14 October 2017

I applaud the sentiments of Michael Moore’s statement on Weinstein, as Godard touches on Howard Hughes’ antics in Histoire(s) du cinéma, among the precursors to and templates of Harvey’s fetishistic hotel suite A-List assembly line.  Not privy to what is going on with Moore’s Trump documentary which The Weinstein Company has rights to and the topics broached therein, Piri’ Miri Muli’ can nonetheless assume Michael was in a tough spot, adding to the fact that he’s performing solo on Broadway in the evenings. Weinstein had Moore’s Fahrenheit 911 on the Disney budget, and then got it out despite Disney trying to bury it.  Moore’s Trump documentary is going to get out somehow, and right-wing websites were trying to smear Moore by association. I have no idea what Harvey’s thoughts of Moore’s Fahrenheit 911 were during production, but taking a project that no studio would touch made Harvey a lot of money, and he no doubt relished having the final cut.  Seeing it on the first day in a packed suburban theater has not, so far, been forgettable for me, and the money it made was a boon to documentaries of different stripes.  Moore notes that he was the only director to sue Harvey after getting stiffed on the film, but they were able to do business again. Harvey donated to Liz Warren once, but was a big Hillary supporter, and Bernie and other progressives were nowhere in his funding radar.

My favorite films of 2000-2010 had relatively few US titles, but during the early-to-mid 90s a lot of talent was making use of Harvey’s Miramax and a lot of that was excellent.  The old intro, which I liked for some reason, triggers the memory of being in a cinema and thinking you were going to see something novel:



The films, though, were often male adolescent narratives that related self-referentially to the code of the latent or foregrounded fetish eroticism of Hollywood films. The Weinstein Company films I’ve actually watched were 2014's Citizenfour, Laura Poitras’ documentation of the Snowden leak, 2013's Art of the Steal, a necessary intervention in the Philly art scene, one Woody, and Moore’s 2007 Sicko, which had an under-credited effect on American healthcare policy. Miramax’s last good year was 2008, three years after Harvey left, with Reprise and Happy-Go-Lucky making my list but the Disney division saw a quick quantitative and qualitative drop-off of titles after that. Mind you, I am sitting down to new films but mostly foreign and a few other US indies and sometimes sporadically enough to bring forth the tragedy of missing the Criterion restoration of Tarkovsky's Stalker in the theater, but I hopefully will see it projected someday and it looks great on dvd. The timing of actresses finally turning on Harvey may be vaguely related, as a few reporters have suggested, to where Harvey is in his career and the quality of his recent output... a Tom Stoppard script turned out to be a bubble in the last straw.  I'd like to see the actresses use their platform to focus on NBCUniversal burying the story, but NBCU is still in a position to retaliate.

Ronan Farrow’s revenge against Woody and Harvey is real-life drama.  Hollywood consists of monsters and formulas.  von Stroheim’s best films and megalomania methinks tops Woody’s and I don’t know whether Eric would fare better or worse in today’s world.  Harvey appreciated the French New Wave, which was in many ways inspired by Agnes Varda’s La Pointe Courte and the lectures of Henri Langlois, who said that the quality of audiences are formed incrementally by the quality of the films they’re watching.  During the 90s some good indies, many by Harvey, would do well in the box office but after 9-11 the studio junk took over, and box office data strongly suggests the American audience similarly declined. 

It’s possible that the outcome of this drama will be that the studios and the formula will choke what’s left of independent film.  This is where my own prescription would differ slightly from Moore’s.  We will no doubt see the media conglomerates trumpeting diversity and gender balance, but the potential of a new wave of female auteurs can only be realized through a de-monopolization of the distribution companies’ control of the theaters, television, and home marketing.

07 October 2017

Carlos Raquel Rivera, Puerto Rican, Huracan del Norte, 1955

02 October 2017



..if hope were little
and poorly drawn and if the word
were not an act, those these lines
would not be a poem.

-Joan Brossa






Sardana (Circle of Feet), 1972
"It would be easy and .. unjust to all of a sudden blame the ignorance of our past on those who, born after the civil war, might have never had the possibility to know exactly our special characteristics.. Catalonia, in the words of Nicolau d' Olwer, 'has the good fortune of being at once liberal and traditionalist, because its true tradition is freedom'.. An awareness of our spirit and the fight to preserve it and set it as a guide for humanity seems to us a proper and universal mission for an artist, and a fully progressive cause.. The best artists and writers of the world - a list would be interminable - have understood and loved the Catalans and have always stood in solidarity with them." (Antoni Tàpies, 1971)

The Catalan Spirit, 1971

01 October 2017

30 September 2017

After visiting the Whitney yesterday I changed three sentences from the Oiticica post, transcribing the exact quote from the Tropicalia card:

“The Whitney’s curatorial description card for Tropicália says “Tropicalia represented a political and aesthetic position against both the social conservatism of the right and the left desire for a 'purely Brazilian' art free of postcolonial oppression," neglecting to say that the movement occurred during a US-backed military coup that caused many of its practitioners to leave the country.  Are they attempting to say Oiticica and Caetano Veloso were okay with all or some 'postcolonial oppression?' a statement that would be factually inaccurate as it is absurd.”

..and..

“Their "protest" show is a characteristically all-American affair with no references to current wars”

I seriously don’t want to ever go to that museum again.  I would like to see it turned into a chicken farm so as not to disturb the meatpacking district further.  People can pay a nominal admission to visit the chickens and lounge on the balcony eating rotisserie, and the chicken farmers will have to treat the chickens well for the gawkers. They can also have a floor for tofu production.  I thought of pigs but there are no doubt many Jewish and Muslim donors that ponied up for the building.  Then when people talk about how great Shanghai etc are, New Yorkers can say they have a chicken farm designed by Renzo Piano.

28 September 2017

What's up for three more days and an hour or so, v. XIV




Piri’ Miri Muli’ readers may know I haven’t been a fan of the Whitney, but they have this Hélio Oiticica retrospective that seems to be mostly put together by the Carnegie in Pittsburgh.  Someone’s giving me passes so the question of whether the scant gallery space found in such a large building is worth the $25 doesn’t arise, but now’s the time to go if you hadn’t seen the Hélio show in Chicago or Pittsburgh. In fact, until this show I hadn’t even been to the new Renzo Piano construction, replete as it is with balconies that afford tourists and urbanites the ability to look down on the tourists and urbanites on the High Line soon to be looking down on art/lifestyle inspired gentrification projects carving up the Meatpacking Districts.

