Wednesday, March 14, 2007

woes of nomenklatura clinch another german oscar


[a collection of german oscar winners (color) and nominees (black and white) as follows: “nowhere in africa,” “schtonk!”, “the tin drum,” “sophie scholl: the final days,” “jacob the liar,” “downfall,” “the lives of others,” “beyond silence”]

florian henckel von donnersmarck’s film “the lives of others,” a tale of the nomenklatura—those birds imprisoned in the gilted cages—again brings german film, deservedly, to the wider world audience. winning the 2007 oscar for best foreign-language film, is this poignant story of a stasi agent (ulrich muhe) who spies on a playwright (sebastian koch) and his live-in actress girlfriend (martina gedeck)—becoming enamored of their “artistic” lifestyle in the process. this more sinister representation of life in the ddr stands in contrast to the more comical, “ostalgie” peeks at the former communist dictatorship. an example of the latter genre is wolfgang becker’s “good bye lenin,” in which a loving son attempts to spare his true-believer mother the reality of her beloved “socialist” east germany’s downfall. he does this by transforming their apartment into a vestige of the ddr.

“sophie scholl: die letzen tage” (“sophie scholl: the final days”) was nominated for the “best foreign language film” academy award last year. this riveting drama focused on the apprehension and subsequent prosecution of the white rose resistance in nazi germany. it is with gratitude that i managed to attend the u.s. premiere of this rich film at moma’s kino festival. starring actress julia jentsch as sophie, the script drew from interviews with survivors and court transcripts that had escaped scrutiny in the bowels of the east german archives until 1990.

[for those who have not already seen it, “die letzten tage” is a most compelling film (as is the larger story of “weißerose”) for a host of reasons. in the darkest days of the nazi police state, “white rose” cut across lines of protestant and catholic and north and south in a country where—even today—lines of ossie v. wessie, protestant v. catholic, prussians v. other germans, and bavarians v. other germans are far from simple. that sophie herself had been in the the nazi bund deutscher mädel (league of german girls) and that the men of white rose—such as hans scholl, alex schmorell, willi graf, and christoph probst—were wehrmact veterans who witnessed horrible atrocities on the eastern front is interesting from a standpoint of their rejection of the fascism and militarism of the third reich that they had earlier embraced. as to regional differences or to that invisible “line” between protestant and catholic germany, an affluent bavarian character with a great car and clothes to match—playing on larger german perceptions of bavarians as pampered and myopic—can always garner a good laugh in german cinema. the latter was found in hans stöhr’s “berlin is in germany”—a wrenching look at one person’s cognitive dissonance in the face of reunification—which premiered at the 2001 berlinale. the wealthy bavarian woman character in a party scene (and mocked or tolerated by prussians present) belies complicated currents of identity below the surface).]

nominated for this award the year before “sophie …” was “downfall” (“der untergang”), a 2004 film piecing together the final days of adolf hitler and the third reich in the shell-consumed berlin in 1945 and set almost entirely in the bunker. losing to south africa’s “tsotsi,” “downfall” was written by bernd eichinger and directed by oliver hirschbiegel. a battery of sources contributed to the script, most notably historian joachim fest’s book “inside hitler’s bunker” and the respective memoirs of albert speer, hitler’s secretary traudl junge, and siegfried knappe.

garnering a 2002 academy award for best foreign language film was caroline link’s “nowhere in africa” (“nirgendwo in afrika”). based on stefanie zweig’s autobiographical novel, it captures the experience of a jewish family that emigrates to kenya to run a farm and escape the holocaust.

another caroline link film, the 1997 “beyond silence” (“jenseits der stille”) lost to the netherlands’ “character” (“karakter”) in the race for an oscar. a coming of age story about a hearing young woman named lara, whose parents are both deaf, she acts as their sole negotiator. torn between her feelings of love and responsibility to her parents on one hand—and her love of music on the other, she decides to go to berlin to attend a music conservatory and begin the painful process of leaving home.

“schtonk!: der film zum buch vom führer”—which lost out to the lush french production “indochine” in 1992—was a farcical take on the infamous hitler diaries hoax of 1983 when the german magazine “stern” published 60 volumes of adolf hitler’s alleged memoirs. two weeks later the diaries turned out to be fake. this satire about “one of the greatest failures of modern journalism” is a notable cinematic departure for german film in its humorous take on this angst-producing period of german history. “schtonk!” signaled an openness toward humor in german film in general, and not just in relation to the great discomfort of third reich era subject matter.

volker schlöndorff’s film adaptation of günter grass’s novel, “the tin drum” not only garnered the academy award for best foreign language film in 1979, but it also won the “palme d’or” at cannes at a time when the political fortunes of the cdu/csu eclipsed the activist sdp/fdp coalition government that had fostered “ostpolitik.” for americans, this film will forever be tied to an embarassing incident in oklahoma in which police confiscated a videotape of the movie in clear violation of constitutional protections—an action upheld by an incompetent court that “banned” the film. subsequently, a federal judge ruled that “the tin drum,” is protected by virtue of its artistic merit under oklahoma and u.s. law.

a year previous to triumph of “the tin drum, ” “the glass cell” (“die gläsene zelle”) lost to the french film, “get out your handkerchiefs” (“preparez vos mouchoirs”).

germany’s oscar nomination in 1976 “jacob the liar” (“jakob, der lügner”) came out of the german democratic republic—and was produced by privileged members of the ddr’s nomenklatura portrayed in this year’s victor “the lives of others.” this poignant tale about doomed jewish inmates in the lódź ghetto was based on the 1969 novel by jurek becker—garnering the author a heinrich-mann-prize in 1971. while “jacob” lost out to “black and white in color” (“noir et blancs en couleur”) from the côte d'ivoire, hollywood later released its own version in 1999 with robin williams playing the role of the jewish protagonist jakob heym.


the berlinale film festival:
http://www.berlinale.de/en/HomePage.html

german film website:
http://www.german-films.de/

sophie scholl movie (english):
http://www.sophieschollmovie.com/

Saturday, February 24, 2007

what would jane say?


a weighty jury including ronald shiffman (director emeritus of the pratt center for community development), john reddick (education director at the central park conservancy), arts patron agnes gund (president emerita of moma), cooper union president george campbell jr., “the new yorker” architecture critic paul goldberger, and david rockefeller jr. will decide on recipients of the newly created “jane jacobs medal.” this award will honor the activist, author, and urbanist who helped stop the desecration wrought by robert moses on new york city. two “jane jacobs medals” will be awarded by the rockefeller foundation annually to living individuals “whose creative vision for the urban environment has significantly contributed to the vibrancy and variety of new york city.”

at stake in award of these medals are prizes totaling $200,000, with one medal recognizing leadership and lifetime contributions while the other will recognize new ideas and activism reflecting jane jacob’s ideals. together, the two medalists will represent the creativity, innovation, and dynamism of gotham.

working with the rockefeller foundation to administer these medals will be the municipal art society of new york, a private, nonprofit organization that promotes a more livable city through advocacy in urban design and planning, contemporary architecture, historic preservation, and public art. interestingly, the rockefeller foundation had an important--though little known--relationship to jacobs, who died at the age of 89 in april 2006.

in the 1950s, the rockefeller foundation launched an “urban design studies program” that helped foster the emergence of urban design and theory. as part of this groundbreaking initiative, the foundation issued a grant to jane jacobs, the then-obscure writer from greenwich village, to research and write “the death and life of great american cities”--now considered a classic.

beyond her writing and theory--which re-evaluated the balance between the needs of urban environments and those of living communities--jane jacobs is revered for her legendary and successful street activism against robert moses’ proposed lower manhattan expressway that inspired communities internationally as well as in new york city and the united states. had that expressway gone through, its construction would have decimated neighborhoods such as the village and soho.

sadly, new york city lost its indomitable champion when jacobs--a vociferous opponent of the vietnam war--exiled herself from the u.s. in 1968 in order to prevent her two draft-age sons from having to serve in that conflict. jacobs settled in toronto, where she resumed her visible neighborhood activism and her architect husband found ample work. ultimately, she became a canadian citizen in the mid-1970s.

set for a june 2007 announcement, the award ceremony will occur in september to coincide with an exhibit on jacobs opening at the municipal art society. nominations for the “jane jacobs medal” must be electronically submitted to the rockefeller foundation by 5 pm on march 2. with assets in excess of $3.5 billion, the foundation is one of the nation's largest.

for more information on jacobs and the award, go to:

http://www.rockfound.org/efforts/jacobs/janejacobs.shtml
http://bss.sfsu.edu/pamuk/urban/
http://www.pps.org/info/placemakingtools/placemakers/jjacobs
http://www.kunstler.com/mags_jacobs1.htm
http://www.preservenet.com/theory/Jacobs.html

Friday, February 23, 2007

pushing congress on the “safe climate act”


be sure to contribute to prevention of horrible eventualities posed by global warming--from chronic coastal area flooding and indefensible drawdowns of great lakes water levels to ever more destructive hurricanes. working toward solutions to global warming can be a challenge to bring us together as a society--and will leave our earth a better place for future generations. environmentally sound solutions we seek could potentially reap dividends for our economy and eventual energy security.

