Tuesday, November 30, 2010

on Thanksgiving

After divorce, the holidays become a long series of elaborate negotiations about who will do what to whom and when. It is never a pretty process, and one that I have come to dread, even fear - that the fragile bonds of a fractured family will finally break.

So it was with great pleasure that I spent Thanksgiving this year with my oldest son, his wife and 3 daughters, up on the western side of Mt. Mansfield with ex-in-laws at their cabin in the woods. And we all had a marvelous time. Everyone contributed something, and we hiked up to the family's grave site, and said a prayer over my ex-parents-in-law.

The prayer started with a quotation from Eric Hoffer which had been sent to me on some site or other: "The hardest arithmetic we are asked to master is that which allows us to count our blessings." So we all counted, each in our own way.

One of us had lost an election that month; one was about to lose his mother-in-law; one had lost her father last summer; another of us had lost another election; I had lost a husband and friend to divorce. But each of us could feel up there on that mountain, that we had each other - regardless of blood line, marriage, divorce or whatever. They had been my family for nearly 40 years, and that was not to be lost.

So I counted my blessings, and they were all in front of me - the 5 in my immediate family, plus all 6 of my ex-in-laws. It is not an exclusive group, but it made for a very special time. I feel very grateful for that day and those people.

Wednesday, November 17, 2010

MassMOCA and the architecture of installations

I have loved museums since I was a child. I'd say it was mostly due to my mother who liked them, too, and would take me to them whenever we were in the vicinity of one. I like all kinds, but now, I particularly like visiting new ones, or new additions to old ones.

Last weekend, I went with a friend out to North Adams, Massachusetts, where the Massachusetts Museum of Contemporary Art is renovating a set of old, brick manufacturing buildings as a setting for art installations. MassMOCA has been up and running for a few years, but money is not plentiful in North Adams, so only a part of the plan has been developed. But what has been developed is pretty interesting.
The buildings themselves are brick shells supported by massive wood posts and beams. The building housing the major art installations has been opened up with some nice engineering so that the spaces are quite large for a non-metropolitan structure. And the exhibits fill the spaces well.

A current special exhibit by Petra Coyne has a whole tree and stuffed birds flying around in one room, but lacks much visual challenge, though a pleasure to look at - more like elaborate stagecraft for an elegant party. The real pleasure comes from the more permanent installations on the second level of the building.

The first installation comes into view as you climb the stair. Fishline - of considerable weight I'd guess - is strung from one end of the very long room to the other, in the expanding shape of an upside-down horseshoe. A spotlight shining through the fishline to the opposite wall, creates an unexpected and visually confusing series of shadows. There is a quite real light created by the reflected light of the fishline, and then there are moving shadows on the wall. The effect is to confuse our sense of reality and space. You reach out to touch the fishline but it is a shadow; when you get inside the horsehoe shape made by the line, the reflected light changes shape as you move. It is a challenge to constructed reality as we normally perceive it. Such an installation is only be possible in this size room, and is effective precisely because of its size and the ability of the viewer to get into the shape and wander through it.

Another of the large installations begins as you wander into the next room. A red wall made of hemp rope tied in a kind of fishnet knot, hangs to one side and is bordered by two white walls. It is nice to look at, with good color and texture, but makes you question its intent. However, as you step past the far white wall, you realize that the red rope continues - smashingly - into the next room and falls out in spiralling piles onto the floor, filling the room with its curly legs. It has become a huge, red, fishnetted squid, bursting through the wall into the other room, with long tentacles spreading out in the far room. It has become a metaphor for the fearful power of sea creatures, but with some humor and challenge.

Beside the giant red squid, is a series of crunched, white, paper constructions, which in the context of the squid looks and feels like a kelp forest. There is little else to define its intent until you climb the set of stairs to the third floor. There the white paper crunches are transformed into tree trunks, twisting one way and another. MassMOCA has created an aquarium with a state park on the floor above. Only in such large, industrial spaces could such an effect be possible, and actually succeed. It was a wonderful installation.

In contrast to this uniquely effective use of space, in a smallish rectangular gallery on the first floor, was an exhibit of "Dr. Spock's" photography. In reality, Dr. Spock is Leonard Nimoy, who though living now in LA, comes from the North Adams area and is a gifted photographer.
His installation of photos of individuals' Other Selves, is a powerful and often humorous exhibit. It left the two of us smiling and thinking hard about just who our alternate selves might be.

The two uses of space - the gallery with Spock's photos, and the installations' space, - are opposing ideas of museum architecture. In the gallery space, the rectangle is used as an envelope for a flat, two dimensioned exhibit. People provide the third dimension. In the installation spaces, the architecture provides a volume inside which a 3-D art form is created. People become a part of the art, and move through and around it. Both kinds of spaces are useful, and it is a tribute to MassMOCA that it has allowed for the development of both kinds of art within its architecture.
It will be interesting to see just how Norman Foster's new wing of Boston's Museum of Fine Art allows for both 2-D and 3-D exhibitions!

Friday, November 5, 2010

Freedom?


There's a lot of talk these days about government restricting our freedoms. Against a backdrop of people without jobs, it's hard to see that government is the problem. But here's a solution.
The military is still looking for a few good people, and it has no unemployment problem. AND THE PENTAGON HAS NEVER BEEN AUDITED - EVER, so it can spend whatever it wants and know that Congress will approve.
So perhaps we should simply expand the military to include all of us. We could then:
1. all have good health care and a pension after 20 years of service;
2. rebuild our aging infrastructure with new roads, bridges, even trains and power lines;
3. keep our young people in line; and
4. continue to arm the world with our own weaponry, thus justifying the continued militarization of the country.
I am only joking a little bit. One of the most discouraging things about this year's election process, was the total lack of discussion about real issues facing all parts of the country. Of course, unemployment and foreclosure are a problem, but they are the direct results of overbuilding and the globalization of manufacturing. Rebalancing globalization with enlightened self-interest makes way more sense than dumping tea into the harbor.
And of course, that makes taxes all the more problematic. If you don't have a job, and can't afford your mortgage, it's tough to figure out how to pay your taxes, too. So the Tea Party had a field day. But so far, they've haven't even begun to deal with real issues. Continued demagogery will simply keep us on the path I've described above - the militarization of the country. But I will know that the Tea Party is serious when they start throwing beer in the harbor, instead of using the antique analogy of Tea, which no one in the Party has probably ever drunk.
In the meantime, when I want to feel free, I go sailing.