Their "protest" show is a characteristically all-American affair with no references to current wars. On the top floor you have a circle of Calders dominated by a wine bar in which crowds of people stand around waiting for a staff member in a laboratory cloak to show up and tap a half dozen kinetic works.  Like most American art museums, the selections from the permanent collection are strongest in outsider art; the insider art appears to have been chosen by the editors of Art in America. The all-American works are joined by a George Grosz print created when he was in Germany, decrying nationalism, thus projecting the museum’s nationalism on the viewer so scolded, like when US presidents sanctimoniously bully pulpit against their own policies.


But there is this Hélio show!  I strongly recommend arriving as the museum opens, going straight up to the Hélio floor, turning right and going to the shoe removal area, then looking to the right hand side of the Eden installation for a rack of Parangolés (cape like attire made for Carnival) to wear while walking around Eden and Tropicália, installations evoking “the Dionysian space" of the Morro de Mangueira, as both are much more enjoyable with the Parangolés on.  This rack is not to be confused with the room of Parangolés with a mirror straight ahead from the entrance in which you are not to leave the room with one on, which I found out when I tried to wear a cape while lying on a hammock on Cosmococa Hendrix room (“CC5 Hendrix-War, 1973”).


The Whitney’s curatorial description card for Tropicália says “Tropicalia represented a political and aesthetic position against both the social conservatism of the right and the left desire for a 'purely Brazilian' art free of postcolonial oppression," neglecting to say that the movement occurred during a US-backed military coup that caused many of its practitioners to leave the country.  Are they attempting to say Oiticica and Caetano Veloso were okay with all or some 'postcolonial oppression?' a statement that would be factually inaccurate as it is absurd.  The American museums’ current embrace of Brazilian art and music comes during the presidency of Michel Temer, currently enjoying an approval rating of less than 3% and known by leaked documents to have been a CIA informant, who has himself stated that his predecessor’s, Dilma Rousseff’s, impeachment by corrupt senators despite the fact that the Senate’s own investigatory board found the president not guilty, as told to The Americas Society in September 2016, was a “process (that) was established which culminated with me being installed as president of the republic” because of her resistance to “widespread cuts to social programs and privatization,” and this past April confirmed Rousseff’s account that her impeachment was opened by a legislator, Eduardo Cunha, in retaliation for an investigation into his bribery by the state oil company.  During this last month of Helio’s three-venue US tour the CIA’s president was indicted for heading Cunha’s racketeering operation.

A friend of Veloso convinced him to use the name of Oiticica’s installation for his song, which starts with the spoken word rendition of the Carta de Pero Vaz Caminha “When Pero Vas Caminha discovered that the Brazilian land was fertile and lush, he wrote a letter to the king saying that all that is planted grows and flourishes. And the Gauss of that time recorded it.” Augusto de Campos called it "our first Pau Brasil song"



Veloso said “all of that Tropicália thing was formulated inside me the day I saw Terra em transe,” Glauber Rocha’s film in which Paulo the Romantic poet and Sara the leftist revolutionary go to work for Felipe Vieira, who after being elected governor breaks his promises and is overthrown by a right-wing coup; the film was released three years after Brazil's military coup ousted liberal president Joao Goulart.



Robert Stamm wrote in 1974Terra em transe points the way to a possible political cinema which avoids the twin dead ends of a condescending populism on the one hand and an aridly theoretical reflexivity on the other.” No surer evidence of this can be found than in how the New York Times’ Roger Greenspun went to great pains to bury the film in 1970: “To a degree, the failure of "Earth Entranced" results from its unwillingness to accept the fictional logic of its melodramatic plot. But to a greater degree, that failure rests in every scene, in the development of every idea, in every decision about placing and moving the camera and composing each individual shot. Where you can sense the movie going wrong most significantly is not so much in the gratuitous complexity of the larger moments.. as in the rhetorical emptiness of the smaller moments.”

CC5 Hendrix-War here joins CC1 Trashiscapes, featuring pictures of Buñuel as well as his friend Luiz Fernando Guimarães (right) in a Parangolés which the Hirshhorn re-enacted five years ago, as the two Cosmococa rooms from the five he created during his New York years, which were all shown together twelve years ago in Rio.  A visit confirms that two are much, much better than zero, but the other three are CC2 Onobject with Mondrian-colored foam forms dedicated to Yoko Ono, CC3 Maileryn, a room full of balloons dedicated to Ms. Monroe featuring Heidegger’s What is a Thing?, and CC4, a swimming pool dedicated to John Cage’s Notations.  The ‘Block’ in the series title Block-Experiments in Cosmococa- program in progress is a stated reference to Haroldo de Campos’ book of poems Galáxias (“BLOCOS: they relinquish the defined sequence.. they even benefit from the random sequence and their shifts”), also stated is the reference to Decio Pignatari’s beba coca cola (below). “I don’t care about the the integration of the arts, I simply don’t see where there’s a difference between them.”



Even if you miss this Hélio wrote “The main point in considering an EXPERIMENTAL activity is in not limiting such an activity to its originators but of creating multiple let-outs for collective and individual participation as an experimental exercise in liberty.”  Helio financed his stay in NY those days by dealing cocaine, and his inclusion of the powder (much cheaper then) can be seen as a reference to South American kitsch akin to the parrot in Tropicália, as Quechua music included in the soundtrack evokes the sacred use of the plant, and to an object entered into consciousness on top of sight, sound, and the touch of the hammocks and nail files.. the sound of the swimming pool which he considered Cagean.  Two years before the project, he wrote to a friend from New York ‘i don’t know what is going on here, but there is such a bourgeois art scene, conformism and reactionarism going on, unbelievable’ and upon returning to Brazil he managed to quit the blow.




As the autumn months are upon us, I shall return to this space soon to note this, that, this, that, this, that, this, that, this, that, this, that, and the other things.