to prevent our being paralyzed by such a large issue, we can break from individual inertia and find accomplishable success. congress has offered us such a possibility with congressmember henry waxman's introduction of the “safe climate act.” if its objectives are realized, this science-based measure could reduce global warming pollution by 80% over the next 50 years. Bold action called for in this legislation includes: freezing u.s. greenhouse gas emissions to 2009 levels in 2010, starting in 2011 to cut emissions by approximately 2% annually and reach 1990 emissions levels by 2020, and cutting post-2020 emission by about 5% annually. it is hoped and projected that--by 2050--emissions will be 80% lower than 1990. such goals are similar to those announced by prime minister tony blair and governor arnold schwarzenegger with initiatives previously undertaken.

countering global warming demands nothing less. get your member of congress to co-sponsor the “safe climate act” and ask your friends and family to do the same. using the following link from “environment michigan” provides you an easy way to urge your representative’s co-sponsorship of the “safe climate act”--regardless of what state you reside in:

or you can use their suggested text and urge co-sponsorship by snail-mail:

"as power plants and cars spew out more global warming pollution, we will see rising sea levels along the eastern seaboard, more intense storms in the gulf, droughts in the west, and more dangerous heat waves across the country. but if we act now, and act decisively, we can stop global warming and protect future generations. i urge you to co-sponsor the “safe climate act,” which would prevent the worst effects of global warming by setting science-based limits to reduce global warming pollution by at least 15-20% by 2020 and 80% by 2050."

if you do not know your member of congress, you can find out who represents you and how to "sound off" to them at:

if you have any energy left over after this citizenly exercise, why not ask your senators to support legislation equivalent to the “safe climate act”?

Wednesday, February 21, 2007

la chascona #4: peter balakian



while best known for his nonfiction such as “the burning tigris: the armenian genocide & america’s response” and the acclaimed pen/martha albrand prize-winning memoir “black dog of fate,” the poetry of colgate university english professor and guggenheim fellow peter balakian is sublime. though “black dog of fate” can be looked at in terms of its vibrant poetic nuances, balakian’s poetry books “father fisheye” (1979), “sad days of light” (1983), “reply from wilderness island” (1988), “dyer’s thistle,” and “june-tree: new and selected poems, 1974-2000” pop from the page.

pathos and whimsy tie together radically different historical milieus in balakian’s poetry to recall forced marches in anatolia, brutality and atrocities inflicted by turks against armenians in the 20th century‘s first genocide, and the social/cultural upheaval experienced by baby boomers from their childhoods in the fifties and sixties and beyond.

the sounds, sights, and smells of america’s “golden age of plenty”--the lawns, trips, college rite de passage--and the aching call of that privilege come to life in his wondrous verse. the realization that life and images explored by balakian--so absolutely american in scope--occur a mere handful of decades after those atrocities claimed his relatives and other armenians makes his poetry all the more poignant. hear the sound of a suburban new jersey lawn being watered. feel the cognitive dissonance of passing from the “new deal” paradigm to the more darwinist ethos of the 1980s. picture the outlook of a boy coming of age in relation to his parents. these and so many more twists and turns make peter balakian’s poetry a true powerhouse in which the reader has the privilege of traveling between whimsy and tragedy on a single page!

In “rock ’n roll,” balakian’s word economy gives the reader dividends unimaginable:
“I wasn't a fool in a satin tux.
I was Persian gold and blue chenille,
I was the son of the Black Dog of Fate.”

his verse travels back from teaneck and tenafly to give us a glimpse of the horrendous suffering on the march from diarbakir (and other horrors inflicted by turks) to the miraculous acclimation of survivors to a new continent and society with their resultant hopes, silences, and resurgence. in “end of the reagan era,” we make amazing leaps from a citation to willa cather and visions of saffron maple leaves to the distance between blue and red states in a struggle for the hearts and minds of america.

while it can take your breath away, peter balakian’s poetry is a trip so worth traveling.

Tuesday, February 20, 2007

40th anniversary of “society’s child”


released in march 1967, janis ian’s landmark composition “society’s child (baby, i‘ve been thinking),” (which she recorded in 1966 at the age of 15) was largely ignored because its account of an interacial romance forbidden by the narrator's mother and frowned upon by peers and teachers was considered “too hot to handle.”

“society’s child” exploded onto the scene in 1967 when classical composer/conductor leonard bernstein featured janis ian and the song on his cbs tv special, “inside pop: the rock revolution.” (remember that in this pre-cable period--when most americans received only three or four television channels--television shows such as this had infinitely more impact.) the program’s resultant publicity allowed “society’s child” a #14 on the national billboard charts that summer by virtue of its reaching #1 or top 10 status in isolated “markets,” although most radio stations across the u.s. feared the song and refused to play it (either quietly removing it from their play lists or banning the song outright).

reflect on these lyrics written by ian (while waiting for her guidance counselor) and try to imagine the resultant furor that spawned apocryphal tales of disc jockeys beaten or radio stations burned down for playing the song:

Come to my door, baby,
Face is clean and shining black as night.
My mother went to answer you know
That you looked so fine.
Now I could understand your tears and your shame,
She called you “boy” instead of your name.
When she wouldn't let you inside,
When she turned and said“But honey, he's not our kind.”
She saysI can't see you any more, baby,
Can't see you anymore.
Walk me down to school, baby,
Everybody's acting deaf and dumb.
Until they turn and say,
“Why don't you stick to your own kind.”
My teachers all laugh, the smirking stares,
Cutting deep down in our affairs.
Preachers of equality,
Think they believe it, then why won't they just let us be?
They say I can't see you anymore baby,
Can't see you anymore.
One of these days I'm gonna stop my listening
Gonna raise my head up high.
One of these days I'm gonna raise up my glistening wings and fly.
But that day will have to wait for a while.
Baby I'm only society's child.
When we're older things may change,
But for now this is the way, they must remain.
I say I can't see you anymore baby,
Can't see you anymore.
No, I don't want to see you anymore, baby.

amazingly, these painful words shared the airwaves (in those cities in which it was “permitted“) in june 1967 with other such gems as petula clark’s “don‘t sleep in the subway,” the association’s “windy,” the jefferson airplane’s “somebody to love,” procol harum’s “whiter shade of pale,” spanky & our gang’s “sunday will never be the same,” the doors’ “light my fire,” the fifth dimension’s “up up & away,” van morrison’s “brown eyed girl,” nancy sinatra’s “jackson,” the turtles’ “she’d rather be with me,” scott mckenzie’s “san franscisco,” and stevie wonder’s “i was made to love her.” notably this period included the tense days of the “six day war.”

“society’s child” was produced by george “shadow” morton who also produced the shangri-las (of “leader of the pack” fame) and was working with vanilla fudge and janis ian at the same time. artie butler’s intense respective harpsichord and organ intro and ending of “society’s child” never fail to send shivers through those who remember the song and its impact. because the song was recorded onto only eight tracks (an industry advance at the time), butler had to run back and forth between the two instruments during the recording session.

although becoming a hit with verve records (which also recorded ian’s fellow high school of music & art alumna laura nyro at the beginning of her career), “society's child” was originally recorded for atlantic records. the latter company paid for the session but quietly returned the master after they heard the song, saying they could not release it. years later, according to ian, jerry wexler (then president of atlantic) apologized publicly to her for this, supposedly telling ian that, “if any company should have released “society's child,’ it was us.”

rightly recognized by the grammy hall of fame for its timelessness and influence in music history, “society’s child” was inducted into that canon in 2001. (the song garnered a grammy nomination for “best folk performance” in 1966.) some may better remember janis ian for 1970’s “jessie,” (parleyed by roberta flack into a pop standard) and ian’s 1975 gargantuan hit “at seventeen.”

http://www.janisian.com/
http://www.1050chum.com/index_chumcharts.aspx?chart=541

armenian genocide resolution again introduced


more than 160 members of the house have added their names as co-sponsors of house resolution 106--the armenian genocide resolution. lead sponsor congressmen adam schiff (d-ca), joined with george radanovich (r-ca) and congressional armenian caucus co-chairs frank pallone (d-nj) and joe knollenberg (r-mi) to announce the support of that considerable number of their house colleagues for the introduction of this resolution.

joining these four members of congress as original cosponsors of the armenian genocide resolution are brad sherman (d-ca) and thaddeus mccotter (r-mi), both of whom are senior members of the house foreign affairs committee as well as strong supporters of recognizing this historic tragedy. prior to coming to a vote on the house floor, this proposed legislation will have to pass that committee.

h.r. 106 is similar to legislation introduced during the previous congressional session. while the house international relations committee (now the foreign affairs committee) overwhelmingly approved that resolution, its final passage was blocked by former house speaker dennis hastert (r-il). hopefully, the change in house leadership will finally lead to passage of this long overdue legislation.

debate on this resolution must spotlight the state department’s dismissal of ambassador john evans (who cited the historic reality of the armenian genocide) and the bush ii administration’s outrageous nomination of richard hoagland to serve as u.s. envoy to armenia (despite his denial of that genocide, which claimed 1.5 million). the inspirational courage of turkish writer hrant dink--whose recent murder in istanbul was incited by the turkish government’s outrageous campaign of denial, cover-ups, intimidation, and violence--forms an awesome backdrop to these developments.

