the butler, seemed to get on with all the girls.  Get handsy with all the girls, we could say.  Sam said he’d have to hire girls “who were strong enough and wide enough to withstand his affections.”

2016-04-23 12.09.27Lizzie seemed much more interested in telling stories than complaining about her tiny room off the servants’ stairwell, the four flights she regularly had to run up and down, the 12 fireplaces she had to stoke, or the 7 bathrooms that needed cleaning.

She was also happy to show us something most people don’t get to see–the basement, her own private, if grim, workspace.  Since the house had no electricity, the space is woefully dark, she says.  But Miss Lizzie?  She’s anything but woebegone.  She even taught us a little dance she favors.  And if you’re willing to listen, she has a story to tell!

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The wonder of faces

Faces–ancient, privileged, unfinished.  That was the theme of my day in the galleries.

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Satyr and Maenad, Egypt, 4th century; note the halos

If you haven’t seen the ancient textiles exhibit at the Institute for the Study of the Ancient World, rush quickly.  It’s a small show, focused on a narrow window in time.  You can linger over each object.

These are primarily tapestries and tunics, surviving because they were used in funerary rites, created during that chaotic period when the Middle East and Europe were shifting from polytheism to Christianity.  Polytheistic traditions were observed in secret during the 300s and 400s, still at home as was traditional.  Temples became churches, but carried the ancient aesthetics forward to new subject matter.

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Dionysus and Pan, c.4th century, Egypt

Most of the textiles were from Egypt, where Greco-Roman traditions had already been merged with ancient Egyptian sensibilities.  I just loved Dionysus, god of wine, with Pan, both encircled in halos, a Christian allusion, used to warm an Egyptian home and then entombed.

Dionysus was the right god to depict, as the Romans inherited the tomb party concept, celebrating the life of the dead, from the Etruscans.  Tunics were worn to such parties and banquets where Dionysus ruled!

Bust of Spring (small)

Bust of Spring, see her halo?

You will marvel at the colors–lustrous greens and corals, probably faded from red, that have remarkably survived for 1500-1800 years.  My clothes only last a few months before falling apart.

The figures show such delicacy along with the Egyptian love of patterning.  Animals and birds and intricaScreen Shot 2016-04-16 at 6.40.55 PMte geometric patterns, which may reference Islamic influences.

You can click on the photo to enlarge it.  People take magnifying glasses to these works to see how they are constructed.  Remarkable.

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Gorgeous, intriguing, each is a story.

The Comtesse Du Barry in a Straw Hat, c.1781

 

The portraits of Elizabeth Vigee-Lebrun each tell a story, too, mostly subservient in interest to her own.  She was a favorite of Marie Antoinette as a young artist, making grand, official family depictions.  She also was the master of the intimate, bust length portrait, making all the aristocrats look fresh, young, and lively.

 

 

 

 

Marie Antoinette with a Rose, 1783, a breathtakingly beautiful painting

That is until they started losing their heads.

Vigee-Lebrun hit the road, before settling for several years at the Russian court of Catherine the Great.  She seemed to do well with powerful women.

Eventually, she returned to France where a new generation of artists kept her from regaining her popularity.  She kept painting and lived a long life until the mid-19th century.

Thank you to the Met for hosting an exhibit of an historic woman artist.  That’s a rarity.  Perhaps it was no accident, though, that a light bulb was burned out, with its sole job to illuminate the one self-portrait in the show.  I guess we still have a way to go to get these women out of the dark.

Self-portrait, 1790

The exhibit did play on the surface, with few new ah ha’s.  Yes, there was the light reference to the turbulent relationship with her daughter, who fled France as a girl with her resourceful mother.  (The self-portrait with Julia, alas, is not in this show.)  Few other insights came out of the dark.

Although very uneven, the Unfinished show at the Met’s new Breuer building is more interesting.  For the life of me, this building, for all the hoopla, still like just like the Whitney did. There’s even the same overly humid HVAC system.  You’ll have to tell me the differences you see.

Meantime, the opening exhibit works a little too hard to make its point and would have been served by some culling. Still many of the unfinished works tell good stories.

James Hunter Black Draftee, by Alice Neel, 1965 What’s he thinking about?

Alice Neel.  A powerhouse.  She taps into the poignant so seemingly effortlessly.  Look at this portrait of James Hunter from 1965.  It’s unfinished because after the first sitting, James didn’t return for the second.  Why?  He was off to Vietnam.