Durgotsava

Blessings this Durga Puja







04 September 2017

Just as matter cannot be added to or subtracted from the universe, or energy destroyed, so with something real, that is, real in the sense you understand it and understand it. When will you realize that your dreams have eternal life? I of course don’t mean that you are a moonstruck dreamer, but that they do exist, outside of you, without your having to do anything about it. Even if you do something it won’t matter. And it is possible that you will always remain unaware of their existence; this wont matter either, to them, that is. But you must try to seize the truth of this: whatever was, is, and must be. The darkness that surrounds you now does not exist, because it never had any independent existence: you created it out of the spleen and torment you felt. It looks real enough to hide you from the light of the sun, but its reality is as specious as that and a mirage. The clouds are dispersing. And nothing comes to take their place, to interpose itself between you and the reality which you dreamed and is therefore real. This new arrangement is already guiding your steps and indicating the direction you should take without your realizing it, for it is invisible now; it still seems that it is lost for there is of course no tangible evidence of it: that happens only once, it is true. But now to have absorbed the lesson, to have recovered from the shock of not being able to remember it, to again be setting out from the beginning - is this not something good to you? You no longer have to remember the principles, they seem to come to you like fragments of a buried language you once knew. You are like the prince in the fairy tale before whom the impenetrable forest opened and then the gates of the castle, without his knowing why. The one thing you want is to pause so as to puzzle this all out, but that is impossible; you are moving much too quickly for your momentum to be halted. How will it all turn out? What will the end be? But these are questions of the ignorant novice which you have forgotten about already. You think now only in terms of the speed with which you advance, and which you drink in like oxygen; it has become the element in which you live and which is you. Nothing else matters.

  
(John Ashbery, from The System, 1972)

17 August 2017

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24 June 2017

I don't like to have too many videos embedded to slow the download, but it's Terry Riley's birthday..



..also the news of Mills College's decision to deal with their administration's fiscal mismanagement by reportedly canceling the remaining two years on Roscoe Mitchell's tenure contract forces yet another upload in this space..



Mills Music Center Chair Chris Brown posted this month: "effective this July. I am requesting that letters of protest for this action, and support for Roscoe in his position at Mills be sent to the following administrators as soon as possible":
Beth Hillman, President of Mills College email: ebeth@mills.edu
Chinyere Oparah, Dean of Faculty email: jcoparah@mills.edu
Katie Sanborn, Chair of the Board of Trustees email: ksanborn@mills.edu

What's up for one more day..

Georgina Keenan at Issyra Gallery, 300 Observer Highway, Hoboken, is entering its last day (Sunday, gallery opens around 3pm; (917) 922-2690) but rumor has it there will be a similar show there in October. I saw it rather late in the run and have been busy, but wish I had posted earlier as she not only my sister, but quite a wonderful, emotionally supportive sister, so I am quite biased. There is a picture of me at the age of two and two thirds beaming in joy when she was brought back from the hospital and my position remains unchanged.

Her take on the Tantric mandala is to make mandalas and rose windows out of Playboy centerfolds that have succumbed to her hole puncher.  Also on display are at least two of her embroidered gloves, mixed in with the work of Senagalese painter/ gallerist Issa Sow.  I saw the show after zigzagging Chelsea and witnessed the opposite of a drop-off, most impressed by both artists. 

Her husband the bassist Dan Cuddy’s songwriting saw an uptick of notoriety two years ago when Yo La Tengo included “the gliding, roomy cover of the obscure “Automatic Doom” (by their psychedelic Hoboken friends the Special Pillow)" (Spin) on their Stuff Like That There cover album to go with compositions by Hank Williams, Sun Ra and The Lovin’ Spoonful.  There was a wonderful performance on the CBS site from a broadcast on This Morning, recorded and filmed by people who do that sort of thing for a living, but I can’t find it now and am left with someone who turned on their phone at Loew's Jersey Theater..



Also I found at least two DIY internet covers, of which this one is noteworthy..



Is there an automatic doom that's waiting for you?
Can there already be a bullet with your name emblazoned boldly?
As you lead your life with anxious and repetitive behavior
Automatic doom

Is there a magic floating chalice waiting for you?
And would you be depressed if you determined that your quest is over
And you lead your life with anxious and repetitive behavior
Automatic doom

Is there a crystal cosmic sparrow floating away?
Is there a neo-pterodactyl coming to prey?
Are you prepared to see the bad things that you say emblazoned boldly
In gold letters on your tomb?

12 June 2017

Lorca's birthday was last week, and..

..I had found a live clip of Morente’s 'Campanas por el poeta' with the Bulgarian Voices, then it was taken down, since then someone uploaded it anew



along with 'Cantar del Alma' which occurs earlier in the Lorca album, so you may want to listen to it first if you have time for both.


08 June 2017

02 June 2017

Xenakis' birthday was Monday





I have stopped taking an iPod around as I am trying to preserve my ear drums. One area of concern was my affection for La Légende d'Eer, which I especially enjoyed in public places.  


The five quotations included by Xenakis in the original program:

Each group would spend seven days in open country, and on the eighth, they had to break camp and head out for four days to finally reach a place where one discovers, stretching all across the sky and over the earth, a beam of light straight as a pillar, akin to a rainbow, but much more radiant and pure. – Plato, The Republic

note: The first quote is the source of the title Xenakis chose for the musical component of the Diatope.  It concerns a soldier named Er who returns from the dead and describes what he saw on the other side.  The vision culminates with Er’s sighting of the "Spindle of Necessity,” a great shaft encircled with eight rings representing the eight celestial spheres known to ancient astronomy.  On each ring is perched a siren singing a tone corresponding to the circumference of its orbit and together forming a cosmic harmony.  Seated on thrones amidst the sirens are the three Fates, or “daughters of necessity,” who accompany with their voices the harmony of the sirens: Lachesis, singing of the past, Clotho of the present, and Atropos of the future.

From there emerged a crying out, indistinct, one I likened to a voice of fire,  just as there emerged from the light…a holy Word blanketing all of Nature, and the purest of fire was thrust out of the humid natural world toward the sublime area above. – Hermes Trismegistus, Pymander

For indeed, what is man within nature?  A void in the face of infinity, a whole before the void, a center between nothingness and wholeness…unable to perceive the void from whence he came, nor the infinity in which he is submerged. – Blaise Pascal, Pensées

Christ went on: “I traversed the worlds, I ascended into the suns, and soared with the Milky Ways through the wastes of heaven; but there is no God. I descended to the last reaches of the shadows of Being, and I looked into the chasm and cried: ‘Father, where art thou?’ But I heard only the eternal storm ruled by none, and the shimmering rainbow of essence stood without sun to create it, trickling above the abyss. – Jean-Paul Richter, Siebenkäs

