Yeah, I missed out of Friday Flowers. Let's make it up with a few photos today.
Rather than going with one of my standards, roses or dahlias or fuchsias, I figured we would take a look at some Lion's Tail or, as it is also known, Wild Dagga. And such a selection fits thematically with our chosen birth date celebration, King Richard I of England "The Lionheart" who was born on September 8, 1157.
We're going medieval on you all tonight. ;-)
Leonotis Leonurus: Wild Dagga
So, chill out with the wild dagga and listen to a few tunes from the 12th century.
Every so often, it's important to reflect upon the cruelty and brutality that we humans inflict upon each other through warfare. Whatever the cause, be it religion or nationalism or political philosophy, the consequences are terrible. The horrible suffering brought by war is rarely justified. Even more uncommon is when justice prevails after the conflict is resolved.
Currently, the USA is involved in a long war in Afghanistan. At this point in the conflict, there seems to be little point to American presence in this far off country. Moreover, it seems that nothing good is coming out from American actions. There is only pain and terror for the Afghan people who are caught between the US-led occupation and the Taliban-led insurgency.
What should be done to promote peace and liberty? I don't know. However, my guideline on dealing with crisis management is: if you're not helping, get out of the way. I think that's probably a good idea for US foreign policy as well.
Detail of Plate 71 "Against the Common Good" from The Disasters of War by Francisco Goya
I don't like getting political here at Paideia, but the Third of May seems a proper day to reflect on warfare and its costs.
When Domenico Fontana moved the Vatican Obelisk to St. Peter's Square in 1586, it was considered a technological marvel of the era, the replication of an engineering feat that had not been accomplished since Antiquity. Even centuries later, when Cleopatra's Needle was relocated to London in 1878, moving such monumental stones was still considered an impressive feat, worthy of attention, praise, and great expense.
Today, naysayers shout down any enthusiasm for such projects. The engineering and transportation difficulties are deemed unimpressive. The expense is considered frivolous, even when drawn from private funds. The artistry is mocked and the concept dismissed. When enthusiasm is expressed, the critics say it is but empty hype.
Well, I don't know if I'll end up liking Michael Heizer'sLevitated Mass, but the concept is intriguing. The history of art is punctuated with megaliths, obelisks, and grand monuments. I see this work as being a part of that historic continuum, another contribution to this ancient genre of creativity.
Detail of the Moving of the Vatican Obelisk (1586) by Domenico Fontana
I reserve judgment of the work until I see the finished product, but I believe the concept is valid. But is it worth the expense and energy and enthusiasm? These are judgments that can only be made after seeing the end results. History has shown that these monumental projects become the focus of pride and articulate the contemporary zeitgeist down to future generations.
The pharaohs of ancient Egypt and the engineers of Renaissance Italy are long gone, but their monumental legacies endure. Is our civilization too small, too feeble, too self-loathing to even attempt such tasks? Perhaps, we find it crass to posture and proclaim, like Ozymandias, "Look on my works, Ye Mighty, and despair!"
This weekend, I was able to pay a visit to the Banning Museum in Wilmington, near the Port of Los Angeles. The museum was throwing a "Victorian Christmas" event, with a horse-drawn trolley, period dancing, hot cider and snacks, and general holiday cheer.
Phineas Banning was a 19th-century Los Angeles businessman, specifically involved in transportation, freighting, and the stage coach industry. His drive to establish a world-class port in Los Angeles was instrumental in laying the groundwork from which the city would grow into a major center of global commerce.
The Banning House is now a museum, showcasing California Victorian style and culture. It's an interesting place to visit. And the hot cider was a nice touch. ;-)
Roosevelt High School Walkouts (1970) by Oscar Castillo
I've written about the Pacific Standard Time event plenty of times over the past few weeks, but I don't believe that I have clearly articulated its premise. Its purpose is to document the artists and aesthetic movements that flourished in the Los Angeles area from 1945 to 1980. This is a critically important task because many of the participants of the events under review are getting up in age. Opportunities to record this firsthand testimony are diminishing with each passing year.
And that's why I'm so happy to see Oscar Castillo's photographs on display in "Icons of the Invisible" at UCLA's Fowler Museum. Creating a visual record of the wild days of the Chicano movement, Castillo utilized a photojournalist style in witnessing the lives and environs of Los Angeles' Latino community, a large population that was overlooked and disenfranchised by the various civic institutions, be it political or economic or artistic. In spite of its size and history as an integral part of the city, Latinos were "invisible" to mainstream society, relegated to the barrio.
Refusing to let these people slip away into a forgotten past, Castillo captured the moment through his camera, furnishing evidence of the turbulent era, a time when the downtrodden Chicano culture refused to quietly abide the cruelties of society, defiant even in the face of overt police brutality. With evocative imagery and uncompromising verity, Castillo's photography testifies to the struggle for respect and recognition.
Chicana at Gage Ave. and Whittier Blvd., East Los Angeles (1972) by Oscar Castillo
Sadly, these photographs have become "invisible" themselves, known only to students of the era or enthusiasts of urban cultural photojournalism. "Icons of the Invisible" brings these images back into view, allowing us to give witness to the moment, perhaps recognizing foreshadowing and prophecies of the current state of Latino society in Southern California.
There is currently a vast artistic curation and exhibition project underway in the Los Angeles area called Pacific Standard Time. It's premise is to celebrate and display the Los Angeles art scene from 1945 to 1980, the foundational era upon which contemporary LA art builds. Obviously, in an enormous population center like Los Angeles, there will be many narrative and historical strands that will be considered.
So I began my exploration of Pacific Standard Time with a visit to Otis College's exhibit "Doin' It in Public: Feminism and Art at the Woman's Building." It's a fascinating look at the woman's art movement and how the establishment of a feminist institution gave birth to a wide array of creative endeavors, from the aesthetic to the sexual to the political.
In terms of exhibiting original art, there wasn't much. It was more of an anthropological and historical show, which is cool with me. There were plenty of informative media displays. One could spend hours at the exhibit just looking at the videos or listening to recordings. I especially enjoyed the reconstruction of a few performance art installations.
American Dining: A Working Woman's Moment (1987/2011) by the Waitresses
For me, the documentation of the artistic-political collectives was the most compelling part of the exhibit. It seems as if this was where the creative energy of the Woman's Building in forming a community identity and fostering progressive artistic and political activities came together strongest.
The South Bay area used to be the heartland of US aviation and aerospace industry. If you look around, you'll come across an occasional relic from the bygone Jet Age and Cold War periods of flight technology. One such example is the lovely "T-Bird" featured in this post.
The Lockheed T-33 Shooting Star is a trainer aircraft built in 1948. It's so small and fragile that it boggles the mind that people actually could take this up to 600 mph!!!
In the US, they are retired and on display at aviation museums or outside community airfields for all to appreciate.
Lockheed T-33 Shooting Star, Tail #90505
I sat down on that bench, but it felt odd having a jet providing my shade. ;-)
Today marks the birth date of Jacques-Louis David, born in 1748. David came into prominence during the Revolutionary era of France and remained a vital artistic influence throughout the Napoleonic era. He painted in a Neoclassical style, with a sculptural severity that rejected the flowing elegance and opulence of the Rococo style of his predecessors.
I'm not a fan of his works. The style feels stiff and excessively dramatic with propagandist overtones. But they are powerful paintings with excellent technique and engaging narrative composition. Moreover, these works absolutely must be seen in person to be fully appreciated. Their sculptural design may look clunky in a picture book or webpage, but this illusionist use of perspective and modelling makes for a commanding and monumental pictorial space when viewed on site.
Self Portrait of the Artist (1794) by Jacques-Louis David
So, although I'm not an enthusiast, I certainly admire David's artworks.
Pluto, formerly the ninth planet of our solar system, was reclassified as a dwarf planet in 2006.
It's been five years since the International Astronomical Union established the current planetary definition. These rules knocked Pluto from its planetary status and into the new category of dwarf planet. This was an extended debate that actually began in 1801 when Ceres was discovered and became the first asteroid. However, it was the discovery of the Eris, named after the Greek goddess of Strife, that set off the finalization of the great planet debate.
The end result was the controversial demotion of Pluto. So now the Solar System has eight planets (Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, and Neptune) and five dwarf planets (Ceres, Pluto, Haumea, Makemake, and Eris).
Artist's concept of the Pluto System (Credit: NASA, ESA and G. Bacon)
Of course, astronomers are still scanning the heavens. These numbers and definitions are best considered works in progress. ;-)
As promised here are some photos of the current public exhibition of Ai Weiwei'sCircle of Zodiac Heads at the Los Angeles County Museum of Art. It's a really cool display, recreating the famous bronze heads from the Zodiac Fountain of the Chinese Imperial Palace in Yuan Ming Yuan. The originals were looted by foreign troops during the 2nd Opium War in 1860.
The pieces are expressions of Chinese nationalist iconography, especially as testaments against western colonialism. However, they are also designed to be separate from any fixed location, being wanderers of the world's cultural venues. It's an interesting contrast of thematic emphasis.
In any case, they are wonderful sculptures of the Chinese Zodiac animals.
Ai Weiwei's Circle of Zodiac Heads (Tiger and Rabbit)
Unlike the western zodiac, the Chinese assign a sign for the entire year. We are currently in the Year of the Rabbit.
As promised, I'm looking at some of the interesting obscure locations to visit within the Los Angeles area. I'm starting this project with a visit to the Lomita Railroad Museum. It's a small venue hidden within the residential neighborhoods of the community. There are literally private residences next door.
Nevertheless, it's a nice collection. There is a fair amount of locomotive related objects, such as semaphore signals, uniform buttons, and tie date nails. The walls are covered with historic photographs, old railway maps, and vintage advertisements. But the big thrill comes from the trains.
They've got a class M-6 Mogul 2-6-0 engine built for Southern Pacific in 1902. There's quite an interesting view from the cab.
But there are four other cars to check out as well. . .
Thirty years ago on this date, Raiders of the Lost Ark was released. As a youth, this was one of my favorite movies. It had two lasting influences upon me. First, it turned my interests towards cinematic soundtracks and classical music. Second, it set me up to become interested in history.
I had heard and appreciated soundtracks previously. I enjoyed the music to Star Wars and the Godfather. The theme music for Jaws and the Exorcist were recognizable to me and gave me chills. But Raiders was the first movie were the concept behind programmatic music mentally clicked for me. I realized that the music was another form of narrative expression.
In regards to my interest in history, I was still a bit too young to take action upon my fascination with the ancient Egyptian themes but they endured in my imagination. About a year later, when I was inspired by Shakespeare's play, Julius Caesar, to start pursuing my studies into Roman history, my interests soon returned to Egypt and the ancient Near East.
View of Constantinople by Moonlight by Ivan Aivazovsky (1846)
In the year 330, the city of Byzantium was renamed Nova Roma by the emperor Constantine. It soon became known as Constantinople, the city of Constantine. The "new Rome" became the Imperial capitol and reflected the prioritization of Roman interests, from the Latin West to the Greek East.
With Imperial resources focused eastward, the West faced an inexorable decline. Within 150 years of the new orientation, the Western Empire collapsed in 476 with the ousting of Romulus Augustulus by the Germanic chieftain Odoacer. However, the Eastern Empire survived as the Byzantine Empire until the Ottoman Turks took Constantinople in 1453. It wasn't always pretty, but the City of Constantine was made to endure.
With the founding of the Republic of Turkey in 1923, the city was officially renamed Istanbul, a name which had been informally used for centuries. Of all the names the city has had, I like the sound of Istanbul most. However, the Thracian name, Lygos, from around the 12th century BC, has a nice sound to it. ;-)
I'm no fan of cola beverages unless they come with a bit of rum. However, I do enjoy creative advertisements, branding, slogans, and logos. And with over a century of ads, Coca-Cola is a favorite product to contemplate.
Let's look at some slogans and think about what they represent.
1n 1906, Coco-Cola is "The great national temperance beverage." Obviously, the marketing is trying to tie Coke to the growing move towards Prohibition. It's trying to take a market position as the leading non-alcoholic drink.
In 1925, we get "Six million a day" and, in 1926, this changes to "It had to be good to get where it is." These slogans are playing up Coke's dominating market share. They're very boastful, implying that selecting anything but the most popular drink is to choose an inferior product. In short, the message is Coca-Cola is the best because it is the most popular.
In 1954, Coke is "For people on the go." This slogan reflects the post-war automotive culture that came to define the '50s and much of mid-to-late 20th Century America. This is the time of suburban expansion, fast food, drive-ins, and a society "on the road."
Then in the late 60s, we begin the "Cola Wars" with Pepsi. The highlight slogan of this era is the classic "I'd like to buy the world a Coke" which debuts in 1971. This fights back Pepsi's major marketing attack, with the "Pepsi Generation" slogan.
In 1979, we get the definitive Coke slogan, "Have a Coke and a smile." Pepsi has no viable counterstrike to this ad blitz. Until...
Taking the "Pepsi Challenge" spooks the management of Coca-Cola. It turns out that people actually do prefer the taste of Pepsi over that of Coke. And this gives us in 1986 "Catch the Wave" for New Coke!!! This is one of the greatest failures in the history of marketing.
By 1993, Coca-Cola has recovered from the New Coke fiasco and finishes the "Cola Wars" with a defiant slogan "Always Coca-Cola" but it is a fig leaf for a truce with Pepsi. The era of soft drinks is coming to an end in the 90s. Energy drinks, sports drinks, and bottled water variations are becoming bigger parts of the beverage market. Furthermore, the "Cola Wars" have been going on for thirty years without a "knock out" on either side.
Over the last decade, the slogans have been forgettable and insipid. "Life tastes Good." "Make It Real." "Open happiness." Boring. Check out this extremely lame vid celebrating 125 years of Coca-Cola:
Really? A dancing polar bear mascot?? Alas, Coke's modern marketing is unimpressive.
On this day in 1758, Maximilien Robespierre was born. He was a leading figure of the French Revolution, who eventually came to dominance as the head of the Committee of Public Safety and a chief proponent of the Reign of Terror. It is possible that 40,000 people met their demise during the Terror, executed by guillotine. On July 28, 1794, the Terror was ended with the execution of Robespierre and his allies on the Committee.
It's hard to see such a blood drenched figure in a positive light. His advocacy of Terror and persecution outweighs his interests in egalitarian reform and in the creation of a society in which prosperity was a possibility for all. Certainly, he had good initial intentions, but his actions were unambiguously evil. People were executed merely for voicing criticism or even being suspected of voicing criticism.
I see the French Revolution as being an inspiring movement at the beginning. The Age of Kings needed to be put to an end and their "Divine Rights" forever rejected. There was so much potential good that existed as a part of the Revolutionary Spirit. However, it was coopted by small-minded men, unwilling to work together to form a cooperative government. Instead, there was Anarchy and Terror.
Many people are to blame for the failure of the Revolutionary Spirit, but Robespierre deserves being singled out for special vilification.
Every summer, the Los Angeles County Museum of Art (LACMA) hosts a series of Friday jazz concerts, in partnership with our local jazz station , KKJZ 88.1 FM. To celebrate the birth date of Duke Ellington, I figured that I'd catch a live performance. Being a member of LACMA and interested in a few shows currently on exhibit, I made the trip out to the Miracle Mile.
The concert was held at the Grand Entrance. Seating was iffy, but I got a good location. Sound was passable, although the audience was full of chatterboxes. Y'know, just because it's free doesn't mean it has no value!!! The band performed two sets with a brief intermission between.
This was the first time that I have seen Denise Donatelli perform live. I don't know if this was the right venue for her. She has a warm and gentle voice and her movements are sensuous and smooth. I think she must be fantastic in a club venue, but, in the LACMA entryway, the nuances of her performance are lost in the hubbub. Nevertheless, a diamond in the ruff is still a diamond. It was a good show.
Her performance of "Don't Explain" was especially good, bringing out the pain and futility of the words with a gentle subtly. Most performances try to out-soul or out-anguish Billie Holiday, but that's a losing strategy. Donatelli instead delivers the words with a sense of comfort, smooth as honey, but there is an "aftertaste" of pain in her words. Fantastic artistry.
Since I was at LACMA, I decided to look at a few of their current exhibits. So, before and after the concert, I went scrambling around the campus looking at art. The first show that I got to see was Elizabeth Taylor in Iran.
This was a series of thirty-two photos taken in 1976 by Firooz Zahedi in pre-revolution Iran. Apparently, the original negatives were lost and these few photos were produced off a contact sheet. An interesting little show, it disproved my belief that no woman can look sexy in a chador. Of course, few women are a hot hot hot as Liz Taylor. ;-)
Here's a vid:
The second show that I visited was David Smith: Cubes and Anarchy.
Star Cage by David Smith (1950)
I'm not a big fan of Smith's work. However, this is a very interesting exhibit which has me reassessing these works. First, it shows the geometric continuity underlying Smith's aesthetic development. Second, the exhibit layout provides an easy reference between works, which enhances the viewers capacity to recognize and appreciate design nuances. Finally, with over 100 works to view, the sheer scale of the exhibit allows the viewer to get a lasting feel for Smith's artistic vision. It's a very worthwhile show, even if you're not into the subject matter.
Finally, this one took me by surprise. The Magna Carta is in Los Angeles?!!
Yeah, on loan from the Bodleian, it's in town for only a short visit (April 26 to May 5) in celebration of BritWeek. Hmm. . . Anyways, I was happy that I caught a viewing of it. This one was from 1217. I think that I've seen the 1225 version on one of my trips to the UK. Pretty cool.
Of course, I can't visit LACMA with paying a visit to Michael and Bubbles. ;-)
Continuing our celebration of Duke Ellington. The song that defines the "Jazz Age" for me is "Take the A-Train" composed by Billy Strayhorn for Duke Ellington in 1938. The "A" Train is a reference to the subway line that runs from Brooklyn to Harlem upon the express tracks through Manhattan, in New York City. The inspiration for the song comes from Ellington giving Strayhorn directions to get to his house.
I confess to being one of those obnoxious tourists who took a ride on the "A" Train merely because of this composition. But that's just payback for all those tourists that make driving along Hollywood Blvd or Sunset such a trial. ;-)
Anyways, within the Jazz tradition reinterpretation of the standards is a vital form of aesthetic progression. Successive generations of performers apply their new styles in a reassessment of the classics. This is sharp contrast to the Classical music tradition. For instance, one doesn't reinterpret a Bach piece in the style of Stravinsky or restructure Mozart as a minimalist piece from Glass. I think this is one of the principle charms of jazz music.
While Classical composers like Beethoven, Schubert, and Chopin are preserve and revered in a manner similar to museum pieces, the Jazz masters like Ellington, Armstrong, and Gillespie are still providing grist to the mill of Jazz creativity. Yes, that's a generalization with definite exceptions, but as a broad analysis I believe it holds true.
Anyways, let's look at this tradition. Here's Duke:
Here's a post-Swing interpretation featuring Anita O'Day:
Now, we go West Coast "cool" with Dave Brubeck:
Finally, Charles Mingus give it the late Hard Bop treatment:
In each interpretation, what were the primary emotive techniques? Positing the Ellington performance as the model for comparison, what are the new qualities that the subsequent interpretations bring? These are the types of questions that make the Jazz tradition so intellectually stimulating. And it was Ellington's special talents that established the standards by which we may judge other performances.
Marcus Aurelius, born on this date in the year 121, is my favorite Roman Emperor, the last of the "Five Good Emperors." Additionally, he is one of my favorite moral philosophers. Whenever I read his Meditations, it amazes me to consider that this dutiful, humble, and authentic voice is of the Most Powerful Man in the World!!! Would I be so ethical and righteous if I had supreme wordly power? I seriously doubt it.
I don't think that I'd go all Nero or Caligula, but I wouldn't be writing Stoic reflections in my private journal. No, I'd be eating exquisite food, drinking fine wine, enjoying the cultural and intellectual richness of the Roman arts and letters, and relaxing with pleasurable company. I would hope that I'd have the ethical integrity to govern with wisdom and responsibility, but that would be secondary to having a good time.
I wouldn't be writing things like this in my private journal:
Everything that happens happens as it should, and if you observe carefully, you will find this to be so.
or
He who lives in harmony with himself lives in harmony with the universe.
Now, when you read such concepts in the works of Epictetus or Musonius Rufus, these are admirable ideas. But it's no surprise that people with such little worldly power would try to tame the chaotic pulls of ambition and desire. Finding contentment with a humble existence is a coping mechanism for the weak and disenfranchised. The Roman Emperor is neither weak nor disenfranchised!!!
And this is what makes Marcus Aurelius so admirable. The Stoic virtues are not mere coping devices for a life of hardship. They are relevant regardless of worldly status. Marcus Aurelius doesn't practice the Virtues because he needs to; he practices them because they are Right.
Here's a short vid about the life of Marcus Aurelius:
If you are interested in Moral Philosophy, definitely check out the Meditations, which is available free on-line at many locations including at the Internet Classics Archive or Project Gutenberg.
The Getty Museum had a Photography exhibit, "Photography from the New China," that caught my interest. The primary theme that I took away from the show was that of cultural and historic reassessment. It brought to mind the Chinese proverb "I dreamed a thousand new paths. . . I woke and walked my old one." Some of the photos spoke directly to this quote.
For instance, the tableaux works by Wang Qingsong are reinterpretations of classical paintings, but with symbols of modern consumerism and materialism, in which the Golden Arches of McDonald's is the equivalent of an Imperial banner and tawdry modern attire replaces the elegant fashions of the courtly ladies. Yet, although these images have significant difference in value, is the underlying action any different? The mighty lord over and forced their will upon the weak, whether it is a Ming Emperor or an American corporation. A courtesan performs the same function regardless of her clothing and hairstyle. So, do these images speak of a new path or continuing down the old one?
I Am Chairman Mao's Red Guard by Hai Bo (2000)
In contrast, the works of Hai Bo do indicate a rejection of the old path. In his series "They", he presents a set of diptychs in which a photograph from the era of the Cultural Revolution is contrasted with a contemporary photo, using the same sitters. In group photos, when a subject has died, there is an empty space where that subject would have been. This contrast between the rigid and colorless Maoist world and soft, timeworn modern world do indicate significant, even painful, change. For Hai Bo's subjects, it may be true that the underlying realities of power and function are essentially unchanged, as indicated in Wang Qingsong's work, but, for the individual, life forces us down new paths.
Standard Pose by Qiu Zhijie (1997)
Finally, the works of Qiu Zhijie brings us to a synthesis of these styles. Creating tableaux of modern Chinese works posed in the style of Maoist propaganda posters with similar coloration to Cultural Revolution photos, we are presented with an ambiguous statement regarding the new vs. old paths. Obviously, these are parody pieces. But what is being parodied? It it a spoof on the old ways by displaying the modern Chinese as so totally incongruous with the Maoist style? Or is it a spoof on the modern Chinese identity that for all of its superficial change is still following along the old path?
In any case, there was much to consider at this show. Other artists on display include Rong Rong, Liu Zheng, Song Yongping, and Zhang Huan. Sadly, the show closes today. Again, I'm more of a closer than an opener. Sorry, amigos. Maybe some fantastic Pipa music will compensate?
By the way, I selected a performance by Wu Man because she is dealing with a similar quandary as that presented in this webpost. She even curated a musical festival entitled "Ancient Paths, Modern Voices." Good stuff!!!
John Muir was born on April 21, 1838. He is the grandfather of the American environmentalist movement. His tireless efforts to preserve the unspoiled western wilderness, including Yosemite Valley and Sequoia, earned him the designation of "Father of the National Parks." He was a prolific Nature writer, influencing many generations of naturalist artists, including the photographer Ansel Adams. His political legacy is still active, most specifically in the organization which he founded, the Sierra Club.
In contemporary times, ecological matters are shamefully politicized. Expressing even the slightest enthusiasm for Nature and Her transcendent majesty gets one labelled a "crazy leftist moonbat" by the American Right. This is a sad situation. Nature is beautiful and should be preserved for future generations, rather than paved over, dug into, or polluted. Certainly, modern human technology and ingenuity can handle the challenge of meeting our needs while respecting our ecology.
In any case, take a moment to appreciate the natural world around you. Listen to the birds. Admire the trees and flowers. Be grateful for the food that grants you sustenance each day.
Here's a vid about Muir's meeting with Teddy Roosevelt:
