Thursday, May 08, 2008

Tagged, dammit!


Red-tailed hawk (Buteo jamaicensis)


I'm not fond of blog tags but, when tagged by a friend, I usually respond.

Tracey St. Peter, artist and The Hundred Dresses Project blogger, hit me up for this random game.

The Rules are simple:
1. pick up the nearest book
2. turn to page 123.
3. Find the fifth sentence.
4. Post the next three sentences
5. Tag five people and acknowledge who tagged you.

I received her email notification while working at the day gig. The picture window in my office looks east from Manhattan, over the East River, to Roosevelt Island and Queens. On slow days, I sneak in some casual birdwatching and, in case an unusual or unfamiliar species should make an appearance, I keep a copy of The Sibley Guide to Birds handy. Page 123 is within the Buteos section, and details Red-tailed hawk (Buteo jamaicensis) variants.

"[The Eastern red-tailed hawk is] slightly shorter-winged than Western; white throat, well-defined belly-band and whitish breast. Populations in Florida and eastern Canada show characteristics of Western. [Krider's red-tailed hawk is a] scarce, pale Prairie variant [that] is always outnumbered by normal light-morph birds."

Cheers, Tracey...but I'm not game enough to pass this one on.

Photo credit: image ripped from Zevotron's photostream

Tuesday, May 06, 2008

A Trip West

PART II: OLYMPIC UPHEAVAL


Puget Sound (with Olympic Mountains beyond); Washington


As admirable a city as Seattle is, I am most charmed by the region's topography and ecology. From the sea stacks and eroding bluffs of the Pacific coast to the alpine forests and lakes of the Olympic and Cascade ranges, this corner of the country is an aesthetic and geologic marvel.


Hurricane Ridge; Olympic Range, Olympic Peninsula, Washington


Jocelyn explained that the tectonics of the area are among the most complex and dynamic on Earth, a result of three-way action by the North American, Pacific and Juan de Fuca plates. The Olympic range, for example, tops out at approximately 8,000 feet, a relatively low elevation when compared to the mighty Cascades, just 90 miles to the east. This is because the Olympics are what geologists term an accretionary wedge, a section of the ocean floor pushed to the surface as one plate - in this case, the Juan de Fuca - is subducted under another - here, the North American continent. By contrast, the Cascades, like most mountain ranges, are the product of volcanism, and the elevation of Mount Ranier is almost twice that of any Olympic cousin.

Were I more geologically inclined, I'd dig deeper, but I nearly failed the "Rocks for Jocks" course I took in undergrad, and my enthusiasm for the field is superficial, though genuine.


Highway 101; Olympic Peninsula, Washington


On my third day in Washington, Michael and I ferried across Puget Sound, picked up Highway 101 and drove around the top of the Olympic Peninsula to the western, rainy side of the mountains, where I was reacquainted with the peninsula's stunning beaches and the marvelous Hoh Rainforest. On the way, we drove through the town of Sequim (pronouced "squim"), where my paternal grandmother is buried, and passed not far south of Neah Bay, where, twenty years ago, my father and I boarded a head boat to catch my first Pacific halibut (Hippoglossus stenolepis).

About halfway between Sequim and the Highway 112 junction for Neah Bay, 101 jags south to trace the shore of Lake Crescent. Like many glacial lakes, Crescent glows turquoise, as though dyed. Fine sediment, or rock flour, generated by glacial erosion and carried to the lake by meltwater streams, is responsible for the striking coloration. Now suspended in the water, these particles absorb all light wavelengths except blue. Unlike most of its glacial relatives, however, Crescent's water is exceptionally clear. (This trait is attributable to its low nitrogen levels, which prevent or discourage algae growth.)


Lake Crescent; Olympic Peninsula, Washington


A shadow-green wall of Douglas firs (Pseudotsuga menziesii), western hemlocks (Tsuga heterophylla), western red cedars (Thuja plicata), and whitebark pines (Pinus albicaulis) rises abrupt from Lake Crescent's waterline and from 101's shoulder. The Olympic Peninsula is home to one of the largest areas of intact old-growth forest in the United States. Much of the territory is heavily logged, however, and 101's scenic drive offers as many scarred landscapes as it does breath-taking vistas.

