Monthly Archives: February 2009

Barry Johnson, General

No one here knows boldface, seriously

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Lawrence Olivier in the Criterion DVD version of Henry V Yes. We’ve noticed the rampant bold face that popped up in our posts on this page all of a sudden. We have some of the finest brains in America working on the problem. Hey, can anyone out there help us out? We’re totally stumped.

That gave us pause for awhile, but, baby, we’re back, boldface or no. So back. Brother Bob Hicks is leading the charge for arts funding, now at the State level. The bayonets are fixed and he’s just about through that first roll of barbed wire. Then he gets the machine gun emplacement. But before that a pause to consider Henry V…

We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne’er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin’s day.

I tried a gender-neutral version (“we band of siblings”), but it had rhythm problems and (s)he is a bit irritating, in that lit-theory kind of way.

And I just posted at weird length on a subject that’s been roiling around my head the past couple of weeks, in between bouts of jazz. Speaking of jazz, I hope you ventured to Portland Arts Watch to read some of the posts. My own favorite dealt with the great Nancy King, whom we should designate an official City Treasure. This might be something that Art Scatter should do: name official Art Scatter City Treasures. Nancy would be a charter member. Have I mentioned that she’s the greatest?

And have I mentioned that we need help with rampant boldface on WordPress? Seriously. I’m blaming Bob until someone tells me different!

Barry Johnson, Books, Cities, Dance, General, Music, Theater, Visual Art

Please Coraline, save the economy!

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The Warhol EconomyAfter the dust settles, the tsunami recedes or the cookie crumbles, depending on your metaphor of choice for our present economic condition, who will be left standing? More specifically, what regions of the country can expect to rebound quickly and which ones are headed for even deeper trouble?

That’s the provocative topic of Richard Florida’s Atlantic Monthly essay this month, which is the starting point for my column in this Monday’s newspaper. It’s long (Florida’s article, not my column!). And it contains some predictions of doom for certain cities and states that must give them pause. For the record, he expects the Pacific Northwest, from Vancouver, B.C., to Eugene, to do just fine — he jumped on our bandwagon in his book “The Rise of the Creative Class” way back in 2002, after all. He doesn’t think the same for Phoenix, Cleveland and Detroit.

Early in that article, Florida mentions Elizabeth Currid’s book, “The Warhol Economy,” as he explains why he thinks New York City, even though the hit it has taken from the collapse of the financial sector is massive, will continue to thrive. Currid, who teaches at USC, did a “case study” of the creative class in New York, specifically the music, fashion and art scenes, and found that these interwoven “industries” were 1) far more important to the city’s economic health than commonly understood, and 2) when linked to the national media outlets and the rest of the city’s creative economy of designers, theater, and the other arts, were absolutely crucial to the city’s identity as an international center.
Continue reading Please Coraline, save the economy! →

Bob Hicks, General, Visual Art

Hard, hard times all around — look at that art before you hit the ground

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Krider National Youth Admininistration

OK, so we’ve had a New Deal. Time for a New New Deal.

And time to look back for inspiration at the old New Deal, which is exactly what the Smithsonian Institution is doing, as reported by the online magazine Art Knowledge News. 1934: A New Deal for Artists will run Feb. 27 through Jan. 3, 2010 at the Smithsonian American Art Museum in Washington. D.C.

Here’s part of what the museum has to say about the show:

“As the Smithsonian American Art Museum prepares to open 1934: A New Deal for Artists, the nation is engaged in a great discussion about how to restore confidence during the worst economic downturn since the Great Depression,” said Elizabeth Broun, The Margaret and Terry Stent Director at the Smithsonian American Art Museum. “One contentious issue is whether and how cultural initiatives should play a role in government recovery efforts. This exhibition, which focuses on the first U.S. government program ever to provide direct support for artists, is relevant to that discussion. The legacy of New Deal cultural programs seems indisputable today as we cherish and mine the resources these ‘workers’ left us.”

1934: A New Deal for Artists celebrates the 75th anniversary of the Public Works of Art Program by drawing on the Smithsonian American Art Museum’s unparalleled collection of vibrant paintings created for the program. The 56 paintings in the exhibition are a lasting visual record of America at a specific moment in time. George Gurney, deputy chief curator, organized the exhibition with Ann Prentice Wagner, curatorial associate.