please contact your members of congress to support this bipartisan legislation with their co-sponsorship. for more information, and to monitor congressional sponsorship of house resolution 106, contact the armenian national committee of america at http://www.anca.org/

Monday, February 19, 2007

amtrak: destination holland, michigan



“how 1940s of you!” mused a manhattan friend of michigan origins when i told him of my plans to travel by train to visit my parents in the wolverine state.

at 3:30 on a saturday afternoon i walked down sidewalks on 7th and 8th avenues--teaming with people out shopping in the nippy weather. not much more than an hour later--ensconced in a large seat on amtrak’s lakeshore limited with lots of leg room--frozen ponds and the hudson‘s icy floes passed by. these stretches of icy marshes and bogs along america’s first river provided a backdrop for earnest snipes and other birds oblivious to our incursion.

with its bluffs and wooded groves, the train route from new york city to albany-rensaleer is inspirational. not having been up this way since a syracuse-bound trip in october 1987, i was accompanied on this journey is doris kearns goodwin’s “team of rivals: the political genius of abraham lincoln.” its riveting documentation of partisan politics and intrigue is more than familiar to one living in 2007. if you haven’t read this wonderful 2005 book by simon & schuster already, it provides a great window upon our nation’s worst war (our civil war having a higher american death toll than that of all the wars the u.s. has fought up through the first five years of the vietnam conflict). albany--with its newly (and tastefully) renovated station--yielded a nice stretch and a cup of coffee that my rush to get to penn station didn’t allow.

at some point in the snowy expanse of upstate new york, reading eyes surrendered to sleep--interrupted in rochester when flashlight wielding green-uniformed representatives of the border patrol came on board. “that your bag there?” one asked me while shining a flashlight into my sleepy eyes. when i answered “yes,” they were on their way down the car asking the same of others. they exited a few minutes later accompanied by four spanish-speaking individuals handcuffed to each other--one of whom sought assistance in rapid voice on his cell phone as he was led off the train. [on the return trip on march 1, a chinese gentleman came under their scrutiny--being interrogated in full view of other passengers.]

the bucolic scene at erie, pa.--with flurries bombarding that station’s sign--marked exit from the empire state’s large expanse. in dark early morning hours, a bright electronic sign at the stadium home of the cleveland browns overlooked that city's lakefront station.
we stopped in toledo to welcome--and bid farewell--to the number of detroit passengers who utilize that station. white encrusted farmland in indiana followed: straw remains of last year’s crop peeking above the snow. stops in south bend and elkart followed--our train blessed with a retinue of amish citizens. here, however, things got sticky. we trailed four freight trains that “took precedence” over us. what that meant was a substantial wait--making us several hours late for our 9:45 am chicago arrival. at one point, our train had to reverse itself to allow a freight train through on these undedicated tracks.

in chicago, i walked toward the loop and marveled at the icy waterways pictured above--passing by on a michigan avenue bridge named after that city’s mayor of the gangsters, william hale “big bill” thompson. snack wraps and coffee called from a food court a few blocks from the train station where i ingested the fast food and read about the incompetence of the prickly and disobedient union general george mcclellan.

unlike new york city’s penn station, in which passengers just board amtrak’s trains, chicago’s union stations is more “airport-like,” with its calls for elderly and people with small children to board first. competing for seats with scores of young girls and their parents--in chicago for a gymnastics competition--at 5:15 p.m. i made my way down the platform to the three doubledecker cars of the pere marquette en route to grand rapids via new buffalo, st. joseph, bangor/south haven, and holland. my minor descents into dreamland were broken by the antics of young girls playing tricks on their parents. (the latter quickly had dvds going to keep their daughters mollified by movies.)

the pere marquette chugged into a snowy, well-lit holland, michigan station at nearly 10 p.m. on sunday--its parking lot filled with cars of those greeting arrivals. as i drove home with my parents in their suv, the three doubledecker cars followed behind their chugging engine into the blustery night toward their final destination of the furniture city.

our blood & treasure



a sniper’s bullet took the life of a 20 year old marine in early december 2006 in iraq’s al anbar province.

this marine’s father and i grew up near each other in california’s bay area and new york’s staten island during the “new frontier”/“great society” years when our respective fathers--both career service members--had similar postings. the young marine’s father and i both had younger brothers around the same age. our connection was that typical of preadolescent males at that time: riding our bikes, building “forts,” and hanging out with other abundant baby boomers.

the young marine's father and i parted ways the summer before second grade (1966) when his father was transferred. i didn’t run into him again until late in the summer of 1976 when he--enlisted in the military himself--was posted in my michigan “hometown.” my senior year in high school had just begun when i picked up slain marine's father at muskegon airport and brought him to his new post the next day. who would've thought that our country would again so miscalculate?

thirty years later his son is killed on the other side of the globe and i wouldn’t have the foggiest idea of what to say to him. in fact, i wonder whether words can even help in such a tragic situation. perhaps they do more harm than good?

and, perhaps, our presence in iraq does more harm than good as well. issues of oil and geopolitics aside, there is the fact of our mediating a civil war between sunni and shiite muslims. is that mediation between these relentless fanatics worth the blood of young americans?

in my humble opinion, the answer is “no,” but then i am only one american. i wonder how the families of british soldiers killed in northern ireland during the “troubles” felt about losing their loved ones to mediate that senseless conflict between warring presbyterian and roman catholic extremists in their respective “ulster defense” and “irish republican” factions. today, do those families feel the lives of people in northern ireland were worth the lives of their sons? i just wonder…

at very least, in the civil war that raged in vietnam when young marine's father and i were in grade school and junior high, our “enemy,” ho chi minh cautioned his people on radio broadcasts that americans were basically a good people: that the actions of the u.s. government were an aberration. today’s sunni and shiite iraqis largely hate us--across the board--as americans.

i am grateful for americans who willingly put their lives on the line for our “freedom.” it would be so much better if this effort and sacrifice were built upon reality and truth rather than self-serving and expedient rhetoric. while i am not--in any way--a major fan of my state’s junior senator, i do agree with hillary rodham clinton on her strong words to the iraqi “government” that “they cannot rely on the blood and treasure of america any longer.”

please pray for the many thousands of families whose lives have been turned upside down by this tragic conflict.

saving valuable ecosystems



while visiting my hometown, i found out about a most worthwhile organization called the “land conservancy of western michigan.” whether this particular organization or other like initiatives closer to home (including the land trust alliance and new york‘s pound ridge land conservancy), such groups that keep nature nearby have a number of advantages. any number of ecosystems--bogs, beaches, woods, and wetlands--are protected for locals and visitors by these initiatives. preserved land initiatives benefit all of us, especially providing a valuable legacy for generations to follow. natural areas preserved closer to larger population centers allow more people to enjoy the wild without squandering fossil fuels and contributing to greenhouse emissions. naturalists at lcwm and other land conservancy initiatives take students--of all ages--on guided hikes through nature preserves. by providing volunteer opportunities and the ability to make new friends, these land conservancy initiatives help build a badly needed sense of community in addition to preserving threatened ecosystems. not only are financial contributions to land conservancies tax deductible, but landowners who permanently protect their property by turning it over to preserves, donating conservation easements, and conserving river frontage might find themselves eligible for income, estate, or property tax benefits.

in new york, governor eliot spitzer’s executive budget for 2007-08 contains a $1 million appropriation for the new york state conservation partnership program--representing a 100% increase over the current year’s appropriation. if approved by the new york state legislature, this will make a huge difference in the ability to build land trust capacity and advance land protection projects in new york state.

[last august, federal tax incentives were added that allow conservation easement donors to receive increased deductions in any given year from 30% to 50% of the donor’s adjusted income. additionally, easement donors will be able to “carry-forward” any unused portion of their charitable contribution for 15 years, up from the previous five-year limit. unfortunately, this offer is time-limited. these new federal tax incentives will be in place for easements donated between january 2006 and december 2007 only--tax benefits that conservation organizations will attempt to make permanent. tax benefits for qualified conservation easements differ markedly by state.]

the 3,000 natural acres preserved by lcwm (and countless acreage preserved by equivalent conservancies across the united states) allow us to hear the myriad sounds of the outdoors--all the chirps, hoots, squeaks, and squawks. dedication to undeveloped areas can be an inspiration to people across various lines of experience.

land conservancy of western michigan:
www.naturenearby.org/ lcwm@naturenearby.org
the nature conservancy
www.nature.org/
land trust alliance (new york)
www.lta.org/regionallta/ny/ newyork@lta.org
pound ridge land conservancy
www.poundridgeland.org/

Sunday, December 31, 2006

“alfie”: a battle of abundance

[digital composite: cher, cilla black, dionne warwick. 2006]

“alfie,” a burt bacharach and hal david composition, spurred a spirited chart war in 1966-1967. besides hooking the oscar for bacharach and david at the 1967 oscars, “alfie” was ultimately covered by nearly 20 artists, including: vikki carr, the delfonics, maynard ferguson, stan getz, jack jones, nancy wilson, barbra streisand, and sarah vaughan. however, from the march 25, 1966 recording session at abbey road at which cilla black recorded it, the main scuffle was between contenders black, cher, and dionne warwick. arranged and conducted by bacharach himself, cilla black cited the "alfie" recording session with him as one of the most demanding of her career—with bacharach insisting on several takes. (the songwriter reputedly found cilla black's voice “strident.”)

the theme from the film of the same name, “alfie” was just one of many soundtracks for the duo—contributing to their block of oscar conquests… bacharach/david provided film scores for “what's new pussycat?,” “casino royale,” and 1969’s “butch cassidy and the sundance kid,” among others. the latter featured their most celebrated score—netting oscars for best original score and best theme song for “raindrops keep falling on my head.” the film version of “alfie”—sung by cher in a sonny bono arrangement—was performed over the end credits.

the 1966 celluloid chestnut starred michael caine, shelley winters, denholm elliott (the british character actor who died of aids in 1992), and jane asher. (sister of major rock producer peter asher, jane was with paul mccartney for five years—first as a girlfriend and eventually fiancée. she inspired many mccartney songs such as “here, there, and everywhere,” “you won’t see me,” “we can work it out,” and “and i love her”—all credited to lennon/mccartney.)

dionne warwick’s 1967 version blew away the competition—outperforming both black's and cher’s renditions in the u.s. by reaching #18 on the pop charts and #5 on the r&b charts. cher’s imperial label version garnered #32 in the u.s. compared to a “tepid” #95 placement for black (although cilla managed a #9 in her native britain). the best cilla black could muster on u.s. charts was 1964’s bacharach/david composition “you’re my world”—a #1 hit in britain—that peaked at #26 in the u.s.

complicating matters further, two other “alfie” versions competed in 1966 on the billboard adult contemporary chart, with carmen mcrae taking hers to #29 and joanie sommers besting her by peaking at #9. an instrumental harmonica version released by stevie wonder in 1968 peaked at #66 with a top 20 spot on the adult contemporary chart. in november 1971, petula clark performed “alfie” with glen campbell on his network variety show, “the glen campbell good time hour.”

for her part, cher sang “alfie” on the revolutionary and controversial “smothers brothers comedy hour.” “alfie” kept cher’s place on the charts warm on the heels of that year’s #2 hit “bang bang (my baby shot me down),” and set the stage for 1967’s #9 hit to follow—the divorce-themed “you better sit down kids.”

the cilla black-dionne warwick skirmish was unremarkable in regards to bacharach/david’s ability to straddle the u.s./u.k. charts from the very first hits coming out of their collaboration. this breakthrough occurred when bacharach/david struck gold with marty robbins in 1957, the latter taking their composition “the story of my life” to #1 in the u.k. with a top 20 result in the u.s. the duo followed that cross-atlantic hit with another in january 1958 when perry como penetrated the top 5 in both the u.s. and u.k. with bacharach/david’s “magic moments.” subsequent #1 hits by cilla black, frankie vaughan, sandie shaw, the walker brothers, and herb alpert—with bacharach/david compositions—reinforced the duo’s dominance in britain.

[while warwick weathered the rigors of the british invasion better than many u.s. performers, she only released a smattering of entries on the british charts during that period, such as “walk on by” and “do you know the way to san jose”—both bacharach/david compositions. several of the duo’s compositions—huge hits for warwick in the states—were covered by cilla black. warwick was irritated by a preference for black among music industry execs in britain and stung by a perceived sense of entitlement on the part of cilla black—now a doyenne of british television.]

Sunday, December 24, 2006

volcano: jeanne risica & ron ottaviano


[lava flow (triptych), 2006, mixed media on canvas, 16 x 20 inches each]
[turbulent zone (arabic), 2006, mixed media on canvas, 64 x 48 inches]

“scientific american” traverses synthetist harmony in this exhibition running at dillon gallery until january 20, 2007. when confronted by the unabashed naturalism and linear mystery of these works by the collaborative team of jeanne risica and ron ottaviano in “volcano,” one is struck by this team’s process of elucidation in capturing and revealing a mutual fascination with sudden power, physics, and the scientific poetry of upheaval.

regardless of media, risica and ottaviano manage to unravel and respond to diagrams of volcanic processes discovered during long readings at the new york public library. using digital enlargement, six diagrams became the basis for their experiments—such photo scans revealing perspectives and urging reexamination of perceived content. mysteries of data are decoded into chinese and arabic from english in this voracious process.

whether confronting eruptive episodes, sulfur dioxide dispersal, or intraplate volcanism, risica and ottaviano—seduced by visual content in the banal realm of textbooks—have successfully morphed this treasure to paint on canvas. fortunately for the viewer, they go further by producing a visual language independent of the source. this is accomplished by layers of paintings and additions of drawings that carry initial templates forward.

from the “eruption jet” series in english, arabic, and chinese to the “lahar” series, and especially in “lava flow” (triptych), the works elegantly amplify and authenticate narratives of flow, collapse, power, and sudden force in layered depth and color.

confronting the deceptive still beneath our feet on this planet—which on any given day about 10 volcanoes erupt—“volcano” poses cultural and sociopolitical questions about the universality of scientific knowledge, natural forces, power, and upheaval with works on canvas that match this metaphor.

through january 20, 2007 / dillon gallery /
555 west 25th street / nyc 10001 / 212.727.8585 /
tue-sat 10 am- 6 pm / http://www.dillongallery.com/ /
mail@dillongallery.com

good riddance: some thoughts on the expiring of augusto pinochet



[composite of the martyrs: ambassador orlando letelier, general carlos prats, singer/composer victor jara, journalist charles horman jr., & the disappeared, 2006]

[various photos in santiago by jd nalley: salvador allende remembered in downtown santiago, metro exit commemorating the coup, the national stadium/torture center of the coup, street sign in santiago commemorating the coup, families of the disappeared demand action and answers, presidential palace la moneda and site of allende’s death at the hands of putschists, scenes of the rio mapocho where bodies floated by in the coup’s aftermath, statue dedicated to the martyred president allende]

the december 10th death of chile’s former and murderous dictator and embezzler—never punished for his crimes against humanity—should only serve as another opportunity to remember the over 3,000 consumed by the terror in the aftermath of the september 11, 1973 coup. we can also revere the over 100,000 tortured or detained by the illegitimate regime and the 200,000 forced into exile to escape the terror. this number includes those victimized by sexual torture at the hands of coup forces in santiago’s infamous “venda sexy” (sexy blindfold). let us celebrate the lives of those consumed in the death centers villa grimaldi, chacabuco, pisagua, and—the biggest torture center of all—the national stadium, where 12,000 were held and brutalized after the military coup. let us remember the innocent whose bodies floated by in rivers fed by the andes past horrified and traumatized chileans. let us remember those piled high in morgues or on cul-de-sacs. [pinochet’s butchery proved too vile even for his co-conspirator, air force general gustavo leigh, who was ousted by the murder/embezzler in july 1978.]

many of the martyrs will remain nameless—except to their families, friends, and neighbors. many died without a trace—disappeared by pinochet’s sinister forces and either buried in mass graves or dumped from the air into the pacific ocean. the latter operation was exposed in 1976, when the body of activist marta ugarte washed up on a chilean beach—leading to the discovery of 500 others so disposed in an attempt to hide crimes against humanity.

then there are notable victims of the terror unleashed that september day in 1973. there are former ambassador to the u.s. orlando letelier and general carlos prats—two of the many murdered by “operation condor,” spearheaded by pinochet’s secret police, “dina” (national intelligence directorate). then there is the nobel prize winning poet pablo neruda—hounded in his ransacked home and tortured by the forces of the coup as he suffered the painful late stages of terminal cancer. there are the american victims, journalists charles horman, jr. (investigating the murder of constitutionalist general rené schneider chereau) and frank teruggi—both held in the national stadium and murdered by the putschists for “knowing too much.”

victor jara! this remarkable chilean poet, singer/songwriter, professor, dramatist, and political activist was a major proponent of the “nueva canción” movement and marked for special brutality by forces of the coup. while putschists managed to destroy the vast majority of jara’s recording masters, his widow joan jara (a british national) managed to sneak recordings out of chile. his songs, among them “plegaria a un labrador (“a farmer's prayer”) and “te recuerdo amanda” (“i remember you amanda”), remain timeless. taken, along with thousands others to the national stadium (renamed in september 2003 as the “estadio victor jara”), jara was ceaselessly beaten—his torturers breaking the bones in his hands as well as his ribs. fellow prisoners recount putschists’ taunts for jara to play guitar for them as he lay in pain. defiantly, he sang a song associated with allende’s unidad popular government. battered further, jara was riddled by a machine-gun on september 15, 1973 and his body dumped on a road outside santiago before being taken to a city morgue. in advance of his murder, jara wrote a poem about the horrors faced by prisoners in the stadium that was smuggled out in the shoe of a friend.

general carlos prats—pinochet's predecessor and army commander under allende—bravely resigned and sought asylum in argentina rather than support illegitimate actions against chile’s longstanding democratic system. there, he and his wife sofia cuthbert were similarly murdered in a 1974 buenos aires car bombing carried out by dina and ordered by pinochet.