Gustav Klimt wasn’t the only artist in the exhibit to have trouble finishing a portrait out of frustration.  Manet gave up on a painting of his wife after three failed attempts.  He scraped the paint off her face each time, dissatisfied.  Hmmm.  Knowing Manet, this may say something about that marriage.

Madame Édouard Manet, c.1873

Manet gave up; Klimt died.  But not before his sitter died, and her family rejected two other portraits.  Sheesh!  Still this painting shows something joyous, even as the object label describes the placement of color as tentative.  After two rejections, you might be a little leery, too!  Klimt seemed to die to get out of finishing it!

Posthumous Portrait of Ria Munk III, by Gustav Klimt, 1917-8

I was captivated by this hauntingly modern, surreal portrait of Mariana da Silva by Mengs.  He couldn’t get the placement of the little lapdog quit right and apparently was unhappy with the face.  So he painted a gauzy veil over it.

Portrait of Mariana de Silva y Sarmiento, by Anton Raphael Mengs, 1775

Not all the painting in the show were portraits, but those were the ones I was attracted to, I think for the way they blurred identity.  I’ve been thinking about that a lot lately, and this day shows in pictures how identity is mutable in the moment and in reflection later, even centuries later.

Fascinating stuff.  Let me know what you think.

 

Vassar Delights

If I could have my favorite day, it would include like-minded people exploring art, literature, music, history.  Wait?  That happened today!

The intrepid New York Chapter of the Jane Austen Society of North America traveled to Vassar for an almost unbelievably pleasant and stimulating day.  This was my first trip to the 150+ year old campus.  No surprise, it’s lovely.

2016-04-09 12.03.20We first met in the art history building where refreshments were in a room that resembled a little, red schoolhouse, only really the little, red-chair school room.

But the lectures that kicked the day off were in a very comfortable, modern auditorium.  We would have to travel into history in our minds.

Marilyn Francus, a Professor of English from West Virginia University, regaled us with her work from Chawton House, a research center on early women’s writings.  She admitted to geeking-out on manuscripts and books that Jane Austen wrote in, sussing out from that her mentoring relationship with young writers, particularly her nieces.  She investigated the family’s charades and riddles and shared how the love of language was reinforced in everyday life in the Austen home.  More about that below.

Francus wrapped by deciphering the advice Jane Austen would give to new writers.  Essentially, know the canon (read, read, read), write what is real, and practice your craft.  Good advice indeed.

And that got put into action with our next set of presenters.  Susan Zlotnick, a Professor of English at Vassar, is currently teaching a course on The Gothic Novel (including Austen’s parody Northanger Abbey).  She gave us an introductory talk, then invited seven of her students to read us their “3-Minute Gothic Projects,” reflecting their learning on the tropes of the genre.

What you need to know is that Gothic novels draw upon the philosophical underpinnings of the Romantic Sublime, by Edmund Burke–the awe of God, nature, and our emotional selves that fuels literature, music, and art of the period; Freud’s ‘The Uncanny’ centering on re-surfacing unconscious desires, the return of the repressed, and the Self confronting itself; and the female Gothic, which penetrates patriarchal power by using male villains to threaten the heroines.

The latter is an intriguing take on the genre.  Zlotnick suggests that when men labeled strong women, with challenging and uncomfortable ideas, as ‘mad’, the woman would be imperiled in a number of thematic, violent ways.  The woman reader could become aware of how women lacked personal power and rights, when male domination is threatened.

There was much more to these ideas, beyond the scope of a blog, but clearly offering very fresh ways to understand detective fiction, thrillers, and Gothic romances.

The students were tasked with writing Gothic stories that take place on the Vassar campus, not necessarily today.  The results ranged from exceedingly clever to outright hilarious.

I loved Christian Lewis’ story about the mysterious disappearance of Meryl Streep (an esteemed Vassar grad) from a production of “The Cherry Orchard” that is repeated by a contemporary in the current production, literally on campus now.  He is playing with early detective fiction with his funny, funny “The Mysteries of the Martel” and its sly references to Streep films that show up as ghostly Meryl hauntings.

Jennifer Ognibene, an English major who is pre-med, read her “Demolition of Mudd Chemistry,” referring to the current tear-down of the chemistry building.  Her fantastical story of a woman student who is a chemist murderer would even make Edgar Allen Poe laugh.  The trouble starts when the student runs an experiment, injecting herself with black widow spider venom, and it all does downhill from there.  Seriously, it’s ready to be filmed.

