Sunday, September 28, 2008

aaron johnson: star-crossed







[commander's feast (in blood & fire)(2008), acrylic polymer on polyester flag; the second coming of uncle sam (2008), acrylic polymer on polyester flag; star-crossed (2008), acrylic polymer on polyester flag; death of a monster (2008), acrylic polymer on polyester flag]


showing at stefan stux gallery through october 18 is “star-crossed,” a series of new paintings by aaron johnson that evoke the twisted debate consuming our republic on such no-brainer issues as the separation of church and state, u.s. embroilment in imperial and mercenary conflict abroad, and the cynical one-dimensional patriotism expressed by mainstream media. further, the artist indicts contemporary america on these and other issues with narratives that marry the horrific and hilarious.


all of the works in “star-crossed” are ceremoniously painted upon the emotionally charged, and politically controversial, american flag—adding johnson’s work to a canon including jasper johns, wayne eagleboy, dread scott, and faith ringgold. confronting the cultural morass of desecration, iconoclasm, and sacrilege, johnson simultaneously celebrates the fundamental american ideal of freedom of expression. one need only observe the plethora of crackpot right-wing websites bemoaning flag desecration to realize the how that issue resounds in some dark corners of the body politic.


johnson joins an eminent cadre. just recall the ire in 1989 directed at dread scott’s “what is the proper way to display a u.s. flag?” bush senior called it disgraceful, while the entire u.s. senate passed pompous legislation to “protect the flag”—after doing precious little to protect the lives of americans during the emergence of the aids pandemic. in an effort to protect enshrined constitutional rights, scott and three other protesters burned flags on the steps of the u.s. capital. then there’s “the flag is bleeding #2” by feminist and coretta scott king award-winner faith ringgold, with its bittersweet plea for racial harmony. “we the people” by wayne eagleboy bears the figures of two native american men behind a screen of barbed wire upon the u.s. flag.


probably best known are the spectrum of u.s. flag works created by neo-dadaist jasper johns. johns' 1954-55 work “flag”—an iconic celebration of patriotism is innocuous when compared to his “moratorium” from 1969. commissioned by the leo castelli gallery of los angeles in conjunction with that year’s massive and national october 15 mobilization against the vietnam war (the moratorium), johns made a radical departure from his previous red, white, and blue flag paintings. “moratorium”—a toxic flag poisoned by war—has black and green stripes, with the green vaguely resembling camouflage. its orange field is filled with blackened stars, while—in the center—is a single white dot (representing a bullet hole). like today, america was in the throes of an unpopular imperial war. the image became one of the most well-known images of the vietnam period.


while our nation has come full circle to its current embroilments , johnson brings a fresh perspective to this lineage in a body of work that uniquely allows distortions to occur. among the artist’s dreadful and whimsical cast of intrepid characters are torrid depictions of a crucifixion and lady liberty reinterpreted as cyclops of a singular vision, and a johnny appleseed tormented by a fruitless wasteland. such anti-heroes fumble through murky corners of the american myth. resulting works offer foreboding hints of what is to come, namely disgorged body parts, erupting heads, and ultimately the complete obliteration of the figure. this corporeality resounds our schizophrenic society’s underlying corruption and its failure to feed the minds, bodies and souls of its citizenry—who struggle along in an evaporating economy with substandard education and out-of-reach quality health care.


interestingly, amalgams of figures and distortions in johnson’s paintings are comparable to benji whalen’s clay and fabric sculptures that abound in absurd piles of human beings in fights with emerging body parts. in whalen’s show “claustrotopia,” the tangled bodies are so close to the degree that they border on an aggression-prone claustrophobia: thereby ideas of peaceful coexistence become utopian. in the works of both artists—though in different media—conflicting emotions occur simultaneously.


such distortions of american society come to the fore in johnson’s unique method of painting that utilizes reverse-painted acrylic polymer peel paintings. painting completely in reverse onto plastic film, he builds up multiple layers of paint that are ultimately set with acrylic polymer directly onto american flags—allowing him to release the painted layering from the plastic substrate.


stylistically and formally, johnson’s work embraces a variety of influences, including goya’s “desastres de la guerra,” hieronymus bosch’s “hell,” and peter saul’s pop-psychedelia. with his work in “star-crossed,” johnson rightly asserts his place in a line of artists whose art becomes a platform from which to question contemporary society.


aaron johnson: star-crossed

through october 18, 2008

stefan stux gallery

530 west 25th street, nyc 10001
212.352.1600 www.stuxgallery.com

Wednesday, August 27, 2008

discarded lives: going through the trash





“When old people died without wills or heirs, as happened rather often, the landlord would set the belongings of the deceased out on the sidewalk, since that was cheaper than hiring a removal van. We would go through the boxes and help ourselves, and come upon photographs and books and curiosities, evidence of lives and passions spent in the political and social turmoil of 1910 and 1920, of the Mexican Border War and Emma Goldman’s Mother Earth and Vaudeville and labor-union struggles and the shipping trade; we might be briefly diverted, but we were much more interested in the boxes on the next stoop that contained someone’s considerably more recent record collection.” [Afterward, page 369. Low Life: Lures & Snares of Old New York, Luc Santé, Farrar Straus Giroux, New York (2003)]

reading this in santé’s book reminded me of the many times i happened upon physical milestones of peoples’ lives being “brought to the curb” in the east village during the late 80s and early 90s. santé was correct in that my friends were usually interested in record albums. when we found collections at the curb containing numerous 12-inch dance singles from the 1970s, a collective shudder would be experienced as we were undoubtedly looking at the effects of a brother lost to aids.

on one occasion, i found a wonderfully fat volume by a william f. mcdonald in the curbed belongings of an individual on st. mark’s place in the late 1980s. titled “federal relief administration and the arts: the origins and administrative history of the arts projects of the works progress administration” and published by the ohio state university press, this epic book published in 1969 chronicled the idealism—beset by conflict from the benighted—of economic progress inherent in new deal programs. the assumptions of the programs described in mcdonald’s book were that artists, no less than manual workers, are entitled to employment in their crafts at public expense and that the arts—no less than business, agriculture, and labor—are and should be the immediate concern of the ideal commonwealth.

on another occasion, in the summer of 1989, i was with british guy named edward from richmond-surrey and a comrade from act up. as santé describes, book, photos, and other memorabilia were strewn about the garbage cans for a building on second avenue—already picked over by passersby. my fellow actup’er tore apart the pile looking for art books, his passion. i, on the other hand, was intrigued by the piles of books bearing the “international publishers” and “new world paperbacks” imprints—the imprints of the communist party usa. among the books were biographies of cpusa v.i.p.’s such as peter cacchione, eugene dennis, and elizabeth gurley flynn.

this was a saturday evening and i hadn’t brought a backpack. since i’d planned to be out all night, it was with care that i passed up all the available photos, leftist publications, and books in order to pick one thing to take with me from this convergence. what i decided to bring with me was a large “coffee table” book published in 1965 by the dietz verlag berlin—in the former german democratic republic (east germany). “120 jahre deutsche arbeiter bewegung in bilden und dokumenten” (120 years of the german workers’ movement in photographs and documents) by the museum für deutsche geschichte (museum for german history) was humorously incomplete collection of photographs and milestones of the german left.

“humorous” is the operative word in this fascinating book that has some striking co-optations and omissions owing to the slavish devotion of east germany to the soviet line. considering the title of the book, august bebel (1840-1913) and wilhelm liebknecht (1826-1900) the founders of the sozialdemokratische partei deutschlands (or the spd, from which the german communist party—or kpd—emerged) are, of course included. bebel is well known for his quote that “anti-semitism is the socialism of fools.” not surprisingly, the leftist icons and martyrs karl liebknecht (1871-1919) and rosa luxemburg (1870-1919) are also included in this photo-packed tome. the two spartacist leaguers (a breakaway of the spd that became the kpd), founders of the kpd, and founders and publishers of the kpd newspaper “die rote fahne ("the red flag") were kidnapped, tortured, and murdered by right-wing thugs on january 15, 1919.

clara zetkin (1857-1933) would have to be included. after all, it was her image that appeared on the east german 10 mark note. this noted feminist (as opposed to rosa luxemburg who abhorred dealing with “women’s issues”) served as a kpd member of the reichstag from 1920 to 1933 and interviewed lenin on "the women's question." in 1920 zetkin served on the kpd’s central committee, on the executive committee of the communist international (comintern), as the president of the german left-wing aid group rote hilfe, and in august 1932—due to her seniority—as the chairwoman of the reichstag.

what would a history authorized by the former east germany be without ernst thälmann (1886-1944), the slavish stalinist who led the kpd during much of the weimar republic? described by zetkin as "uninformed and not educated in theory," and caught in "uncritical self-deception and self-infatuation [which] borders on megalomania," thälmann and the kpd fought the spd as their main political enemy—acting according to the comintern policy that declared their fellow leftists as “social fascists.” thälmann, who was shot in buchenwald on hitler’s orders after being held in solitary confinement for 11 years, was the perpetual candidate of the kpd for the german presidency against paul von hindenburg and hitler. thus, the ridiculous and cynical efforts of the antifaschistische aktion/rote einheitsfront are so extolled in this book. i hope for their sakes that the editors of the book were able to keep a straight face in their offices deep in the bowels of the stasi.

it is no surprise that criminal german communist politicians—and former leaders of east germany—such as walter ulbricht (1893-1973) and erich honecker (1912-1994) would be highlighted. during the last gasps of the weimar republic, ulbricht urged his fellow communists to murder police officers and—reprehensively—he met with berlin’s nazi gauleiter joseph goebbels to plan a general strike. (strikers were so appalled by nazis and communists marching together that the strike was called off after five days.) ulbricht helped decimate the legions of german communists exiled in the soviet union through his treachery and denunciations, which led to their deaths in the purges. stalin’s hatch-man lavrenty beria commented that ulbricht was “the greatest idiot he’d ever seen.” then there’s honecker, who—as state secretary for security matters—was in charge of building the berlin wall and responsible for scores meeting their deaths as they tried to escape the police state.

the bogus 1946 “union” of the spd and the kpd—accomplished by stalinist terror in the soviet sector—is covered with great “fanfare.” socialists (spd) in the eastern precincts were browbeaten and threatened by the soviet secret police to fold their party [with the communists (kpd)] into the socialistischen einheitspartei deutschlands (or the sed, which was to become the political rubric in the communist dictatorship of east germany). thus, otto grotewahl (1894-1964) finds his place in this history. grotewahl, the spd leader in the eastern zone, was blackmailed by soviet authorities into leading his fellow spd’ers into the arms of the communists led by wilhelm pieck (1876-1960), the first and only president of the “german democratic republic.” (to his credit, grotewahl publicly condemned the abuses of east germany’s “legal system” and its vicious executioner “justice minister” hilde benjamin—the sister-in-law of the great german intellectual walter benjamin.)

only because marxist historian franz mehring mehring (1846-1919) had been dead for decades could he be included in this book—largely on his laurels of being a spartacist with those who would later go on to form the german communist party. how could käthe kollwitz (1867-1945) not be included? her painting, printmaking, and sculptures—ground in naturalism, allayed in expressionism—bespoke the searing humanity in germany’s collective unconscious. castigating the forces of poverty, hunger, and war, her truly progressive and humanitarian work was exploited by the nazis as well as the stalinists. persona non grata in nazi germany, heinrich mann (1871-1950) works attacked authoritarian and militaristic strains in german society. while his ashes were taken to east germany (he died in santa monica, california), he and his writing would have been anathema in the “people’s democracy” of east germany. the prescient, though naïve, leftist novelist and playwright lion feuchtwanger (1884-1958) also died in california. designated by the nazis as “enemy of the state number one,” it is no surprise that he is included in this “history of the german workers’ movement.” his work, such as “moskau 1937,” could range toward appallingly myopic stalinist apologia.

how interesting that the nonviolent and heroic anti-nazi weiße rose group is included and exploited! how they would have abhorred the “german democratic republic” and all it stood for! had sophie scholl, hans scholl, alex schmorell, willi graf, and christoph probst survived the nazi era, they might well have found themselves being tried in the courtroom of hilde benjamin—the roland freisler of east germany. also amusing is how the headlines of the socialist daily “vorwärts” (published daily in berlin by the spd from 1891 to 1933) are included. this august leftist newspaper—which would publish articles by trotsky, but never by lenin—would have found itself banned in east germany.

it is to his credit that the brilliant leftist theoretician karl kautsky (1854-1938) could never be included in this moscow-leaning “history.” kautsky, the editor of the fourth volume of marx’s “das capital, ”was castigated by lenin as a renegade. in his 1934 work, “marxism and bolshevism: democracy and dictatorship,” kautsky rightly saw that the “workers’ paradise” of the soviet union—that willy-nilly enslaved its people—wasn’t any better than the czarist dictatorship that preceded it. a true pillar of the german workers’ movement, eduard bernstein (1850-1932) could never be included in this airbrushed “history” either. of all the 19th century’s socialist theoreticians, it is the work of bernstein (albeit with various blips and glitches) that has managed to remain relevant to this very day. he refuted marx’s predictions and pointed out that capitalist infrastructural centralization, while significant, was not wholesale. bernstein’s analysis especially pointed out flaws in marx’s “labor theory of value.” bernstein held that socialism would be achieved through capitalism, not through capitalism's destruction, believing that as rights were gradually won by workers, their cause for grievance would be diminished.

appallingly, though not surprisingly, the kpd’s communications czar willi münzenberg (1889-1940) never makes it onto the pages of this book. expelled by the communist party on trumped up charges, the brilliant münzenberg was betrayed by his downright mediocre and thuggish comrade ulbricht (who coveted münzenberg’s position). known for his saying, "all news is lies and all propaganda is disguised as news," münzenberg was found murdered by a soviet assassination squad in france (where he had been making anti-nazi broadcasts). ernst reuter—the brave socialist lord mayor (oberbürgermeister) of berlin who stood down the soviets during their criminal 1948-1949 blockade of berlin—should receive accolades for never being mentioned in this “history of the german worker.” although a favorite of lenin, reuter had been expelled by the kpd in 1922. accolades should also be received by louise dorothea schroeder (1887-1957) who served as mayor of west berlin after the war—and the only woman ever to have served as mayor in berlin to this very day. an spd politician who suffered nazi surveillance during the third reich, schroeder was the first female member of the reichstag and a leader of the arbeiterwohlfahrt (workers welfare agency). john hertzfield’s (1891-1968) work is shown in the book, yet not credited in the text . hertzfield’s brilliant photomontages on the pages of the kpd newspaper “die rote fahne” and its weekly magazine “aiz” (arbeiter-illustriert-zeitung) satirized the german right, german industrialists, and the nazis.

the book still gives me the hardyharhars! like airbrushed kremlin photographs omitting out-of-favor politburo members, this book exemplifies the self-serving—if erratic—nature of soviet policy, whether at home or in its vassal “people’s democracies.” i’m grateful to that deceased cpusa’er for the book and this total “find”—in a situation so well described by santé in the opening quote.

Thursday, August 14, 2008

scott king: the trial continues




[“jeff the bastard” (2008), vinyl, variable dimensions. “democratic anarchists in disarray” (2008), screenprints. “death to the new” (2008), florescent paint, vinyl, variable dimensions. “brian” (2008), porcelain bust, paint, feathers, rhinestone collar. “roy” (2008), plaster bust, paint, gold leaf.]

once meaningful totems—if sinister for many—have become commodities. we need look only to the ubiquitous (and stylized) images of ernesto ‘che’ guevara that adorn countless t-shirts, posters, and other ephemera. artist scott king has bluntly knocked the stuffing out of such assumptive and presumptive phenomena in his show at bortolami gallery “the trial continues.” from the respective glam-rammed busts of vladimir ilyich lenin and karl marx to a joy division-inspired dot litany, king’s perspective has been playfully subversive—and inspired by various musical milieu. glam rock, punk, and disco swirl forth in a barbara kruger kind of way to undercut the post-modernist consumerism that has wreaked its own havoc upon political convictions and their various boundaries.

scott king, an artist and graphic designer from yorkshire, england, previously served in such capacities as the art director for magazines i-d and sleazenation. he has also designed record sleeves for the pet shop boys, morrissey, suicide, and roisin murphy (among others). brazenly—if sadly—king has harnessed the strong pulse of cynicism toward the ability of political action (particularly by the left). the perceived impotence and ineptitude of political aggregates to make any meaningful changes (in a world in which the actions of britney spears and paris hilton are actually considered newsworthy) are convulsive in king’s works represented in “the trial continues.”

while the economy and environment are in a shambles, why is it that the parasitic and inane media can actually waste its efforts chasing down john edwards about an irrelevant affair? haven’t we learned the lesson of the atrocious waste committed by parasite ken starr during the 1990s? who cares about someone’s carnal life while housing, medical, food, and energy costs rise? king’s images ask more important questions—not who or what we vote for, but rather how to cause an affray of words and images that raise the stakes of contemporary “confusion.” viral aesthetics of the parasitic govern king’s work: he uses the organs of the host to bring it down by its own means.

scott king: the trial continues
through august 22, 2008 bortolami gallery
510 west 25th street, nyc 10001
212.727.2050 bortolamigallery.com

Saturday, August 09, 2008

of the refrain: modernism to the metronome



[“bertolt brecht” (1931) by ringl+pit, silver print]

installed by curator phil taylor, this summer offering by robert mann gallery examines formal repetitions (or “refrains”) and parallel motifs of photographers in the portraiture and commercial still life genres during the first half of the 20th century. exhibited as if they were notes on a musical score, the primarily modernist works by berenice abbott, ellen auerbach, ilse bing, carlotta corpron, hazel larsen archer, dora maar, barbara morgan, ringl+pit, and margaret watkins coalesce into an inspiring survey from a hectic and periclean age—and blur the lines between figuration and abstraction.

in its creative ingenuity and entrepreneurial acumen, work produced by the advertising studio of ringl+pit is representative of the exhibition. derived from their childhood nicknames, grete stern (ringl) and ellen auerbach (pit) chose the studio title to deliberately obscure what their own names revealed: their gender and jewish background—qualities they assumed would inhibit the success of their business. such portraits as those of bertolt brecht (1931), ringl with glasses (1929), and mrs. h (1934) exhibit this same playfulness. having met in 1929 while students of walter peterhans—the bauhaus school’s first photography professor—the work of stern and auerbach used humor and irony to subvert traditional images of women in mainstream advertising during a time of social liberation, expanding mass media, economic upheaval, and political change. (with the nazi takeover, ringl+pit closed and the two fled germany—ellen to new york and grete to buenos aires.)

the work of berenice abbott captured the players in this electrifying milieu. her portraits of jean cocteau (1927) and james joyce (1926) are emblematic of the modernist cauldron in which she found herself. sculptor thelma wood, painter marsden hartley, dancer harriet marsden, and an innovative litany including djuna barnes, aleister crowley, william plomer, paul bowles, aaron copland, christopher isherwood, stephen spender, w.h. auden, and beatrix and john lehman inhabited the terrain in which she lived and worked.

“self-portrait with record lying down” (1930) exhibits the amazing tenacity of work by man ray. a contributor (though informally) to both the dada and surrealist movements, we can see in his work exhibited in “of the refrain” a manifestation of his ultimate identity as a painter. advertising and portraiture would never be the same after him. like abbott, the realm of cultural ferment took its place in front of his camera. no less than the personages of james joyce, gertrude stein, jean cocteau, and antonin artaud sat before him.

dance is a recurring motif in “of the refrain” and pieces representing this medium by barbara morgan, lotte jacobi, ellen auerbach capture the revolution in movement. bodies in motion can be barely contained in the images of these “saboteurs.” we can feel the leaping and fragmentation. the little-known black mountain artist hazel larsen archer in her work “merce cunningham” (1948) gives us a portal to this innovation. in a similar vein, the music captured in their work is avant-garde, jagged, and edgy.

considering explosive milieu in which they worked—with booming intellectual productivity in the fields of writing, art, architecture, music, dance, drama, and the new medium of motion pictures—the confidence, tight framing, and precise compositions found in “of the refrain” invoke these currents. this installation at robert mann gallery captures the erasing of boundaries between studio and camera and the resultant opening to modernity’s convergent forces.

of the refrain
through august 22, 2008
robert mann gallery
210 11th avenue, nyc 10001
212.989.7600 robertmann.com

Friday, August 08, 2008

from head to toe: appendages of the human body and their discontents






[“sizzling habitats” by zigi ben-chaim (2007), wire mesh, canvas, paper, alkyd paint, hooks on aluminum. “salt lines ii” by reena saini kallet (2007), acrylic and cardboard in six frames. “world 17,” by ruud van empel (2006), cibachrome, dibond, plexiglass.]

questioning idealized and commercialized body images, stux’s group exhibition “from head to toe” connects works focusing on –or highlighting—various appendages of the human body. in the way of a medical laboratory, the installation’s very sequencing allows the curators to play the role of dr. frankenstein. by using new media technologies, many of the featured artists have found a vernacular to echo both modern genetics and surrealism’s uncanny effects.

like his other works, zigi ben-chaim’s “sizzling habitats” integrates urban elements with those from his native iraq and israel to create multilayered universes within a universe. these awesome and highly textured sculptural paintings speak of existence and survival amid precarious situations. use of grids and cutouts in his works integrate personal narrative with his complicated cultural exposure. creator of the outdoor installation “splendid step” in new york’s hammarskjöld plaza, ben-chaim’s iconography references our civilization’s lurking dangers and examines our relationships to the larger human experience.

reena saini kallet, whose work simultaneously draws from the disciplines of painting, sculpture, and photography, has depicted the body’s sensory organs in “saltlines ii.” these organs are represented in stylized spillage (as though they were secretions of body fluids)—the forms incorporated into demons sourced from the razmnama or book of wars, which is the persian translation of the sanskrit epic mahabharata. the organs eject hatred and violence in the form of tiny parasites.

the real and imaginary and the attainable and elusive (if not downright impossible) have coalesced in ruud van empel’s “world 17.” seemingly lost characters inhabit its high gloss and richly saturated photographs. comprised of hundreds of individual photographs taken by van empel, these images have been digitally compiled to produce a perspective impossible to capture in routine film exposures.

what is the reality of our self-representation? do our idealized images conform to an “inner truth” or carefully align with contrived falsehoods the media has fabricated for commercial purposes? curators of “from head to toe” have sought to create a golem via the juxtaposition of the installation’s individual works. with this culmination of works in hybrid media, the participating artists have challenged social and cultural assumptions on how we see ourselves and offered possible alternatives to our sometimes macabre and grotesque self-image tug of war in which we become our own worst enemies

from head to toe through august 14, 2008 stux gallery 530 west 25th street, nyc 10001 212.352.1600 www.stuxgallery.com

Sunday, August 12, 2007

la chascona #5: robert desnos


[la chascona was the santiago home of chilean poet pablo neruda—a home in which portraits of walt whitman adorn the study]

this year marks the 35th anniversary of the first publication of robert desnos’ poetry in english translation. desnos’ “selected poems”—translated by carole frankel and william kulik—was published in 1972. (translated by carolyn forché and william kulik, the definitive “selected poems” was reissued in 1991.) it also marks the 80th anniversary of the 1927 publication of the collection “la liberté ou l’amour!” in which he included several poems for singer yvonne george.

born on july 4, 1900 in paris—the son of a café owner—desnos became a literary columnist for the newspaper “paris-soir” after attending business college. his poems first found homes in the dadaist magazine “littérature” in the period immediately following wwi. his first book—a collection of surrealistic aphorisms—was published in 1922. these were followed by “language cuit” (1923), “deuil pour deuil” (1924), “journal d'une apparition” and “la liberté ou l’amour!” (1927), “the night of loveless nights” (1930), “corps et biens” (1930), “état de veille” (1943), and “le vin est tiré” (1943).

while at “paris-soir,” desnos met fellow poet benjamin péret who introduced desnos to the dada group in paris and andré breton. desnos became an active member of the surrealist group and developed a particular talent for “automatic writing.” this involved drifting into a trance and then recording the associations and leaps of the subconscious mind. desnos' poems from this time are playful (by utilizing puns and homonyms), sensual, and serious. in the 1930s his poems became more direct and musical while retaining his earlier playfulness. during that decade, desnos branched out into extensive work on french radio and writing reviews of cinema and jazz. his break with surrealism can be seen in his lyric poem about solitude, “the night of loveless nights,” which was written in quatrains and more similar to baudelaire than andré breton.

upon france’s state of war against germany in 1939, desnos returned to the french army. in paris during the german occupation (with its rampant collaboration), desnos used pseudonyms such as lucien gallois and pierre andier and published a series of essays that undercut and mocked the nazis. such articles—in combination with his work for the french resistance—led to his arrest. sadly, desnos’ arrest by the gestapo that february morning in 1944 cut short the work of a writer whose craft had evolved over myriad twists and turns. as his biographer william kulik points out, “contreé” (the last book published before his arrest) was a culmination of that evolution: it consists of of 25 poems written in alexandrines or syllabics, many of which are sonnets or resemble them.

from “contreé,” we have the poem “cascade,” translated in “the selected poems of robert desnos” (ecco press):

What sort of arrow split the sky and this rock?
It quivers, spreading like a peacock’s fan
Like the mist around the shaft and knotless feathers
Of a comet come to next at midnight.

How blood surges from the gaping wound,
Lips already silencing the murmur and the cry,
One solemn finger holds back time, confusing
The witness of the eyes where the deed is written.

Silence? We still know the passwords.
Lost sentinels far from the watch fires
We smell the odor of honeysuckle and surf
Rising the dark shadows.

Distance, let dawn leap the void at last,
And a single beam of light make a rainbow on the water
Its quiver full of reeds,
Sign of the return of archers and patriotic songs.

desnos was sent to first to the auschwitz/birkenau death factory, but—as the soviet forces approached—he was transferred to térézin/theresienstadt concentration camp in czechoslovakia. weakened by typhoid, he died on june 8, 1945, just after the camp’s liberation by allied forces (and is buried in paris’ montparnasse cemetery).

desnos's poetry has been set to music by a number of composers, including witold lutosławski with “les espaces du sommeil” (1975) and “chantefleurs et chantefables” (1991), and francis poulenc (“dernier poème,” 1956). desnos translator forché names him as a significant influence on her own work. to access the wonder, complexity, and texture of desnos’ poems, check out the following web sources:

http://www.poets.org/poet.php/prmPID/254

http://www.kalin.lm.com/desnos.html

(the last three poems on this website of surrealist poems are those of desnos.)
http://members.aol.com/benedit5/

witold lutoslawski’s “les espaces du sommeil” and “chantefleurs et chantefables” can respectively be played at:

Tuesday, August 07, 2007

daytrippers 1: staten island


[basilio’s, jacques marchais tibetan museum, conference house, view of narrows, alice austen house, garibaldi-meucci museum, snug harbor, staten island railway (sir)]

from end to end, this borough is a great place to explore. daytrippers can only skim its “surface.” other amazing spots on staten island include the national lighthouse museum (http://www.lighthousemuseum.org/), the davis wildlife refuge (www.sigreenbelt.org/About/WTDavis/wtdavis.htm), sandy ground historical museum (statenislandusa.com/pages/sandy_ground.html), and the staten island zoo (http://www.statenislandzoo.org/) at which is found one of the most amazing and complete collections of reptiles—especially rattlesnakes and other poisonous reptiles. birthplace of joan baez, emilio estevez, and mother bloor, as well as the former home of paul and jane bowles, there is much to discover here.

staten island museum (http://www.statenislandmuseum.org/), where my mother once exhibited one of her paintings in the mid-1960s, is just two blocks away from the staten island ferry terminal. also known as the staten island institute of arts & sciences), it is new york city’s only general interest museum—exploring the arts, natural science, and local history through permanent and changing exhibitions.

jacques marchais tibetan museum (www.tibetanmuseum.org) near historic richmond town is an amazing collection 1,200 objects of tibetan buddhist art--from tibet, mongolia, and northern china—dating from the 15th to early 20th century. nestled in a most contemplative place on lighthouse hill and resembling a small himalayan monastery, this architectural gem is surrounded by meditation gardens and its collection is especially rich in statues of buddhas, lamas, arhats, protector deities, thangka paintings and 18th century qianlong cloisonné. do check out its 60th anniversary exhibition, “from staten island to shangri la: the collecting life of jacques marchais,” which runs until december 31, 2008.

historic richmond town (http://www.historicrichmondtown.org/) occupies 25 acres of a 100-acre site with about 15 restored buildings, including homes, commercial and civic buildings, and a museum. historically furnished interiors and museum exhibits are but a segment of its resources. of special note are the “open village,” bluegrass festival, and richmond county fair. nearby one can find st. andrew’s episcopal church, the cemetery of which contains the grave of elizabeth ann bayley seton (1744-1821) , the first american-born roman catholic saint (as opposed to mother cabrini who was the first american saint). her grandfather was rector of the church.

alice austen house (http://www.aliceausten.org/) is a national historic landmark at which are presented exhibitions of the work of alice austen and other photographers. austen's work is significant because of its high quality, range, and level of expression that together form a view of 19th century america. the site itself—with its history, architecture, landscape, and waterfront location at the foot of hylan boulevard with a great view of the narrows—is of note.

garibaldi-meucci museum (http://www.garibaldimeuccimuseum.org/), owned and operated by the sons of italy, is located in rosebank. historic home of antonio meucci (the actual inventor of the telephone) and legendary italian patriot giuseppe garibaldi, this building was erected in the 1840s in gothic-revival style. seeking refuge in new york in 1850, garibaldi lived here until 1854 when he returned to italy to lead its victorious unification.

conference house (www.historichousetrust.org/item.php?i_id=33) is surrounded by the conference house park at the very tip of staten island in tottenville. here, in september 1776—at this house built in 1680—john adams, edward rutledge, and benjamin franklin represented the continental congress in negotiations with britain’s admiral lord richard howe. while the group put forth options for a peaceful end to the revolutionary war, ultimately no agreement was reached and hostilities continued another seven years. tours of this restored house provide a glimpse of what life was like at the time.

snug harbor cultural center (http://www.snug-harbor.org/), now affiliated with the smithsonian, is a cultural center set within an 83-acre national historic landmark on staten island’s north shore not far from the staten island ferry. containing the finest collection of greek revival buildings in the united states, plus beaux arts, italianate and victorian style architecture set in lush parkland this gem exists today only because citizens fought tirelessly to save it from destruction. the deteriorated buildings of a seamen's retirement home have been transformed into a center for the arts. found here are the newhouse center for contemporary art, the actors harbor theater, the staten island children’s museum, art lab art school, the staten island botanical garden, and the noble maritime collection.

staten island railway runs from the ferry terminal in st. george to tottenville and is the surviving—though thriving—segment of a system that once had south beach and north shore lines. in 1953, the b&o railroad, the private owner of staten island passenger train service threatened to end that service. new york city agreed to subsidize the tottenville line. the south beach and north shore lines then became defunct. in 1971, new york city bought staten island rapid transit from b&o at a cost of $3.5 million.

