Major, Burns!

Charles Burns, one of the finest cartoonists currently practicing the craft, recently released a book of “paired photographs” called One Eye. Chris Ware, another of the finest cartoonists around, wrote about Burns and the photos at Virginia Quarterly Review. Some of the photos are in the article, and they’re gorgeous, so check it out.

Monday Morning Montaigne

From Various Outcomes of the Same Plan:

Now I say that not only in medicine but in many more certain arts Fortune has a large part. Poetic sallies, which transport their author and ravish him out of himself, why shall we not attribute them to his good luck? He himself confesses that they surpass his ability and strength, and acknowledges that they come from something other than himself and that he does not have them at all in his power, any more than orators say they have in theirs those extraordinary impulses and agitations that push them beyond their plan. It is the same thing with painting: sometimes there escape from the painter’s hand touches so surpassing his conception and his knowledge as to arouse his wonder and astonishment. But Fortune shows still more evidently the part she has in all these works by the graces and beauties that are found in them, not only without the workman’s intention, but even without his knowledge. An able reader often discovers in other men’s writings perfections beyond those that the author put in or perceived, and lends them richer meanings and aspects.

Steal a little and they throw you in jail / Steal a lot and they make you king

Here’s a neat interview with architect Renzo Piano, who over the years has inherited a bunch of projects from other architects (for a variety of reasons).

When you visit buildings by other architects, what do you look for?

Haha! First, I enjoy them very much. Second, I steal everything. Stealing is maybe too hard a word. There’s an Italian word, you say “rubarro,” which means a nice robber, without a mask.

What did T.S. Eliot say, “Good poets borrow, great poets steal”?

It’s really about that. But art is about that. Music is about taking and giving back. In a way I spend my entire life stealing from everything — from the past, from cities I love, from where I grew up — grabbing things, taking not only from architecture but from Italy, art, writing, poetry, music. And you know what, I put all my robberies in a little piece of paper that I have with me and fill almost a whole sketch pad. Even when I don’t like a building, I still find something to take. This is probably because I was never a good school boy, so I grew up with the idea that I was not the first in class and I was a problem all the time. When you grow up with that idea, you spend your life taking from others.

It was divine!

Not having a ton of family in these parts, I use the time off during the holidays to visit friends. On Friday, Amy & I went down to Lumberton, NJ to visit friends of hers who were in the area for their own holiday family-tour. We had an entertaining afternoon, centering around a lengthy meal at a P.F. Chang and a discussion of why Shawn Bradley never panned out in the NBA. Good times were had by me, which counts for a lot.

Yesterday, we drove up to Providence, RI to visit my friends Paul & Deb. They’d been having plenty of family get-togethers during the week, so it was a nice change of pace for them to get a visit from their weird friends in NJ.

I always love seeing Paul & Deb, because they have an awful lot of diverse interests and are quite passionate about them. We exchanged some holiday gifts — we brought back some neat tea from our Paris trip, and I also made them copies of a few Mad Mix CDs, while they gave us books, fancy knitting yarn, and unique coffee mugs from a local artist, before deciding we also needed to take back an amaryllis and some paperwhite bulbs. And a loaf of sweet bread from a Portuguese bakery.

In between these two bouts of gift-giving, the four of us drove over to the museum at RISD (Rhode Island School of Design), which was exhibiting Wunderground: a collection of Providence poster art from the past decade, and a sculptural village called Shangri-la-la Land. I took a ton of pictures of the exhibit, before a staffer ran up to tell me that I wasn’t permitted to snap pix in the exhibition. I apologized and pretended I’d just taken one. Here’s a collection of 19 shots from the show. (The sculpture area was dimly lit, so I tried a few shots without flash, but gave up and started snapping away. I included both types.)

Comics Reporter and official VM buddy Tom Spurgeon wrote a great (and lengthy) article about Fort Thunder, one of the main groups of the Providence arts scene during that period:

Fort Thunder was different. The Providence, RI group has achieved importance not just for the sum total of its considerable artists but for its collective impact and its value as a symbol of unfettered artistic expression. The key to understanding Fort Thunder is that it was not just a group of cartoonists who lived near each other, obsessed about comics and socialized. It was a group of artists, many of whom pursued comics among other kinds of media, who lived together and shared the same workspace.

As an outgrowth of the Rhode Island School of Design [RISD] where nearly all of them attended (some even graduating), Fort Thunder provided a common setting for creation that imposed almost no economic imperative to conform to commercial standards or to change in an attempt to catch the next big wave. They were young, rents were cheap, and incidental money could be had by dipping into other more commercial areas of artistic enterprise such as silk-screening rock posters. Fort Thunder was also fairly isolated, both in terms of influences that breached its walls and how that work was released to the outside world. This allowed its artists to produce a significant body of work that most people have yet to see. It also fueled the group’s lasting mystique. The urge — even seven years after discovering the group — is not to dig too deeply, so as not to uncover the grim and probably unromantic particulars.

We had a great time in the exhibition. Over the years, Paul & Deb had snagged several of the posters from lampposts and walls in town, but they told us that most of the posters were stuck with pretty heavy glue, making it impossible to take home these amazing pieces. I figured it said something about the confluence of art, commerce and paste, but I say that about everything. I think it was also the first museum exhibition I’d been to where the art was held up by thumbtacks.

Before visiting the museum, Paul wanted to show us one of his favorite places in town, the Providence Atheneum. It’s America’s 4th oldest library (est. 1753) and requires an annual membership. Paul pays it gladly, because he loves coming to the place, reading magazines and newspapers, checking out the great collection, and soaking in the ambience.