Lexi Karas’ clever “A Strong Girl Displaced” was more serious, delving into notions of the Self and doubling from Freud’s theories.  The plot twists and taut writing would make Austen proud.

None of these students is a creative writer per se.  They put into action Austen’s code–know the canon first.  They have read a lot of Gothic novels.  Candidly, better them than me!  I can leave the Bronte’s and Bram Stoker on the shelf.

Concert in the chapel

Concert in the chapel

After lunch, we were serenaded by the Vassar College Women’s Chorus, with madrigals and other traditional British songs.  But noteworthy were the two sets of Austen writings put to song.

The Three Prayers by Jane Austen have been put to music by Amanda Jacobs, who wrote a wonderful Pride and Prejudice musical I saw in 2011.  Today, Jacobs directed the chorus in the US premiere of these works.  Here’s a tiny sliver.

What tickled me were the parlor game songs, commissioned by Vassar College Music Department for the Women’s Chorus and put to music by Eleanor Daley.  The three poems survived when Austen copied them into a letter in 1807.

Jane, her sister Cassandra, and their mother played a game where they devised poems where every line ended in a rhyme with the word rose, in “Verses to rhyme with ‘Rose’.”  Jane’s was clever, Cassandra’s romantic, their mother’s so funny.  Here’s her poem:

This morning I woke from a quiet repose,
I first rubb’d my eyes, and I next blew my nose;
With my stockings and shoes I then covered my toes,
And proceeded to put on the rest of my clothes.
This was finished in less than an hour, I suppose.
I employ’d myself next in repairing my hose.
‘Twas a work of necessity not what I chose;
Of my sock I’d much rather have knit twenty rows.
My work being done, I look’d through the windows,
And with pleasure beheld all the bucks and the does,
The cows and the bullocks, the wethers and ewes.
To the library each morning the family goes,
So I went with the rest though I felt rather froze.
My flesh is much warmer, my blood freer flows,
When I work in the garden with rakes and with hoes.
And now I believe I must come to a close,
For I find I grow stupid e’en while I compose.
If I write any longer my verse will be prose.

She seems destined to be a model for the Twitter-verse!

We wrapped the day with a visit to the campus art museum.  Much too short.  Lots of great works.  I’ll share just one, in honor of the day.  A woman artist, of course.  Adele Romany, a French artist, and her 1804 “A young person hesitating to play piano in front of her family.”  Shame on her!  No Austen heroine every would!

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Disapproval!

Disapproval!

What is Papa thinking? Paintings like this could be used to put a young lady's advantages forward. Hung in a pre-modern version of match.com

What is Papa thinking? Paintings like this could be used to put a young lady’s advantages forward. Hung in a pre-modern version of match.com

What is she thinking?

What is she thinking?

 

Thank you, Art Times Journal

Special thanks to Cornelia Seckel, the publisher of Art Times Journal, for her ongoing and enthusiastic support of “Finding Her Way”–a seven-part essay series on American women artists working from about 1850 to 1950.

Now the essays have been compiled into one booklet.  Please feel free to share “Finding Her Way” with friends and colleagues:

Let’s resuscitate these artists’ careers!

Brontemersion

Riffs on the Bronte novels seem to be everywhere at the moment.  What’s a reader to do?  Get reading!

Madwoman Upstairs by an impossibly young, talented writer Catherine Lowell reads like a book by an impossibly young, talented writer.  It’s raw, over-the-top, and Romantic-ally intellectual.  That last phrase makes no sense, of course.

What I mean is that the author can’t resist giving us some heady stuff she probably first discussed in a college lit course.  Here, intellectual. literary discussions between her two protagonists forges the path for falling in love.  That’s what our author knows at this point in her life.

Better though is the literary mystery that allows Samantha, the last living Bronte, to learn about herself, her relationship with her father, and the nature of reality.  Yes, the book goes to these heady places by the end, as Sam understands that “The fiction is more real than the reality.”

Telling you how she comes to this conclusion would spoil the mystery, and the fun.  Let’s just say it has something to do with living in an unheated tower at Oxford, a haunting painting, a long-lost diary, reading Bronte novels, and falling in love.  To take any of it too seriously would be just too postmodern.

25938397Gothic and witty?  Not two words that usually go together.  Unless you’re thinking of Jane Steele by Lyndsay Faye.

Instead of Jane Eyre’s “Reader, I married him,” a line repeated in The Madwoman Upstairs, here, it’s “Reader, I murdered him.”

