Fearless Genius

Can you guess to whom the title refers?  It is someone who can honestly be called a household name, Steve Jobs.  Where would we be today, virtually speaking, without him?   The title actually comes from a book, “Fearless Genius: The Digital Revolution in Silicon Valley, 1985-2000”. It is a selection from the 250,000 photographs taken over those years in Silicon Valley by Doug Menuez. He has given the entire archive to Stanford.

We heard Menuez speak the other night at the Lensic Performing Arts Center in Santa Fe. He is an award winning documentary photographer who has photographed from the North Pole to the Amazon and the Sahara desert, covering subjects from sports to AIDS and famine. He said that when he was looking for some less harrowing experiences he began to focus on Silicon Valley.  He asked Steve Jobs if he could have unfettered access to him and his development of the Next computer, the project he was then working on.  To Menuez’s surprise Jobs said, yes.

In 1985 Jobs was 30 and Menuez was 28, trying to find a meaningful story in his world.  He said, “I wasn’t interested in technology per say, I was — and am — interested in those people who possess this amazing ability to change all of our lives.”  1985 was also a turning point for Jobs:  he had been fired by his former mentor and CEO at Apple, John Sculley and he wanted to move on to a new electronic wonder, the Next computer.

To Menuez surprise he found Jobs “was just loaded with charisma. He was the most inspiring person I ever met. By the time I met Steve, I had photographed presidents and movie stars, and I’d had life-and-death experiences in Africa, and I’d covered homelessness and AIDS, but nothing compared to being with Steve Jobs and listening to him telling what was coming in the future. It was electrifying.”

Over the years “I could walk into his office at any time, go into virtually any meeting — occasionally the engineers would get upset, but Steve would always tell them to let me shoot what I wanted. It was amazing freedom.” According to Menuez, Job’s bad rep came from the fact that he was incredibly demanding of his engineers but most of them liked the challenges.  If he yelled at them he wanted them to fight back and state their reasons for their decisions and if they made their case he was cool with it.

The lecture was part of the events leading up to the Santa Fe Opera world premiere of “The (R)Evolution of Steve Jobs”, composed by Mason Bates with a libretto by Mark Campbell.

At the Patina Gallery of contemporary Jewelry owned by Allison and Ivan Barnett, an exhibition of Menuez’ photographs was up.  They had been introduced to Menuez by Ivy Ross,  the jewelry designer whose work is in 12 International museums, went to Harvard Business school and is currently Vice President, Design and User Experience for Hardware Products at Google and head of Google Glass.

Allison Barnett & Ivy Ross

Ivan got in touch with the Santa Fe Opera since they had cooperated before, and the result was the use of Menuez’ photos for promotion of the new Jobs opera.  Ivan then arranged for the lecture at the Lensic introduced by Ivy Ross who held a question and answer session at the end.

During the Q and A Menuez mentioned some of his concerns and, for me, there were a couple of eye openers.  One was that 75% of the engineers in this country are immigrants.   Menuez also pointed out the contrast between Ross Perot’s infusion of 20 million into the Next computer and the current impatience of venture capitalists who don’t want to wait 5 or 6 years for their profits, but just 2.  This is enough time for a new app, not a technological revolution.

Menuez concluded with what still echoes in my mind Jobs’ quote, “NEVER GIVE UP - EVER”.

Change

Change is probably one of the most difficult phenomenon we have to deal with as human beings.  Whether we are changing doctors or jobs we go in with fear and trepidation.  The most upsetting I ever heard was when the wife of a friend of mine died very young and I said “I hope she did not have to suffer too long”, the instant unthinking reply was, “Not long enough”.  It sounded so callous until I realized it was said out of such a sense of grief and that my friend was unprepared for this incredible loss.  As Mary Wollstonecraft Shelley’s Frankenstein says “Nothing is so painful to the human mind as a great and sudden change.”

If we think about it, we usually see the warning signs and either prepare for them or not.  I recently had an experience that was both shocking and a relief at the same time.  I had worked at a foundation for several years.  Though I was a volunteer, I was there full time.  I probably invested more of myself than I should have in the functioning of the organization.  When it became clear that under current circumstances I could not stay on, I went into a serious funk.  I worried, of course, was I not needed? Had I not contributed? Was I a failure?  All perfectly normal reactions… now what?

I only had to reach back to the 6th century B.C. to find the answer, Lao Tzu, the Chinese Philosopher (604-531 BC) said, “Life is a series of natural and spontaneous changes. Don't resist them; that only creates sorrow. Let reality be reality. Let things flow naturally forward in whatever way they like.” 


Years ago I saw a psychologist with my wife.  She was about to take a job that was going to have her traveling much of the time and not be home.  The psychologist said, “most of my patients I have to teach how to live together; you two I have to teach how to live apart.”  She gave me an assignment, “by next week I want you to think about all the advantages of not having your wife around”.  At first I thought it was ridiculous and I could never come up with a list.  Sure enough within a week my list was not short!

Cartoon by Andrew Grossman)

I went at my current situation in the same way and decided I needed a small office away from home, just a place I could go and work during the day, giving myself a routine just as my Missives have been an excellent discipline.  This would be the first time in my life that I would have a space totally my own with no one else present to assist in any sense, business wise or administratively.  Eventually, I found I was kind of proud of that!

Looking for a space helped to occupy my mind and when I finally found a space I realized I no longer missed what I had before.  I no longer felt I had to be somewhere at a certain time nor that I had to rush my lunch to get back.  To my delightful surprise, it was a liberating experience.

Ending with what might be an unusual reference from an art dealer better acquainted with Old Masters, Any Warhol in his The Philosophy of Andy Warhol  “They always say time changes things, but you actually have to change them yourself.”

Looking Fondly on the Past

An exhibition called “Voices of Counterculture in the Southwest”  is at the History Museum of New Mexico.  It covers the “Summer of Love” 1967 through the 70’s in the southwest by which time the counterculture had already been active on the coasts for some time.  The final moments of the latter were probably with the ousting of Nixon and the end of the Vietnam war 1974-1975.

Meredith Davidson is curator of the 19th and 20th century southwest collection.   She did the exhibition together with Jack Loeffler, the renowned, historian, author, musician, activist and a member of the southwest counterculture movement.  They cooperated both on curating of the show and gathering the articles for the book accompanying the exhibition.   Loeffler wrote a number of the essays and in the final one called “Ebb Tide” he write, “Through the ages, countercultures have been marked by a refusal of governance from on high, a hatred of bureaucracy, a profound strain of anarchism, a thread of pragmatism.”   In an article in El Palacio, the magazine for the State Museums of New Mexico, Ms. Davidson adds, “… back to the land lifestyle …” was also important.

Jack Loeffler at the Gallup Indian Ceremonial, 1971
(SOURCE: Museum Of New Mexico Press)

From the press release: “Curators, Meredith Davidson and Jack Loeffler, tell the story of cultural revolution through first person audio from over 50 interviews with those who lived through the era. Documentary photography and artifacts help reinforce the role that individual actions take in shaping the course of history. So many of the social and political issues of the day still resonate and the museum will invite visitors to share their own stories in an audio feedback booth.”

Ms. Davidson’s expertise is in oral history,  so naturally there is a great deal of material well communicated by voice. Alan Ginsberg’s reading of his poem, “Howl” which he wrote already in the mid-fifties,  comes at the beginning of the show. It is fascinating since it prefigures the entire counterculture movement. Unfortunately, there is a lot of sound bleed so it is difficult for my old ears to be able to distinguish where the sound is coming from or understand what I am listening to.

There is an admirable effort in this exhibition to show how southwest counterculture  differed from that of the east coast.  Haight-Ashbury in San Franciso which became famous as a hippie capital and cradle of the Gay Rights Movement had its equivalent in the southwest where  Taos, New Mexico was the refuge of the hippies.

A section of the show deals with the best known of the communes, The Hog Farm, started in California. In the mid 60’s they moved to New York and by 1969 they bought land in Llano, New Mexico near Taos, still they agreed to stay and be involved with the Woodstock Music Festival  building fire pits, trails and a free kitchen.  Here is a video by Roberta Price a well known photographer giving a good idea of the concept of the exhibition.  It is called across the great divide and made in 1969.  Music from the story “Woodstock” by Joni Mitchell.

One of the catalog essays is by Rina Swentzell, a native of Santa Clara pueblo who became a very close friend when we started to settled in Santa Fe. She wrote about early life and marriage to Ralph Swentzell, an Anglo, and of their time in Taos when they were absorbed in the counterculture life. Even when her husband became a teacher at St. John’s College and they built their own lovely home in Santa Fe, they would rent it out to those coming for the opera season and spend weeks at a time in a VW bus traveling around the country.  That did not change after their three daughters were born.

Peyote, Marijuana, Timothy Leary and LSD were all associated with the counterculture movement of the 60’s and 70’s. Even though Peyote was smoked by the Indians since time immemorial, in 1937 a law was passed against smoking any leaf that could produce a high.

Free love, drugs, back to the land, I regret never having participated in any of these and I have always ascribed it to cowardice!  On the other hand, they have always been fantasies of mine and this exhibition reawakened those fantasies.  I saw others at the show clearly reminiscing about the years of their youth .

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.

Abel Sepulveda - Lighting Supervisor

I am not sure which was my first play or  how old I was.   I remember being frightened by Cyril Ritchard as Captain Hook in Peter Pan on Broadway, sitting at the top of the house with my mother and grandmother at The City Center to see The Merry Wives of Windsor, and the Gilbert & Sullivan operettas, “Pirates of Penzance and The Mikado.  All that exposure early on gave me a love of theatre.  Now I am on the board of the City Center equivalent in Santa Fe, the Lensic Performing Arts Center.  I have been taking full advantage of the opportunity and am able to ask questions and get behind the scenes that I have never been able to do before.

A few days ago we met up with Abel Sepuldeva, the young man (28) who is the Lighting Supervisor for the Lensic Theatre.  Abel comes from El Paso where he was already interested in Theatre and decided that he wanted a Bachelor of Fine Arts degree. He had two choices, the University of Florida or the College of Santa Fe.  The latter offered him the best package and, like so many mothers, his did not want her son too far from home so there he went.  He lucked out in having good teachers, one of whom was George Johnson, the first tech director at the Lensic!  I always tell young people who are looking for a certain name college that who will be teaching them should be the primary criteria for their choice.  One of the requirements for Abel’s degree was to have a professional internship. A summer internship at the Lensic led to becoming an over-hire, part of a team of available techies who can fill in when extra trained hands are needed in the theatre.  In 2011 he was hired full time as Master Electrician and in 2015 he became the Lighting Supervisor … the guy who makes the decisions.  If you want to have a spot light on you, be nice to Abel!

Seriously, he is in charge of the lighting for all the groups that come in to use the theatre.  If he has worked for them before he usually knows what they want and expect, but a year or two ago the well known comedian, Dave Chappelle, showed up for 2 shows.  He wanted only red lights, not only on stage, but also in his dressing room and the corridor between, so red gels had to be placed over those lights.  His DJ, however, had to have blue light. 

As an aside there was an incident and an audience member threw a banana peel at Chapelle, a story that went viral.  The perpetrator then ran out of the theatre and Abel, being in that glassed in booth at the back of the house, jumped out and collared him until security arrived! 

Such excitement is not the norm, and Abel’s is a very tough job.  He works with some very heavy equipment and the electricians who mount the lights on the bars above the stage, known in the jargon as “line sets” and once they have the lights on them “electrics” on which the lights are placed.  There are the old fashioned par lights weighing about 20 pounds each and they use those large bulbs like you might have seen in any older art space.  At my father’s gallery in the 1950’s we had a smaller hand held one, which I used to focus on players in our school performance.

In more recent years digital lamps came in and Abel was authorized to purchase a few of those for the house.  The Metropolitan Opera uses the same, in still more sophisticated versions.  What astounded me was the price tag.  The lamps bought a year or two ago cost $12,000 each and have dropped in price slightly.  No wonder theatres are always looking for funds. The Lensic has a capacity of 400 dimmers (lights) and has 360 in house.  The Mag Vipers, the digital lamps with fans require a DMX board.  They can be rotated digitally and have “Gobo’s” which are cut out disks so they can project anything onto a set, such as trees, ocean waves or even “The Yellow Brick Road”.  The Mag Vipers can be controlled digitally, while the par lamps have to be put in by hand.  For digital lamps, for instance, the more you pay the more built in gobos you get.

Behind the last row of seats of most theatres is a person at a board, which controls the sound.  He needs to hear what the audience hears.  Behind that there is a windowed booth with the board from which all lighting for the stage and house is controlled.  The board is set up in a certain way and Abel, alone in the booth, knows what lights should be on when for a particular show.  I asked what happens when a show from elsewhere come in such as a Rock ‘n Roll show and they have their own special effects that they want.  Not a problem,-- with the new digital boards they can just plug in their own flash drive and have much control over the lighting, which Abel would still supervise.

Every time I write a missive, it is educational but often leaves me with more questions than I had before.  Maybe sometime I will have a chance to learn even more about what goes on backstage at the theatre!  In fact I looked up some of the theatrical lighting language and found THIS ...

A bit more than one could digest in my morning visit with Abel!

Georgia O’Keeffe and “The Art of the Draw”

The “Art of the Draw” is a collaborate effort this summer of  the cultural institutions in Santa Fe.  A few weeks ago I wrote about the drawings from the British Museum at the New Mexico Museum of Art.

The Georgia O’Keeffe Museum has joined this effort in quite a different way.  The drawings of O’Keeffe are woven into the exhibition, “A Great American Artist. A Great American Story.” It shows how she used drawing both as an art form and as initial thoughts with the paintings that they relate to nearby.

The museum owns 700 of Georgia O’Keeffe’s (1887-1986) drawings and the exhibition starts with some small drawings she did of her siblings when she was a teenager.  If you saw them out of context you would never believe what a great artist she would become.

By the time she was in her 20’s, however, she was making the kind of charcoal drawings that she would become famous for.  Those sumptuous, sensuous abstractions that are not just read by the eye but enter the imagination, launched her career.  In 1916 Alfred Stieglitz (1864-1946), the famous photographer and later her husband showed a group of her charcoals at his Gallery “291” in New York.  She sold her first for $400, which was two months of her teaching salary at West Texas Normal College.  This charcoal on paper is titled simply “Drawing”, circa 1915-1916.

From what I have seen and what was shown at the O’Keeffe, Georgia did charcoal drawings that were finished works as well as much simpler sketches as aides-memoir so she could retain an idea for future reference.

Georgia was very interested in simplification reducing subjects to their most basic elements.  As an illustration here is a painting of the Barns at Lake George, New. York done in 1926 where Stieglitz maintained a small house with his wife at the time, Emmeline Obermeyer.

“It’s my private mountain.  It belongs to me.  God told me if I painted it enough, I could have it.”  That is what Georgia said about the Pedernal that she could see from her beloved, Ghost Ranch when she moved to New Mexico.  She did a number of pictures of it.  Here are her drawing and a painting she did of the road to her mountain in 1941.

A long time ago, Sherman Lee, former director of the Cleveland Museum, gave me some sage advice.  He was quoting another renowned art historian, Erwin Panofsky (1892-1968), “if you want to make a point don’t illustrate it”, --an unusual statement for an art historian to make!  I don’t know in what context Panofsky said it nor why Dr. Lee quoted it but I understand in the following context.  O’Keeffe’s abstract charcoal Composition IX from 1959 does not represent one of the many trees around Ghost Ranch that she painted but let’s leave it that there is clearly a relationship.

So much of Georgia’s work stimulates the imagination.  People often believe that her paintings of flowers are extremely sensual and sexual but as a good school chum used to say, “The evil is in the mind of the beholder”.