for staten island ferry departures and connections to mta and new york city transit:
www.nyc.gov/html/dot/pdf/statferyschnov06.pdf

for the mta staten island railway timetable:
www.mta.info/nyct/service/pdf/sircur.pdf

a great overall source for happenings, events, and cultural resources on staten island is the council on the arts and humanities for staten island (coahsi) and its very thorough newsletter at:
http://www.statenislandarts.org/

a boomer's niche



[555 mcclean avenue in staten island’s south beach houses, p.s. 46 on reid avenue]

from this little corner of the world i spent years 5-10. during this period--corresponding to the years 1964-1969--i started kindergarten and finished fourth grade. as i explored the south beach houses and the surrounding neighborhood, lyndon johnson trounced barry goldwater and the “great society” commenced. civil rights workers michael schwerner, james chaney, andrew goodman, james reeb, and viola liuzzo were murdered. the civil rights act of 1964 and the voting rights act of 1965 were passed overwhelmingly and signed into law. watts, newark, and detroit blew up. our ill-considered vietnam incursion “escalated” out of control and young men--including those in our precincts--came home in body bags.

when we first moved to staten island at the height of beatlemania, a ferry ride to manhattan or brooklyn was required to “connect” to another borough. plodding across the bay this way took us to the world’s fair. yet, looming above us in the near distance was the almost-completed verrazano-narrows bridge. when president lyndon johnson came to inaugurate that wonder, we welcomed him with “hello lyndon” sung to the tune of “hello dolly.” sounds of 77 wabc and the wmca good guys provided a delightful score over am waves to ease racial tensions or the anxiety of vietnam and events such as the soviet crushing of prague spring and dubček’s “socialism with a human face.”

from my perch in 2A i cheered on my hero and fellow left-hander sandy koufax—whether in the ragweed-laden field next to p.s. 46 in the dusty summer of procul harum’s “whiter shade of pale” or that christmas we celebrated german-style with the army family the rushtons in dongan hills when “hello, goodbye” by the beatles and “you better sit down kids” by cher made those holidays even more amazing. immigration guidelines had already changed, which would forever change the face (or actually faces) of new york city in the years that followed. chicken pox erupted a few weeks before 1967’s six day war commenced, allowing me to stay home from school for a week to savor old “donna reed show,” “leave it to beaver,” and “biography” (mike wallace’s version) reruns on morning television. “groovin’” by the rascals was my score to that.

studebaker exhibited its 1964 line-up at the coliseum auto show. the assault by michael quill and his transit workers union upon the nascent administration of mayor john v. lindsay unleashed the unrelenting municipal union troubles of his idealistic tenure—whether the blue flu of nypd, huge piles of refuse uncollected by sanitation workers, and the fiery belligerence of albert shanker and his uft (who struck for two months when i was in fourth grade). during the period of that strike by teachers over decentralization, richard nixon squeaked by to victory over the chicago-tarnished hubert humphrey. lights and appliances in 555 mcclean avenue came to a screeching halt with those in the rest of the city during the great blackout of 1965. that event occurred close to the election of mayor lindsay—the first candidate for whom i ever rooted. [interestingly, the mayor of “gotham city” on the tv show “batman” (which went on the air in 1966) was mayor linseed.]

the summer of 1968 a boy named david (who suffered from brittle diabetes) moved across the hall from us. he writhed in pain in our car as our moms returned from a saturday shopping trip to korvettes (and josé feliciano’s remake of “light my fire” came over the car radio). [feliciano would be greeted by detroit tigers fans with bottles and cans at the world series a few weeks later when he sang the national anthem.] david succumbed to his disease during the teachers’ decentralization strike when it seemed “hey jude” by the beatles never stopped droning on and on.

while i struggled to tie my shoelaces, i delighted to herman’s hermits singing “henry the viii, i am” and tom jones’ “it’s not unusual.” that summer after first grade when i learned to swim at the fort wadsworth pool, the troggs’ “wild thing” and frank sinatra’s “strangers in the night” came over the snack bar’s radio. in the aftermath of bobby kennedy’s assassination (in which my overwrought third-grade teacher mrs. o’brien had to leave the room), i enjoyed burgers at wetson’s on hylan boulevard with my friend allison rushton and brother keith to the strains of richard harris’ “macarthur park.” allison’s sister mimi and her mom had been visiting at our place two months earlier when word of dr. king’s assassination came over news bulletins while we watched “bewitched.”

days before our move to suffolk county, men walked on the moon, upstate roads were clogged with revelers headed to yasgur’s farm, and a chain of events occurred in a place called chappaquiddick. “spinning wheel” by blood sweat & tears and sly & the family stone’s “hot fun in the summertime” provided succor with reruns of “julia, “here come the brides,” and “the ghost & mrs. muir.” vietnam dragged on, wreaking havoc on the vietnamese people: young americans continued to return from that useless conflict in body bags or damaged emotionally.

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/