Category: artwork

autumn, trees, colours, fall, color, beauty, season

October Reading & Listening: Expanding The Beautiful

On October 26, 2024

In art, artwork, Berlin, classical, festival, music, new music, opera, popular culture, production, writing

Every day for the past two weeks I have told myself, “Today’s the day I’m going for a walk in the woods” and then darkness falls, and I’m still sitting at my computer, writing or grading, or lying down nursing poor health, or dusting for the billionth time, and I think: maybe tomorrow. Tomorrow comes, and the cycle repeats. I am keen to enjoy the autumn colours while I can; chilly evenings mean the jewel-like leaves are rapidly falling, which means that winter is coming, and though I love winter, I’m not quite ready for the trees to be naked and the ground to be white.

This month’s reading list is a collection of music, productions, and events oddly linked by ideas of temporality, beauty, and presence. As E. E. Cummings wrote a century ago in his Sonnets – Actualities collection (from Tulips & Chimneys, a 1922 manuscript), “Time shall surely reap / and on Death’s blade lie many a flower curled / in other lands where other songs be sung; / yet stand They here enraptured” (E. E. Cummings: Complete Poems 1904–1962, Liveright/W.W. Norton, 2016, p. 156). Earlier this week I was reminded of two things: one, investigating things outside one’s comfort zone; and two, the value of being enraptured with what I fully know are entirely temporary things. Autumn was once a time of great sadness: everything is beautiful because it’s dying, I would think (and sometimes even say out loud), recalling sad and terribly human corollaries. The beauty of autumn’s colours serve as a potent reminder of the paradox of change; one can’t always control it, but one can accept what is, right now, even or especially if that thing isn’t quite as beautiful or good as the jewel-like leaves on the autumn trees. That thing (especially the unfamiliar thing) might just be good in a way that challenges unconsciously-held ideas and definitions of beauty, and that counts (I hope).

Those unconscious ideas and definitions can certainly loom large in the music world, particularly the opera/classical realm, and so, onto the list. Maybe I’ll get out to see the leaves – maybe tomorrow? Hmm.

War & Peace (& Art)

Any and all references to Soviet-era Russia have been excised from the current Opernhaus Zürich production of Leben mit einem Idioten, Alfred Schnittke’s ferociously satirical 1992 opera on now through the end of November. What’s the role of the house here? The composer’s family? Funders? Why is the director using such softened language around his (rather apolitical) choices? Is it art (or Art)? Do clear (and certainly timely) references to Soviet history really matter in 2024? Should they?

Update 28 October: In his weekly newsletter, music journalist Axel Brüggermann published thoughts from an interview director Kirill Serebrennikov gave to Swiss music writer Christian Berzins in which is says “Ich will in Zürich keinen sowjetischen Bullshit entschlüsseln. Schnittke selbst hat gesagt, dass es sich um ein ‚offenes Werk‘ handle; jegliche Interpretationen seien erlaubt und sogar erwünscht.” (“I don’t want to decipher any Soviet bullshit in Zurich. Schnittke himself has said that it is an ‘open work’; any interpretation is permitted and even encouraged.”) The full interview is at Tagblatt (paywall).

This story brought to mind another published last month published in The Stage about censorship and staging choices. Matthew Hemley’s article looks at how British theatre can, or even should, touch on world issues, notably the ongoing war in Gaza. What should or shouldn’t be seen on stages and why? Who gets to decide? Whither funding and marketing campaigns? Questions to ponder into 2025 and beyond.

Director Tobias Kratzer gave an interview to Welt‘s Stefan Grund late last month in which he discussed his ideas on opera, theatre, and if productions should always imply messages or lessons to audiences. It’s titled “Ich versuche, nicht zu predigen“ (“I try not to preach”), which may give you an idea of his approach. Along with hinting at his plans for Hamburg, Kratzer shares his notions on if and how issues and opera might collide:

Eine Operninszenierung ist ja kein Leitartikel. […] Es geht nicht darum, dass die Regiestimme versucht, eine Wahrheit kundzutun. Ich versuche vielmehr, meine Inszenierungen wie Vexierbilder zu gestalten, sodass die Zuschauer eher mit Fragen zu ihrer eigenen Haltung konfrontiert werden.

An opera production is not an editorial. […] It’s not about the director’s voice trying to proclaim a truth. Rather, I try to design my productions like picture puzzles so that the audience is confronted with questions about their own attitudes.
(“Ich versuche, nicht zu predigen” – Welt.de, Stefan Grund, 30 September 2024)

A Tale Of Two Rheingolds

The director is set to begin his tenure as Intendant of Staatsoper Hamburg in summer 2025. Kratzer’s new production of Das Rheingold for Bayerische Staatsoper, featuring Nicholas Brownlee, Ekaterina Gubanova, Markus Brück, Sean Panikkar, Matthew Rose, and Timo Riihonen, opens on Sunday and runs through 10 November before returning for two performances as part of the house’s annual summer festival. BR Klassik will be broadcasting the opening on radio live starting at 17.30 (CET) / 12.30pm EST. The new production is led by Bayerische Staatsoper Music Director Vladimir Jurowski and marks the start of a years-long Ring journey for the storied Munich house which will culminate in a full Ring cycle presentation in 2027.