while murdered before the coup commenced, general rené schneider—who opposed a coup d'état and supported keeping chile’s military apolitical—was also a victim of the dark forces from which emerged pinochet, and schneider’s death made the nightmare possible.

pinochet’s expiring provides a fresh impetus to celebrate the lives of former ambassador letelier and 25-year-old american ronni karpen moffitt whose lives were taken in a calculated and cowardly murder thirty years ago. driving to their jobs at the institute for policy studies, both were killed by a car bomb just blocks from the white house. the institute for policy studies now hosts annual “letelier-moffitt human rights awards,” an apt observance for that tragedy of september 21, 1976 and a yardstick to measure the pursuit of justice for pinochet’s victims. it is “inconceivable” that the letelier assassination was carried out without pinochet’s authorization insist two former fbi agents and a former assistant u.s. attorney. clinton officials reactivated the letelier-moffitt investigation and declassified more than 16,000 documents, which have clarified our nation’s intervention in chile and served as evidence in legal cases. horribly, it was a u.s. citizen working for the dina—michael townley—who planned that murder.

this juncture is now an opportunity to remember those countries whose embassies sheltered the desperate souls in threat of life and limb by forces of darkness (including scores of brazilians, bolivians and uruguayans who’d fled repression in their own countries and sought refuge in chile only to be trapped). unfortunately, neither the u.s. nor britain belong to this “roll of honor,” which includes mexico, argentina, italy sweden, france, belgium, and—eventually—the netherlands. (once the objectionable and unmoved dutch ambassador left santiago, a more sympathetic diplomat who became the chargé d’affaires rented a house, bought mattresses, and hired a cook to shelter the endangered—this sanctuary utilized immediately by three leftist parliamentarians.) gaining entrance to such supportive embassies and safe houses proved formidable—with putschists posting patrols outside embassies to snatch the desperate into oblivion. notably, the belgian embassy—located in santiago’s affluent providencia—managed to coordinate such escapes with the short window of opportunity provided by police-cordon changeover.

sweden’s ambassador, the late harald edelstam bravely dueled with the putsch’s dark forces. in the spirit of raoul wallenberg—with three months available before being declared “persona non grata” by the putschists and expelled—edelstam managed to get 1,300 persecuted and endangered people out of chile (including the diplomatic corps of the cuban embassy and 54 uruguayans held at the national stadium). french ambassador pierre de menthon and india’s ambassador also stood up for the vulnerable.

thankfully, the recently elected chilean government headed by president michelle bachelet has denied the tyrant/embezzler the full state funeral usually reserved for former presidents. president bachelet’s father was tortured during those dark days—and died soon thereafter. still unrepentant—the tyrant’s youngest son, marco antonio pinochet, called bachelet’s decision not to attend the murderer’s funeral petty and said the current chilean government was “incapable of taking a noble stance at this moment in history.” did he really expect the daughter of one of those tortured by pinochet to attend? in contrast, his sister lucía pinochet hiriart called the use of torture during her father’s tenure “barbaric and without justification.” [meanwhile, an emotionally overwrought grandson of the murdered general prats, 39-year-old artist francisco cuadrado prats, spat on pinochet’s coffin at the dictator’s wake. the younger prats was fired by the chilean municipality for which he worked—though that decision has met with protest.]

pinochet’s death provides united states citizens—whose tax dollars financed the notorious destabilization campaign against the democratically elected administration of president salvador allende gossens and otherwise made it possible for pinochet to betray the chilean constitution—an opportunity to examine the policies of our government toward our neighbors in latin america. never can we forget the significant role the nixon administration and former secretary of state henry kissinger had in financing, supporting and preparing the scenario for a military coup in chile. our government spent millions to arm right-wing militias, support the right-wing press, and pay off chilean politicians to stymie, and eventually overthrow, salvador allende's unidad popular government.

never again can we allow the cia to finance strikes by transport workers and shopkeepers, nor sabotage public infrastructure, and otherwise foment economic chaos as was done to chile’s legitimate constitutional—and nonaggressive—democracy.

any u.s. ambassador who makes such belligerent comments as “not a nut or bolt will be allowed to reach chile under allende” (as was done by then u.s. ambassador edward korry) must be fired posthaste. during a period when the u.s. pushed for détente and trade with the soviet dictatorship, it vetoed bank loans and foreign-debt credits, and blocked export of food-stuffs and spare parts for machinery and transport equipment to the chilean democracy. such putative policies put buses out of commission—paralyzing a third of chile's transport system. export-import bank credits, totaling $234 million in 1967 fell to zero in 1971 and unleashed financial panic in a democracy heavily dependent on trade with the u.s. lack of replacement parts caused by the nixon-kissinger embargo—despite chile's offer to pay cash in advance for them—paralyzed chile's copper, steel, electricity, and petroleum industries. chileans suffered shortages of foodstuffs, toilet paper, soap and many essential items (though those items “miraculously” appeared on store shelves in the coup’s aftermath). never can we forget international telephone & telegraph’s role in the clandestine and benighted economic disruption of chile.

perhaps we can wash our hands of the infamous “western hemisphere institute for security cooperation” (formerly “school of the americas”), whose alumni include a large number of pinochet’s colleagues, including officers of the highest ranking involved in the butchery. in the period before and after the coup, chile sent over 1,500 troops to learn the fine points of “counter-insurgency,” “irregular warfare,” “psychological operations,” and various means of torture in contravention of the geneva accord. unconscionably and outrageously, the school of the americas held pinochet in high esteem—displaying, for many years, a personal note and a ceremonial sword donated by the chilean tyrant/embezzler at the fort benning office of the school of the americas commandant. the existence of this tax-supported institution—which has produced the likes of 1972 alumnus, the el salvadoran butcher robert d’aubuisson who murdered archbishop oscar romero—should be intolerable to citizens of the united states.

our republican-held white house—home of pinochet’s former patrons, the war criminals nixon and kissinger—issued a most interesting statement following pinochet’s death, calling his rule a “difficult period.” that understatement was followed by a most telling missive: “our thoughts today are with the victims of his reign and their families. we commend the people of chile for building a society based on freedom, the rule of law, and respect for human rights.” what a welcome about-face from the days of reagan when a $160 million loan package was awarded to the tyrant/embezzler's dictatorship! reagan’s administration also received the wife of the tyrant/embezzler to tea at the white house while denying a visa to hortensia allende (the widow of chile’s constitutionally sanctioned president), which prevented her from visiting the u.s. to give a speech on human rights abuses in chile.

ironically, pinochet expired three days after the staunchest member of his cheering section, jeane kirkpatrick, who referred to the murderer/embezzler as a good and honorable man. kirkpatrick—who died on december 7 and was reagan’s u.n. ambassador—had also cheered on argentine death squad leader general jorge videla.
surely, kirkpatrick must have been vexed by the 17 months her buddy spent under house arrest in britain—and his resultant and deserved humiliation. though cold comfort to those impacted by his monstrous tenure, that custody provided important precedents to punish future tyrants. while spain, belgium, france, and switzerland were stymied in their efforts to extradite pinochet, the rule of “universal jurisdiction”—that every nation has an interest in bringing perpetrators of crimes of international concern to justice–can no longer be ignored. this holds regardless of where the crime was committed—and regardless of the nationality of the perpetrators and their victims.

thus, a spanish judge did have the authority to order pinochet’s arrest for crimes committed primarily in chile and against chileans! this has enabled chadian victims to bring a criminal prosecution in senegal against the exiled tyrant, hissein habre—thankfully indicted and awaiting trial on torture charges. so, while pinochet was ultimately returned to chile, his house arrest in britain has put a crimp in the travel of war criminals and tyrants: indonesia’s suharto avoided seeking medical treatment in europe for fear of being arrested, while henry kissinger has curtailed international travel to avoid certain arrest and prosecution related to his past enabling of dictatorships and international meddling. [this loophole has also proven a boon to democracies such as chile and argentina in which democracy and rule of law were only restored through the blackmail granting of immunity to criminal military authorities.]

as a former head of state, pinochet enjoyed not one shred of immunity from arrest and extradition. british authorities ruled that, although a former head of state enjoys immunity for acts committed in his “functions” as head of state, such “functions” do not include international crimes such as torture and crimes against humanity. furthermore, once a country becomes a signatory to the united nations convention against torture, not one individual in that country—regardless of rank or position—can claim immunity for that crime.

it is just amazing that some chileans could actually cry and mourn for pinochet when 2004 investigations uncovered that pinochet had stashed millions of dollars in secret bank accounts—and unreported to tax authorities. that year a u.s. senate money laundering investigation led by michigan democrat carl levin and minnesota republican norm coleman uncovered a network of over 125 securities and bank accounts at riggs bank and other u.s. financial institutions used by the tyrant/embezzler and his cronies for 25 years. it is remarkable and an irony that the subcommittee uncovering this was charged only with investigating compliance of financial institutions under the heinous and draconian “usa patriot act,” rather than the actions of pinochet per se.

personally, the coup in chile marks an important milestone. never before had i argued with a teacher about politics. but on a september morning in 1973, as a 14-year-old ninth grader, i did just that. awaiting for my u.s. history class to commence, the teacher from the previous class was putting papers in his briefcase and preparing to leave when he commented to my wonderful teacher, mr. nortier, that “wasn’t it great that they got rid of that ‘communist’ in chile.” before mr. nortier had a chance to respond to him, i told that gloating teacher that it wasn’t good. i defended the allende policies about which i knew—for instance, provision of milk to poor children, health care for the poor, and land reform. that is an event i can never forget. as a new yorker, i share the same date of horror—september 11—with the people of chile. having traveled to that country (two months prior to the world trade tragedy), i made pilgrimages to such places as the national stadium and la moneda palace and tried to imagine the those places in that horrible period.