Federal officials in the 1930s understood how essential art was to sustaining America’s spirit. During the depths of the Great Depression, President Franklin Delano Roosevelt’s administration created the Public Works of Art Program, which lasted only six months from mid-December 1933 to June 1934. The purpose of the program was to alleviate the distress of professional, unemployed American artists by paying them to produce artwork that could be used to embellish public buildings. The program was administered under the Treasury Department by art professionals in 16 different regions of the country.

Artists from across the United States who participated in the program were encouraged to depict “the American Scene,” but they were allowed to interpret this idea freely. They painted regional, recognizable subjects—ranging from portraits to cityscapes and images of city life to landscapes and depictions of rural life—that reminded the public of quintessential American values such as hard work, community and optimism. These artworks, which were displayed in schools, libraries, post offices, museums and government buildings, vividly capture the realities and ideals of Depression-era America.

Looking back, the stress on “the American Scene” was too jingoistic, and while the art from this program is fascinating as a snapshot in time, much of it suffers from the constraints of uplift laid on the artists. We can do better with the New New Deal — allowing our artists more freedom in their efforts to interpret the times we live in, without the paternalistic guiding hand. But the time is now: Let’s get them to work.

Bob Hicks, Cities, Environment, General

Salem swings the ax: Arts heads on the chopping block

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Fresh on the heels of this afternoon’s news that the Oregon Historical Society is shutting down its research library comes this report from the Oregon Cultural Advocacy Coalition that the Oregon Legislature has targeted OHS for an additional $350,000 cut — and that’s just the tip of the iceberg for slashes in arts and cultural funding as the Legislature tries to make sense of the economic crisis.

150-cake_1Things are looking bad, folks. Most egregious is the Legislature’s attempt to liberate $1.8 million from the permanent fund of the Oregon Cultural Trust — vital money that Oregon citizens contributed specifically for that purpose, and, as the Cultural Advocacy Coalition notes, a violation of those citizens’ trust.

Time to pitch in with your two cents’ worth, or you won’t have two cents to pitch.

Here’s this evening’s report from the Cultural Advocacy Coalition. Happy 150th birthday, Oregon. Here’s hoping we make it to 151:

Help Preserve Oregon Arts, Culture, and Humanities Funding

Take Action!
Read and Take Action Today

The Cultural Advocacy Coalition representing Oregon’s 1,200 cultural non-profits in Salem is closely monitoring budget and legislative developments in Salem.

If you read the newspaper and listen to broadcast media, you know that Oregon is facing one of the most significant budget shortfalls in its history. The State issued its revenue forecast on Friday. Revenue projections are now an additional $55 million over the previously announced shortfall of $800 million in the State’s General Fund. Lottery revenues are also down.

Legislators issued a “cut list” last week. It contains proposed reductions and fund sweeps for all agencies to re-balance the 2007- 09 budget, assuming an $800 million hole. This represents a serious threat to state funding for culture.

In this proposal are the following reductions in current year spending:

$211,384 cut to the Oregon Arts Commission
$350,000 cut to the Oregon Historical Society
$ 64,085 cut in lottery funds to the Office of Film and Television

Finally, and most sobering: the “funds sweep” list of Other Funds includes the recapture of $1.8 million from the permanent fund of the Oregon Cultural Trust. The $1.8 million includes $1.3 million in cultural license plate revenue generated since 2003 – plus interest.

The Cultural Trust was authorized by the Legislature in 1999 – ten years ago – to grow and stabilize funding for culture – in good times and in bad. To skim the Trust fund and re-allocate cultural license plate fees for the General Fund is a violation of trust with the buyers of the plates who assumed they were supporting Oregon culture with their purchases. To raid the fund to pay for other state services simply violates the very purpose of the Trust and the intent of the Trust’s thousands of donors: to protect and invest in Oregon’s cultural resources.

This situation is very serious. Not only are legislators dealing with a large revenue shortfall and the potential of an additional $55 million in cuts, there are efforts under way to hold k-12 school funding from further reductions.