More Rheingold, this one at Teatro Alla Scala: The David McVicar-helmed production opens on Monday (28 October) and will be running through 10 November. The cast includes Michael Volle, Okka von der Damerau, Ólafur Sigurdarson, Jongmin Park, and Ain Anger; Simone Young is on the podium for the first three performances, with Alexander Soddy leading the orchestra for the last three . La Scala will be presenting a live video stream of the 3 November (next Sunday) performance, which starts at 14.15 CET (8.15am EST). Registration is required; rental fee is €11.90 for Ultra High Definition; €9.90 for HD, with the performance available to view until 10 November.

Listen Up

Gavin Friday’s much-anticipated Ecce Homo (BMG) was released earlier this week. The 13-track work is the Irish artist’s first album since 2011’s catholic and is a powerfully moving mix of ideas and soundscapes. Faith, love, identity, mortality, and memory are some of its chewy themes, with the album also showcasing Friday’s gorgeously flexible baritone, a voice central to last winter’s retelling of Peter and the Wolf. Ecce Homo (“Behold the man”, also the name of its final track) hosts an inspiringly eclectic mix of sounds, with “Cabarotica” a luscious piece of symphonic-flecked pop containing a winking line to Friday’s early discography (“if I die, I die…”) while the chamber-like “The Best Boys In Dublin” pays tribute to Friday’s beloved pet dachshunds. “When The World Was Young” conjures images of his young life in north Dublin with lifelong friends Guggi and Bono; Friday plumbs his history with gripping thoughtfulness while pondering the future with a pulsing mix of anger, anxiety, and hope running through the album’s 52-ish minutes. The Irish Independent recently proclaimed Ecce Homo Friday’s best album in 30 years. As the man himself might say: in-fkg-deed!

France Musique recently broadcast a one-hour exploration of the music of Tomsk-born Edison Denison (1929-1996). For those unfamiliar with the so-called “non-conformist” composer’s oeuvre, this is a great introduction to a very influential figure in music history whose name deserves to be more widely known. As co-publisher Boosey & Hawkes notes, the composer’s “modernist leanings provoked severe official disapproval but he stayed loyal to his Russian roots” and he went on to write various works reflecting that passion, including the early 1980s piano-and-voice song cycles Your Sweet Face and On the Snowy Bonfire, based on the poetry of Pushkin and Blok respectively. Denisov also wrote works for a variety of soloists (including Gidon Kremer and Heinz Holliger) and completed unfinished works by Mussorgsky, Mosolov, Debussy, and Schubert. His “Duke-Ellington-haunted” (says B&H) opera L’Ecume des Jours premiered at Opéra Comique (Paris) in 1986. Écoutez France-Musique.

Still with great composers: Barbara Kolb passed away this week at the age of 85. Kolb was the first American woman to receive the prestigious Rome Prize (1969-1971), which recognizes artists and scholars for work in the arts and humanities. Her music was performed by a myriad of institutions including the New York Philharmonic Orchestra under Pierre Boulez, the Boston Symphony with Seiji Ozawa, and numerous American orchestras with Leonard Slatkin. Kolb spent nine months in residence at Boulez’s IRCAM in the early 1980s, an experience which resulted in a commision for a chamber ensemble and computer-generated tape, Millefoglie, which premiered in Paris in 1985 with Peter Eötvös conducting. Publisher Boosey & Hawkes has a detailed page exploring Kolb’s work, and they have also curated an excellent playlist of her work, one that includes the mesmerizing “Solitaire”for piano and pre-recorded tape that made its world premiere at Carnegie Hall 52 years ago tomorrow (27 October 1972) with pianist Richard Trythall. Merci, Barbara Kolb.

Berlin Calling

Amidst the many calls in Berlin recently related to cultural funding: a talk The Politics Of Unpaid Labour takes place at the Weizenbaum Institute (Berlin) in early November led by Valeria Pulignano, Professor in Sociology at the Centre for Sociological Research (CESO) at KU Leuven, a Catholic research university. I very much appreciate that the word “inequality” is used at (or near) the top of the event’s description here. Class and its related privileges are inextricably tied to experiences within (and entry to) the cultural sphere, to say nothing of its coverage in media, and threatened cuts to the arts sector (in Berlin and elsewhere) make the reality of finding an equitable way forwards more important than ever.

The annual VOICES Performing Arts Festival, dedicated to celebrating the work of displaced artists. This year’s edition runs November 2nd to 29th and is curated by theatre artist Marina Davydova (who is also Director of Drama at the Salzburg Festival) and composer Sergej Newski. Highlights include performances from Klangforum Wien; a two-part programme exploring the music of Central Asia with ensemble mosaik and Duo Falak; a concert celebrating the music of French composer Vinko Globokar; as well as very unique dance and theatre works plus new play readings with the curators.