And so, we get the story of this Jane that parallels the fictional Jane Eyre (another postmodern riff).  How she loses her mother and goes to live with Aunt Patience, who is anything but.  How she’s told to control her passions and becomes surrounded by death.  The loathsome cousin and loathsome boarding school.  You remember it all, I’m sure.

The recalling of the plot structure is less interesting, until…the plot takes a big turn onto its own adventure.  That first murder–the loathsome cousin–was justified, the Feminist would say, and we’re off to the races.  No, no, I won’t tell you more!

This book does quite a bit of nodding to Charles Dickens, as well as Charlotte Bronte.  I also think it owes something to Pride and Prejudice and Zombies, for its adherence to plot while simultaneously borrowing contemporary sensibilities.  And the fun (even moreso the better you know the source material) comes just watching it all happen.  What if Jane’s ‘true nature’ were…to murder with good intention?  That’s certainly one way to deal with life’s problems!

Another big part of the fun here is the writing, approrpriating the Romantic style.  With exuberance.  When’s the last time you read a book that included the word ‘delinquitorious”?

Nelly Dean by Alison Case is my least favorite of the three, perhaps because Wuthering Heights is my least favorite Bronte novel.

Still looking at a well-worn plot, as over-the-top ridiculous as it is, can be fun from the perspective of another character.  Here, it’s the miserable, but loyal, servant Ellen Dean.  If you like the below-stairs perspective and jive on “Downton Abbey,” this book might just be for you.

Yes, Nelly basically narrates the original.  Now, you can get more of her first-hand account and the story of her life, including her devotion to Hareton.  The role of Heathcliff?  His arrival ended Nelly’s childhood.

Her account, as imagined by the most mature author of the three and an English professor inspired by her students’ inquiring minds, will win you to Nelly’s side.  Was that a convoluted enough sentence to be worthy of the Bronte’s?

The book I haven’t gotten from the library yet is Reader, I Married Him: Stories Inspired by Jane Eyre.  After years of Jane Austen-alia, it’s been fun to immerse in some Bronte-mersion.  Now back to the 21st century…

Nature-inspired Gothic clothing

Thomas Cole, The Past, 1838 and the golden glow of Romanticism

You gotta love it!  The Wadsworth Atheneum has put together another of its seemingly modest, but creatively eye-opening exhibits.  This time, from Gothic to Goth: Romantic Era Fashion & Its Legacy.  Don’t go expecting much Alexander McQueen.  Goth is a footnote, and I was delighted this exhibit focused on American Gothic.

Even those two terms seem like an anathema.  American and Gothic?  Yes, with a slight tweaking of more American phrases we typically use–the Hudson River School, antebellum fashion styles–we can start connecting that Victorian-dark Gothic Revival furniture with our golden landscapes and elegant gentility.

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Look at this gorgeous detail from Lilly Martin Spencer’s Reading the Legend, 1852.  You know how much I love Spencer’s wit and social commentary.  This painting couldn’t be more conventional, with the Romantic tryst in nature and picturesque ruin.  But look at the details of that dress–the transparency of the lace over the bodice, the golden floral shawl, and the ruby-red satin of her gown.  Luscious.

Two revelations came from the exhibit for me.  That the Hudson River School painters like Thomas Cole and Frederic Church, who painted the connection between the Romantic notion of untamed wilderness and God, also influenced fashion.  Yes, according to the exhibit curators.

Even more than in the Spencer painting, consider this dress.

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2016-03-20 15.34.01It sparkles with metallic thread in the embroidery and the golden material accentuates the Greek Revival fronds, so fashionable in all the decorative arts.  Though a brighter palette, the same theme is used in this beaded bag that reads Hartford Conn 1833 and was inscribed with Almira H. White’s name.  No German import for her!

You can see the American forest flora and fauna in these objects.  Just what Cole, Church, and particularly Asher B. Durand painted.

 

 

This Durand nature study is not in the show, but makes the point.  Note the botanical specificity, the golden glow.

The russet tones of the dress below, and then pull in the neo-Gothic chair…

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…and you get my second revelation.  The  pointed dress pleats and shawl front are reversals of the classic Gothic aspiring point.  Wow!  I had never put that together before.

So I reached out to Erin Monroe, American Art Curator at the Wadsworth, and she replied via email, “the pointed pleats on the dress and the slimming down or elongated silhouette of the dresses—moving away from the GIANT leg o’ mutton sleeves in the earlier dresses—are the visual reaction to or emulation of the Gothic elements of the architectural.”

