Sunday, April 23, 2017

I-Witness Culture

May I start out with a couple of generalizations that I will apologize for before hand.   Artistic talent tends to be passed down in Native American families from generation to generation.  As an even larger generalization, Native American artists tend to be more articulate about their art than their Anglo counterparts.  This is borne out by the painter Frank Buffalo Hyde.

My wife, Penelope Hunter-Stiebel, writes a regular column for El Palacio, the magazine of the new Mexico state museums, called “Why This?” and just finished a draft on a sculpture by Doug Hyde, called “Sharing Knowledge”,  that stands in front of the Museum of Indian Arts and Culture on Santa Fe’s “Museum Hill”.  For her article she needed to measure the piece and since we were there we went into the museum for the exhibition of the paintings of the sculptor’s son, Frank Buffalo Hyde.   In fact, I had seen his work in galleries around town before and admired it.  All the pieces in the exhibition that I have illustrated are on loan from Tansey Contemporary.

Needless to say, much of Frank Buffalo Hyde’s subject matter revolves around the buffalo, but there was a lot else, and this show has little to do with that noble beast.  It is called “I-Witness Culture” and both the images and the text accompanying it left me with a lot to think about it.   In a recent issue of El Palacio the artist writes a brief article in which he thanks the museum for allowing him to co-curate the show, making this an even more personal exhibition and portrait of the artist.

Hyde’s thesis is that we miss viewing reality because there is always a recording device, most often the I-Phone, between the viewer and the subject matter.  He wrote “We don’t witness anything first hand any longer.  Our first reaction to anything that happens in real life is to record it.”  I must admit that I felt a pang of guilt at that moment because as soon as I saw the first painting in the show I photographed it and then its label.  So much easier that copying the label onto a pad and then having to ask the museum department for images which I may or may not receive in time for publication.   I had to admit that Hyde had a point, but, in my defense, I did always look at the image first because I would have to make the editorial decision later of which images would fit the story that I would write.


Hyde painted the picture above called The New New, 2017 as an introduction to his show in order to guide the viewer.  What is reality?  The dancers?  The viewer holding the I-Phone or the image in the phone?   He believes it is the new way of seeing.

Zombie Nation, 2016 is interesting to me since our son, Hunter, an actor and screen-writer has always been into this subject which I am still not sure I understand.  Clearly, however, it has been absorbed into the Native American culture as well.  Maybe it is our fascination with what comes next.


Just the Fax, 2017 seems to sum up the exhibition very nicely.  Before the iPhone and before we could send images by email, there was the fax machine.  I remember very well working on catalogs with our publisher in the early 1990’s when we were in Santa Fe and she was in New York.  Back then we relied on FedEx and the fax.


To end on a point of humor, which I choose to believe the artist meant, I am illustrating his Buffalo Burger Study, 2014 for which I will include the artist’s whole label, “Like Native Americans, the buffalo are often relegated to mythology of America’s past.  They have made a comeback in the last two decades, but only as a low-fat beef alternative”.  Sometimes the most poignant statements are couched in humor.

Sunday, April 16, 2017

The Ideal Board Member

Both the boards of directors that I currently serve on, a private foundation that revolves around a private collection of indigenous art and that of a theater and performance company are looking for new board members.  Of course, the question comes up all the time, who is our ideal board member.

Unfortunately, that person does not exist but every company with a board of directors continues the search with the desire to come as close as possible.  I have been on the boards and even an officer of various art dealer associations both domestic and international.  I have been on the boards of a couple of companies that made films about the arts and they all had the same question. 

Of course, all have slightly different goals but they all want energetic young people-- which I was when I was on my first board at 27 and am not now at 72!  The vast majority of these were looking to the dues from the entire membership and not board donations to keep them going.  The other day I had a discussion with a woman who had been on many boards of directors who said she was never on a board that did not ask their members to contribute.

Interestingly enough and not surprisingly the ones that did not ask for funds always ran into financial difficulties, but the ones that did also needed additional financial backing.  There has always been this strange attitude that the arts should have nothing to do with “filthy lucre”.  As the song from Cabaret goes, “Money makes the world go around”.   We have to remind ourselves that the shows need to be paid for.   So the ideal board member is one with funds to spare.


