A PERFECT BOWL

RANCHO GORDO BEANS, BRAISED PORK BELLY, GARLIC PEA SPROUTS,& A FRIED EGG

"YOU LET THE DEVIL IN YOUR HOME..."

the new millenium's version of spector's wall of sound but now they just bring all the instruments onto the stage & do it live. this is a portland band. if they don't go the pompous route, they could be very good.

enjoy.

"OUT OF SIGHT, OUT OF MIND..."

today would be smithson's 73rd birthday if he hadn't been accidently killed back in 1973. this is a recent picture, taken by greg lindquist during a winter pilgrimage out to the remote area of smithson's spiral jetty. i've always loved everything about the jetty: the conception, the realization, the end result which is in constant flux while seeming to be immutable. i was struck by the beauty of this particular picture.

here's a link:

http://hyperallergic.com/16412/winter-spiral-jetty/

"IF YOU GO CHASING RABBITS..."

oddly enough, i'm feeling like i've gone down the rabbit hole but i only spent six months w/several brain-addled folks. alice or all her pills couldn't have helped much but we're hoping for a better new year.

i just chased this down after hearing about it. ms welch & mr rawlings(& if the sight on his ten gallon hat doesn't do it for you, someone needs to check your pulse) do it justice &, i think, improve on the original.

happy new year.

enjoy

HELEN FRANKENTHALER RIP

"big bags of sand/ until they came/
the flattering end/
of the world/
the gulls were swooping and gulping and filling/
the bags/
as helpful creatures everywhere were helping/
to end/
the world/
so we could be together at last one by one" FRANK O'HARA

there were some powerful ladies painting in ny city right at the mid-point of the 20th century. joan mitchell, jane freilicher, elaine de kooning, lee krasner, helen frankenthaler. i was first made aware of them through o'hara's poems. the testosterone fueled abstract expressionists wouldn't have made it easy for them to be taken seriously but, as the following article mentions, the next group of men were heavily "influenced" by frankenthaler's technique(& colors, which always appealed to me). of course, the real story is that noland & louis simply copied her & took the credit(since she was having a hard time being "shown" around town).

FROM ART IN AMERICA:
"Helen Frankenthaler, the pioneering American abstractionist, whose preferred technique of staining thinned paints into unprimed canvas became the hallmark of Color Field painting, died today at her home in Darien, Conn. She was 83.

Born to wealthy New Yorkers, Frankenthaler attended high school at New York's Dalton School (1945) and college at Bennington in Vermont, studying with Paul Feeley and graduating in 1949. In 1950 she met Clement Greenberg, and a five-year-long relationship with the influential New York critic ensued. Equally significant for the young artist was her friendship with the New York School poet and curator Frank O'Hara, whom she met in 1951 and remained close to until his death in 1966. Frankenthaler and O'Hara were among the brilliant artists and poets associated with Tibor de Nagy Gallery, directed in the 1950s by John Bernard Myers; she had her first solo show there in 1951. She was friends with all the major Abstract Expressionist painters, and in 1958 married Robert Motherwell. They divorced in 1971.

In 1952, following a trip to Nova Scotia, Frankenthaler produced her transformative painting Mountains and Sea (currently on extended loan to the National Gallery, Washington, D.C.) by applying thinned, delicately pigmented oils to unprimed canvas attached to the floor. She was not the first to use what she called a "soak-stain" technique, but artists prior to her had stained their canvases only selectively. Here, in combination with charcoal drawing, Frankenthaler deployed staining as her primary technique on a scale (the painting was 7-1/2 by 9 feet) that rivaled "first-generation" Abstract Expressionist colossi.

She notably departed from her predecessors, favoring an unfinished look, refined palette and overtly lyrical quality, as well as a fairly explicit conjuring of landscape elements. Morris Louis and Kenneth Noland saw Mountains and Sea in Frankenthaler's studio in 1953, and her stained canvases influenced them and other Color Field painters.

Frankenthaler disliked being identified as a "lady painter" (unlike Joan Mitchell, who used the sobriquet defiantly), though she was one of just a few female Abstract Expressionists to be critically noted from the start. She was given a retrospective at the Jewish Museum early on, in 1960, when O'Hara was still a curator there, and in 1969 at the Whitney Museum of American Art. A large exhibition of works on paper was mounted at the Solomon R. Guggenheim Museum in 1985, and in 1989 she had a retrospective at the Museum of Modern Art and the Modern Art Museum of Fort Worth.

She was also an important printmaker, experimenting first in lithography at Universal Limited Art Editions (ULAE) in 1961, but exploring all print mediums at one time or another. Her most significant contribution was in woodcut, in which she grew quite adventurous, particularly in her collaborations with master printer Ken Tyler, with whom she began working in 1976. Using porous handmade paper and numerous blocks, Frankenthaler conceived over a dozen large-scale woodcut projects in which a subtle, dreamy painterliness defies the inherently graphic nature of the medium. There was a traveling retrospective of her prints at the National Gallery of Art in 1993, and, in 2002, a survey of her 23 woodcut projects at the Yale University Art Gallery and Naples Museum of Art, in Florida." FAYE HIRSCH

"SINGING SONGS OF JOY & PEACE..."

not really a song of joy & peace, more like those rueful end of the year reflections we're all prone to subjecting ourselves to, ms mitchell was writing some potent stuff way back when. lynn & i saw her in tuscaloosa a few years after blue was released. she did a ton of new material that night & most of it didn't show up on albums for several years after. the only other performer i've seen do that was leonard cohen in atlanta. he did half a dozen new songs over the two nights we saw him & it took nearly 10 years for those songs to show up on official album releases.

this is my melancholy c'mas offering.
happy holidays.
enjoy.

JOHN CHAMBERLAIN RIP

i can't think of anything that represented action in the late 20th century more than a car. judging by the many commercials for the damned things on tv, it seems like it still carries that meaning, now semiotically. mid-20th century american painting was dominated by the abstract expressionists, pollock & de kooning particularly. theirs was an art defined by action, by drips & swirls & slashing smears. chamberlain just took that idea & made it 3 dimensional. i say "just" but it involved a big jump for sculptural art at the time & it operated on many levels. there was the tangential reference to de kooning but there was the implicit critique of consumerism & the rejection of the minimalist "object." duchamp's ready-mades were lurking in the background & maybe even a critique of the museum.

i think he came to the color much later &, personally, i like it. that first piece looks like what frank stella was putting on walls just recently.

many of the new college sculpture students apprenticed w/chamberlain. his studio was somewhere on the purlieus of a bad neighborhood in sarasota as i recall. according to a few of the new college students, chamberlain had many bad habits. the common idea was that he wasn't going to last very long. that was back in the 80s. he lasted a long while past all predictions to the contrary & i think his art will pull him along for a longer while still.