How cool is that?  Thanks, Erin!

You can really see it here:

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The gold

The points

The nature motif

 

 

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Now look at the nearby painting by Cole, Scene from ‘The Last of the Mohicans,’ Cora Kneeling at the Feet of Temenund, 1827.  It’s all there.  Plus the lead character in the book was a ‘Natural Man’, so a fitting subject for our landscape guru.

Cole’s painting predates the dress and shawl above by some 10 years, and you might connect the influence of his golden glow, pointed spires, the botanical specificity (of so much more important than the miniscule figures).  Thomas Cole changed landscape painting everywhere, and now I know him as a fashion inspiration!

Maybe the love of pointed mountain peaks with their evocation of mystery and spirituality, helped inspire the whole Gothic Revival thing.  (This is how an art-geek thinks.)

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More examples of the earth-tones, flora and fauna patterning, and severe points.  Look at those pleats to the right.  Makes me gasp for air.

Perhaps the quirkiest decorative art to be inspired by Cole and gang was not really an art, but more a decorated functional object.  A stove.  Yep.

Look at how this parlor stove from about 1844 has been cast with the same decorative motif.  Rounded foliage right out of a landscape painting.  The exact patterns used in dresses…and stoves!

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Don’t you love when you see something so familiar in a totally new way.  Brava, Curators!

 

 

 

Arsenic and Old Lace in Connecticut!

Did you know that the beloved play and movie “Arsenic and Old Lace” was based on fact?  Yep, it was.  A woman serial killer in Connecticut, Amy Archer-Gilligan was the inspiration.  She has even made Murderpedia!

Thanks to Diana Ross McCain of “Come Home to Connecticut” for the story last night at the Hamden Library.  Never forget that money will drive some people to do desperate things.  Do tell, you say.  Okay.

Having worked as elderly caretakers, Archer-Gilligan and her first husband opened a convalescent home in Windsor, CT.  When her husband died, she married again.  Her second husband died 3 months later from a “bilious attack.”  Ahem.

Compare this to the house in the film. Shivers!

They charged weekly rates of $5 to $25, with a special lifetime deal of $1000.  If you stayed in the home more than four years, this was a great financial deal.  Only…no one stayed longer than four years.

In 1914, Franklin R. Andrews was on this ‘life care’ plan.  He was so healthy that he puttered in the home’s garden in the morning, before dying of gastric ulcers that evening.  His sister in Hartford complained, and an investigation began.  The body was exhumed and a secret autopsy was conducted in the cemetery tool house.  Even after two years, the body was in good condition, a symptom of arsenic poisoning.  Apparently, Andrews was dosed 10 hours before his death and again shortly before.

Archer-Gilligan was accused, and she denied the charges, stating she used arsenic to control rats.  Her second husband’s and three more bodies were exhumed, revealing both arsenic and stricknine poisoning.

In 1917, the trial commenced.  One witness was Mr. Gowdy.  He and his wife wanted to move into the home, as long as they could get a particular room.  Archer-Gilligan told the Gowdy’s the room would be available on June 1, and they agreed to take it.  That room was occupied by, you got it, Franklin Andrews.  He died on May 29.

Mrs. Gowdy was one of 60 deaths in the house between 1907 and 1917.  Hmmm.  Not all her victims were men.  She convinced widows to leave their estates to her.  Talk about buyer-beware!

Archer-Gilligan was convicted, but was granted a new trial. She was found guilty of second degree murder with an insanity plea and went to jail anyway.  This was July 1919, five years after Andrews was killed.  After suffering from “prison psychosis,” she was institutionalized at Connecticut Valley Hospital until her death in 1962.  She has been remembered by employees there as very ‘sweet’.  Sweet, indeed.

By the way, she died after “Arsenic and Old Lace” came out, opening on Broadway in 1941 and as a film in 1944.  I wonder what she thought of Cary Grant?

On the radio

In case you missed the conversation on the radio today, you can listen to it here.  I was privileged to be interviewed by Daniel Fitzmaurice, Executive Director of Creative Arts Workshop, and to join in the conversation that included installation artist Laura Marsh and her brilliant perspective on the contemporary art scene.

Thank you to Daniel and Laura!

Preserving Memory

I love a good story and a great storyteller.  This week, I had two encounters worth noting.

Tammy Denease knew her great-grandmother who was enslaved and lived to be 125.  Wow!  Mississippi, her home state, is a place that only recently actually outlawed slavery, and Tammy knew the mindset of slaves first hand.