Though it changes from time to time we look for demographic balance on the board.  Still being in the age of feminism which started half a century ago we want to make sure there are enough women,. Though you might say that the fight for equality for the black population started 150 years ago in certain parts of the country we should have more blacks on our boards.  Where I live now in Santa Fe, New Mexico the same challenge exists but here it is to include Hispanics and Native Americans.  

The look of a board has not changed that much.  Here is and image of a meeting of a board of directors of the Leipzig-Dresden Railway Company Board of 1852.


A board of directors is chosen to establish corporate management related policies and to make decisions on major company issues. Most of the boards I have served on were not for profits.  They act similarly and the board also oversees the financial operations and maintains the legal and ethical standing of the organization and its staff.  I would further add that the board has to make decisions on the direction of the entity and offer expertise in various fields.  Therefore, one wants individuals who are specialists in certain areas such as law, finance and in many other areas as well.


There can be specific goals for a board.  It is not difficult to understand why the Museum of Modern Art’s board is formed mostly by major art collectors who are de facto wealthy and may some day donate their collections or parts thereof to the museum.

I often look around the room during a board meeting and say to myself why is there no one in the room who has more expertise in this field or that, or lament that the genius on the board is dead broke!

I am sure that I have missed many reasons for selecting or electing a board member but you can see the impossibility of finding an individual who can fit all the hoped for requirements.
This being the case, we need to seek out the best individual available at the time and place, then work on a wish list for the next member.


Sunday, April 9, 2017

Lensic Performing Arts Intern Program

The Lensic Intern Program was started in 2002 in order to offer the high school students in Santa Fe the opportunity to learn what goes into working back stage in a theater.  The current head of that program is Matt Sanford who joined as a student in its second year.  At the time he was in his junior year of high school, majoring in theater with the goal of becoming an actor. This program began to lure him away from the front of the stage to the back.  Every child must dream at one point or another of becoming an actor.  It looks so easy, and the fantasy is always attractive even after we grow up and call it dreaming!

Matt has now been working back stage for over 16 years.  At the Lensic he was recently promoted from Master Electrician to Stage Manager, all the while being director of the Intern Program.  He was kind enough to let me interview him and sit in on one of his classes.  He explained that he reaches out to all high schools within the Santa Fe school system, public, private and charter. He often has over 30 applications but only accepts somewhere between 8 and 12 students. This makes for a teachable class size, particularly when working in smaller spaces and in potentially dangerous situations.


The students come to the Lensic after school once a week at about 4:30 pm and stay until about 6:30. They do not get class credit.  Obviously, the course will look good on their CV and application for college and it is not something you would apply for if you did not think you were interested in the subject.  Sometimes, however, a student will find out the program is not what he or she thought it was and drop out.  For one thing, as I learned, it is not easy, mentally or physically. 

 The amount they learn is incredible.  In the syllabus that Matt sent me he introduced each subject with the words “Basic training/understanding”.  The meaning being that you should not expect to be expert and able to do everything after 2 hours training.  At the beginning of the program they are issued a pair of thick gloves, a multi-purpose tool and a lanyard on which to hang it.  Matt runs a tight ship and explains why, which is so much better than the teacher who says, “because I told you so”. Each class starts in front of a white board with an explanation of what will be reviewed.




The session I sat in on was about the fly rail high above the stage from where one works the Fly System. Ropes must be weighted and balanced to make back-drops, screens and the curtain go up and down. Matt was very careful to stress how dangerous it can be when one is not paying attention.  Each person manning these ropes needs to not only make sure nothing drops, but announce clearly to those below what they are doing.  This is particularly true when visiting troupes come through that are not acquainted with the Lensic stage.  When Matt showed his students damage done by a falling “brick” the weights that hold the rigs up, that made an impression!



At another session the students study the lighting board including proper installation, application of light fixtures and lighting design for different types of programing such as theater, dance and orchestra.  I quipped that if one mastered that ,one could probably maneuver a 747 plane.  The sound console is another piece of complicated equipment.  The students need to learn about microphones, cabling and speakers.  To learn all this there needs to be a basic understanding of electricity, which can also be very dangerous so they are taught safety procedures.



The students also get the opportunity to follow professional crew members for the larger shows.  If they stick with the program they can apply for a paid summer internship where they will actually assist on a show under the supervision of a professional.  A few come back for a second year.  I met one young woman, a second year student, who came in to reset the marquee for coming programs, a process that is still done manually.   Since the Lensic is a 1930’s land marked movie theater it seemed appropriate.