In the first stages of the explosion, the general distribution of the star’s energy closely matches the distribution known for theoretical black holes at a temperature of 12,000 degrees Kelvin.  In the case of SN 1970g the radius was measured at 3x1014 centimeters, in other words, as large as the orbit of Uranus.  Once the supernova’s radius is known, it is possible to determine its absolute luminosity.  For SN 1970g, this was calculated at 1042 ergs per second, or one trillion times that of the sun…  During the 30 days following the explosion, the radius of the surface from which the light was emitted increases at a near-constant speed of 5,000 kilometers per second.  At the end of this period, the star’s photosphere, in other words, its visible surface, reaches a radius of 2x1018 centimeters, a much larger radius than that of our solar system. – Robert P. Kirshner, Supernova

25 May 2017

Mickey Roker 1932-2017



I have fond memories of Mickey Roker and the house band, as the heyday of Ortlieb’s Jazzhaus suited some suburbanites for whether in the old city for an ‘art’ film unavailable on the Jersey side or not the location was more easily driven to from elsewhere in town, hard to get confused by ‘get on Third Street til you see it’ after which an employee guarded the cars in the parking lot before much gentrification in the area.  In those days I recall remarking to the proprietor of Serengeti in Pennsauken, NJ amid its demise ‘I’m not going to say South Jersey does not deserve a jazz club..’ at which time he interjected ‘I’ll say it!! South Jersey does not deserve a jazz club!!’  I was still drinking beer and there was hard bop coming from those who grew up in it.

14 May 2017

What's up

In one of her most powerful works, Regina José Galindo responds to the May, 2013 acquittal of Efraín Ríos Montt of whom “in his first six months in power, 2,600 Indians and peasants were massacred, while during his 17-month reign, more than 400 villages were brutally wiped off the map” (Blum) and as Allan Nairn reports “made systematic the massacres that were taking place in the countryside..  where, at that time, the majority of the Mayan population was concentrated” and whose conviction for an 80 year sentence ten days earlier was “pushed” by “the Mayan population.” As Goya’s “Bury Them And Keep Quiet"from Disasters of War represents “cadavers.. unclothed.. their classical presentation with accentuated foreshortening contrasts ideal beauty with the tragedy of death” so Galindo characteristically lends hers in a rural field in the Pays-de-la-Loire region of France until an excavator removes a square of earth around her, symbolically opening the mass graves and externalizing the alienating effect of injustice on her. 540 West 28th Street til May 27.


Beatriz Santiago Muñoz, Farmacopea, 2013. from suelta suelta on Vimeo.

Nancy Spero’s War Series at 528 w26th til June 17 was not shown together during the period she created them, the late 60s and early 70s, in NYC until a small gallery hung them in 1983. The works collected here involve war as a corporeal experience but emphasizes the mechanized attack on the body in Vietnam with drawings of bombs and helicopters, which she tried to depict from the perspective of the victims, likely influenced by Artaud’s premonition of drone warfare in To Have Done With the Judgment of God “..Huge armies of tanks, airplanes, battleships/ that served as their shield..” as the series preceded the Artaud paintings and Codex Artaud. Included is Female Bomb, allegorizing female encouragement of war, and a large scale installation of the Maypole which revisited the series during the Iraq War.  Also a month before Puerto Rico’s fifth plebiscite on its political status, Beatriz Santiago Muñoz presents two paintings by Elizam Escobar, jailed in the US for alleged bomb threats on behalf of independence with her videos (not the one above) including one of a woman’s Voudou dance casting a spell for the “total and absolute destruction of the machinery of war,” Taíno objects and an early Ana Mendieta film at the Museo del Barrio til May 15.

Kiefer, watercolor, 2013
21st St: If my post from three years ago “The the Île-de-France inspires a war with Van Gogh, whom Artaud called ‘bodily the battlefield of.. the problem of the predominance of flesh over spirit, or of body over flesh, or of spirit over both..’ with Monet near by. Provence gets you Van Gogh and Cezanne: Picasso holed himself up there to do battle with Manet and Velazquez; Kiefer ties the landscape in to controversial aspects of German history" assigned to Anselm Kiefer a relatively limited function, also in relation to the “painterly focus on nature (that) helped revitalize figurative painting" I noted earlier that year, he has traversed those limits in dramatic fashion with perhaps his best show ever, til July 14 at no. 522.  Eric Fischl’s evokes Trump-era “Late America” at 550 til June 24. At 521 til June 10 I presume Martin Boyce photographic series “Partial Eclipse” was an homage to the final sequence of L’Eclisse, as the Antonioni influence has been suggested before and both Boyce and Antonioni have cited the influence of de Chirico. Antonioni followed de Chirico in lending his own neurosis to the cityscape while Boyce’s images come off more strictly referential.

Untitled (Ritual)
Raymond Pettibon used the 19th St. Zwirner gallery as a studio to supply new works for the fourth floor of the New Museum show, and ‘got an extension’ from the original opening date for this show, which turned out to be one of his best as well, til June 24.  24th: Robert Longo at 519 til June 17, Gerhard Demetz at 524 til June 3, Ray Johnson at 523 til June 17.  Lygia Clark at 531 is all Concretist.  Also on 26th, two floors of Henry Moore with views from two decks on the 10th floor, 521 26th til June 30. At 526 W 26th, Suite 718 Walther takes up Chinese performance photos including Ai Weiwei dropping a Han Dynasty urn "praised as an ironic commentary on the nationwide destruction of China's cultural heritage during the country's economic boom" but as with Yves Klein throwing gold in the Seine and people selling their feces, I see this as braggadocio about one’s own prices, much as I respect the courage of his activism in China. The Ethiopain Elias Sime's recent works from electronic waste exported to Africa (til June 17 at 533 26th).  Magnan Metz at 521 has four Mendives in the back. Leonora Carrington steals both current Surrealism group shows: The Artist Traveling Incognito (1949) at 568 25th til June 17 and The Garden of Paracelsus (1957) and 1964's Untitled (Ritual) at 744 Madison Avenue, 3rd fl. til June 2.

Loos' plan for his grave
A reenactment of Paul McCarthy and Mike Kelley’s 1992 installation Heidi, Midlife Crisis Trauma Center and Negative Media-Engram Abreaction Zone, originally made for a group show in Vienna when McCarthy was 46 and Kelly 36, is up til June 30 at 76 Grand St., including the chalet, a large Austrian landscape by each artist, kitsch Austrian postcards, two installation tables, and the hour-long film featuring at one point a voice over of the architect Adolph Loos' writings “The modern man who tattoos himself is a criminal or a degenerate. There are prisons in which eighty per cent of the prisoners are tattooed. Tattooed men who are not behind bars are either latent criminals or degenerate aristocrats. If someone who is tattooed dies in freedom, then he does so a few years before he would have committed murder. The urge to decorate one's face and everything in reach is the origin of the graphic arts. It is the babbling of painting. All art is erotic... But the man of our own times who covers the walls with erotic images from an inner compulsion is a criminal or a degenerate... I thought I was giving the world a new source of pleasure with this; it did not thank me for it. People were sad and despondent. What oppressed them was the realization that no new ornament could be created” with the visuals of Loos’ design for his own cube-shaped grave being drawn onto the right buttock of a Heidi mannequin.

Satyajit Ray wrote "it was probably the partition that brought (Henri Cartier-Bresson) to India, but he soon found himself confronted by a second political event - the assassination of Mahatma Gandhi.." a floor of the Rubin is devoted to selections from Henri Cartier-Bresson's India pix til Sept 4 including the three famous shots of the Kurukshetra refugee camp are here (I, II, III) and the Punjabi refugees in transit.  Absent is the group shot at the table of  “Kashmir. Srinagar. July 1948. Sheik ABDULLAH, Prime minister of Kashmir since the Maharajah ceded the territory to India, puts improvement of the lot of the poor Kashmir natives above religious differences. Although he is a Moslem, he stands for friendship with Nehru's India. Here (in sheepskin hat) he talks to members of the UN Commission sent to investigate the position in Kashmir,” who officiated the marriage of Alys and Faiz Ahmed Faiz in 1941. They feel the need to qualify the deifying exuberance of Henri's note “While Sri Ramana Maharshi is dying in his last incarnation, and thus becoming a god, his favorite peacock (the gift of a rajah) strolls the ground of his last earthly home" and separate the shot from another of his mourners, (three related pix elsewhere) but you can't make everyone happy, and there are plenty of original prints of viewers' favorites here like the dawn prayer in Srinigar, the Jaipuri carpet maker "telling the children in a chant what colors to use,"  "Great care of all sarts of diseases," and the various 1966 classics from Ahmedabad (above right).  Y. G. Srimati sang bhajans by Gandhi's side as a teenager and her contemporary takes on Hindu tantric iconography are at the Met til June 18.  Jyoti Bhatt is also well known for photographs of rural Indian life, but it's his paintings and prints that highlight DAG Modern's selections from the Group 1890 (41 e57th 7th fl. til May 31), which didn't stay together long, including a late 1970s print that seems to be both a parody and encouragement of cultural pilgrimage to India:

Jyoti Bhatt, Beginning of the Journey, Etching, 1978

Last but not least, Acquavella has reunited all but one of the twenty-three Constellations of Miró (18 e 79th, til May 26, one owner backed out at the last minute) and seeing the originals in a group is essential by all meanings of the word, including that this is one of art history’s supreme attempts to represent essence, “the floodgates from which spurt, all one bound, love and liberty.” (Breton) Speculation on why Miró went to Fascist-controlled Mallorca in 1940 with ten gouaches for reference that he could have left with his dealer and a stack of paper mirrors the writer: the family man says he went for the family (so say the curators); the cynic (like Paul Hammond, in an exceptional essay introducing his translations), the Romantic, the nature lover, the mystic, the Catalan nationalist, the accusatory Marxist/ anarchist, etc. all recite their respective explanations.  As is often the case, I find Tàpies most persuasive: “Against a universe created and controlled by God, Miró offered us the continuous, changing, and infinite flux of nature. Against immutable laws, he offered us the spontaneous rhythm and ebb-and-flow of the waves of the living world. Against all that was closed and filled with taboos, he offered us clear open spaces. Against the monstrous pride of the powerful, he showed that we are all equal because we are all made of the same flames of stars.  To the dispossessed he showed that the whole richness of the universe was in them. For things to grow and get better he told us that love ought to impregnate all. What we had been sold as sin, perversions, and weakness of the flesh, he told us was often something beautiful, as great and powerful as the forces that rule the pull of constellations. He told us that we had to return to the search for purity and innocence of the first day; that we had to find again the unpolluted source if we were not to lose ourselves within a pretentious, spurious, and mendacious society; that life was struggle and above all renewal; that, under the axis of the Mediterranean sun, self-assured good sense had to be balanced with a healthy and irrational pagan exaltation...

“Joan Brossa.. said back then.. ‘Let’s step out of the corners! If this curtain falls again, nothing in art will receive any light and everything will darken at the high level of art, amid boulders.. NOW we sense Miró’s triumph. He has fully awoken to the highest reality..’”

Sunrise

Hammond notes the books he had in Mallorca were ‘Saint John of the Cross, Rimbaud, Hölderlin, Saint-Pol-Roux,’ and that he wrote in his notebooks he wanted ‘Apuleius, Shelley, Carroll, Engels, Jarry, Peret,’ and that “it appears that Miró arrived late at Constellations as his generic title for the series. It is something of a misnomer; or rather, another overarching image might have been used, something invoking water or effervescence perhaps.” This suggests Rimbaud‘s “Elle est retrouvée. Quoi ? - L'Eternité. C'est la mer allée/ Avec le soleil// Ame sentinelle,/ Murmurons l'aveu/ De la nuit si nulle/ Et du jour en feu.//Des humains suffrages,/ Des communs élans/ Là tu te dégages/  Et voles selon.” may have influenced the spirit of the content.  Hammond says there is no indication that Miró sketched the works first.

This would have been a much better show if André Breton’s poems were included, to replicate the historic presentation of both at Galerie Berggruen, Paris in 1959.  I tried to pretend that there was something to be said for the works to stand alone, but the second time I saw the show I was torturing myself trying to remember lines from the poems. Guston managed to get Clark Coolidge’s poems into the Morgan by putting them in the drawings (pdf), but in this case Breton’s poems were written 17 years after the paintings were finished.  I will limit myself to two of Hammond's translations:

Morning Star

It says to the shepherd: "Come closer. It is I who used to draw you as a child to those deep caves where the receding sea docks the eggs of storms that the wreck, with its myriad lowered eyelids, polishes. In the unique oblique light, as the hand is laid on the superb fossils lying by the road that seeks itself in the dynamited mountain, you burned to see spurt up the rib of a coffer of ancient handiwork that might contain (it's no problem to force it) all that is blinding in the world and that streams forth. I give it to you because it's you just as each day is so that your furrows warble and that, more flattered than all the rest, your companion might smile when finding you once more."


The Beautiful Bird Revealing the Unknown to a Pair of Lovers

The benches of the outer boulevards cave in with time under the embrace of lianas softly lit up with lovely eyes and lips. While to us they appear free and easy those ardent flowers continue to flutter around and melt into each other. They traduce in concrete terms the adage of the mythographers that gravitational attraction is a characteristic of space and carnal attraction the daughter of this characteristic but which altogether omits to mention that it is up to the daughter to dress the mother for the ball. One breath is all it takes to liberate those myriad egrets bearing achenes. Between their flying up and coming back down along the endless curve of desire all the signs encompassed by the celestial score are written down.

12 April 2017

10 April 2017

What's up for six more days..

Two excellent, politically charged shows ending this week in Chelsea, and one recently opened: Sue Williams at no. 555 w21st is the one of the three reacting to Trump’s inauguration but though she titled a 2016 canvas (not in the show) “Trump Not Funny,” the works here don’t directly reference him or cast him as a regrettable aberration from a peaceful norm but rather chronicle her emotional relation to the norm, with a large canvas bearing the inscription “All Roads Lead to Langley” (below, words at bottom)


and a five part series i. Revere, ii. 2 Horses, iii. Curtain, iv. Ronald Reagan & William Casey, v. ...Sat There Weeping, Weeping...

iv. Ronald Reagan & William Casey

Down 21st Albert Oehlen is using the large Gagosian space for an ATM with large, identical canvases (like Schnabel's recent show at Pace) but get up to 568 West 25th as also ending are four large paintings and other works by Shiva Ahmadi, who grew up in Iran around ‘kitsch’ Persian miniatures she hated but turned to the medium in American art school after the Iraq War invasion. Her works depict Middle Eastern hero worship but convey the playfulness of human life stained with blood.. monkeys symbolizing figures that beckon the political or religious leader with balloons that become bombs.  Also here is one of her first forays into animating the monkeys and balloons.

Shiva Ahmadi, The Mesh, 2016

Up til May 13 at 515 w27th is a series of three Max Ernst sculptures from 1967 he titled Big Brother: Teaching Staff for a School of Murderers which contains Big Brother, Séraphine Cherubin and Séraphin le Néophyte, like Ahmadi conveying a distressing social order.  Down at 300 Broome in a group show there's examples of different phases of Roy De Forest's "Nut Art" through this week..


Roy De Forest, Untitled, 1978

Two worthwhile shows in the Upper East Side are ending this week: (1) a collage group show at 64 e77th including two enjoyable Picassos from 1916-18, a copy of Ernst’s La femme 100 têtes, and a cleverly made Cindy Sherman film; (2) a recreation of Agnès Varda’s exhibition of photos before she made La Pointe Courte, as well as several videos of hers and assorted Vardanalia at 19 e66th, Near the Varda is early Mimmo Rotella at 130 e64th. I haven't seen Lygia Pape at Met Breuer yet but that's there.

The show of twelve Tàpies paintings at 980 Madison 3rd floor til April 22 is quite a good selection from mostly after Franco died and his works became more contemplative - I like all his periods but he entered a visionary phase from the late 1980s on.  Though I haven’t blogged about him much, Tàpies is my favorite post-WW2 painter.  Perhaps I will type more about these, but you get that I think you should see this.


Antoni Tàpies, Jo Parlo amb la Mà (I Speak to the Hand), 1999

Also Werner’s presentation of early Jorg Immendorff is a once in a lifetime insight into the development of one of the most influential post-war artists.  Here again I may type more, but this show demonstrates that in addition to his later works' influence on Neo Rauch, he gave his teacher Beuys the idea for chalkboard works.  Though the Beuys-formed German Student Party at the Kunstakademie Düsseldorf had already taken up changing admissions policies, Immendorf’s neo-Dada 'LIDL' action in December of 1968 in which he created a cardboard classroom encouraged Beuys while getting them in further hot water with the administration, after which Beuys allowed all rejected students into his class which led to his dismissal two years later, 4 e77th til May 13.

09 April 2017

20 March 2017


New York as Seen from Across the Body, 1913

As the Picabia show, which readers in these parts had herein been implored to see, is being taken down I’ll type some more with its glow still fresh. Amongst other things, it afforded the spectacle of Picabia quotations offered to the masses going up the Metro escalator at 53rd and 5th, a set of three or four including “I am a beautiful monster," “civilization created crime" and “live for your pleasure" rotated as Madison Avenue-style brainwashing sparing commuters a larger set that could include “Happiness is to command no one and not be commanded.”  “The world is steeped in sticky good taste and ignorance.” “There is no truth true to life” “Misery is illustrious like a triumphant god with circular gestures”  “Newspapers are daily leeches which you place in a crown around your head.” “‘Why do you write?’ Francis Picabia: I don’t know and I hope I never know.” “If you read Andre Gide aloud for ten minutes, your breath will stink.” “Art is a pharmaceutical product for imbeciles.” “War makes me want to laugh.” “I surpass amateurs, I am the super-amateur; professionals are shit-pumps.” “‘All the plants belong to me, that’s why I don’t like the country!’” “Don’t be fooled: artists are dry cleaners.”  “Life is today and today doesn’t exist.”  “Artists are the result of nature’s miserliness.”  “There is only one way to save yourself: sacrifice your reputation.” “Genius lies in ignoring others.” “Art is the worship of error.” “To fear the senses is to become a philosopher.” “Where art appears, life disappears.” “It’s better to suffer than be surrounded by scarecrows.” To Duchamp, Picabia was “a negator. With him it was always, ‘Yes, but..’ and ‘no, but..’ Whatever you said, he contradicted. It was his game. Perhaps he wasn’t aware of it.”


As with MoMA‘s wonderful presentation of Lygia Clark, the perplexed reviews tell you the artist has steered their vessel off the flat earth. I hadn’t read Financial Times’ Ariella Budick on Broodthaers, but as Clark, Broodthaers, and Picabia each added to art something it hadn’t seen before which has to this day been only partially excavated and tagged by others, her reviews have scored the trifecta of cluelessness towards anything that cannot be reduced to well-trodden art theory mantras.  “These products of Picabia’s nadir have re-emerged, not to be redeemed, but to suggest that their maker was something darker than a mere prankster or provocateur. At MoMA, he comes across as a spectacularly talented but insubstantial nihilist, an anti-artist propelled by the vacuum in his soul.”  As Picabia, the poet Max Jacob referred to as Tzara-thustra, and Bataille were the leading devotees of Nietzsche among Parisian modernists, she is parroting the lazy and inaccurate shorthand of “Nietzsche the nihilist” while anyone who actually reads Nietzsche ('Pour que vous aimiez quelque chose il faut que vous l’ayez vu et entendu depuis longtemps tas d’idiots') knows his entire oeuvre was involved in overcoming nihilism, saying art was a primary tool to do so, which drove Picabia to find belief in his own creations and discoveries rather than dogmatics, discoveries essential to both modernism and post-modernism with an impact only a handful in art can claim.

Burdick on his mid-40s works: “The mixture of turpitude and Aryan-friendly realism is troubling. It’s not clear whether he was cozying up to Vichy fascists or lampooning them, flattering through imitation or protesting with satire.”  Quoting Petras again contextualizes the source “The editors and columnists (of FT) have supported wars destroying the Libyan, Iraq, Syrian and Ukrainian economies..” in the case of the Ukraine, directly supporting neo-Nazis; in the case of Syria, supporting those who funded ISIS at a critical juncture.  Picabia: “I have no intention of talking politics, that’s something I absolutely loathe..”  Nietzsche's "Strict war discipline.. superiority of the leaders, unity and obedience among the led.. have nothing to do with culture” becomes Picabia's “A clan of nonentities .. cut off the heads of those who represent force and intelligence, who represent an aspiration of something better..” the "obedience among the led" illustrated in 1942‘s Adoration of the Calf (left). “Dear revolutionaries your ideas are as limited as a petit bourgeois from Besançon..”

Nietzsche respected Buddhism but eventually found it lacking the individual affirmation that could overcome nihilism.  Breton to Picabia in 1952: “Tell me, was not Dada perhaps, at its best, a flake of Zen wafted as far as ourselves?” Picabia’s “Andre Breton and I have never been on bad terms, the rumors going around are stupid made-up stories dictated by idiots” was by all accounts the case, but the way they agreed to disagree on aesthetic matters, in my view, reflected the latent rift between Picabia the Nietzschean and Breton the Hegelian, the source of which predates Nietzsche, commencing when his “educator” Schopenhauer loathed the popular Hegel ("the clumsy charlatan") so much he scheduled his Berlin lectures at the same time.  Hegel believed in the inevitability of the state though his has been, as Walter Kaufmann noted, exaggerated; Picabia joins Nietzsche in aversion to the herd.  Rousseau, admired by Breton, was dialectically superseded for Nietzsche by Goethe’s Faust.  The Freudian-influenced Breton wrote appreciatively in the Anthologie de l'humour noir “Nietzsche’s whole enterprise in fact tends to justify the superego by increasing and expanding the ego.. to restore to man all the power he had invested in the name of God. It might be that the ego dissolves at that temperature..”

In that 1952 letter Breton wrote Francis "I would like you to read (Daisetz T. Suzuki's Zen Doctrine of No-Mind), because if anyone has set himself the task proposed in this book, of transcending discrimination in all forms, it is certainly you." In Zen "no-mind" the innate non-discrimination of perceived entities stands apart from conditioned notions of dualism, closely resembling Breton’s “supreme point” noted in the Second Manifesto, which I’ve seen as an epigraph for a book about the Dalai Lama: “Everything leads us to a point in the spirit in which life and death, real and imaginary, past and future, communicable and incommunicable are no longer perceived as contradictions. It would be in vain to look for any other motivation in surrealist activity than the hope of determining this point.” My immediate impressions upon reading the Suzuki doctrine was that it bore an uncanny resemblance not just to this point but also to Breton’s “communicating vessels,” first formulated in his 1928 essay Surrealism and Painting which mentions Picabia amongst many others (over twenty years before the Suzuki translation became available in French), but since he wrote Communicating Vessels thereafter during what Michel Carrouges called in 1950 “the period when Marxism exercised its strongest hold on Breton” he could not reconcile the Eastern asceticism with Hegelian dialectical materialism, relating it rather to Picabia’s version of Dada unencumbered by materialism.  Deleuze: “The dialectic is the natural ideology of ressentiment and bad conscience. It is thought in the perspective of nihilism and from the standpoint of reactive forces.. powerless to create new ways of thinking and feeling"

Communicating Vessels was published in 1932, wherein Carrouges notes that in an elaboration of the supreme point “life for the sake of life and of Revolution” replaces past/ future and life/ death, saying elsewhere “..the supreme point can remain for the surrealists the place, at once real and ideal, where all antimonies are resolved, the meeting place of all the divine energies that Nietzsche dreamed of recuperating.” In 1937, after his formal break with Moscow, Breton wrote about the supreme point “these antimonies, cruelly felt, must be gotten rid of.. this suffering..” which sounds Buddhist.  In 1955 Ferdinand Alquié, picking over Carrouges’ interpretations, went to to great pains to downplay Breton’s concern for dialectical materialism, quoting Wolfgang Paalen in 1953 “(Hegel’s) philosophy permits the justification of all the totalitarian regimes,” but concedes “Breton could not but admire in Hegel the will to negate all transcendence or, which amounts to the same thing, to project all transcendence onto a horizontal plane” which itself sounds like Zen.

Breton’s selection for Nietzsche in the Anthologie de l'humour noir was a flight of non-discrimination, Friedrich’s letter to Jacob Burckhardt in 1889:

‘I have reserved myself a small student’s room.. I pay twenty-five francs, including service, buy my tea, and do all my shopping myself, suffer from torn shoes, and thank heaven every moment for the old world for which men have not been simple and quiet enough..

‘What is disagreeable and offends my modesty is that at bottom I am every name in history..

‘Tomorrow my son Umberto will come with the lovely Margharita, whom, however, I shall also receive here only in shirt-sleeves. The rest for Frau Cosima - Ariadne - from time to time there is magic.’

The communicating vessels, as described by Breton and illustrated by Rivera..


resembles the visual schema in Doctrine of No-Mind, while Picabia’s Transparencies intuit the doctrine, applying it to modes of sacred and profane representation in the West, providing both form and content to Polke's drama of the consciousness.


Some have speculated Picabia was hinting Breton was the central figure of Dresseur d'animaux (below) and Picabia the owl, but Breton’s letter of 1952 hinted that the Zen master ‘Shih-kung Hui-tsang of Foochow’ profiled by Suzuki could have unwittingly been the main figure in Dresseur d'animaux, as Picabia intentionally interrupted the outlines of him and the animals to portray him as the lord of illusion before Magritte adopted that theme.


Becoming, important to Nietzsche, appears in Breton’s 1946 “In Haiti at night..” “Bearing witness as no other and always quivering as if weighed in the balance of leaves, like egrets taking wing from the face of the pond where today’s myths are born, the art of Wifredo Lam streams out from the point where life’s springwaters reflect the mystery tree, by which I mean the preserving soul of the race, so as to shower with stars the becoming that must be for the betterment of humanity.”  The half-Cuban Picabia’s postwar works in his final period seem to be more distantly indebted to the liberties Lam took with Afro-Cuban iconography.

Where Picabia primarily departed from Duchamp, beginning with the machine period, was his will to discover in what Marcel pejoratively called the retinal something unknown and to believe in nothing else.  “‘Mr. S.S., of high Persian nobility’ praised Francis 'the truly beautiful thing is to paint an invention well. This gentleman - Cezanne, as you call him - has the mind of a greengrocer’” recounted Breton in 1922, the same year he wrote to Francis “the more I think about it, the more I feel I have always loved you.” At one visit I saw two elderly women riding down the escalator, one pointing to the large photo of Picabia “now that was good!” What glows is a spirit that could not be consumed in him or anyone that cares about him, a treasure map that the earliest modernists held from their first steps with more surprises to come. “I prefer not to spoil the surprise.”

05 March 2017

I found three or four live performances of pianist Horace Parlan, as well as his documentary, out of which this seldom viewed 1997 Geneva date features a trio with an unknown-to-me bassist and drummer after he'd moved to Southern Denmark..



and this '86 Round Midnight from Cologne with Dizzy Gillespie, Clifford Jordan and others..



+ an hour with Archie Schepp. Not live but..


If you click on “Philly” on the last post you get “currently not on view.”  I can verify that I became aware of the existence of The Fatal Temple during a few short periods of public display after it languished in storage for years.  Apparently Arshile Gorky is wrong to think it is an important work of art, and the Philly brain trust knows better. It is an oil and not a light-sensitive work on paper. Arensberg’s donation of The Poet and His Muse from 1925 is also rarely exhibited, although this period and work is generally considered less significant than Fatal Temple there’s still a lot of people who’d like to see it.  Max Ernst’s seashell from 1928, the primary phase of frottage since its invention three years earlier, from Arensberg. They also have a good little Rouault collection from various sources but they generally don’t see the light of day, none at the moment.

Collectors know this is an historically important painting, but Philly hasn’t grasped it yet and only shows it once in a while:

Peter Doig, Figure in Mountain Landscape II, 1998-9

Look at all the redundancy in the modern galleries before you tell me about space restrictions. The expansion in three years will make room for more head-scratchers.  Expanding could have been a way to respect the John G. Johnson's estate's wish for keeping its collection together (once the courts rule the museum's way there's no looking back), and do the same for Arensberg, instead they keep major Arensberg gifts in storage and hang Johnson's Veroneses and Titians above eye level.  Without Arensberg and Johnson it's a quaint regional museum.

Their Demuth and Sargent watercolors are up now though.

04 March 2017

What's up for one more day (fair week edition)

It would seem I decide which art fair to go to by where Michael Werner is showing.  This works if you like German art from the 80s ‘neo-expressionist’ generation, though they of course represent others, and if you do, you know they’ll whip a few things out that are worth the time and price of admission, and the other booths are bonus stimulation.  That led me to the Independent once after they started charging for it, and this year to the ADAA Art Show, my first visit ever to this, which confusingly for some is being shown at the Armory while the Armory remains an art show.

Daniel Richter, Ophelia
I can recall going to the Armory twice while Zwirner had Daniel Richter, seeing his Owner’s History Lesson at one and his Ophelia at the other.  These were two of the great paintings of their era and I enjoyed staring at both immensely. However, Daniel Richter has for whatever reason moved on to Regen in LA and they are not at a NY fair it would seem.

Both Werner and the other booths delivered to my satisfaction.  Werner has two works on paper by Picabia to grab collectors coming from MoMA, a transparency and a Spanish woman from the 20s, several works on paper by Beuys including pencil drawing of a girl with her back turned in front of a cross which blew me away in its ‘multiples’ simplicity, three Doig landscapes from the early 00s, a wonderful Penck work on paper, a fun Polke, a Schwitters in the upper corner of their tight office full of works for sale, a Baselitz, etc., the best Werner booth I’ve seen.

As the show is considered stodgy, traditional, and geared to older Upper East Side collectors, the mix of old and new nonetheless meant there was a lot of great older stuff. The new work was generally not down my alley but hot NY names that are selling.

Leonora Carrington, El templo de la palabra, 1954

Leonora Carrington’s prices have gone way up since she died.  Had she sold well in her seventies or before she probably would have moved to New York or Paris, but she was dead broke most of her life, with Edward James at times supporting her by buying up what was around.  This has enhanced the history of Mexican art and perhaps made her more enjoyably impervious to NY fashions. At the Mary-Anne Martin booth "The Temple of the Word" (major, well worth seeing in person) is/was up for $2.5M + they have a few Carrington works on paper + works by Kahlo, Tamayo, Gerzso, and Toledo, great viewing overall.


Donald Morris had four or five Joseph Cornells which the staff will take off the wall to show his inscriptions and additional collages on the back. Hauser and Wirth had Gorky’s depressed eary 30s drawings from his Nighttime, Enigma and Nostalgia series (above), based on di Chirico's Fatal Temple, which I'm well acquainted with because Albert Eugene Gallatin donated it to Philly. All Louise Bourgeois at the Peter Blum booth. All Norman Lewis at the Rosenfeld booth. Gallery St. Etienne lists Heckel, Kirchner, Mueller, Nolde, Pechstein, and Schmidt-Rottluff but they also had two good works on paper by Schiele... not major works (to go with the minor selections of them at National Gallery East).. like the Vuillards at Jill Newhouse but worthy of being detained by.

Giorgio de Chirico, The Fatal Temple, 1914

Checked out Clio (open tomorrow) along with a bunch of new Chelsea shows (not open tomorrow) and, as usual, "independent" "outsider" "anti-fair" consists exclusively of art school trends, with the exception of two or three religious painters from around the globe who go by previous generations' art school trends. A standout for me, though, was the Georgian Ia Liparteliani.