My choice of words, though, reveals a liberal, urban bias. The work of loggers, after all, is itself "breath-taking." Certainly, it was more heroic when a team of men and oxen felled and transported a Titan of the forest using only axes, two-man saws, falling wedges and greased skids, but giant tree harvest remains impressive in our mechanized age, and the inhabitants of Forks, Washington, are proud of their historic livelihood. Indeed, the town's nickname is "Logging Capital of the World."


Forks, Washington sign


Although timber extraction on the peninsula didn't begin in earnest until the mid- to late 1800s, it was then the principal economic impetus and it remained so throughout the 20th century. Today, however, Forks residents are forced into defensive postures as their way of life is condemned by progressive politics and federal regulation (even if population growth and rampant consumerism ensure that the timber industry will remain active for some time to come). As with most issues of environmental sustainability, an objective, thoughtful consideration of timber harvesting should generate nuanced discussion - for example, short-rotation forestry and windrowing are undeniably destructive practices, but not all harvesting measures are ecologically unsound - but the passionate parties on either side of the picket line prefer to simplify and shout.


Clear cut area off Route 101; Olympic Peninsula, Washington


In the early 1990s, this shouting reached a fever pitch when the Northern spotted owl (Strix occidentalis caurina), a species in decline and dependent on old-growth forest for its habitat, became nationally famous (or infamous, depending on your perspective). The polarizing emblem of a conservation crusade, the owl was, for a time, a victim of its unsolicited celebrity. Although automation of the timber industry, and not any bird species, led to a sharp decline in jobs, Forks loggers (and those sympathetic to their cause) nailed owls to the doors of local environmentalists and displayed bumper stickers reading "Kill a Spotted Owl - Save a Logger" or "Are You an Environmentalist or Do You Work for a Living?" Predictably, the logging camp pointed accusatory fingers at Seattle's condo-enviro types, and the rural-urban cultural rift widened. Almost twenty years later, this animus remains and Forks, a blue state town on the bluer coast, is decidedly red.

This narrative is familiar to the coal miners of rural West Virginia and Kentucky. Like the northwestern loggers, they fight to protect their jobs amidst increased scrutiny and the condemnation of their employers' methods. In 2005, Erik Reece, a contributing editor to Harper's Magazine, wrote "Death of a Mountain," an essay about the desperate, ugly war of words and litigation in that region. Reece recounted the bitter minutes of a public hearing held at the Hal Rogers Center, in Hazard, Kentucky. "The wife of a miner pleaded for her husband's job, then asked, 'What use are the mountains to us other than coal?'" A elderly miner "hinted at the conspiracy afoot by the rest of the state to keep eastern Kentucky poor. He wanted the federal government and the Army Corps of Engineers and the Environmental Protection Agency to leave this region and its people alone to mine as they saw fit."

Although I cringe when I read such sentiments, it's understandable that miners and loggers feel this way. The suburban or urban environmentalist does little to endear himself to those rural residents, farmers included, who work with natural resources. In his book, "Heron Hill Chronicle," my father writes of the intellectual divide between rural conservationists and urban preservationists.

"Sadly, in drawing up their list of enemies, preservationists have alienated most of their strongest potential allies: people who also care about endangered species and rain forests but who understand that perpetuating nature is - first and foremost - hard physical labor far removed from the feel-good realm of petition signing....Real conservation is about planting filter strips along erodible stream margins and riprapping the banks to prevent swollen currents from undercutting them. It's not about save-the-whale rallies. Real conservation is about constructing and annually maintaining waterfowl nesting boxes. It's not about sending money to organizations that make the impossible promise to restore all the waterfowl populations of North America. Real conservation is hands-on, net-gain, local habitat manipulation and species management. It's not about letting nature take its course."


As unattractive as his position is to both the urban environmentalist and the rural logger (who rarely, if ever, thinks about installing nesting boxes or riprapping stream banks), it is a realist's perspective. Man is part of nature; we can not extract ourselves, no matter how stubbornly we insist on our exceptionality. The life of our species, like that of the individual, is finite, and just as each of us chooses to avoid reckless behavior (most of the time), so too should humanity. Reasonable decision making, however, requires that we avoid binary arguments and, in the case of old-growth forest conservation, that foresters, logging companies and environmentalists gather at the same table to achieve some practical compromise.