Words & Mandalas

Going more mainstream(ish): Oxford English Dictionary will be holding an online forum about the influence of popular culture on word choices, specifically how the genres of science fiction, gaming, fantasy, and other fandoms have influenced contemporary language, how these changes have been adopted by various cultures, and what kind of work is involved in including (or not including) these language changes within the diciontary. The talk takes place on 21 November at 12pm EST and will be led by OED editors Dr Catherine Sangster and Fiona McPherson. Faszinierend!

A new exhibition at The Metropolitan Museum of Art in New York explores the history and imagery of mandalas specifically related to Himalayan Buddhist tradition. The exhibition, running through mid-January 2025, features over one hundred paintings, sculptures, and other items (including ritualistic) made between the 12th and 15th centuries. As the exhibition website notes, it also “provides a roadmap for understanding Himalayan Buddhist worship through early masterworks, juxtaposed with a newly commissioned contemporary installation by Tibetan artist Tenzing Rigdol.” With relation to his wonderfully exuberant work for the exhibition (which references Picasso, world events, technologies, and tragedies), the artist says in the video (below): “I’m a nice person, but when it comes to painting I’m a bit crazy.” One suspects Rigdol would fit with the classical music world nicely.

As ever: remember the c-word, and have a safe and happy Halloween. 🎃

Top photo: mine. Please do not reproduce without express written permission.

Hey, There’s My Kid!

By Catherine Kustanczy

On November 9, 2011

In artwork

Showing the world my art was a strange experience.

By “art” I don’t mean my writing, which anyone can see online (or in print, if you happened to subscribe to various music zines in the 1990s), or (some 0f) my photography, which can also be seen in various online spots. No, I mean my painting.

Painting was an obsession for me in the early aughties. It was the “last” art I discovered and sought instruction in. It was, to borrow a phrase from Bukowski, my last creative whore – all the others were gone. Used up, dried out, buried under the weight of too many experiences and expectations too soon. “Why not drawing?” I thought. Why not, indeed.

My teacher was an experienced professional artist and instructor who encouraged curiosity and connection -with our fellow budding artists, with visual art of the past and the present, and with our chosen media. After a few weeks of basics in pencil drawing, she slowly introduced the 123s of watercolor.

“Have you painted before?” she asked me during one session, cocking an eyebrow at a snow-covered branch I was working on.

“No… why?”

Beat. A pause.

“Really?”

“Never?”

“No.”

Another pause.

“You really look like you have. This… this seems to come quite naturally to you.”

It was mere months before I’d shrugged off the watery coil of watercolor and moved on to the rich gooey sea of oils. I loved the sludge-like quality, the caramel richness of colors, the bumpy-buttery ripples and waves of texture. I even loved the sharp, acidic smell.

Many years and many canvases later, writing came calling again, as it inevitably would. Drawing came and went, as my visual side found expression in other things – a rediscovery of photography that ran parallel to technological advacenemtns in digital technology, experiments with black sharpies, trying out color conte for the first time. Drawing and painting had a surprisingly joyous union during a particularly experimental period last autumn, which, I have no doubt, planted the idea of my moving to New York City. Something about trying certain media together, at once, in totally new ways, blasted open neural pathways I hadn’t known existed.

And so it was, returning to purely painting. Chris Pemberton, co-founder of the Toronto live painting event Art Battle, invited me to be a part of the Signals From The DEW Line, an event honoring Canadian thinker and author Marshall McLuhan. Held at the storied Gladstone Hotel, the event was a blend of poetry and painting that took as its theme McLuhan’s idea that “art, at its most significant, is a distant early warning (or D.E.W.) system that can always be relied on to tell the old culture what is beginning to happen.” Artists, then, are signifiers of change in society, of new ways of thinking and expressing and being. Heady stuff.

I didn’t think of any of this when the 18-inch square canvas was given to me. But there was something awfully stimulating about painting with a purpose. It wasn’t just some mamby-pamby thing I was doing anymore. I had a due date. I had a deadline. I had a place in the 25-painterly grid. And so, I set about, letting equal parts instinct and experience guide me, as Soundcheck blared in the background and the taste of strong coffee sat on the tongue. A squirt of paint here, a brush stroke there; it all came together, and the piece was still tacky when I carefully walked it through the doors of the Gladstone Hotel lastnight. Suddenly this little canvas was more than just homework: it was my child.

My work has never, ever been exhibited before, not individually, and certainly not amongst the work of other, more accomplished and experienced artists. Once my piece was up, there was a momentary sense of “Oh-Gawd, mine’s-crap”-like comparison, but it didn’t last. This private act I engage in, of drawing and painting, of going past words (my admitted comfort zone and obvious stock in trade) was being scrutinized, observed, judged and enjoyed. It was like seeing a little one in their first school concert; some kids look more turned-out and comfortable than others, there’s a lot of waving and smiling, you wonder if they’ll get through it intact. When the whole class is up there taking a bow at the end, you can’t help but feel proud -of not only them, but of everyone’s else’s kid, and the fact your kids all worked together. It fortifies your sense of faith in humanity.