Now in Connecticut, she tells the stories of incredible women from history, preserving the memory of their humanity, as well as who they were and what they accomplished.  At the New Haven Museum, she performed the story of “Sara Margu: Child of the Amistad.”  And what a story it is!.

sara-margu-banner

Sara Margu was one of four children captured and put on the Amistad, which ironically means friendship in Spanish.  The ship was a slave vessel.  Sara’s name in her native Mendeland (now Sierre Leone) was Margu.

The Amistad story is probably more familiar now due to the Stephen Spielberg movie.  It tells of the remarkable case of a slave revolt in 1839, with the captured people taking over the ship.  Although they wanted to return to Africa, they couldn’t make that happen. The boat was captured in Long Island Sound by a US ship, and everyone on board was brought to shore in Connecticut.

The people declared themselves free, and the remaining crew and Spain labeled them property.  In an internationally famous case, the US Supreme Court ruled in favor of the Mende people, declaring them free, becoming a major marker for abolition.

What Denease does so well is skirt the famous portions of the story for the personal, the human.  She preserves the experience of Sara Margu by telling her very particular story–the horrors of the slave ship from a child’s perspective and her healing through education.

Sara Margu worked off debts her father accrued in Mende and was taken when she was already separated from her family.  She tells how the horrors didn’t really stop when the captives arrived in Connecticut.  Many were housed in New Haven, while figuring out next steps.  She describes that people paid 25 cents to look at the Africans, as locals had never seen or heard anyone like them before.

She also recounted how Josiah Gibb wanted to help and cleverly learned how to say the numbers 1-10 in Mende, then walked through black communities saying the numbers out loud until he found someone who understood what he was saying.  That man then became the translator for the interactions in New Haven.

Sara Marrgu was moved to Farmington where she lived with a family who had a deaf son and a kind woman named Sara (where she took that portion of her  name).  She communicated naturally with the son and began to learn English.

With the trial, she understood that the central issue was, “Am I a person or am I property.”  It was election year, and President Martin Van Buren said, property.  The Queen of Spain said, property.  But the US Supreme Court disagreed by a remarkable 6-1.

The Mende people could go home, but they had no money or sailing skills to get them there.  So they did the American thing and went on a speaking tour, telling of their “adventure” on the Amistad.  Sara Margu also singly demonstrated that Africans were intelligent by reading from the Book of Psalms.  Sigh.

But however demeaning, the tour was a success.  Sara Margu and the others raised enough to return home, and although they were not allowed to eat with white members on board, the travel was much more comfortable.  The missionaries who accompanied the Mende hoped they would help the whites start a school and convert the Mende.  One responded by ripping off his clothes upon return to show his tribal markings.  But Sara Margu helped as she could.

The missiona2016-03-10 18.14.42ries then paid for her to return to the US, to study at Oberlin, a college that accepted blacks.  Sara Margu was 14 years old.  It was 1844.  Although it wasn’t all peaches and cream, despite the liberal stance, she did learn and became the first black to graduate.

She returned to Africa and felt the outsiderness of not fitting in anywhere easily.  Still, she worked in the school, embracing Christianity along with her Muslim upbringing.  She married and had a child.  Not everyone who survived the Amistad to return had such a good life, and Denease relayed those stories, too.

For her, the world of the Amistad is more than a powerful legal case.  And one thing I really loved is that she doesn’t ever tell about the death of her historical figures.  Sara Margu can live on in our minds and hearts.

Carol Highsmith sees her work as preserving memory, too.  2016-03-09 18.23.41She has collaborated with the Library of Congress for 35 years, photographing America.  To the tune of 30,000 photos so far.  She is 70 and expects to continue for the next 15 years.

She just finished documenting Connecticut and told that story at the Connecticut Historical Society.  And she does consider her work documentary.  She is thinking about researchers in 500 or 1000 years wanting to understand the culture of the United States.

Diminutive in stature, but huge in confidence, bon amie, and story telling through photography, Highsmith is truly a national treasure.

She mixes and matches images because that’s how she sees America.  In her presentation, she might have an image of Lincoln’s coat he wore when he was shot next to Yellowstone and an image of the Mona Lisa on a barn.  She calls them all iconic.  And because nothing stays the same, she repeated, “that’s why we need to record ourselves.”

The entire archive of her work is downloadable and free via the Library of Congress.  You can have so much fun browsing it, looking for your state or favorite place.  Go for it.

Mona Lisa barn art, Wisconsin

Carol Highsmith, Mona Lisa barn art, Wisconsin

Cold Cruise

Under a winter-blue sky and a breezy 44 degrees, we boarded the Sea Mist for a seal watch cruise around the Thimble Islands.  The seals come from Nova Scotia and other points north to winter in Long Island Sound, feasting on any kind of fish, from herring to their favorite–black fish.

It was a beautiful day, and the last cruise an hour earlier reported a count of 35 seals.

From the cruise before ours

The conditions were perfect – cold, sunny, low tide.  Just when the seals like to sunbathe.

We cruised around for 75 minutes looking for those sunbathers.  We definitely saw heads bobbing along near Commander Rock, pictured above.  But that was about it.

These gray seals, averaging around 8 feet long and 700 pounds, can stay submerged for 27 minutes and dive to 1400 feet.  Long Island Sound today ranged from 4.5 feet deep to a few times that during the low tide.  Not too many places for them to hide.  Hmmm.

Sometimes, the luck’s not with you.  But who can complain?  The air was fresh, the cold bracing.  And there was all that water and sky.  A pretty good deal, seals or no seals.

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Breath of Wonders

Art as the breath of life.  Joseph Morris makes the idea literal with “Serpentine Breath” from 2014.  Mesmerizing.

The “Intelligent Objects” show at Creative Arts Workshop is full of wonders that may be best experienced in person.  I’ll try to give you a sense here.

Across the gallery from the breathing fabric is “Breathing Water.”  I stood and watched and breathed in time with the water.  And I tried to imagine how Robin Mandel filmed this.

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His “Red Giant” from 2015 is made of gold clubs, steel armature, and electrical components.  In the gallery, it looks like some kind of primordial, burning star.  Maybe you can see that in this shaky video.

Mandel’s chair-on-the-wall thing is just fun.

Robin Mandel, Unrealized Gain, 2015, wood, metal

Robin Mandel, Unrealized Gain, 2015, wood, metal

The breeze would seem to move “Solar Particle Wind Chime” by Morris.  It uses “a data sonification system that pulls real time solar wind particle data from the Advanced Composition Explorer satellite.”  Wow.  I don’t know.  It’s looks as playful as a Calder mobile to me.

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check out the shadows!

Good old fashioned breath-powered wind would move Susan Clinard’s mobiles.

Susan Clinard, Kinetic Figures, 2015, paper, wire

Susan Clinard, Kinetic Figures, 2015, paper, wire

Literally, light as breath.

I’m passionate about Susan’s work, and Susan, and have written about her before.  Her “Filtering Noise” show at the DaSilva Gallery is glorious, and very, very quiet.

I really love this new work of hers.  Hands are an important motif for me, and I think Susan’s mixed media pieces are so loving, so sensitive.

Susan Clinard, Full Circle, 2016, wood, clay

Susan Clinard, Full Circle, 2016, wood, clay

There’s deep humanity in her work.  So much heart.  Her works breathe.2016-02-27 13.14.11  They break free of bonds.  They remind us to breathe.

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Castle of Love

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Mirror Case or Box Cover with the Attack on the Castle of Love, elephant ivory, c1320-40, Paris

From the Cloisters Collection at the Met to you.  The God of Love is at the top in the center.  You see his wings?  He’s ready to fire off an arrow.

Meantime, women defend their castle by tossing roses at the knights who attack.  it’s The Attack on the Castle of Love, a favorite medieval subject.

Here’s to a day full of the things and people you love.  You might even want to toss a rose!

World in Play

Pontaut Chapter House, The Cloisters

Pontaut Chapter House, The Cloisters

The Cloisters

The Cloisters

 

I’ve long been fascinated with playing cards of all types, and as you know, have created a game with reproductions of art historical masterpieces as part of Artventures!™ Game.  So as soon as I could, I ventured to the glorious Cloisters in upper, upper Manhattan (I even drove!) to see the current exhibit, “The World in Play: Luxury Cards 1450-1540.”

 

 

 

Luxury cards

The Stuttgart Playing Cards, ca. 1430. German, Upper Rhineland. Paper (pasteboard) with gold ground and opaque paint over pen and ink.

It is an inspired exhibit of precious works of art in miniature.  Do go, if you can, and revel in the elegance of the place, which will calm your soul, and the preciousness of this exhibit.

Precious, yes.  Likely no one played with these cards.