I asked Matt if he tracks the interns after they leave and he said he does.  He has their phone numbers and emails and, though Face Book is not his favorite place to spend his time, he does interact there as well.  In fact the Intern Program has its own Facebook page.

One of his students that he is particularly proud of has had his lighting design accepted at Carnegie Hall in New York as well as a number of Off Broadway shows.

Sunday, April 2, 2017

Taiko - Kodo: Dadan 2017

I have given myself a new challenge.  How do you write about a visceral experience, one that vibrates through your whole body even after it is over.  This was the case the other evening when we heard the Kodo Taiko drummers’ troupe from Japan performing at the Lensic Theater in Santa Fe on their National tour.

In Japanese the word Taiko means any kind of drum.  In the U.S. we understand it to mean not just the Japanese drum but an art form of an  ensemble of Japanese drummers which is known in Japan as kumi-daiko.  The Kodo ensemble debuted at the Berlin Festival in 1981 and have been traveling throughout parts of Asia, Europe and North America ever since.

They started working on their Dadan  performance in 2007.  It was such a complicated piece that they were not sure that they could ever finish.   They did, however, and Dadan had its first performance in Paris in 2009.  This particular Taiko performance, which only uses the young men from the company, is incredibly powerful in every sense.


The word Kodo has two meanings in Japanese both "heartbeat," the primal source of all rhythm.   The great Taiko is thought to be reminiscent of a mother's heartbeat as felt from the womb, and babies are often lulled to sleep by its thunderous vibrations… In a different context it can mean, “children of the drum.”  If I counted correctly there were 14 drummer/dancers who would rotate and move across the stage with their drums no matter how large as if they were holding a child’s toy.

Heartbeat was definitely what I was feeling that night.  As a matter of fact I have an arrhythmia and I was thinking, why did I bother with my pills that evening. This was getting directly to me.   It is impossible to know the feeling without hearing the drums themselves and it is difficult to explain something one feels.  As they say an illustration is worth a 1,000 words so at least I can give you a small taste if not the actual experience with part of the performance from YouTube

Unfortunately, your computer or cell phone probably doesn’t give you any better audio than mine does, so you have to imagine yourself in an auditorium.  The Lensic has a capacity of 820 seats but I have been told it sounds just as incredible, if less intimate, in an auditorium of 2,500 in Las Vegas, Nevada.  Amazingly, as loud, as it was it was not a jarring cacophony.

The Lensic is more than just a theater for film, shows, music and spectacles.  It is also a teaching institution and soon I will write about their training program.  They also bring in many school children for their first theater experience and the beams on the kids faces is worth the price of admission.  In the case of Kodo, however, the Lensic brought Kodo to the students at the Santa Fe Indian School.  I am guessing that the Native American kids were relating what they heard to the drums they might hear at a dance on their pueblos, thinking how different this was, but on some level the same.  Unfortunately, we could not get permission to show the students with the Kodo drummers but here are a few of the performers themselves at the school.


Sunday, March 26, 2017

Treasures from the Nationalmuseum of Sweden: The Collections of Count Tessin

If you love French 18th century art you are probably acquainted with the name Carl Gustaf Tessin (1695-1770).  He was a Swedish politician, courtier, diplomat, public official, artist, writer, historian and best known of all among appreciators of art, a collector.   In the latter endeavor he did have some help from his father who died in 1728 and left him with a substantial collection of paintings.

The Nationalmuseum of Sweden and the Morgan Library have collaborated to bring this incredible exhibition to New York until May 14.  Possibly, the beginning of title “Treasures from” is a bit misleading for some like the critic from New York Times who seems to have expected Swedish and modern art, missed the second part of the title “The Collections of Count Tessin” on which the exhibition is totally focused.

Tessin was a Francophile and an unofficial ambassador to France.  His longest stretch in Paris was from 1739-1742 where he had a Palais and led the good life.   In 1741 he managed to attend the banker Pierre Crozat’s (1665-1740) estate sale.  Crozat’s holdings of by his contemporaries and Old Masters, were already famous and Tessin acquired 2,000 of them!

Tessin’s Parisian life style, however, did not agree with his pocket book and he had to sell a great deal of his collection to the Royal Family of Sweden.  Happily the latter had dreams of a museum and eventually this collection became a core part of today’s Nationalmuseum.

The number of great drawings in this show is really hard to believe.  To see works by Raphael, Callot, Giulio Romano, Durer, Goltzius, Rembrandt, Rubens and Watteau altogether and all of such high quality is an extraordinary treat.

