Sunday, December 31, 2017
When my Dad was helping win WW2, his official MOS (military occupational specialty) was cartographer. He never had a chance to find out what that meant in real service, because even before his division made it to Europe, he had been diverted to putting out a newspaper for the troops, but they did issue him a nifty little atlas, the 1943 edition, which he dutifully carried around for his entire length of service.
After the war the atlas soon became quaintly obsolete, all those dozens of newly independent nations still labeled with their colonial names (Belgian Congo, French West Africa, Anglo-Egyptian Sudan, Italian East Africa, Netherlands Indies, French Guiana, British Somaliland). But the contours of the land were as they had always been. I appropriated the atlas when I was maybe in fifth grade, when my fascination with maps became important.
I would put a sheet of carbon paper behind the page in the atlas, and trace it with a stylus to make maps for my term papers and book reports. Raised to never, never, never, never put a mark into a book, I was meticulous about keeping the atlas pristine, although leafing through it today, I find black smudges on one page.
I've loved that book for many decades, often taking it down from the shelf just to recapture a bit of the world before I was born. For instance, how intriguing to find the map of petroleum production with not a single green dot in Saudi Arabia, or the map of automobile production with the huge red circle in the US and the tiniest dot in Japan. I can easily open any page at random and pfft, an hour has gone by.
It's fitting that I'm ending my year of favorite things with a book of maps, because my daily art project for 2018 is going to be maps. I'll talk more about that in the next week, but for now I'll just close out a very good year (personally, if not for the world at large) with this wonderful thing. On this New Year's Eve, I know we all hope for wonderful things, at least a few of them, in the year ahead, and I wish many of them for us all.
Tuesday, December 26, 2017
I wanted to make small ornaments this year, and was happy when I found some little wooden cubes at the craft store, about 3/4 inch on the side, pre-stained in several different colors. Best of all, there were 72 in the pack, and I have only about 50 people on my ornament list, so I could ruin some without having to make an emergency run to the store for more raw materials.
But what do you expect for 5 cents apiece -- some of the cubes were pretty rough on one or more sides, so I had to apply gesso and sand and then paint over the white gesso, so some ended up two-tone. That took me a while, because of the drying time -- I'd get a bunch to the next stage but not be able to get back to work till the next day.
Finally the fun part: wire and beads to "wrap up" the little packages.
Sunday, December 24, 2017
Many years ago my sister bought a present for Dad -- a Christmas bear. Turn him on, and he taps his toe, strums his guitar and plays Jingle Bells, in a syncopated rock-n-roll rhythm. Clearly this was the perfect present for the man who had everything.
When we first met Isaac, age 3, at a Christmas dinner, the bear was on hand to make him feel welcome. Isaac needed to be held up to reach the button, but now, of course, he's tall enough to do so without help. This year it's new baby Vivian who will have to be held up to meet the bear.
When we do Christmas away from home the bear comes along, so as you read this, our whole family will be listening to Jingle Bells at the beach in South Carolina.
All of us wish all of you a very good Christmas!
Monday, December 18, 2017
I wrote a while back about a new direction in collage -- mounting my work on wood painting panels. I finished a couple in September and put them into the gallery, but because I'm still in the exploratory stage of this series, I played around for a long time before deciding that the rest were finished. I had a deadline: the holiday sale at Pyro Gallery, in which every artist in the co-op has work hung, and we allow people to take home anything they purchase right away instead of waiting for the end of the show.
The work had to be hung by Thursday, and as late as Wednesday I was in the studio putting on the last coats of matte medium and installing eye hooks and picture wire. But on Thursday morning they all made it onto the wall.
What I finally decided was needed to finish off the pieces was a 3-D element, so I rooted around in my various boxes and piles and came up with some keys, bits of computer circuit boards, glasses lenses, plastic doodads, wood cubes and even a huge pencil with a turtle carved into its non-sharpened end. Affixed them with glue and wire and declared victory.
After the holidays I guess it will be time to go buy another pack of panels and start another series.
Meanwhile, all of these are on display and for sale at Pyro Gallery, at our new location at 1006 East Washington St. in Louisville. If you're in the neighborhood, please stop by and see our wonderful new home -- and a whole lot of excellent artwork.
Sunday, December 17, 2017
Over the years we have become less and less inclined to do a lot of Christmas decorating, giving away huge boxes of ornaments to our kids and putting up fewer outdoor things that require climbing on ladders in the cold. But there are a few doodads that are non-negotiably required. Such as my angel choir. (I know it's really an orchestra, not a choir, but for some reason that's what I have always called them and I'm not going to change now.)
They never had a regular place, but would be arrayed wherever it seemed best. Every year they tried out different formations: all in a row, or in a two-by-two procession, or arranged into percussion, brass and string sections. Here they are performing from atop the Bose radio, so their songs can be broadcast throughout the house.
Wednesday, December 13, 2017
We drove over to Evansville IN on Saturday night to attend the opening of the 45th Mid-States Craft Exhibit, a venerable juried show that the Evansville Museum has sponsored for many years. This show appears every other year, alternating with the Mid-States Art Exhibit (which doesn't accept textiles).
I was pleased to have one of my big flag quilts accepted for this show, and was looking forward to the visit. Six years ago this week I was planning to attend the opening of the same show, and even receive an award, but found myself in the hospital instead for sudden surgery. So this was a chance to remove a jinx.
As we walked through the museum, we passed signs:
But this is my piece!
Sorry, no photos.
An onlooker summoned the museum director, who said of course it would be fine for me to take a picture of my own quilt. She explained that they banned photography because the museum doesn't own any of this work and they didn't know whether it would be OK with the artists to have their work photographed.
This explanation was more mystifying than reassuring.
Second, I don't believe I have ever entered a show where I didn't expect my work to be on display for public consumption (including photos). Yes, some shows are picky and ban photos, but I've always thought this was (a) wrong-headed and (b) because they want to sell catalogs. For shows that don't have catalogs, like the Mid-States, I am especially interested, as an artist, in having the show documented as widely as possible. I know my work is going to be displayed in public, and I expect -- even hope -- that people may want to take photos.
Finally, if in fact there are artists who might have reasons to want their work NOT photographed -- which I have a hard time imagining -- show sponsors can take care of that in an instant by putting a line on the bottom of the entry form. "I understand by entering this show I give permission for my work to be available for photography by the public." Many shows have similar disclaimers on entry forms for allowing images to be used for public relations, so why not require that we allow use by public photography? What's the difference?
Please don't protect me from the public!!! If I want my work not to be photographed, I can easily deal with that by not entering the show.
I am sorry that I can't give you a review of the show, as I customarily do when I get to visit shows and museums that many of my readers can't. There were interesting pieces on display in the Mid-States, and I would have liked to share my responses with you.
Sunday, December 10, 2017
I got interested in Zuñi fetishes, those tiny carved animals who represent the Prey Gods or guardian animals of the six regions of the earth, in the late 1980s when I took my sons to Los Angeles on a business trip. My professional organization was holding its convention at Disneyland, in a resort hotel that was adjacent to the park, and it seemed that the boys, in their early teens, could occupy themselves safely while I attended the meetings.
One day we drove into the city to ooh and aah at the weird people on Venice Beach, and to gape at the La Brea tar pits. And we went into the next-door museum, where the gift shop was having a big sale on fetishes. I fell in love, and bought several, and over the years I have gotten many more on visits to the Southwest. Here are some of them:
Friday, December 8, 2017
Just checked my email and was intrigued by a message with the subject line "A goat named Kathleen Loomis."
I have donated to the Heifer Project before, following in the footsteps of my parents who would give a sheep or chickens to poor families in faraway places as Christmas gifts to their grandchildren. When our grandchild turned six last year, we thought he was old enough to understand the concept of charity, so we donated a goat and had the project send him a personal letter. (A nice touch -- I got to write the message, and they printed it out with a goat picture and mailed it to him.)
Afterwards, his mom reported back that a few weeks after the letter arrived, he wanted to know when the goat was going to arrive and where they would put it, since the back yard is kind of small.
Oops. I said maybe we did this too early -- maybe he isn't old enough to understand how this works.
No, she said, he understood and was fine with giving the goat to a poor family, but he thought after they had it for a while it would be nice if he could have it for a while too!
So this year the organization is trying hard to get me to donate again, which I plan to do, but haven't gotten around to it yet. They have been sending me emails for the last week or so, including this one, which explains "We're expecting newborn baby goats on the Heifer Ranch this spring. We're going to name our next baby goat after one lucky donor who makes a tax-deductible gift before midnight tomorrow. Will it be you?"
To be honest, I'm not sure I want a baby goat named after me. I already have a baby human named after me (well, it's her middle name, but still...) and a goat seems like a step backward. I wonder whether this is going to turn out to be a successful fundraising approach or not.
Thursday, December 7, 2017
Ever hear of Campeche wax? I hadn't either, until I ran into not one but two spectacular works of art in Chicago that use it. Campeche is the Mexican state just west of Yucatan, and Campeche wax is a very dark beeswax originating there. Because the wax is sticky, it's used for the substrate of art where you want to adhere a top layer of decorative stuff.