Suit of Acorns, from The Playing Cards of Peter Flötner

A tame image of the pigs from the Suit of Acorns, from The Playing Cards of Peter Flötner

Polite?  Not always.  One of the decks on display is wildly scatalogical–referencing unsavories by humans and, ahem, pigs (associated with gluttony and lust).  These cards seem meant to irritate the morally upright.

No wonder playing cards was, ahem, frowned upon by the Church and government leaders.  They really didn’t like card playing, associating it with various vices, including gambling.  By the way, this tisk-tisking didn’t start with Christianity.  Apparently, ancient Roman men loved to gamble with dice, although it was a no-no, too.

With something so morally questionable, can there be great art?  You bet!  Like any great art, the images give us a window into the world of the time.

 

Uncut Sheet of Tarot Cards, North Italian, 15th century, woodcut on paper

Uncut Sheet of Tarot Cards, North Italian, 15th century, woodcut on paper

Playing cards emerged in the mid-14th century, originating in the Near East, as a less-heady alternative to the also-popular chess.  They could be mass-produced on sheets, using the latest technology of wood block printing or stamping, keeping costs down.  The individual cards were then cut off the sheet and glued to multiple layers of paper to make the stiffer playing card.  Ordinary playing cards in use wouldn’t last very long.

 

Not like these treasures.

Upper Knave of Falcons, from The Stuttgart Playing Cards

Upper Knave of Falcons, from The Stuttgart Playing Cards

The Stuttgart Playing Cards from about 1430 are hand painted on a gold (yes, really) background.  They are also huge–about 7 1/2″ x 4 3/4″ each.  Rather than the standard playing cards we know, the suits show the importance of the hunt, with the suit of Hounds, Stags, Ducks, and Falcons.

They are show-stoppingly beautiful.

Queen of Stags, from The Stuttgart Playing Cards

Queen of Stags, from The Stuttgart Playing Cards

Queen of Hounds, from The Stuttgart Playing Cards

Queen of Hounds, from The Stuttgart Playing Cards

 

 

 

 

 

 

 

 

 

 

 

Courtly Hunt Card

Courtly Hunt Card

 

I also love the elegant hounds and herons of the Courtly Hunt Deck from 1440-5.  They seem inspired by an Asian aesthetic.  Delicate and dreamy.

5 of Herons, from The Courtly Hunt Cards

5 of Herons, from The Courtly Hunt Cards

 

 

 

 

 

 

 

 

 

 

 

A bit of trivia.  Tarot cards were not used for foretelling the future until the 19th century.  The decks called tarot here are playing cards for a rather complex, trick-taking game.  They originated in Northern Italy, with the suits of Swords, Batons, Cups, and Coins, just like modern tarot decks with swords, wands, cups, and pentacles.

I lusted after the Visconti-Sforza Tarot.  They are almost painfully exquisite, with the gold leaf and raised stamping.

from the Visconti-Sforza Tarot Deck

from the Visconti-Sforza Tarot Deck

from the Visconti-Sforza Tarot Deck

from the Visconti-Sforza Tarot Deck

from the Visconti-Sforza Tarot Deck

from the Visconti-Sforza Tarot Deck

Be still my heart!  One more…

from the Visconti-Sforza Tarot Deck

from the Visconti-Sforza Tarot Deck

This last a scene of lovers, with the little dog representing loyalty and faithfulness.  Traditional, symbolic representations found in paintings of the time.

In contrast, there’s that naughty deck by Peter Flotner, with the suits of Bells, Acorns, Leafs, and Hearts.  Which seems so civilized.  But this post-Reformation German deck.  Whoa!  What a different world view.

Suit of Bells, from The Playing Cards of Peter Flötner

Suit of Bells, from The Playing Cards of Peter Flötner

The lower the number of the suit, the coarser and cruder it is.  The 4 of Bells, a woman flogs the bare bottom of a man.  Nothing beautiful here.  But a fascinating glimpse into a different mindset–of bawdy moralizing, erotica, and ‘humorous’, scatalogical images of peasant life–those pigs and more…representing the artist’s attitudes toward flawed humanity.

Me?  I prefer the elegant, courtly view of human experience.  Why not opt for beauty?

Suit of Hearts, from The Playing Cards of Peter Flötner

Suit of Hearts, from The Playing Cards of Peter Flötner

Queen of Horns, from The Cloisters Playing Cards

Queen of Horns, from The Cloisters Playing Cards

Suit of Tethers, The Cloisters Playing Cards

Suit of Tethers, The Cloisters Playing Cards