A personal favorite, one of many, is by Jacques Callot (1592-1635), “The Tempation of St. Anthony” ca. 1635 was published during the last year of his life.  This is not the print that I have seen at several museums but the original drawing, which is much more lively.


Rembrandt van Rijn (1606-1669),  ”Two Studies of Women with Children” has a an immediacy and charm that could be explained by the fact that it is part of a series Rembrandt drew in the 30’s and 40’s as his own children were born and growing up.


I was going to show only two drawings but cannot resist the Antoine Watteau (1684-1721).  This artist, who died at a young age, led the charge into the French 18th century rococo style.
He often did drawings like this one, but the difference here is that they can identify the young woman on this sheet as the daughter of the artist’s biggest patron and at the upper and lower left as the salesgirl in Watteau’s famous sign for the art dealer Gersaint’s shop.


The reason I went to the exhibition, however, was Tessin’s French 18th century paintings, which I have known, forever, and experienced in the original when I went to Sweden many years ago.  Here it is again difficult to choose among the many.  Some of the artists represented are Lancret, Boucher, Chardin, Lemoyne and Toqué.  I amaze myself by mentioning the latter since I would definitely place him in the second rung of French 18th century artists but he happens to have outdone himself in his incredibly animated portrait of Tessin.   We have to give him credit, for Tessin to have realized his potential and picked him as his image maker.   As was customary, Tessin is wearing his richest finery.  Sitting at an important Louis XV desk, his library behind him shows how learned he is and I suspect he is looking at a map to show that he is also well traveled.


The Boucher “Triumph of Venus” from 1740 has been published in every review so I have picked another wonderful Boucher.  If not as large it is a far more intimate picture, “The Milliner”, 1746.   Tessin commissioned it from Boucher for Crown Princess Loisa Ulrika.  It was going to be part of a series of times of the day but this one of Morning is the only one the artist completed.  Considering who the painting was destined for and that this was the first in a series, the odds are far better that it was actually painted by  Boucher and not his studio.


I will end with one of the smaller images in the show, “A Student Drawing”, 1633-35, by Jean-Siméon Chardin ( (1699-1779).  It is one of a pair of paintings.   I do not think I remember it from Sweden but rather the Kimbell Art Museum in Fort Worth, Texas where they own practically the exact same subject painted a few years later.   I have now learned that the artist repeated the subject  twelve  times showing how popular it was with his clients, and probably himself as well.


Great museums throughout the world have collections formed by major benefactors, but when you look at the consistent quality of the Tessin Collection and think that one connoisseur picked out these works you have to be wowed.  It adds to the enjoyment of the experience if you wonder….If I had lived 300 years ago could I have done the same? 

Sunday, March 19, 2017

ALEXEI JAWLENSKY

"ALEXEI JAWLENSKY" is an exhibition that opened at the Neue Galerie in New York mid February.  There are about 75 paintings in this exhibition dating from 1900 until 1937. 

Jawlensky (1864-1941) was born in Russia and went to school in Moscow and studied in St. Petersburg with the well know Russian artist Ilya Repin (1844-1930).  Tiring of the latter’s realism Jawlensky moved to Munich in 1896.  Twelve years later his friend Wassily Kandinsky, the better known of the two, proposed forming Neue Künstlervereinigung München (literally the Munich New Artist's Association) and Jawlensky, Marianne von Werefkin, Gabriele Münter and others joined him.

As Peter Schjeldahl says in his New Yorker review the artist was more derivative than innovative and that is quite evident in the work. He was mostly inspired by Matisse, Kandinsky, Klee, and Franz Marc of the Blaue Reiter School though it is not difficult to see influences from other artists such as van Gogh.  For example Self-Portrait with Top Hat, 1904 lent by a private collector.


Between 1914 and 1921 Jawlensky created a series, which he referred to as “Mystical Heads” and “Savior’s Faces” one of which I illustrate below.  They show him moving towards abstraction.  There are loans from all over including four from the Long Beach Museum near Los Angeles that I am sorry to say I did not know of.  They own one of the Variations mentioned above “Abstract Head: Late Summer (Crescent Moon)”, 1928.