Monday, December 18, 2006

exit art goes silver with "renegades"


[collected digital composites: joseph beuys, yves klein, sean mellyn, bruce nauman, allessandra torres, david wojnarowicz, 2006]

exit art kicks off its 2007-2008 25th anniversary celebration with “renegades”—performance produced or presented at that institution over its duration. video, photographs, slides, ephemera, and other archival materials examine exit art’s seminal place as a home for performance art. just the first in a series of celebratory exhibitions, “renegades” highlights how exit art fosters presentation of performance art in this city.

“mastfor ii: good treatment for horses” (1987) pays tribute to the russian avant-garde in the first full recreation/adaptation of nikolai foregger’s constructivist dramatization. first performed in 1922, it combined the eccentric and risqué costume design talents of sergei eisenstein and sergei yutkevich with the satiric writing of vladimir mass. “endurance” (1995) examines and documents the work of approximately 30 visual and performance artists in the last century whose works tested the body’s physical, mental, and spiritual endurance. this cavalcade of images—including those of joseph beuys, chris burden, yves klein, bruce nauman, and yoko ono—exemplified acts of endurance done in real time.

“collective actions” (1997), curated by joseph backstein and elena elagina, features over 50 poster-sized black-and-white photos and wall texts from 1976-1990 that document the influential russian performance group collective actions. led by andrei monastyrsky, collective actions was at the forefront of contemporary conceptual and performance art in the soviet union. meanwhile, “body and the east” (2001) surveys body art actions performed in the former eastern bloc and soviet union from the sixties to 2001. few in that political “region” and even fewer in the west have experienced this work—much operated outside the boundaries of state-sanctioned art. zdenka badovinac of the moderna galerija ljubljana organized this exhibition, including the work of 80 artists from 14 countries—some of whom had suffered arrest, condemnation for hooliganism, and accusations of anti-social behavior. “body and the east” explored the concept of “otherness”: body art actions documented in this exhibition took place in private residences and marginal public spaces (e.g., alternative galleries, youth centers) and were vulnerable to sanction by state institutions and legal authorities in those former “people’s democracies.”

in “water project” (2006) ten artists explored private and public use of water in view of the global water crisis, which necessitates reconsideration of our personal relationship to this indispensable resource. performances took place on two separate evenings at exit art with each artist addressing this wrenching issue in a personal performance tied to the collective theatrical presentation.

simultaneous performances on eight stages in exit art’s 10th avenue and 36th street windows synthesized into “prayingproject” (2005). with “faith” imposing itself as critical issue in this century, artists in this installation responded to such questions as the religious right’s political influence, worldwide religious intolerance, connection to personal heritage via the jump-start of religion, the quest to achieve enlightenment, and widespread interest in zen practices. approaches to prayer by the 21 artists ranged from the intense, sublime, vulnerable, powerful, public, and private—with length going from 30 minutes to six hours.

crucial artwork from the united states, europe, and japan produced from 1930-1982 was examined in “illegal america” (1982). work in this historical show manipulates illegality as an art discourse, demonstrates the intellectual capacity of artists to “deal with the rules,” and introduces an anarchistic element within the democratic paradigm. the studio’s usually private and sacred realm came into public scrutiny with “la tradicion” (1996). ten painters in this exhibition transferred their studios to exit art for five weeks and painted during gallery hours—each artist engaged in personal work while contributing to the collective creation, an interactive installation exploring the artists’ behavior and creative process. sun worship, water, inertia, leisure time, and tourism came together to inform “sweat” (1996), which celebrated a chaotic utopian vision and organized contradictions.

exit art can proudly credential its innovation to the medium of performance art in offering this consequential and incisive portfolio in “renegades.”

through january 27, 2007 / exit art /475 tenth avenue
@ 36th street/ nyc 10018 / 212.966.7745 / tue-thur 10 am-
6pm / fri 10 am-8 pm / sat noon-8 pm / closed dec 23, 2006
through jan 1, 2007/free wireless internet access: laptops welcome /
http://www.exitart.org / suggested donation $5

Friday, December 15, 2006

the dimension of line: rosemarie castoro

[outside curve ii, 1976, mixed media, 5” x 14” x 6”]

“the dimension of line”—an exhibition of works by rosemarie castoro—spans four decades of endeavor. included are two- and three-dimensional works created from various media. whether rendered in steel, paper, wire, gesso, marble, dust, graphite, or hair, castoro’s work deals with concepts of line, volume, and spatial relationship perception. with work ranging from the early 1970’s, this installation—at tribeca’s hal bromm gallery—encompasses intimate- to large-format works embodying poetic engineering, choreographic gestures, and material transformations.

though with radically different media, castoro’s work breathes a conceptual pathos one finds in that by the late paul thek, who left a niche—both noble and idiosyncratic—in the art world.

“outside curve ii” [pictured] is among castoro’s captivating works in “the dimension of line.” in it (as with “inside corner” and “tight corner”) the shadow becomes impossible to contain. their irresistible kinesis can be felt in tentacles of darkness overcome by light. to view the shadow’s tentative assertions is a delight, and lends castoro’s work a powerful acuity. looming and kinetic, “triptych” harnesses the energy of visitors to “room revelation”—a reostatted room she built in the vancouver art gallery for its “995,000” exhibition in 1970. whimsy outpaces the banal in “hair pieces” an edition of 10 ink jet prints including “meine heir” (1993) and “hair nebula” (2004).

palpable with its exoskeletal aura, “cast of thousands” (1973) conveys the inexorability of its assemblage. stainless steel sculptures of dancers captured from drawing made during performances, “abt” (1997) and “butoh” (1997) render the tedium and eventual triumph of choreography’s travail.

from delineated brushstrokes in “dukes” (1972) and the glimpse at electrical activity in “break in the middle” (1971) to representations from the opera “don carlos”—“king phillip ii” and “rodrigo/don carlos” (1986)—castoro’s work wrestles with kinetic issues, indeed the very chemistry of movement. shown previously at the museum of modern art/new york, dusseldorf’s stadtische kunsthalle, new york’s ps 1, and mamco/geneva, viewing castoro’s work is a cognitive experience not to be missed.

through march 31, 2007/ hal bromm/
90 west broadway @ chambers/nyc 10007/
t 212.732.6196/on view by appointment/
halbromm@gmail.com
http://www.rosemariecastoro.com/

Monday, December 11, 2006

war resisters—support troops who refuse to fight


[composite: tribute to the late pierre trudeau, former premier of canada]

it takes courage to say that you will not fight—especially if you are a soldier. as more in the u.s. military step forward for peace, the peace movement must support them. large numbers now refuse to serve: department of defense estimates approxmately 8,000 awol service members. the g.i. rights hotline (800.394.9544) currently receives about 3,000 calls monthly. in canada, call 416.598.1222.

growing number of soldiers are speaking out against the illegality and immorality of the iraq war and the orders they are being told to carry out. these brave men and women risk jail time and their futures to stand up against the war.

stories of returning combat veterans helped turn the tide and end the war in vietnam. today's war resisters are providing critical first-hand knowledge of the horror and illegality of the iraq war. each service member who has spoken out against the war in iraq has inspired more war resisters to come forward.

steps you can take?

keep war resisters' cases in the media: write letters to the editor of your local newspaper or call into radio talk shows and talk about their cases

organize a war resister solidarity event in your area: invite a war resister or someone working on a war resister's case to speak at a public event

keep pressure on the military to treat war resisters fairly. write letters to officials at the base where a resister is being held and/or such cases are being triedwrite letters of personal support.

check out the following websites for the latest news on war resisters' cases and more specific information on how best to help them: http://www.objector.org/ http://www.couragetoresist.org/ http://www.centeronconscience.org/ http://www.resisters.ca/ http://www.nodraftnoway.org/news.php?subaction=showfull&id=1093969526&archive=&start_from=&ucaton

dr. martin luther king jr. day, a petition called “an appeal for redress,” signed by more than 500 active duty troops, will be delivered to congress. it reads: “as a patriotic american proud to serve the nation in uniform, i respectfully urge my political leaders in congress to support the prompt withdrawal of all american military forces and bases from iraq. staying in iraq will not work and is not worth the price. it is time for u.s. troops to come home." to support this initiative—sponsored by iraq veterans against the war, veterans for peace, and military families speak out—write letters to the editors of your local newspapers and to your congressional representatives, bringing this campaign to their attention, and urging them to listen to these courageous soldiers.