Glass beads were introduced to Mesoamerica by the Europeans in the 1590s and became an important part of jewelry and ritual objects. This huge work, at the National Museum of Mexican Art, references traditional motifs. Tiny seed beads are pressed into the Campeche wax on a plywood support, painstakingly arranged so the holes point up (can you imagine how long that takes, and with what tiny tweezers?), although I was happy to see that a few beads escaped, slumped over on their sides and proved that even the most meticulous artisan takes a ten-second vacation every now and then.
Wednesday, December 6, 2017
I apologize for taking so long to get back to my visit to Chicago several weeks ago. In mainstream museums I always like to keep an eye out for art made from fiber, and I found lots of interesting examples. Today's three artists are all Latin American.
Rafael Ferrer, A Flag for the Straits of Magellan, detail below
This work, made in 1972, is an imaginary flag for Puerto Rico, the artist's birthplace, which he envisions not as a U.S. territory but as a faraway independent place. Hung far up in a dim corner of a dark gallery, the flag was hard to see; the sign said it includes fabric, rawhide, leather, wire, pipe cleaners, rope and various other stuff. The triangular shape, 3-D surface and midnight colors made it considerably more exotic than your run-of-the-mill flag.
Hanging right below the triangular flag is this large unstretched canvas by an Argentinian artist who lives in Guatemala. Her shtick is to apply the pigment, mixed with glue as a binder, with a machete, and to leave it outside to weather. I'm not sure exactly how she achieved the distinct raised effect, or even whether we're seeing real shadows or just 2-D differences in value, but I like the subtlety of the patterns. I wished for more light and a better view (I adjusted the exposure so the detail shot is lighter than in real life).
What could be simpler -- get some wool felt, cut out some shapes, hang it on the wall. He may have used a laser cutter because the edges are perfectly finished; very little trace of the artist's hand in this piece. According to the sign, the shapes are "abstracted from popular culture and children's literature." That may be an overreach, but the shapes are beautifully drawn and composed, and the slight distance away from the wall allows shadows to punctuate the image. The kneeling figures are not part of this installation, although they look right at home.
Sunday, December 3, 2017
If you've ever been in a Lutheran church service you know that congregational singing is a really big deal. When I still lived at home the major topic of conversation on the way home from church was occasionally the sermon or the Bible reading, but always the hymns -- I love that one, that one was way too slow, strange wording in the third verse, can't go wrong with a Bach cantata. Of course I own modern hymnals, but wonderfully, I also own these four old ones.
The really beat-up green one belonged to my grandmother's sister, and I don't know how it got into my possession. Both these really old ones had words and music, in German, of course. The latest of my ancestors to arrive in the U.S. emigrated in the 1880s and I'm sure they spoke English in town, but German at home and in church at least until World War I.
The two little ones -- with words only, no music -- belonged to my parents, with their respective names stamped in gold on the covers, issued upon their confirmations. My father's book, given to him in 1927 when he was 14, was in German, his first language, from which I deduce that Holy Cross Church in Saginaw had not. Or maybe they just had a box of books left over and weren't about to throw out a perfectly good book, even if it was in a language that the kids couldn't read any more; it would build their character. Meanwhile, my mother's confirmation hymn book, given the following year, was in English.
By the time I learned to sing hymns, of course, everything was in English, and I know only tiny bit in German. Stille Nacht, of course, and a few lines of my favorite Advent hymn, Es ist ein Ros entsprungen. Since today is the first Sunday in Advent, here's that hymn from the little green book, in case you want to sing along.
aus einer Wurzel zart
Wie uns die Alten sungen,
von Jesse kam die Art,
Und had ein Blümlein bracht
mitten in kalten Winter
wohl zu der halben Nacht.
Friday, December 1, 2017
I've been out of the workplace for 17 years now so I can't tell you whether innocuous hugging is more or less prevalent than in the previous century. But I have been annoyed by all the guys who have piteously protested that yes, all those predators were disgusting, but how about all us nice guys who just like to hug? For instance, a letter to the editor in this morning's New York Times:
"We as a society are exhibiting mass hysteria... The political correctness demanded by current public opinion throws out the baby with the bathwater. We don't want to go so far as to discourage any hug or embrace to show caring and warmth."
I've been talking about this with my husband and son, and my position is that hugs are so rarely appropriate in the workplace that you can practically count the occasions on your fingers. For the edification of all you nice guys who just like to hug, here's my easy guide. You might want to print it up on a little card and keep it in your wallet, just in case you wonder if a hug is OK.
But not to say good morning or good night. Not when the hug initiator is the boss or superior of the hug recipient. Not when the recipient's work clothes are skimpy or suggestive, or when the recipient is standing on a ladder. Not when you're the only two people in the room, and especially not if the door is locked.
Just remember this, guys: if you want to show caring and warmth, give her a raise.