Jawlensky was exiled from Germany at the start of World War I and moved to Switzerland from 1914 to 1921 when he returned to Southern Germany.  In Switzerland he stayed in a house with a window from which he had a view down a path.  Thus began a series called “Variations”. He painted the view over and over again, the works becoming more abstract each time until one has to be told or have seen earlier versions to know what he was representing.  The museum was not able to supply me with images so with apologies are thumbnails with 2 Variations one with “Black Figure”, ca. 1916 from the Zentrum Paul Klee, Bern, next “Large Variation: Wide Path–Evening”, 1916 from the Museum Wiesbaden to illustrate my point.


By 1934 his arthritis was so debilitating that he could hardly wield a brush but his passion for painting carried him on.  Between then and 1937 he painted more than 1000 small images of what he called “Meditations”.  Many of them from a private collection are shown in the exhibition in a small darkened gallery accompanied by the music of Bach which Jawlensky listened to while working.  These works are considered religious in nature as Jawlensky took his Russian Orthodoxy very seriously.  Here is one of the Meditations from the Museum Wiesbaden, German, Meditation: My Spirit Will Live On, June 1935.


Jawlensky was an important colorist and expressionist and that is demonstrated at the Neue Galerie.  Some exhibitions, however, give one a real appreciation of an artist and others expose their weaknesses.  Even though there were a few still lives and landscapes, I found the repetition of Jawlensky’s series possibly more important for the scholar’s study rather than an appeal to enjoy his work.

The show was organized by Vivian Endicott Barnett an independent scholar and expert on the artist and will run through the end of May.

Sunday, March 12, 2017

The Mysterious Landscapes of Hercules Segers

I had a list of exhibitions I wanted to see in New York and “The Mysterious Landscapes of Hercules Segers” (ca. 1590 – ca. 1638) an exhibition in the drawings galleries at the Metropolitan Museum was certainly not at the top.  The last thing I expected was to be blown away by it.  I have always thought of the artist as a draughtsman of very delicate drawings, which had a great influence on, Rembrandt van Rijn (1606-1669) who owned eight of Segers’ paintings and even reworked his prints.  It was not just Rembrandt who was influenced by Segers but others such as Jan Ruyscher and Philips Koninck.  Obviously, anyone who came into Rembrandt’s studio would have seen Segers’ work.

Sometime prior to 1652 Rembrandt acquired Segers original plate for his print of “Tobias and the Angel”.   He decided, however, to rework the plate and subsequently it the Rembrandt version shows “The Flight into Egypt”.  The former print lent by the Rijksmuseum, the latter from the Metropolitan.



“Mountain Landscape with a Distant View”  (1620-1625), oil on canvas laid down on panel by Segers, was believed for a long time to be by Rembrandt, and it is still thought possible that the latter added some of his own touches to the picture.


The exhibition does an excellent job of showing what a great innovator Segers was.   It was done in collaboration with the Rijksmuseum which has more works by the artist than any other institution. The show opened in Amsterdam last fall. This is Segers first solo exhibition in U.S. and the first anywhere to represent all the media he used. 

Segers was so popular in his own time that you would think that his history would be well recorded.  This, however, is not the case.  In fact, very little is known about him for certain.   He was born in Haarlem and at the age of six he moved to Amsterdam and in 1631 being in debt he moved to Utrecht and became an art dealer.  He must have sold enough to take care of his debts so he moved to the Hague where he stayed until his death.  It is probable that he never travelled further than Brussels and, if this is the case, he could never have seen the large river landscapes, castles and mountains that he represented in his work.

He created drawings, paintings and prints and then came up with the innovation of painted prints.  Like every artist there were influences from other artists and two of those were Pieter Breughel and Durer.  This etching titled “Mountain Valley with Fenced Fields” (1625-1630) is printed in blue but in different versions he painted the sky to indicate the time of day.


He was daring doing things no one had ever done before.  There are twenty-two impressions of this print, “The Enclosed Valley” (1625-1630):  ten were done on cloth; others on different colored papers using different colored inks.


Not all of Segers’ art was fantasy and here is a print he did from his window, which is accurate down to the shutters.


There is a two-volume catalog for the show, which I could hardly lift but could not purchase, since it was still on back order.  The Met had sold out the first two orders and had ordered a third but were still not sure if it could be supplied! 

This exhibition is a unique opportunity and well worth taking advantage of.  If you go
don’t miss the excellent 4 minute video that introduces the exhibition.  It helps a great deal in understanding the show.  If you cannot wait, however, you can also view it below: