Sunday, May 21, 2017

Student Curators

At the Ralph T. Coe Foundation, as you may remember from previous Missives the education comes through the object not through, what some call in a disparaging tone, “book learning”. Under the guidance of our Asst. Curator Bess Murphy, the eight students in the third year of the Coe student curator program are put in direct touch with the Coe’s collection of over 2,000 objects, mainly Native American but also Oceanic, Asian, African and even a few European. They are encouraged to pick out works that intrigue them, catch their fancy for one reason or another.  The next part is not so easy.  They have to express what it is that made them choose the object,  “It’s cute” is not acceptable!

Probably most exciting for the students is interacting with professionals.  What better way to gain an education in the arts than to learn from authorities in the field and those who already have experience as curators or in a field tangential and necessary for them to do their jobs.  Our students are taken to several museums in Santa Fe where they get to visit with the curators and this year, in one institution, the director himself.  What excited some students the most was going to a conservation studio where the conservators explained the equipment used, told how the they decide what exactly needs to be done to restore a work of art and show the process itself on the pieces themselves.

Of course, there are also more arduous aspects to the course.  The students have to study the objects they have selected using the books in the Coe libraries, using the internet and asking for expert help when available.  Once in a while the student learns something the staff did not know, a thrill for all.  They will use this information when they learn what label copy is and what the overarching or didactic panel for the show needs to say.  The result is a very unusual and original exhibition.  Here curator Bess Murphy is discussing one of Dynette Chavez’s choices.

What the students don’t do is have a concept and then find objects that fit the subject. In this case the objects come first and then the exhibition title.  Not sure which I like better.  For while this latter system can be confusing but what a curator thinks as totally logical and “important” does not always seem to fit so neatly into the puzzle.

This year the students put together objects from across the globe, China, Japan, Tibet, several African countries, Canada, Greenland, Germany, many Native tribes and I am probably missing some.  Their title, therefore, was excellent, “The Mirror Effect: Reflection upon our Realities”. The students write in their brief catalog that it “is centered around a relationship between art and viewer.  When someone sees an object a connection is made to their own life.  Some connections are drawn from the object because of the story it tells, while others are inspired by the piece’s beauty or, perhaps, it may come from a person’s culture, a cherished memory, or passion…..  We all found a part of ourselves in each object, and the exhibition conveys how we connected with them.”  Any of my readers who are collectors may never have thought about their collecting in this way but I believe it is quite accurate as to how we view art that we care about.

The students installed their own show and learned what colors went together and how the objects might fit with each other. Coming personally from a European background I was particularly happy that one student curator, Shante Toledo, chose two 17th century German boxwood boxers.  They looked amazingly good to me, aside from being put on a pedestal together with a large pair of moccasins with leggings by Maggie Picket-Yellowtail chosen by Dynette Chavez and a number of smaller objects.

One of my favorite pieces in the Coe collection has always been a Navajo baby shirt circa 1920.  The green velvet fabric I am sure made the baby seem more cuddly than it would have naturally been anyhow!  The color is also a wonderful shade of green.  This was chosen by Elizabeth Lukee and was loved by all, so it was installed right at the beginning of the show where the public comes in.

This Student Curator Oscar Loya has taken the program 3 times because he enjoyed it so much. This year he picked a contemporary Chinese scroll by a professor at Beijing University.  He was originally attracted to it when he saw it lying on a shelf all rolled up on a cart and wanted to find out what it was.  Mystery has a definite role in collecting as it does in reading a book.  The question is always what’s next or what can I learn about this curious item.  Here he is showing it to Shante Toldeo.

At the opening the students are asked to introduce themselves and say something about their exhibition or the program in front of a crowd of visitors, so they end their period with the Coe Foundation with another learning experience, making a presentation.

As I was finishing writing this one of the students returned to the Coe to deliver hand addressed envelopes with invitations for her graduation and celebration party for each of us who interacted with them in the program.  More gratifying thanks one cannot receive!

Sunday, May 14, 2017

Mirror, Mirror: Photographs of Frida Kahlo

It’s the story told by others that makes you a legend and so it was with Frida Kahlo (1907-1954).  Some artists become legends in their own time and some become legends long afterwards but few turn themselves into legends.  The closest we come to it today is the persona that we choose to give ourselves on Face Book.  I am sure Frida would have loved this vehicle of social media where everyone could have thrilled to her adventures.

The exhibition “Mirror, Mirror: Photographs of Frida Kahlo was originated by, and most of the photographs have been collected and lent by Spencer Throckmorton, who at one time was an art dealer in Santa Fe and is now located in New York.   At present “Mirror, Mirror” is on view at the Spanish Colonial Museum in Santa Fe, New Mexico and will remain there until October 29. An image of 1944 by Lola Alvarez Bravo suggests her obsession  with her own image and gives the title to the show.

You might say I have more than a passing acquaintance with the exhibition since my wife, Penelope Hunter-Stiebel, is the guest curator!  I have spoken before about seeing a show in more than one venue because at each institution, in each location, the curator has put their own spin on it. 

Frida’s father was a photographer so Frida was used to posing for photographs and she soon found it was an excellent way of promoting herself.    She had a life of suffering starting with polio at the age of 6 and became disabled in a bus accident at the age of 18 which led to a life of pain and many operations, totaling 30 by the time of her death at the age of 47.  The accident squelched her hopes of medical school and when she was bedbound she discovered an outlet in painting.

Frida was no wallflower and threw herself fervently into whatever she started.  After she had painted for just a short while it is said that she stood below the scaffolding where the already famous Diego Rivera was painting a mural and insisted that he descend to critique her work.  He was not only impressed with her paintings but he was impressed with her.  He was a famed womanizer but found that it would not do just to have her, he had to marry her. They wed  in 1929 when she was 22 and he 20 years older.  Here an image of Diego examining her work as she paints a self-portrait by Bernard Silberstein in the early 1940’s.

The exhibition is divided into categories such as - Diego and Frida - Frida the Painter - Emergence of an Icon - Intimate Frida - Heroine of Pain and Casa Azul.  The latter has a section without images of Frida but rather color studies of her home where she grew up and lived until she died.  These images were taken by William Frej, a Santa Fe photographer who has turned professional.  One of my favorites here is of her worktable at the Casa Azul with the window.  I remember visiting George O’Keeffe’s home in Abiquiu and finding her studio the most fascinating.

I don’t know if I would call Frida a discriminating lover but for one thing she did not make much of a differentiation between men or women and here is a picture of one of her closest friends the California artist Emmy Lou Packard taken by Diego himself in 1941.

The section Heroine of Pain is set in a separate room with good reason and I had to force myself to enter a second time.  In my opinion it is more important to put a warning for parents to be aware of an image such as that by Juan Guzman shortly before Frieda died than the ones you often see posted because of a nude image!

To end where the exhibition began there is a poster size photo of Frida at the entrance with a sign suggesting that the visitor take a selfie with the legend herself.  Propped on the sign is a stuffed monkey since Frida often walked around with her live monkey on her shoulder.  Here is an image of Frida and her curator of the moment.

If you are interested in Frida Kahlo and her hometown of Mexico City there is a trip being organized from September 22-26.  It will go beyond the myth surrounding her and you will discover Frida’s world.  To get all the details please contact the tour organizer Ellen Bradbury-Ried  (  or email me ( and I can send them to you.  But hurry reservations, close at the end of the month.

Sunday, May 7, 2017

The Pursuit of Immortality

For a few years we did regular exhibitions at our gallery and I remember one, which was mainly recent acquisitions, no one would have come if we had called it that.  Instead we titled it “The Lion’s Share” and had excellent attendance.  I have always liked provocative titles because I believe they have a great deal to do with the gate one gets for a show.  Unfortunately, some museum professionals find them too light for the seriousness of the exhibitions that they do!

The Frick Collection has, however, come up with a great title for their next show, “The Pursuit of Immortality”.  The line after the colon explains exactly what it is about “Masterpieces from the Scher Collection of Portrait Medals”.  The only common portrait medals today are our coins.  Many will know that our quarters have a portrait of the father of our country, George Washington, and that our 16th president, Abraham Lincoln, is on our pennies but who is on our other coinage? 

In any case, these portraits are designated by subsequent generations.  Have you ever thought of having a medal made with your own image?  I did have a valid stamp printed with my wife and I  on it but that is obviously ephemeral, while portrait medals are not.

Stephen K. and Janie Woo Scher have been collecting Renaissance (and later) medals for many years, and its almost 25 years since Stephen Scher’s first collaboration with the Frick.  In 1994 he curated and also lent to a large exhibition called, “The Currency of Fame, organized by the Frick and the National Gallery.  For that show he also borrowed from museums here and abroad.  Now the Schers have given 450 medals from their personal treasure trove to the Frick Collection.

In a time without radio, television, newspapers, and certainly no cable how can we know what anyone looked like.  It is said that few would have voted for Lincoln if they had seen or heard him in real life.

Antonio di Puccio Pisano, called Pisanello (ca. 1395-1455) is known as the founder of the “modern” medal and a great exponent of that medium.  Before he stuck his first medal in 1438 he was known as an important painter.  Since he even signed his medals, 
OPUS PISANI PICTORIS indicating he was a painter first, it shows already then a hierarchy in the arts.  When I was at Columbia there was a file cabinet in the hallway outside the library labeled “Minor Arts” that is what the professors at the time thought of any art that was not painting or sculpture, it hasn’t changed much.  I would claim that medals are a form of relief sculpture, which can be very exciting in its own right.

There is a medal in the exhibition by Pisanello commissioned by  Lionello d’Este (1407-1450) who was Marquis of Ferrara and Duke of Modena.  It was logical to have something pertinent on the reverse.  In this case it is two male nudes, one older than the other, both carrying  baskets overflowing with olive branches.  Aimee NG, Associate Curator at the Frick who authored the catalog and curated the show together with Stephen Sher, interprets this depiction as showing a balance of vitality and caution, symbolizing  Lionello’s successful rule.

A later medal by Wouter Muller (1604-1673) of Admiral Maarten Hapertszoon Tromp (1597-1653) and done the year of the artist’s death is hollow, made up of two shell-shaped silver casts soldered together.  This unusual form is brought out in the small concise catalog, whose square format is perfectly adapted to illustrate roundels.   Opposite the recto portrait and verso depiction of what I presume to be Tromp’s ship, is a view of the medal from the side, where Tromp’s face appears as a profile.  It shows how medals are often wonderful relief sculpture.

Lastly, a cup inset with a medal by Jan de Vos (ca.1578-1619), which is an Allegory of Vanitas,   or Mememto Mori.   It was a common theme in Renaissance art as a reminder of the ephemeral nature of life.  The outside of the cup shows the recto portrait of a handsome young woman but when one finished one’s wine there was the verso, a skull, staring back at you from the interior!

All photographs are compliments of the Frick and taken by Michael Bodycomb.  The exhibition opens to the public tomorrow, May 9 and runs through September 10.  About 40% of the Scher donation is being shown in the exhibition so we can look forward to further treats in the future.

Sunday, April 30, 2017

Louis de Wohl (1903-1961)

It is always surprising to me that as I get older I start to think of and remember what happened and what I learned at a very young age.  My parents spoke German at home between themselves, but never with me, yet I think I know more German now than I did then.  Obviously, we learn subliminally so why didn’t it work when I slept on my history book before a test?!

I had a wild friend at school (happily nothing illegal beyond speeding tickets) and my mother compared him to her best girl friend from Frankfurt, Ruth Lorch.  Although she later became a Lady Commander of the Order of the Holy Sepulchre (a Roman Catholic order of knighthood under the protection of the Holy See), she was still pretty crazy when I met her in the 1950’s.  She lived in England and I remember she always smoked cigarillos.  When she was told by U.S. customs that they were banned in the U.S. she said she would stop importing them when they produced them in this country, and they let her take them in … the good old days .

Her husband, Louis de Wohl, born Ludwig von Wohl, was a German Roman Catholic. He smoked large cigars and carried a stick sword, getting both into the country without problem.  I guess being before metal detectors, no one thought anything of the normal looking cane carried by this extremely large man, which came apart to reveal a very lethal long blade!

De Wohl’s parents were of Jewish ancestry so he left Germany when Hitler came to power and moved to England.   He was a prolific writer of novels in German and later on in English. Turned on to astrology at an early age, he developed a reputation as a skilled fortuneteller. 

There is still debate today whether Hitler believed in astrology or not but clearly it had an influence on his high command.  For this reason British Intelligence, MI5 Special Operations,  recruited de Wohl.  His predictions were used as a cover for the deciphering of Nazi orders after their Enigma code was cracked.  In 1941 De Wohl was sent to the U.S. to lecture to astrological societies and managed to get a great deal of publicity.  The FCC lifted a ban on astrology to air an exclusive interview of the man heralded as “The Modern Nostradamus”.  A Pathé newsreel report on his prophecies was claimed to have a viewership of 39 million.  He also had a newspaper column where he predicted Hitler’s moves.  What no one knew on our side of the pond was that many of his predictions were crafted by MI5.  They wanted to convince the Americans to join the war effort and de Wohl was a major propaganda weapon in that regard.

According to what de Wohl told my family after the war, he had advised Churchill personally as to what Hitler was going to do based on the astrological signs.  This was indirectly true since he told MI5 what he believed Hitler was being told by his astrologers.  What seems to be missing from his Wikipedia bio is that he became rather difficult to handle due to his bombastic style and desire to impress people, so he was slowly sidelined and watched by the intelligence service until 1945.

He became more religious after the war, and like his wife, whom he had married in 1953, was a Knight Commander of the order of the Holy Sepuchre.  According to Wikipedia, “In an audience with Pope Pius XII he was told to ‘write about the history and mission of the Church in the World.’  The Cardinal of Milan, Ildefonso Schuster, came to de Wohl after reading some of his writings telling him ‘Let your writings be good. For your writings you will one day be judged."   He started writing about the Saints and shortly after it was published he gave me his book on St. Joan, which I remember enjoying as a teenager, though I hadn’t expected to.   His best known work was “The Spear: A novel of the Crucifixion” which I remember my father reading.

A final remembrance, De Wohl knew how to entertain a child.  The first time he came to our house he asked my father for a pad.  Dad produced a letter size yellow pad.  I was told to put 5 dots anywhere on the page and Louis would make a picture out of them using 2 dots for the arms, 2 for the legs and one for the head.  Well, I knew how to trick him; I place 5 dots a centimeter apart.  He looked for a moment and made a tiny stick figure, which stood on a stage with an audience in front.  I know I kept it somewhere, unless of course, my mother way back when, tossed it with the newspaper I found in an abandoned Vermont house from the day after Lincoln was shot!

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" 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.