Logging a clearcut (with windrows); Olympic Peninsula, Washington


Unfortunately, in our capitalist system, state and federal incentives are needed to bring those parties together. A "green future" is tenable only if the necessary changes in technology and lifestyle generate an altogether different kind of green: cash money. Until alternative energy cheerleaders and their allies assuage the concerns of those citizens dependent on income provided by logging and mining companies, the hard-working, blue-collar folks will remain united in opposition to the relatively privileged mouthpieces of environmentalism.

Photo credits: Puget Sound, Picturehell; Hurricane Ridge view, Ryan Hadley; Highway 101, MorleyRoarly; Lake Crescent, Harry Hunt; Forks sign, Idrose; 101 clearcut, Hungry Hyaena; Logging with windrows, Brewbrooks

(More pictures of my trip can be found here. And, again, a big thank you to the photographers who I've ripped from for this post. More posts about the trip will follow.)

Tuesday, April 29, 2008

A Trip West

PART I : SEATTLE, THE CITY PROPER


Growing downtown Seattle, Washington (with American crow)


The first thing I noticed about Seattle was the crows. The region has not yet been ravaged by West Nile virus, and the American crow (Corvus brachyrhynchos) population remains robust. The birds flapped heavily over Interstate 5 as Michael, Jocelyn and I headed north from Sea-Tac Airport. A lover of all things Corvidae, I interpreted the birds' greeting as a good omen.


Approaching Seattle on Interstate 5


The red gods also granted me exceptional weather. The morning that I arrived in Washington, the low ceiling characteristic of Seattle's seven-month wet season dissipated. Even Mount Ranier, 54 miles southeast of the city, was visible from downtown. Clear skies, sunshine and mild temperatures are not uncommon during the summer months, but they are rare in early April, and the balmy conditions were the subject of much happy conversation among Seattlites.


View of downtown Seattle and Mt. Ranier


Another oft-raised topic was the supposedly passive-aggressive disposition of the Emerald City's residents. I don't doubt that it exists - few stereotypes are baseless - but either I happened upon a rare breed of Seattlite or the rumors of poor behavior are greatly exaggerated.

In fact, I found very little about Seattle unfavorable. The only notable drawback is a relative one; Metro Transit, Seattle's public transportation network, leaves much to be desired. (I've been spoiled by New York's first-rate transit options.) Seattle's bus routes are comprehensive enough, so the principal grievance regarding Metro Transit service is one of infrequency. Bus stops are visited at 30-minute intervals, on average, and a missed bus can mean a missed appointment. On the other hand, it's hard not to love the city's proposed streetcar system, especially since the completed, functioning section is called the South Lake Union Trolley, or S.L.U.T.. ("Ride the SLUT" t-shirts are a popular novelty item.)


S.L.U.T. line in foreground, with (little used) Seattle monorail behind


Generally, Seattle strikes me as a terrific place to live, and it now ranks at the top of my post-NYC shortlist. Not surprisingly, the viability of the local art community is an important criterion for any city on that ballot. Though I've heard some negative things Seattle's art scene - it isn't New York or Los Angeles, after all - I was generally impressed by what I saw. Gallery hopping during the First Thursday Art Walk, I visited several decent shows but, more importantly, observed ample (and good-natured) enthusiasm, a variety of work and a number of familiar names. The galleries that Michael, Jocelyn and I visited were all within easy walking distance of one another, and several were housed in Seattle's more interesting (because older) buildings, located in Pioneer Square. (The dominant architectural modes in the neighborhood are Victorian and Romanesque Revival, a result of the latter's popularity in the late 19th-century; the city was rebuilt following 1889's Great Seattle Fire.)


Pioneer Square, Seattle


The city itself, like the Sea-Tac Airport, suffers no shortage of public art. I saw more such work during my three days in Seattle proper than I've noticed in almost a decade of NYC living. Mind you, I'm not usually excited by public sculpture. Most of it is insipid, but the "right" setting allows some works to thrive. It was a treat to see Richard Serra's "Wake" at the Olympic Sculpture Park, with the Space Needle rising to the east, Mount Ranier to the south, and Puget Sound behind me, to the west. (By contrast, Claes Oldenburg's "Typewriter Eraser, Scale X" looked as ridiculous in this context as his works do anywhere else.)


Serra's "Wake," at the Olympic Sculpture Park


(An art blogging aside: I finally met artist Amy Ross, after having corresponded with her for months and having a 3-person show, "Animus Botanica" - Amy, Boyce Cummings and myself - slated for this coming September, at Denise Bibro Gallery. She was participating in a 2-person show, "Animal Spell," with Justin Gibbens, at Punch Gallery. I'm happy to report that her collages and paintings looked fantastic.)

Photo credits: Seattle crow, PDX503; Interstate 5, Hungry Hyaena; Skyline with Ranier, Bill Rose; S.L.U.T., Brian Bundridge; Pioneer Square, Vincos; "Wake," Cascadeguy

(More pictures of my trip can be found here. Also, although none of the photographer's work was included in this post, Seattle Daily Photo is an excellent resource for terrific photos of the city. Finally, a thank you to the photographers who I've ripped from for this post. More posts about the trip will follow.)

Saturday, April 26, 2008

The Two Percent

I don't usually spotlight other sites on HH, but "The Two Percent," an online gallery guide shortlist, is intriguing.

In combination with a more comprehensive art listing service - my personal favorite is ArtCal - "The Two Percent" could be of use to those of us already familiar with the Chelsea crawl, and it will certainly be helpful to uninitiated gallery goers.

Check out the YouTube clip on the homepage for an explanation of the site.

Ashley Bickerton at Lehmann Maupin


Ashley Bickerton
"Hula Girl: One Eye"
2007
Oil and digital print on canvas in carved wood, coconut, mother of pearl and coin inlaid artist frame
80 x 72 x 2 inches


Writers of gallery press releases are in the business of pitching product. Scratch the veneer of profundity, and you'll reveal an investment prospectus. That's no secret, and there's no shame in the game. But, more often than not, a press release is padded with pretentious nonsense. Does so much patronizing bullshit actually help sell the artwork? It seems to me that, because a cigar is, as Freud infamously (and supposedly) put it, just a cigar, some exhibitions would be well-served by good-humored candor. (*)

Lehmann Maupin's release for Ashley Bickerton's show of recent, large-scale paintings describes the artist's work as a critical examination of "the art object as commodity." Further, it insists that Bickerton's pictures present a "dystopic, end-times vision." In fact, the works are less critique than wry celebration of art as commodity and, if Bickerton paints the end-times, the hedonist in each of us has a lot to look forward to.

His paintings, a sometimes awkward marriage of acrylic or oil paint to digital print, are boldly colored and unabashedly kitschy. In them, scantily clad or naked (except for lei garlands) women strike seductive poses and cavort with a big-toothed blue man, the artist's surrogate, at tropical bars and on beaches. Each work is set into a unique, inlaid and painted wood frame. The effect is theatrical, and, in its way, very successful.


Ashley Bickerton
"Blue Bar"
2007
Acrylic and digital print on canvas in carved wood, coconut, mother of pearl and coin inlaid artist frame
72 x 86 x 2 inches


The work's equatorial revelry and acidic color elicit obvious comparisons to the paintings of Paul Gauguin. Both artists elected to flee the art world mainstream: Gauguin from Paris to Tahiti in 1891; Bickerton from New York to Bali in 1993. The Maupin release states that where Gauguin "was searching for something intangible in the human spirit," Bickerton depicts a "fin-de-siecle malady." This distinction is incomplete. Gauguin chose his primitive reverie over the pressures of western cosmopolitanism, to be sure, but he also left behind a wife, children and myriad financial obligations, sailing for a place where he could less often be told that he was wrong. The "something intangible" Gauguin sought may be less romantic than we art lovers would like to have it; he was an irresponsible escapist in search of a warm place to stroke his ego.

Bickerton, the child of peripatetic parents, is a creature distinct from Gauguin. Before moving to California and then New York, he called many different countries home. His move to Bali, therefore, seems less an episode of irresponsible flight than, well, more of the same. Furthermore, while Gauguin is known to have railed against colonial doings, Bickerton's work is a veritable carnival of the colonial. The blue men in his paintings are meant to be his stand-in, but they are also expatriate wanderers or run-of-the-mill tourists, in either case individuals arriving in paradise on the coattails of colonialism. One senses some disapproval on Bickerton's part, but these new works also suggests that colonialism is, like the paintings themselves, so bad that it's sometimes good. So why not throw a jamboree?