activists who remember the vietnam war fondly recall then-canadian-premier pierre trudeau’s policy delineating his country as a “refuge from militarism.” upwards of 50,000 u.s. draft resisters and military deserters found refuge in canada during that past conflict. most never returned. sadly, the days of trudeau are long gone—in which canadian immigration authorities were instructed not to discriminate against applicants who may not have fulfilled their military obligations in other countries—and the canadian economy no longer has the flexibility to admit such numbers.

despite this, several hundred awol g.i.s are estimated to be in canada, and 25 of them have applied for political refugee status. the first two, jeremy hinzman and brandon hughey, had their claims for refugee status denied, but their cases are making their way through canada’s federal court system. additionally, the canadian labour council, the equivalent of the afl-cio, has endorsed the war resister support campaign—for sanctuary for u.s. war resisters in canada—as have many prominent canadians. (current regulations require would-be immigrants to apply from outside canada, to have much needed job skills and/or substantial financial resources, and to wait up to two years for a response. the only exceptions are where the u.s. citizen is married to a canadian citizen or is a permanent resident or “landed immigrant” or is the son/daughter of a parent who has canadian citizenship or permanent residency.)

la chascona #3: marie howe


[la chascona: the santiago, chile, home
of nobel-winning poet pablo neruda]

if you’ve never read a current poet before, start by reading marie howe whose poetry—in the sage words of her mentor, the late stanley kunitz—is luminous, intense, eloquent, and rooted in abundant inner life. those qualities and many more can be found without effort in her two poetry volumes, “the good thief” and “what the living do.” thankfully a third, “the kingdom of ordinary time,” will soon join the other two. the living, breathing lines of this nea, bunting, and guggenheim fellow have found homes in the new yorker, the atlantic, agni, ploughshares, and the partisan review among many other journals of note—and for good reason. howe’s first book of poems, “the good thief,” was selected winner of the national poetry series by no less a personage as margaret atwood. how could she not have? atwood, in awe at the inability of howe’s poetry to “fool around,” cited their intense feeling, sparse expression, and resistance to aphasia—calling them poems of obsession that transcend their own dark roots.

publisher’s weekly chose her wrenching second book “what the living do” as one of the five best volumes of poetry published that year, calling its tentative transformation of agonizing slow motion into redemption as howe’s signal achievement. addressing the grief of losing a loved one, the work is just part of howe’s acts of confession—or conversation. “poetry is telling something to someone,” howe asserts.

co-editor of a book of essays, “in the company of my solitude: american writing from the aids pandemic,” howe teaches writing at sarah lawrence, columbia, and nyu. examine some of the links to howe’s work provided below, and it will be hard to argue with the boston globe, which cites its qualities of intimacy, witness, honesty, and relation. the rootedness of howe’s poetry only bolsters its urgency: just ten minutes into her 1987 residence at macdowell, howe received a call from her brother john telling her that her mother had had a heart attack. two years later aids claimed him: “what the living do” is largely an elegy to him.

don’t deny yourself this intensely intimate and brave body of work. breathe the music of its pain and resonance, inhabited by joy and redemption. reading one of howe’s poems will lead you to another, then another, and yet another…

http://www.blueflowerarts.com/mhowe.html
http://www.smith.edu/poetrycenter/poems.php?poem_id=177&name=mhowe
http://www.smith.edu/poetrycenter/poems.php?poem_id=178&name=mhowe
http://www.smith.edu/poetrycenter/poems.php?poem_id=179&name=mhowe

integrity harvested with the corn…



[above: donna reed composite, 2006. below: jean seberg composite, 2006]

look out for those iowa women… coming from generations of them, i know the strength of which they’re capable. two principled iowa women of note quickly come to mind: donna reed of dennison and jean seberg of marshalltown.

best remembered for her work on her own television series, the donna reed show, which aired from 1958 through 1966, reed played the role of a midwestern mother much like her real self. revolutionary for that time was donna reed’s role behind the cameras. the true producer and director of the show (though without an industry credit), reed studied and mastered both lighting and cinematography. while personifying the ideal homemaker on her namesake sitcom, and girded by that same “all-american” suburban mom image, she refused to be reigned in by the role hollywood had consigned to women.

despite network and sponsor pressure, reed pushed for episodes considered controversial at the time: the one involving an “interracial couple” and another the “typical housewife” come to mind. from the beginning of her show, reed wanted african-american characters in roles that defied stereotypes, but the pressure of advertisers prevented that. in episode #257, “trees,” which aired on november 11, 1965 in the final 8th season, one can see shades (no pun intended) of the free speech sit-ins at berkeley nearly a year earlier. when the city attempts to cut down a tree outside donna’s house, it is clear that one can “fight city hall” with grass-roots organizing and civil disobedience!

donna reed (among others in fifties television) employed those hounded by the mccarthy-era horror, such as banned screenwriter alfred lewis levitt. (subpoenaed by the house un-american activities committee in 1951, levitt was never charged with any crime—but the smear destroyed his career. he was forced to use an assumed name, tom august, for nearly 20 years after his huac hearing. long after that darkness, levitt led the screen-credit correction effort to put the real names on scripts of those writers forced to jettison them for pseudonyms in the fifties.)

always angered by the treatment of women in the entertainment industry and arrogance of sponsor and network power—and faced with indefensible escalation of the vietnam conflict—in 1967 reed co-founded “another mother for peace” with the late barbara avedon and others. remember their famous logo created by lorraine schneider—“war is not healthy for children and other living things”? a staunch republican, reed was also the mother of two draft-age sons. (avedon, who died in 1994, wrote for many of the era’s leading television shows and co-created “cagney and lacy.”) donna reed was—said avedon—a feminist before there was a feminist vocabulary.

due to her influence—particularly in europe—jean seberg had the misfortune to have war declared on her by the seamy fbi director j. edgar hoover. active in left-wing groups and a well-known supporter of the black panthers and other anti-racist initiatives, seberg was ordered neutralized by hoover when she was seven months pregnant in 1970 (as part of the outrageous cointelpro program to stifle legitimate dissent in the united states).

suffering from serious depressive illness, seberg was the victim of an fbi cointelpro fabrication in which that government agency colluded with the los angeles times and columnist joyce haber to leak that seberg was “pregnant with the child of a prominent black panther.” haber's nationally syndicated column of may 19, 1970 reported just that. the psychologically fragile seberg—so traumatized by the false allegation—gave birth prematurely, the child stillborn. at a press conference called the next day, seberg presented shocked reporters with the body of her dead white child. this rebuttal put an end to the rumors, but put fbi hounding of seberg on overdrive—forcing her into exile in paris. depression continued to debilitate the harassed progressive actress and star of “airport”—leading several times to her hospitalization. seberg attempted suicide on every subsequent anniversary of her child's death. (she even threw herself under a train of the paris metro in 1978.)

the fbi got their wish to “neutralize” seberg when her rotting body was found in the back seat of her car in a paris suburb on september 7, 1979. (seberg had taken a massive overdose of barbiturates, and had been dead for eleven days.) yet nothing—absolutely nothing—done by j. edgar hoover, the fbi, the los angeles times, joyce haber, or others could take away her special infectious quality, voice, and manner. celluloid preserves her work as a great actress who always looked cool and classic.

sadly, seberg was only one among many thousands of u.s. activists and groups whose respective lives and work were torn asunder by the criminal activities of fbi’s cointelpro—which routinely put out phony leaflets, posters, pamphlets, newspapers, and other publications in the name of movement groups to discredit those groups and turn activists against each other. if that failed, troublesome misinformation could always be dredged out to activists’ financial backers, employers, business associates, families, neighbors, school administrators, landlords, and whomever else might cause trouble to those activists—and prevent work vital to necessary social change.

the rich and principled lives of donna reed and jean seberg—who refused to back down despite the consequences—are a beautiful example of strength in this, more cynical, age.

Saturday, December 09, 2006

but it's alright: a fitful labor

[digital composite: j.j. jackson; j.j. jackson album cover; bronx scene; flags of britian, barbados, botswana, guyana, lesotho. 2006]

the skillet simmered in 1966. barbados, botswana, guyana, and lesotho—granted independence that year from britain—were just the most recent of the carousel. transitions—whether in international equations, human relations, or artistic panoramas—continued their unimaginable course. a hurricane continued to blow away the status quo: what would remain in its wake?

could one glean a hint from that year’s prescient and compelling dance jackhammer? bronx-born songwriter and arranger j.j. jackson belted out “but it’s alright,” a virulently danceable song he’d penned with pierre tubbs—and which ricocheted to the billboard top five. recorded in london, jackson—who’d worked with performers ranging from mary wells to the shangri-las—was backed up by guitarist terry smith, tenor saxophonist dick morrissey, and drummer john marshall. in “but it’s alright” these accomplished british jazz-rock pioneers could match—note for note—the “soulfulness” of stax or muscle shoals. morrissey went on to work with such acts as georgie fame, peter gabriel, and gary numan, while john marshall accompanied “soft works,” “electric phoenix,” and “nucleus.” smith and morrissey later formed “if,” a jazz-rock fusion that was a british equivalent of “chicago” and “blood sweat & tears.”

in a microcosm, this soul-stopper—by an african-american singer with british instrumentalists—hinted at the various re-alignments and unorthodox collaborations on the horizon. “colonizers” and the “colonized” could indeed make great music together.
“but it’s alright” was not the first interracial chart success, by any means. the del-vikings, an integrated group of air force buddies, hit the top 5 of both the pop and r&b charts in 1957 with “come go with me.” then there was 1962’s “green onions” by booker t & the mgs. neither of those could match the vocal and instrumental intensity or technical competence of “but it’s alright.” fuller impacts by the chambers brothers and sly & the family stone (not to mention even more prolific behind-the-scenes collaborations in the studio) were yet to come.

“but it’s alright” exudes empowerment and the day’s ethics of aspiration and riddance with a fluency of otis redding—though coarser and more immediate. listening to the robust riffs of this release offer a glimpse into the primordial soup of raised expectations and fitful empowerment before seventies stagflation, misplaced priorities, and eighties reaganism shriveled them into a gray expanse of cynicism.

baby, you gotta gotta reap what you sow
but it's all right, all right girl
you are payin' now, but it's all right

metaphors of colonialism’s consequences aside, “but it’s alright” proved a major boost to the independent calla label (also graced by the likes of the orlons and great lady of soul bettye lavette). had it not been played occasionally by oldies stations and prized by aficionados of england’s northern soul scene, “but it’s alright” would have faded long ago into a much deeper obscurity. forty years later it still rates a good listen.

Wednesday, December 06, 2006

a synchronicity of palettes…




[work of jordon schranz, including “the line/red rover” (2006) 60” x 48” oil on canvas & the fury (2005) 10” x 8" oil on canvas ]
[abstracts by nicole laemmle & portraits by zito]
[top: work by domenick dipietrantonio & michael antkowiak/bottom: work by marissa r. shell & henry chung]
[top: view outside the studio & work by joan reutershan/bottom: work by corina coria & jennifer cushman]

scores of artists in the crane street studios community of long island city showcased their work at open studios on december 2 and 3. with work traversing myriad media, textures, and contexts, these artists opened their doors to the general community for an exuberant weekend of cultural dimensions. while much of the work exhibited was interesting—in tones conveying irony to rootedness as well as whimsy—what follows are but a few examples of what goes on in this long island city powerhouse.

her paintings conveying imaginary worlds in bright colors, marissa r. shell melds elements of macro and micro worlds together in proportionate scale. mostly done with acrylic on canvas, shell’s paintings reveal microsystems and the structure of our geography and architecture.

broaching—if not synthesizing—the media of sculpture and painting and perspectives of figurative, abstract, and conceptual, domenick dipietrantonio combines found synthetic objects with natural materials in a dialectic on contemporary culture and its sturm und drang.

merciless in conveying today’s ever-starker options, the work of jordon schranz brings to bear the persons and objects caught up in our maelstrom. reduced to their common denominator—without room for obfuscation—his pieces dissect the collective vacillations and dissonance of vox populi.

conjuring and culling visages from narratives suggested by artifacts, zito uses paint to communicate the emotional capacity of the human face. his portraits—at the intersection of object and illusion—convey root testimony that alloy individuals with their origins, history, and point of contact with the artist.

how elements of architecture, street patterns, the urban forest, and other features of the city evolve are of special interest to joan reutershan, author of “clara zetkin und brot und rosen.” reutershan transposes some of the visual configurations that present themselves to her perceptions into the colors, lines, and shapes of paint space. what results from this process can be seen in her lush oil-on-canvas scenes of fort greene.

while the vine sculptures and mixed media collages of jennifer cushman intrigue and delight, both viscerally and intellectually, the abstract acrylic paintings of nicole laemmle are remarkable for their wavelength and amplitude. then there are the wonderful black and white pastilles of henry chung that capture the crevices between still life. analyzing existential questions inherent with essence, substance, time, location, space, and identity, robert walden addresses these ideas by building upon physical, temporal, and literal metaphors in his ontological road maps. projecting an intensity that represent an array of psychological states, the paintings of mundane domestic interiors by michael antkowiak are rendered in acidic yellow tones, imbuing this work with a murky past-tense quality.

open studios captured the deep hues of creative firmament in new york despite varying economic and situational challenges. it would be advisable to keep abreast of events like this at crane street studios and combine a visit there with glimpses into the work at p.s. 1 across the street.

http://www.craneststudios.org/

Saturday, December 02, 2006

rectify architectural war crimes

[digital composite: southeast corner farley post office, northwest corner farley post office, transit entrance, november 2006]

wonton destruction of the mckim, mead & white beaux-arts masterpiece pennsylvania station—taking three years between 1963 and 1966—was an architectural warm crime. period. end of story. until several years ago there was little way to rectify the horrible atrocity committed against new york and its people by business interests that obliterated our great temple—to erect a cheesy sports and entertainment complex that has never truly served the interests of our metropolitan area. built to last forever, our pennsylvania station, was usurped by a crass piece of plastic that has long showed its age.

our late senator, daniel patrick moynihan, spent over a decade trying to undo that damage. he pushed high and low for a modern pennsylvania station for new york city—using the landmark farley post office (also a mckim, mead & white gem) across eighth avenue from the current cheesy monstrosity. to that end, he lined up federal, state, and municipal monies—shepherding the initial architectural plan to rebuild the station in the gilded realm of the corinthian-columned post office across the street. but—as kent barwick, president of the municipal art society points out—more than eight years have passed since president clinton and governor pataki stood for their photo op with the senator on the post office’s monumental steps to announce that work on the new penn station would “start soon.” on march 4, 1998, clinton announced that an accord had been reached, federal funding had been secured, and plans to restore the james farley post office building were underway. we’re still waiting…

what is taking so long? why are new yorkers being denied our grand portal that unites—in the words of friends of moynihan station director maura moynihan—landmark preservation, infrastructure, urban planning, transportation policy, architecture, design and economic development in service to the common good. this proposed public works project would yield tangible benefits for our entire region. furthermore, it will revive a critical swath of midtown manhattan, for too long blighted by the destruction of the original penn station and the heinous edifice constructed in its place.

barwick states that the latest delay has been precipitated by developers who prefer to build a new madison square garden in the west end of the post office, demolish the current “garden” and construct a huge commercial office complex with an upgraded penn station underneath. the president of the municipal art society is asking some very important questions: who will guarantee us a grand new train station? what will prevent the garden from papering over mckim mead & white’s corinthian columns with jumbo advertising signs? will new york’s favorite post office become ticket windows for madonna? can a train hall be a lobby for the knicks? who will be in charge? where once, barwick notes, vanderbilts and the rockefellers risked their own money in pursuit of great public works—in this situation a lot of our tax dollars are at stake. “we have to see this is a contract with the future that cannot be compromised by a commercial real estate deal.” bravo, mr. barwick!

the dastardly decision to raze penn station was made behind closed doors and rubberstamped by the city planning commission. despite vigorous and eloquent protest, the commission ruled in favor of the strip center—a dear price of a great rail hub, civic space, and architectural masterpiece for which new yorkers still pay. boardroom decisions that consigned the doric columns, sculpted angels and jules muerin murals to a new jersey swamp cannot be allowed to do the same thing again. we in new york’s body politic must stand by the municipal art society in their bedrock principles for the station and hold our elected officials accountable for ensuring them:

• a modern rail station should be constructed within the walls of the james a. farley general post office on eighth avenue at 33rd street, and transportation should be the facility’s main purpose

• moynihan station should be a grand gateway to new york city, something the city lost with the destruction of pennsylvania station more than 40 years ago. design and construction should move forward quickly with full respect for the post office’s city landmark status

• expansion space should be reserved for transportation functions to grow over time so that the station can serve its role as an economic catalyst for manhattan’s newest business district and residential neighborhood, the far west side

• special attention should be devoted to public safety, with well-planned internal circulation patterns—from the curb to the platform—and with the placement of entry and egress on all sides of the station

• knit moynihan station into the fabric of the neighborhood, with visitors, commuters, and local pedestrians able to walk in enclosed passages from sixth avenue to ninth avenue (and perhaps beyond), and allowing easy access to subways, the jacob k. javits convention center, the high line, hudson river park, and future developments

this proposal will expand capacity in the most heavily used transit hub in the tri-state rail network and strengthen a critical link between new york city, long island and upstate. after years of delays and false starts, enough is enough! we cannot be complacent about this process that—without public vigilance—quickly returns to backroom deals. our elected officials must hold the development team of related companies and vornado realty trust (chosen by the empire state development corporation) accountable.

federal funds that are left too long unspent can be rescinded at any time. an out-of-control federal deficit (exacerbated by the costs of the iraq quagmire and hurricane katrina’s aftermath) put the “accord” and its funding in great jeopardy. we must heed the words of maura moynihan: “this is a chance for civic redemption that won’t come again. we lost penn station once before. let’s not lose it again.”

important & informative links:
friends of moynihan station http://www.moynihanstation.org/history.html
municipal art society http://www.mas.org/index.php
http://www.cbsnews.com/stories/2002/10/11/sunday/main525288.shtml
http://www.forgotten-ny.com/STREET%20SCENES/Penn%20Station/penn.html
http://www.nyc-architecture.com/GON/GON004.htm
http://home.cc.umanitoba.ca/~mcgonig/CityPlanning/penn.htm