Take Action Now.

Use the Cultural Advocacy Coalition’s website to send a message directly to your legislators. You can use one of the messages on the website – or write your own message to convey the importance of cultural funding in your city, town or county and why the Oregon Cultural Trust needs to be remain intact and taken off the fund sweep
list.

Work to re-balance the state budget is proceeding very quickly and may be completed by this weekend. Weigh in with your opinion. Click here to send a message to your legislators NOW.

Bob Hicks, Books, Cities, Environment, General

Happy 150th, Oregon — sorry about the history

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The state of Oregon turned 150 on Valentine’s Day, and it looks like the honeymoon’s over.

A friend sent along a copy of this message from  the Oregon Historical Society, an organization that’s been dealing with tough financial times for several years. (It was once funded largely by the state, but those days are long gone.) For most people, the society’s research library is being shut down.

A lot of Oregonians will never notice, of course. But for writers, researchers, historians, people searching their family roots, this is a blow. Here’s an excerpt from a message sent to insiders. Read it and weep.

Conversation: Closure of OHS Research Library
Subject: Closure of OHS Research Library

Dear friends and colleagues,

It is with great sadness that I write to share the news with you that, due to severe budget reductions, the Oregon Historical Society will be closing its Research Library beginning this Saturday, February 28th. The collections will no longer be open to the public, and all library positions will be eliminated beginning March 13th. A few positions will remain to handle orders for photo and film reproduction. It is not known at this time if or when the library will re-open and at what capacity.

As many of you know, the OHS Research Library has the largest collection of archival documents relating to the history of Oregon, including its nationally-renowed photograph collection containing over 2.5 million historical photographs, more than 32,000 books, 25,000 maps, 12,000 linear feet of manuscripts, 3,000 serials titles, 16,000 reels of newspaper microfilm, 8.5 million feet of film and videotape, and 10,000 oral history tapes. I feel this not only as a very personal loss but as a great loss to all Oregonians.

If you have questions or concerns about the OHS Research Library closure, I strongly recommend that you contact our Executive Director, George Vogt, at george.vogt@ohs.org or 503-306-5203. Please continue to check our website at http://www.ohs.org for any future news about the status of the library. …



Bob Hicks, Film, General, Music, Theater

Late scatter: All hail the Devil and Rudolph Valentino

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Tobias Andersen, Bill Geisslinger, Todd Van Voris, The Seafarer

What with arts politics and scratchy throat and other everyday interruptions I’ve avoided actually writing about any art since talking about Portland Opera’s The Turn of the Screw and the finale of the Fertile Ground new-plays festival a couple of weeks ago.

But I don’t want Artists Repertory Theatre‘s brilliant version of The Seafarer and Opera Theater Oregon‘s campy but gorgeous Camille/La Traviata to get any farther in the rear view mirror without picking up my virtual pen. Both shows have ended their runs, which turns this into something more of an afterglow than what’s sometimes known in the biz as a “money review.”

Still, darned near everything in The Seafarer was pretty much right on the money, beginning with Irishman Conor McPherson‘s multiply layered script and extending to Allen Nause’s precise yet lively direction of one of the best ensemble casts you’re likely to see in a long while.

McPherson broke on the scene in 1999 with The Weir, when he was still in his late 20s, and although he’s become a leading voice in contemporary theater he’s something of a classicist: The Seafarer, which was first produced in 2006, is an old-fashioned play in a lot of good ways. It revels in language (the way McPherson lobs curses is much funnier and, dare I say, humanitarian than the way Mamet usually does). It’s a “well-made play,” a form that’s fallen out of fashion but has historical staying power. It plays with checks and balances and dramatic weight, encouraging you to shift your view now and again about who the “central” character in this cosmic-showdown drama really is. It’s — hold your breath here — entertaining, a basic value that all too often gets lost in the name of cultural relevance and Art.

Continue reading Late scatter: All hail the Devil and Rudolph Valentino →

General, Vernon Peterson, Visual Art

What kind of bird are you? Looking at Max Ernst

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“Surrealism and Painting” Max Ernst (1942)

I celebrated Scatter birthday by revisiting the Menil Collection in Houston, the source for my posts last year on the extraordinary art collection amassed by two Europeans, John and Dominique de Menil, who brought their oil business and modern art collection to America at the beginning of World War II. Located in a park-like complex that is surrounded by a neighborhood of modest bungalows, the Collection of more than 16,000 pieces includes a gallery devoted to Surrealism and offers individual shows, such as last year’s idiosyncratic “How Artist’s Draw,” curated by Bernice Rose.

Last week I spent two days at the Menil, most of it wandering through the gallery housing “Max Ernst in the Garden of Nymph Ancolie,” then in its last two days. The show focused mostly on the evolution of Max Ernst’s themes and motifs between the two World Wars, culminating with a view of a huge (nearly 14 x 18 feet) oil on plaster mural he produced for a Zurich nightclub, which has been transferred to plywood panels and restored.

51xkfrth46l__sl500_aa240_Surrealism and Ernst are the Collection’s core. The de Menils met Max Ernst (1891-1976) in Europe before World War II and became unalterably infected with his Surrealist vision. The show included a new film about the installation of a 1973 Ernst exhibit at nearby Rice University, supervised by Dominique de Menil. The film, “Max Ernst Hanging,” was produced by Francois de Menil and John de Menil, son and grandson of the de Menils, and features vintage black and white footage of Dominique de Menil organizing the show, as well as incredible coverage of Ernst, then in his early eighties, walking through the space while the exhibit is being hung, looking at pieces he hadn’t seen in years, and then mingling with Houston’s art patrons during the opening. Many of the pieces in the 1973 exhibit were on view in the current show. (Olga’s Gallery is a great place to get a quick look at a cross-section of Ernst’s work.) The experience sparked a few reflections.

“What kind of bird are you?” (A question from a patron at the 1973 opening in “Max Ernst Hanging.”) A good question. Ernst and his work are filled with birds, so much so that the painter adopted an alter-ego, “Loplop,” a phoenix-like, anthropomorphic bird that is at once image and observer in his work, and appeared again and again in his paintings and sculpture. Birds that are cut-out drawings or photographs used in collages, dotted-line or cartoonish birds in cages lightly painted on the surface of otherwise detailed paintings, sculptured birds, and strange biomorphic creatures that share bird and human and even vegetal and insect forms and characteristics. At times the birds seem trapped and isolated, at other times spiritual and free, and then, as in, “Surrealism and Painting,” shown above, the bird-human form – is it one figure or are there three? – suggesting an almost sentimental notion of family. It is serene, secure and a bit claustrophobic. But birds. Birds everywhere.
Continue reading What kind of bird are you? Looking at Max Ernst →

Barry Johnson, Music

Scatter has a birthday!

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Christine Sehnaoui This phalanx of Art Scatter has been totally missing for a while. Quite a while. Which means we’ve been posting our fool heads off at Portland Arts Watch, trying to get that vessel seaworthy.

We just posted today on a visit by Christine Sehnaoui, a Lebanese-born, Europe-based exponent of experimental music. It’s improvised music, so maybe it also qualifies as free jazz. It IS listed as a Portland Jazz Festival event. Anyway, the post has a sort of Art Scatter feel to it, so I’m hoping maybe you’ll venture forth. Penguins are involved. So is Ursula K. Le Guin (but only because of the penguins). Also, there’s a little participatory journalism: At one point I was afraid that the audience would register the squeaking of my rather noisy chair as part of the performance. I’m considering the formation of the Squeaky Chair Quartet as a result of this experience. I’m looking for someone who’s good on recliner.

Yes, the Portland Jazz Festival. Which is just about where we came in one year ago. Weirdly enough, Art Scatter has passed the magical one-year barrier. That post I did on Ornette Coleman? One year ago. I started to say it seems like only yesterday, but in fact it feels more like a decade! At my age, that’s a good thing. We’re trying to s-t-r-e-t-c-h those days out.

Anyway, we thank you for joining us this past year. Frankly, if not for you, we wouldn’t be doing this. We’d be boring Scatter Wives completely silly instead! I/We have no idea what this next year will bring in Scatter Land, because we/I have no idea which way the worm will turn. But speaking entirely for myself, this space we share with you has amused me no end. And I mean amusement in the best possible way. Thanks!

Bob Hicks, General

An arts victory: celebrate, and stay on the alert

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Philip Hazard "America!" neon/mixed media/Courtesy Zenith Gallery

Art Scatter’s had a case of the sniffles the past few days and hasn’t been keeping up with reporting duties. Fortunately, our friends at Culture Shock have been doing a bang-up job.

First, on Friday, Culture Shock’s Culture Jock came across with the news that the Coburn Amendment, which would have denied any money for arts and cultural purposes in the economic stimulus bill, had been killed by the House-Senate conference committee, and that a fresh $50 million for the National Endowment for the Arts — which had been part of the House version but absent from the Senate stimulus bill — had made it into the final stimulus package to be signed today by President Obama. Terrific news. And thanks to Americans for the Arts for spearheading the lobbying effort, which got scant play in the mainstream press but was buzzing all around the Internet.

Then, today, Culture Shock’s Mighty Toy Cannon pushed the argument forward with a provocative post arguing that it’s time for people in the arts to rethink their arguments for government support of the arts. There are two kinds of conservative opponents to arts funding (this is my words, not MTC’s) — the bear-baiting, cultural warmongering of the fake conservatives, the right-wing radicals who see arts-bashing as an effective tool in the conning of the general public by blaming all of life’s travails on the liberal effete; and true economic conservatives, who may actually be big supporters personally of the arts but who don’t understand why government should support art. Engaging those people might be most fruitful. You should read MTC’s entire post; I’ll quote just a little bit of it to whet your appetite:

Perhaps it is time to stop declaiming the goodness of art and pay more attention to making the case for why government should (or must) have a role in supporting it. And let’s be careful to avoid tautologies: e.g., “Government should support the arts because … well, just because that’s what the government should do.”

We should try to explicate the unique role government can play in the arts economy. What can government do for the arts that the private sector either can’t or won’t?

Finally, the New York Times, like most of the country’s press, was strangely AWOL while all the political jockeying was going on, at least so far as the tiny bit of arts money at stake in the stimulus package was concerned. But this morning it published Robin Pogrebin’s illuminating recap of how the fight came down and how arts advocates, for a change, won the day. The cast of characters ranges from Robert Redford to Nancy Pelosi to U.S. Rep. Norm Dicks, the Democrat from Washington state who was one of the quiet heroes of the battle to reinstate arts money. This is well worth reading.

My gut feeling is that this recession (or depression, depending on whether or not you still have a job) is going to be with us for a long time, and that we’re going to need a lot more stimulus than what’s been passed so far. Arts and culture should play a prominent role in that, as they did during the Depression of the 1930s and early ’40s, when cultural programs were a central part of the Works Progress Administration. (A personal aside: The first string bass I owned, which I picked up very used in about 1964 for a hundred bucks, had a WPA sticker on its back. I loved being part of its living history, carrying it into the future.)

And I think, as artists continue to press their rightful role in the American economy, it’s fair for Oregonians to keep pressing Senators Ron Wyden and Jeff Merkley for an explanation of their votes in favor of the Coburn Amendment. They need to stand up and be counted.

Bob Hicks, General

Happy 200th birthday, Abe — honestly!

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A bouquet for Abe/Laura Grimes

Today is Abraham Lincoln’s 200th birthday, and as you might have noticed, he’s been getting a lot of press lately.

Books, books, books about him. Revisionist theories, counter-revisionist theories, bunkings and debunkings and outright frivolities such as Christopher Buckley’s spoof of Lincolnmania at The Daily Beast.

We don’t mind. We like Abe. (I know, I know: We’re supposed to like Ike. He’s looking better these days, too.) And we especially like the little private celebration that occurs every year on this date at the Lincoln statue in downtown Portland’s South Park Blocks, near the Portland Art Museum. That’s where Friend of Scatter Laura Grimes discovered this bouquet of thanks this afternoon and quickly commemorated it with her cell phone, a year to the day after one of our very first posts, also on the subject of Ms. Grimes’ encounter with this selfsame statue. Thanks, Laura.

And happy birthday, Abe. Thanks for the guidance. We’re still trying to get it right.