PopWars

Joe Bean’s is not the best place for an art show but any place is better than no space for an art show. Peter Monacelli, who taught drawing for two decades at MCC has a beautiful show at the coffee bar, mounted high on the wall and unevenly lit. The drawings are part of a series based on the words from the song “Follow” on Richie Havens 1967 album “Mixed Bag.” The one above is entitled “But now silver leaves on mirrors bring delight,” after one of the lines in the song. Peter brought the cd with him last night to the opening but we never heard it. And he assured us he was not dead yet. A fourth cousin with the same name had recently died and Peter and his wife fielded thirty or so condolence calls. One told Gloria, “We lost Pete.”

It’s nice to know I’m not the only one who loves gnarly trees in winter.

Funny how we have not yet outdone mid-century modern. You’d think we’d be pushing it as far as it can go instead leaving it behind as retro. “Crafting Modernism: Midcentury American Art and Design” at the Memorial Art Gallery touches on the art in design of that period and has quite a few pieces that I wouldn’t mind bringing home. If they had just mass produced the work in the show and turned the main gallery space into the gift shop it would have all made sense.

“Modern Icon : The Machine as Subject in American Art’, next door in the smaller Lockhart Gallery is where the art is. Robert Frank’s “Trolley Car, New Orleans” from his Americans series, a beautiful John Marin etching called “Downtown New York”, A Thomas Hart Benton ink and watercolor drawing and this wonder from Buffalo artist and visionary, Charles Burchfield. You can almost hear the telegraph.

I thought “The Artist” was about an artist. And I thought it was going to be silent, like really silent, without any musical accompaniment. I imagined listening to people squirming in their seats but I was happily wrong on all accounts. I should accept the fact that actors are artists and I do but it’s not he first thing I think of when someone talks about art.

Maureen Outlaw took this photo last night and emailed it to me from class. I work on these charcoal drawings at arms length and hold them up to a mirror to get an overview while scrubbing away with my eraser. I’ve noticed that I spend more time drawing with the eraser than I do making marks with the charcoal stick. I stuck them up on the wall at class while I addressed Fred Lipp’s criticism and moved across the room to get another perspective. Some work better in your face. This camera phone photo is yet another vantage point and they are all informative. Fred told me they look “tough”, adding, “That’s a compliment.” They could be a lot tougher.

I loved “The Artist” and how it kept playing with the vantage points of filmmaking, the movie within the movie and the movie being projected in front of us which we were made more keenly aware of because of the absence of dialog. The theater was packed and I was aware of the oversized people crammed in the seats ahead of us. Skip Bataglia’s “Car Crash Opera”, a seven minute animated short which ran before the movie was sensational. In class a fellow student Craig said told my father, who is also in the class, that he looked like the librarian in “Hugo.” So that has been added to our queue.

First Friday’s art crawl is sometimes rewarding and sometimes not but it is always entertaining. When the art fails to engage the conversation always picks up the slack. We ducked in and out of art spaces on three floors of the Hungerford Building staying the longest in Brian Peterson’s studio looking at his assemblages the shortest at Heather Erwin’s space where some sort of reading was going on to a packed house. We heard she had been temporarily locked out of Facebook for some controversial posting about her show. Doesn’t fb know Heather is keeping them in business in this town? The RIT show at the R gallery on College Avenue was interesting in that the student work looked better than the faculty work in most cases. And over at RoCo it was nice to see that Robert Marx had sold approximately $20,000 worth of paintings. Rochester likes his work for reasons that I don’t quite understand.

Artists talks are not for the faint of heart. We bravely attended one at the new I-Square gallery last night where four artists talked about their work and so much more. It was exhilarating. Richard Harvey talked mostly of process but his is multifaceted and interesting. Wendy Menzie started making art after primal therapy in the 70′s. She quoted Philip Larken, “Your mom and dad fuck you up. They don’t mean to but they do” and spoke of her journey back to the child inside. Ed Buscemi stressed the importance of improvisation and relayed a dream he had thirty years ago where people were moving by him on a conveyor belt and he jumped on and tried to shake the people but he couldn’t bring them out of their trance. It seems to be his modus operandi. He is fond of asking “Are you kidding me?” in an animated fashion and he admitted to being hooked on conspiracy therories. Todd Beers discussed his breakthrough painting which is on view until tomorrow and told a beautiful story of his encounter with a dove on the fire escape he was sleeping on. He dimmed the lights and wowed us with his poetry. Harvey, Menzie and Buscemi all studied with Robert Marx who has his own opening tonight at Rochester Contemporary. He is featured in their Makers Mentors show.

We scurried downtown for the Ossia show at Kilbourn Hall but missed the opening toy piano number. We caught “I Can’t Concentrate” by the Brooklyn band, Zs, a mathematically challenging, post jazz, brutal-chamber piece. And then were blown away (again) by Ossia’s performance of Frederic Rzewski’s “Coming Together.” From the liner notes – “The work consists of a bass line accompanied by a series of instructions which can be realized by any group of instruments. With each performer acting as composer, the work allows for a variety of performance outcomes and is essentially an experiment in compositional anarchy.” A vocalist read a letter from Sam Melville-in prison in 1970 for series of radical bombings in Manhattan where no one was hurt-to his brother on top of the music. The twenty minute piece was trance-like and hallucinatory like a deep dream.

Whenever I catch a glimpse of myself while walking by a building with reflective glass I’m always taken aback by how bent over I look. And we were really slumped over yesterday as we climbed the big hill up to the Cornell campus in Ithaca.

The guard at the Johnson Museum yesterday was downright chatty. We were admiring Giacometti’s “Walking Man II (L’Homme qui marche II)” when he offered that this piece was the most expensive one in the collection, worth over a hundred million in fact. I said, “You better make sure no one walks into it and he said “Someone already did.” “A women backed into it while she was taking a photo.” He showed us a slight crack in one of the legs setting the alarm off as he pointed to it. I had just seen a sign that said “No Photos” so I asked if it was ok to take photos and said it was ok to photograph the permanent collection but not the work on loan or the work that is usually in storage but temporarily on display. I really wanted a photo of the Otto Dix etching called “Self Portrait with Cigarette” (also in MoMA collection) but that was off limits so I took one of Walking Man and got the Otto Dix print in the background.

After painting class last night the talk centered around critical thinking and the lack of it. I was trying to imagine any other kind of thinking.

My drawing above was characterized as “academic” and I would agree with that. Adequate but not particularly expressive. I set out to do some rather quick sketches on craft paper and realized that quick or not the same criteria applies to any piece. The effort must work as a whole so the focus is the same.

Every mark matters. They must contribute value not deflate worth.
One must be committed and focused yet totally open to proceed.
People like interesting things not just well executed things.
The value, the commitment and the interest must all be on the page.

I remember seeing the Young Rascals at RIT’s downtown campus. It seemed like a pretty cool spot but then they moved the school out to windswept, god forsaken Henrietta. I really don’t like going out there but I make exceptions all the time like yesterday afternoon for the opening of Barbara Fox’s show of new paintings on paper. We had quite a time finding the Booth building. Didn’t see any signs labeling one as such and asked a student for help. She said she had no idea where it was but it turned out we were standing right in front of it.

Barbara told us her husband trimmed the wysteria in front of their home and she brought the clippings into her studio to draw them. Barbara starts these big paintings with a very loose, gestural application of gesso and then draws in charcoal or Conti crayon before working in oil. Some also included ink and they are all very beautiful. So dress warm and see if you can find the Booth building. This show is the perfect antidote for our wimpy winter.