Since at least the mid-1990s, Bickerton has reveled in his role as an art world shock jock and, in much the same way that I kinda love Howard Stern, I kinda love Ashley Bickerton. But these great, ugly-ass paintings are not, as the press release claims, critical examinations that address the artist's "concerns as a painter." I think Bickerton is just taking a piss. At least, I hope so. He isn't bemoaning excess and escapism ("existential wreckage," in the release); he is laughing at it, and with it.

(*) Of course, artists are at fault, too. Most of us need to take ourselves a little less seriously. If you find this difficult, a quick refresher course in the history of art, and the artist's - gasp! - artisanal role in it, will help. If that's not enough, check out astrophysics. Whew.


Ashley Bickerton
"The Preparation with Green Sky"
2007
Oil and digital print on canvas in carved wood, coconut, mother of pearl and coin inlaid artist frame
72 x 86 x 2 inches


Photo credits: Because I'm rushed, images were ripped from various sites: "Hula Girl," artnet.com; "Blue Bar," Painter NYC; "The Preparation...," j-No's Flickr photostream

Thursday, April 17, 2008

Apologies.

I haven't written much of anything since returning to NYC. I'm still playing catch up. Leave your home for almost two weeks and the modern world wags a scolding finger, making monkish solitude and gainful unemployment look that much more attractive.

Posts are in the works, however. Regular readers can expect at least two essays on my recent trip west (and, yes, more pictures), as well as several arty posts. I saw a few good shows before I flew to Seattle, and I feel compelled to comment on some of them, if only briefly.

In the studio, I'm experimenting with handmade papers produced at Dieu Donne Papermill. I was nominated by artist A.J. Bocchino, a former resident at the mill's studio, to be included in the second installment of "Opportunity As Community." I hope to successfully incorporate weaving and sewing into my "O.A.C." project, as well as drawing in a variety of media, including ink, watercolor and conte. Hopefully, the works won't turn out wretched.

Sunday, April 13, 2008

And back again.


Ruby Beach at sunset; Olympic Peninsula, Washington


Despite American Airlines' recent woes, I returned only four hours late (to the wrong airport, but I can't be too picky) from my trip to Seattle, Washington's Olympic Peninsula, and San Francisco.


Hoh Rainforest; Olympic Peninsula, Washington


It was a fantastic ten days, and the time spent there renewed my deep affection for the landscape, flora and fauna of the Pacific Northwest. In the coming week (or, unfortunately, weeks), expect further rambling about the trip, as well as more photographs. (Or, if you want pictures now, you can check out the Flickr photo set here.)

Generally, though, posting will continue to be sporadic; more group shows cropped up while I was traveling...and that means even more work must be made. It's a good kinda pressure.


Point Reyes; Marin County, California


I hope that all the regular readers have been well, and a heartfelt thanks to those of you that treated me so right on the left coast, especially those of you with floors and beds for me. The trip wouldn't have been possible without you.

Photo credit: all pictures, Hungry Hyaena, 2008

Monday, March 31, 2008

I fly west to Seattle on Wednesday morning. The following week, I head south to San Francisco. I will return to NYC just before the middle of the month. I don't expect to be posting any new content while I am gone.

I leave you all with this profound tidbit, clipped from NewScientist magazine.

"In August, radio astronomers announced that they had found an enormous hole in the universe. Nearly a billion light years across, the void lies in the constellation Eridanus and has far fewer stars, gas and galaxies than usual. It is bigger than anyone imagined possible and is beyond the present understanding of cosmology. What could cause such a gaping hole? One team of physicists has a breathtaking explanation: 'It is the unmistakable imprint of another universe beyond the edge of our own,' says Laura Mersini-Houghton of the University of North Carolina at Chapel Hill."


The claim made by Mersini-Houghton is controversial, and totally without mathematical support. All the same, it seems to have turned a number of astrophysicist heads.

I find it oddly comforting that our universe might be pressed up against another, like a bowl of so many water balloons. After all, what are water balloons for?



Photo credit: "Calvin & Hobbes," by Bill Watterson