And that’s just how it felt, to look at my painting, hanging there with 24 other, entirely-other works. As Christopher observed, “Yours is so very different.” Of course my kid is different, I wanted to say. I didn’t plan it that way, but I’m not surprised that’s how s/he turned out. It’s nice to be with a crowd, but not of it. Even so, different-ness doesn’t guarantee confidence. Leaving my painting at the Gladstone was strange, and a bit stressful (it’s exhibited there with the others through Monday). I had a momentary twinge of -what, grief? separation anxiety? parental sentimentality? -when I walked into my tiny studio space at home and immediately noted that particular painting’s absence. It had become a sparky little fixture amongst the larger, older stalwarts, who seemed to hover and surround it in a protective huddle. I got cold thinking of it hanging in silence and darkness all night, alone and open to the elements of unfamiliar eyeballs and sneaky urban spiders.

But my little one isn’t alone – it’s with 24 other works, all with parnets of their own. There’s something reassuring about that – about being together, distinct, joined, and individual, all at once. Sooner or later, we have to let our kids go. We never stop thinking of the days we spent in squawking, squealing, squirming color, bringing this thing to life. That energy is on our own stained hands, the back aches, the neck kinks, the multi-color sinks and the spiky smells around us. We send our kids out into the world, and get right back to making a new one, over and over.

All photos from my Flickr photostream.

Oh yeah: My painting is the super-dark one just above the man-opens-curtain-sees-kitty work. It didn’t photograph well -at all.

My kid’s difficult that way. Sigh.

Louder Click

By Catherine Kustanczy

On July 12, 2011

In art, artwork, interviews, music, Non-Classical Writing, popular culture

Photography has always been a great love of mine. I stood on O’Connell Street bridge years ago, with friends holding each ankle,trying to capture a rapidly-setting smudge of sun over the spires of a dull, charcoal-sketched Dublin. I loved walking around with my old SLR Minolta snapping bits of graffiti, odd sights, small moments and cherished ephemera.

The camera was put away at music gigs. The dance of sound, motion, and drama made that beloved piece of equipment feel like a demanding, distracting, high-maintenance lover I didn’t want to deal with. Even with the advent of digital photography, my non-photography stance at concerts remained resolute. I’m just not one of those people who pulls out the camera (or phone) to snap away when a favorite performer takes to the stage – I prefer to absorb the magic of the moment directly, taking a mental photo of that time, not just sights but smells, sounds, the pressing of excitable people and the slow-fast shuffle of feet.

Aaron Richter, however, is another breed. An accomplished music and fashion photographer as well as the art director for music magazine Self-Titled, his work is at once universal and yet very intimate and personal. It has an immediacy and vibrancy that points to a deep appreciation of both music and the modern, urban culture from whence it springs. Aaron’s work is being showcased at the W Hotel Times Square now through August 12th.

I had the privilege of exchanging ideas about music and photography -and the strong connections therein -with Aaron. His answers are sure to delight both photo and music enthusiasts.

How did you first get interested in photography?

I first started taking photos as a kid, doing B&W stuff in darkrooms, and, from probably senior year of high school till about two and a half years ago (I’m 27 now), I didn’t really take photos at all. I just sorta stopped for some reason and started focusing on being a writer instead. I moved to New York after college to be a writer and editor for magazines, and that’s what I did for about three years.

I started a magazine called MusicMusicMusic with friends and it was real cool. We only did one issue. But the model Erin Wasson was dancing to LCD Soundsystem on our cover in a photo shot by Kenneth Cappello. I also worked full time at a magazine called GIANT that had an incredible art department: iconic creative and art directors and amazing photographers—both well-established (like Ellen Von Unwerth) and up-and-coming (like Ruvan, Miko Lim and Cameron Krone)—shooting for us. I fell in love with that part of the job, and after I got laid off, as everyone working in magazines eventually does, I spent my severance on a camera and have been taking pictures ever since.

How does your work at Self-Titled influence your visual output?

Since I was young I’ve always sorta thought musicians were the coolest people in the world. And I think a lot of what gets lost in the over-blogged coverage of music these days is any sense of the artists behind the music being legitimately cool anymore—at least a sense of cool that’s actually captured and conveyed through the coverage, if that makes sense.

We know so much about musicians now because there’s more and more demand for more content and more interviews and more analysis of the music, so there’s less mystery, or maybe less intrigue, which makes it seem like you know all your favorite musicians all too well. Imagine if Kurt Cobain had to give a million blog interviews every week and had a Twitter account? We’d have probably all thought he was just a total dickhead, albeit one who wrote incredible songs.

So a lot of what I try to do with Self-Titled is present musicians in a manner that takes back that sort of cool exclusivity, unattainable yet aspirational—this very unarguable, visceral and immediate visual sense of “Wow, fuck! that’s cool!” Whether we achieve that from issue to issue, I dunno (it’s tough). But as far as my photography is concerned, that desire to make musicians look cool (whatever that means might change from band to band) is always my top concern. To a large extent, I miss that element of music, so I’ve take it as my job, both as an art director and a photographer, to bring it back as much as possible.

Who are you favorite photographers?

Cass Bird, Ellen Von Unwerth, Tim Barber, Guy Aroch, Ruvan.

How much is a relationship with your subjects important to you? I especially like your shots of Bootsy Collins & Kareem Abdul Jabbar at Bonnaroo.

Every photographer will tell you this is one of the most important elements to a good shoot. It just makes sense. If a subject feels comfortable around you, your photos will be better. My Bonnaroo photos are a weird example here. Most of the work we did in Tennessee for the festival was done very quickly and within a five-minute block of time while an artist was en route to another obligation or about to head onstage. Getting subjects comfortable was something that had to happen almost instantaneously.

You mention Bootsy Collins and Kareem Abdul-Jabaar. Both were instances in which I really didn’t get a chance to develop any sort of relationship with the subjects at all. Bootsy was great because we met up and he was immediately just a total ham for the camera. Kareem was tough. He’s notoriously a tough subject. He really didn’t even acknowledge me at all while I was shooting. And I sort of felt like a paparazzi stealing photos that weren’t mine. I actually connected with him pretty well only after we stopped shooting. I noticed he was carrying a book about chess and asked him if he played, and he loosened up considerably once he was able to start talking about something he loves.

As far as the rest of my Bonnaroo photos are concerned, two of my favorite series of images are with Smith Westerns and Alexis from Sleigh Bells. The guys in Smith Westerns were very welcoming to me coming into their space and hanging out with them while they got ready to play live, and they let me come up on the stage during their set to shoot. They’re very comfortable in front of the camera and are generally just sort of adorable. Alexis from Sleigh Bells I’ve known for about two years.

I shot Sleigh Bells’ first press photos but haven’t really seen either Alexis or Derek from the band since then, though we’ve kept in touch. At Bonnaroo, meeting up was sort of like a little reunion and I got to spend a longer bit of time (maybe 30 minutes) with her backstage. There was no need for any, “Hi. Nice to meet you. My name is Aaron. This is what I’d like to do…” and we were kind of just able to casually catch up, with me every once in a while taking a photo, before I had to head out for my next photo obligation that night.

What do you think of the resurgence of interest in celluloid photography?

It’s great that people love shooting on film. Whatever you feel most comfortable with taking photos is awesome. I shoot pretty much entirely digital–probably 90 percent. And I prefer it.

Film is fun, and not having the back of a camera to look at to check to see if the photos are turning out is an incredibly liberating limitation that does wonders for enhancing the mood of a shoot. But with film, I usually prefer point-and-shoot, and in general, I tend to concentrate too much on and get obsessed with imperfections in the resulting photos to let myself be OK with an out-of-focus or weirdly lit photo the way a photographer like Cass Bird can. One of my friends, Bryan Sheffield, has made the shift to shooting film almost exclusively, and his portfolio has just exploded with incredible work since then.

Another photographer I hire for work in self-titled is Caroline Mort, who shoots a very unstudied amateurish style of photography, quite often with disposables, that has such incredible heart and emotion to it. Pretty much every issue, my favorite photo is one of her shots. Again, I’ve always felt that film, especially the way I’ve been able to approach it since my darkroom days and compared to shooting whatever-mega-megapixels of a digital camera, is somewhat of an imprecise medium, and there’s this awesome charm to a photographer being OK with and having confidence in an image’s imperfections. Cass Bird is probably the best at this. Her Urban Outfitters catalogs lately and her T magazine stories… incredible.

Who would you like to photograph that you haven’t yet? Why?

Elle Fanning. My goal for 2012 is to become best friends with her. So my thinking is that if I somehow get to photograph her, I can spark our long friendship and then we can hang out all the time and watch Netflix and eat pizza and stuff. That’s not weird, right?

Chris Owens, from the band Girls. He’s seems legitimately genuine and honest, and he’s easily one of the best songwriters we have. All I’m asking for is a week crashing on his couch to follow him around and take photos. Also, Jason Pierce of Spiritualized. The epitome of rock-and-roll cool to me and kind of totally a mystery.

Write Round

By Catherine Kustanczy

On May 23, 2011

In art, artwork, writing

As I walked around Frank Lloyd Wright’s beautiful white spirals in the Solomon R. Guggenheim museum, I ducked into a special exhibition, Kandinsky At The Bauhaus, and… there it was, in all its orbular glory: Several Circles.

Like seeing the work of Klimt recently, experiencing Kandinsky in person was a deeply emotional experience. It forces a reset, a re-focus, a re-adjustment of perception, a realignment of attention, requests complete and utter presence, whispers for a magically pure blanket of silence. In the same breath, the work beckons, like a lover, to come closer, examine its velvet surfaces, its soft curves, its intricate, ovarian details, and slick, areola-like smoothness.

The Guggenheim website offers insight:

“The circle,” claimed Kandinsky, “is the synthesis of the greatest oppositions. It combines the concentric and the eccentric in a single form and in equilibrium. Of the three primary forms, it points most clearly to the fourth dimension.”

In its magnificent, lidless, concentrated, and sensually concentric presence, I sat, mouth agape, staring at its hip-swirling dance of color, form, light, and texture. The fourth dimension indeed. There are few things that take me so directly there as painting and the written word.

I write, every day, in a real, actual journal, with a real, actual pen. It seems almost quaint. In this world of iPads and iPhones and digitalthisthatandtheother, writing in a journal seems fabulously oldy-world-y, and vaguely old-fashioned. It takes more time to write than type; this forces a stewing of thoughts, a quiet, patient consideration and re-consideration, one that ultimately transforms expressions and observations and perceptions into stained, messy, occasionally wine-spilled musings that melt, all over the pages, like soft, salt-water taffy slowly expiring on the tongue. ‘Do I like how this looks on the page?‘ becomes every bit as important as, ‘What am I trying to say again?’ and I’m often surprised at how much I miss my journal the times when I go out and forget it. I don’t always use it; it’s more an observational talisman that makes me look at things -and smell them, taste them, hear them, feel them – a little more closely.

This re-discovery of the joys of physical writing happened by chance. I was sent, not long after I moved to New York, a gorgeous red moleskine journal, by a friend and favorite journalist. It was both a congratulatory gift, and, I suspect, an acknowledgement, from writer to writer, of the fierce and passionate love we hold of words -particularly the tenuous, occasionally frustrating act of bringing them to life. This act, for me, involves a full engagement with the senses. I love things I can touch, things that I can be stained by, things that leave an impression on a page, that have a smell, a taste, a certain eye-catching color. It explains why I cook. It explains why I paint. It explains a lot.

So I was delighted to attend an event celebrating the tactile -recently. Called “Objectivity”, the event was held at Eyebeam, a digital art space on the west side of Manhattan. The event was part of A vocabulary of objects, a formal Moleskine event that saw workshop participants make their very own journals. On one side of the sprawling warehouse space, a massive piece of paper had been tacked onto a broad wall that dominated one side of the room. It had a mottled projection across it; black drafting pencils had been set out to encourage attendees to add their own markings. People were riotously, joyously drawing as they balanced glasses of prosecco and chatted. I added to the markings with a few wild lilies. I didn’t see one person texting or talking on a phone – only drawing, drinking, watching, creating, and connecting.

When the projection was turned off, and the lights came on, people stared in awe at the motley collection of markings, as the lines formed their own little colonies and empires across the vast expanse of manila. It was awfully refreshing, and even beautiful, to see people so intimately connected with the sensual act of drawing and making things,, and appreciating the after-effects. Is this the power of the sensual world? Are we coming full circle, back to the tangible arts? I pondered these questions as I wandered around and saw Moleskine’s designs for iPads and other digital gadgets. I was reminded of the re-ignition of interest in vinyl recordings, and how heartened I’d been at seeing contemporary albums proudly and prominently displayed at the front of record stores. This isn’t mere nostalgia or irony -this is the scratching at a more transcendent experience through earthly means, a knock-kn0ck-knockin’ on heaven’s door through the gates of dirt and mud and bruised knuckles, sharp needles and blood on the tracks.

And so, the Moleskin event At Eyebeam was a bit of heaven, here and now in New York City, 2011, amidst the hub-bub of technology and the joy of digital connectivity. Those have a place. So do the tangible arts. Being able to draw with total strangers felt like a strong reaffirmation of the vital role of the tangible in everyday life. Even as we ostensibly move further away from experiencing daily life with our five senses, at the same time, we move closer to it, taking pensive, tip-toe steps into that “fourth dimension” Kandinsky referred to. Can we make it? Can we commit? I freely admit to being addicted to the bonbons of modern life: Facebook, Twitter, Flickr, Soundcloud, Linked In … blogging. But I’m circling back to sensuality, being reminded, in tiny spiraling whispers, that I never left. That fourth dimension is beckoning me, to enter, and re-enter, again and again. I want to keep walking, I’m curious what I’ll find in the middle, on the outer rings, and along the way. Stained fingers? That…and a whole lot more.

Top: Vasily Kandinsky, Several Circles (Einige Kreise), January-February 1926, Oil on canvas.

Photos: Taken from my Flickr photostream.

Change The Frame

By Catherine Kustanczy

On May 16, 2011

In art, artwork, writing

Life has a way of turning out exactly like you didn’t plan. And yet it’s through the labyrinth of choice that we arrive at a new destination.

I made a big choice a few weeks back, and am still living with the reverberations. As befits my culture-vulture tendencies, I tend to turn to art as a means of trying to comprehend (or at least accept) the power of my choices. Lately Andy Warhol has been a big inspiration. He knew his worth as an artist and a contributor to cultural conversation, and understood the exchange that happened (monetary, mainly) was a result of a larger system that he not only milked beautifully, but understood more keenly than many other cultural figures, even now.

Maybe part of my inspiration is derived from the bright yellow poster for The Andy Monument hanging on my fridge. When I look at it I remember first catching sight of Rob Pruitt‘s gorgeous monument to Andy Warhol in Union Square just steps from where The Factory was once located. It was a mild, breezy day, and the public space heaved with Saturday shoppers and curious tourists who would approach the silver-chrome statue slowly, eyebrows scrunched and head cocked, camera-phone on the ready. Some people knew who it was, some didn’t, but most people were in awe of its sheen, its shine, its winking, blinking surface that glinted and glowed in the late afternoon sunshine. Some posed beside the monument; others clicked away, but it wasn’t a manic picture-taking frenzy like you’d see beside other statues of famous people.

In the weeks since, people have been leaving Brillo boxes and cans of Campbell’s soup at the statue’s feet, which feels like a fitting tribute. The frenzied retail activity that happens around the statue feels like a more apt honor, but, for all his love of mainstream culture, Warhol doesn’t command the same level of frenzy as, say, the Sistine chapel. In many senses, he defined the way we understand, perceive, and experience mainstream culture in all its bawdy, gaudy glory, and is so steeped in every aspect of our modern being as to be indistinguishable from it.

His influence was examined last month at a chat held by the Public Art Fund (who are behind the Warhol statue) at The New School. With artist Rob Pruitt present, the panel, comprised of artist/writer Rhonda Lieberman, cultural critic Wayne Koestenbaum, and Public Art Fund Director/Chief Curator Nicholas Baume, discussed Warhol’s significance and offered their own memories of the famed master of cultural collection and distillation.

While Baume and Lieberman offered heady, thought-provoking deconstructions of Warhol’s work, and Kostenbaum gave a cool, Beat-like remembrance befitting his poetic background, Pruitt’s tribute was halting, shy, and entirely unplanned. His palpable nervousness was a charming touch to the (all-too-brief) details he gave regarding the process of creating the statue: an assistant did a preliminary drawing (which he confessed to disliking), his art-collector friend modeled (right down to the wig), the statue is hollow, a chrome coating was a natural choice. He also shared his delight at the effect the statue had upon its unveiling in late March. When questioned about Warhol’s influence on his work, Pruitt asserted the ubiquitousness of the artist’s reach, noting the difficulty of parsing things as “Andy” or “Mine,” especially in this day and age of unoriginality-as-the-original-art-impulse. Pruitt also shared a wonderful personal story that, even now, a month on, continues to inspire delight and awe.

When Pruitt first moved to New York as an aspiring artist in the 1980s, he had a dream of working at The Factory. He rang the buzzer of the famed building, introduced himself as only a confident young man can, and, amazingly, was allowed in. He met Warhol, who explained his duties as an unpaid intern between questions about Pruitt’s background as an ice cream scooper at Baskin Robbins (apparently the artist thought Pruitt could get them tons of free ice cream) and fielding dozens of inquiries from his Factory worker-bees. Pruitt recalled the experience with saucer-eyes, before confessing that he didn’t take the internship: “I had to make money.” He took a job in the glove department of Macy’s, something that, according to Koestenbaum, “Andy would’ve respected more.”

There’s something curiously inspiring about this story. It got me thinking about the value we place on our activities, especially in the age of digital, where (especially as writers and artists) there is an expectation of “free” -a culture that has become a kind of monstrously growing pudding, one that keeps being fed by people who should know better. Whither worth? Everyone has to make a living -and has a right to. It can be, as Warhol serves to remind us, mundane, fantastical, or a mix of both (proudly), but we live in a culture where money is a vital form of energetic exchange. Those 15 minutes aren’t enough -you should either make money from it, or pay for it. Right? Wrong? It’s worth pondering, especially in an age where we choose to take and give things -talents, time, energy -without a thought. I wonder what Warhol would say.

Change. Choice. Art. Energy. They all seem linked, more than ever.

The Power And The Glitter

By Catherine Kustanczy

On May 7, 2011

In art, artwork, writing

There’s something deeply moving about seeing Gustav Klimt’s work in-person.

I missed that opportunity in Vienna years ago, but, thanks to the Neue Galerie here in New York, I got it lastnight. Shown as part of their current exhibition Vienna 1900: Style and Identity, the work, tastefully incorporating design, art, and various writings, is on view at the museum through June 27th.

After checking bags and jacket, I walked up the narrow, winding staircase (reminding me so much of the narrow passageway I climbed in Vienna, to see one of the flats Beethoven lived in) and, on the second floor, caught the unmistakable sight of Klimt’s signature golden swirls. I entered one gallery and immediately had to check myself. The portrait of Adele Bloch-Bauer (I) stood before me in all its glinting, glistening glory. I almost cried.

Klimt is, for me, one of those painters with such a singular vision and style, any amount of copying or imitation just comes off as hokey and dumb. The closest I ever saw was the costuming for Bram Stoker’s Dracula; Oscar-winner Eiko Ishioka really captured the rich, feminine, sumptuous beauty of Klimt while keeping an eye on his penchant for strong contrasts and soft shapes against strong ones. There’s a nod to outfits in the exhibit too, with dresses shown beside or near paintings -a nice nod to the role of fashion in culture. I was especially thrilled by the billowing white dress with cascading layers and complex, thick-thick textures; it reminded me so much of Ishioka’s design for Lucy’s wedding gown/shroud, that I half-expected Sadie Frost to come creeping around a corner of the wood-and-dark-rugged Galerie.

Seeing his work up-close and in-person for the first time, after having loved it for over 20 years, was a much more emotional experience than I anticipated -and the work itself flew off the canvas (or sheet) with a kind of casual ease I wasn’t expecting. Outside of a few early works that are featured, it all looks…like bleeding, breathing, blinking. Each work, whether painted in rich oil colors or drawn with pencil, looks like a vein that’s been opened. Something divine -and very powerful -pours out on those surfaces. And more often than not, it sees like it was women who inspires the most rolling, flowing, richly memorable moments.

Women play such a central role in Klimt’s work; powerful, beautiful, potent, and occasionally terrifying, they are, for me, the sun around which Klimt’s artistic output revolved. This sense of female power -and of the power of their sexuality, and his worship of the two combined -was intoxicating to behold. I was especially pleased to see a selection of his erotic drawings on display. As people shuffled by awkwardly, I stopped, and gazed. Klimt was capturing women in their most intimate moments, but there was nothing dirty or lascivious in his depiction. The mix of private and personal -and performance – is intoxicating. Hand-wringing about the line between high art and porn aside, it isn’t the guy drawing who has the power here -it’s the women with the sighing smiles. Patricia Boccadoro, writing at Culture Kiosk, correctly notes that

when one stands in front of these frankly very erotic drawings of young girls carried away by their own desire, eyes closed, lying on their backs with their legs wide apart and masturbating, they seem natural and are not at all embarrassing. …They are beautiful in their abandon, lascivious, but fragile and vulnerable, and one senses that the artist was touched by what he saw. There is nothing perverse or humiliating…

He was touched, but I sense, also turned on. And maybe, as The Economist wisely observed, that once Klimt was “(s)tripped of his wet palette and gold, it is the artist who appears naked in the images, offering a startling insight into (his) own private world.” The raw, honest vulnerability of eroticism has a power all its own, one we’ve yet to fully embrace more than a century later.

I thought about Klimt, and art, and powerful women a lot lastnight, as I walked by dozens of posters advertising Lady Gaga’s show on HBO and hundreds of push-up-bra’d-and-super-high-heeled young women, as I carefully weighed fattening dinner options and went out in a low-cut, slinky black dress, and as I pulled a sweater on and put on my flat shoes before getting on the subway. What constitutes female power? Is it bling? Boobs? Boys? On a larger level, is it okay to be perceived as purely a sexual being? Where’s the person beneath the parts? Does anyone care? Also, I keep wondering about the role of trust between an artist and muse -or, for that matter, being a man and woman. I’m not sure I’d ever be comfortable with any artist sketching me in so vulnerable a state but… that’s the power of these drawings: they betray an extraordinary level of trust that translates into a new, empowering form of male/female relating.

Seeing Klimt’s work up close gave me a whole new awareness of not only the shifting ground of artistry and the beauty of orchestrating its creation, but of the power I, as a woman, hold, and how easily, quickly, and thoughtlessly I give it away in little tidy parcels every day. I aspire to be Adele. I aspire to be as free as the women in those drawings. I want to vanish into Klimt’s beautiful, glittering world. Alas, I’m stuck with a sweater over a dress, navigating a maze of colorless subways in dirty, crazy, loud New York. At least the Neue is close by.

Leaves

By Catherine Kustanczy

On October 18, 2008

In art, artwork, interviews, writing

Leaves, originally uploaded by catekustanczi.

Years ago, I decided to explore the one art I hadn’t yet tried: drawing.

After drama, music, dance and photography, learning the basics of good drawing is a logical step, after all. I tend to be one of those people who strongly believes in a balanced diet of exposure to all things; art is, for me, a big, madly delicious buffet of experiences and expressions. A little bit of this, a scoop of that… Jill of all trades, master of none, but happy. Once you find the right dish, you never run out of ways to improve it, or want to stop experimenting with the ways in which it matches up with other tastes.

I’m more conscious of my visual side lately, noting the beauty of theatrical design in various productions I’ve attended; the costumes, lighting, props, and set all started out as ideas first done in drawing. My own initial work with pencil, charcoal, conte, and watercolour years ago lead to one of my great passions: oil painting. I painted with mad passion for years, and found much solace and calm through my work with brushes, palette, and a bare canvas. At times it was my greatest comfort, at others an utter torment -but it was always there.

Alas, life being cyclical, I’ve moved away from painting and back to my earlier love of photography. Looking through recent shots, I was struck by their painterly qualities. Amazing, how some arts naturally integrate themselves within artistic expression and form. Does this mean I’ll be doing any free-form features in my arts writing? Doubtful. But it does mean I might trust in my subconscious instincts a bit more, without trying to fit into a mold of how I think I “ought” to sound. Writing is, for me, a careful balance of research, reason, observation, and experience; that doesn’t, however, mean it should lack passion or personality.

In that vein, the next Play Anon interview will hopefully be published this week. I recently met with a painter who thinks the Canada Council should be abolished; before you get your shoulders up, take a deep breath. He dislikes government -period. It was one of the most enlightening conversations about art that I’ve ever had. I hope you’ll enjoy it. Stay tuned.

Now get outside and enjoy the splendor of autumn. Take your camera, your pencil, your paintbrush.