After the Atheneum and the Wunderground exhibition, we were off to a Portuguese restaurant where I ordered the Shish-Kebab of Damocles, evidently an Iberian specialty.

If you’ve read this site for any length of time, you probably realize that a day that includes

  1. a comics-related art exhibition,
  2. an old library,
  3. some bizarre cuisine, and
  4. conversation with good friends

is pretty much as good as it gets.

(If you want to see pix from the whole day, go here. If you just want that Wunderground set, head over here. And you can check out Amy’s pix from that day over here.)

Underworld evolution

If you’re like me (fate worse than etc.), you revel in the amazing subway stations in foreign countries. Okay, maybe that wasn’t the best intro to this article about making art from metro stops:

Building beautiful metro stations isn’t just a chance for cities to show off. It also provides valuable exposure for up-and-coming local artists and architects, giving them a chance to bring their work to the masses. “Artists have a captive audience,” says Edward Barber, director of programs at the London College of Fashion, who has been involved in the city’s Platform for Art initiative.

The accompanying slideshow has a pic of one of my faves: the Arts et Metiers stop in Paris, which looks like Jules Verne’s Nautilus.

(Bonus: my pics of the metro stop in Brussels decorated with a massive mural by Herge)

Unrequired Reading: Nov. 17, 2006

What we see at Ground Zero and what we will see:

When the towers first fell and, in practically the same moment, so many turned to imagining their replacement, I was appalled. Later, when I started to write about the site, I avoided proposing designs of my own, both because they were banal and impracticable — I thought it would be cool to flood the bathtub — and because I felt such activities were beyond the scope of a responsible critic. I would often say, however — as I think I wrote or at least implied here once — two things: that the ultimate form of the reconstruction was unimportant as long as the process to achieve it, from the first planning session through the ribbon-cutting, was conducted with dignity; and second, that New York should be left to be New York.

t was as obvious then as now that those two ideas were in absolute conflict — that the city could in no way be the one we love and also comport itself with a special reserve — so I concocted a third idea, one that has proved remarkably durable, by way of resolution.

* * *

Last week in this space, I mentioned that Donald Rumsfeld is more than just The Guy Who Blew the Iraq War. He also tried to revolutionize/transform the U.S. military. This profile on him in the New Yorker is more charitable than I expected, or at least more willing to see the grays than to place him in a Manichean context.

And he blew the Iraq war.

* * *

Look, kids! An interview with writer, critic and Official VM Buddy Paul Di Filippo!

What do you use for note-taking, capturing ideas and tracking submissions? Are you a proponent of pencil and notebook; do you favour proprietary software; or is it open source everything for you, even though your initials are PDF?

I am old-fashioned enough to still stick with pen and paper for my note-taking. I have a pocket notebook brand that I love, Oxford Memo Books, because it’s sewn together instead of employing a metal spiral, and so when you sit on it, it doesn’t imprint your butt like something out of a Re/Search tribal scarification volume.

* * *

From science fiction to science disappointment: the 25 worst tech products of all time.

8. Microsoft Internet Explorer 6 (2001)

Full of features, easy to use, and a virtual engraved invitation to hackers and other digital delinquents, Internet Explorer 6.x might be the least secure software on the planet. How insecure? In June 2004, the U.S. Computer Emergency Readiness Team (CERT) took the unusual step of urging PC users to use a browser — any browser — other than IE. Their reason: IE users who visited the wrong Web site could end up infected with the Scob or Download.Ject keylogger, which could be used to steal their passwords and other personal information. Microsoft patched that hole, and the next one, and the one after that, and so on, ad infinitum.

* * *

If you’re a professional basketball fan, and you like getting some idea of what goes on behind the scenes in player negotiations, you really need to read this long and candid interview with the owner of the Minnesota Timberwolves, Glen Taylor.

I can tell you that Chauncey [Billups] left not because of Kevin [McHale, the team’s GM] but because of Flip [Saunders, the Wolves’ coach]. Now, have we said that? We didn’t want to say that about Flip because he was here at the time. But I think since then it’s been stated that Kevin asked me if I would pay for Chauncey. I said I would. Kevin said he would, went to Chauncey, Chauncey said he would stay, because we were going to offer him the same [money] as Detroit. But then Chauncey went to Flip and said, would you play me, and Flip — I’m not saying that Flip said the wrong answer, but he said, “I’m not sure that I think that you’re our starting guard.” Chauncey then went back to Kevin, and Kevin says, basically, we’re going to be truthful. Kevin could have said to Chauncey, “Oh, we’re gonna start you.” And I know some GMs do that stuff. Then they get the player but they have an unhappy player. But Kevin doesn’t do that.

Unfortunately, it looks like questions about the remarkably stupid tampering arrangement with Joe Smith were off limits. This is a pity, because you can pretty easily make the case that the T-Wolves would’ve been in much better shape if they had draft picks over the years. But losing those picks and having a salary cap-buster like Garnett on the team meant they had to be the most creative team in the NBA. And with Kevin McHale running the show, that made it a recipe for disaster.

* * *

Amy sent me this great post by Dan Jardine on the varieties of cinematic inexperience:

I am not of the Pauline Kael School of film criticism that argues that your initial impression of a film is the only one that matters, and to revisit and reevaluate a film is a fool’s errand fraught with the potential for emotional and intellectual dishonesty. Indeed, I can think of plenty of legitimate reasons to take stock of a film anew. What if there were mitigating environmental factors — such as problems with the projector or the sound, or even with the audience itself — that hampered your ability to enjoy the film? What of format issues? I mean, what if, like me, your first experience with Lawrence of Arabia was on television, in full screen format and interrupted by commercials? Or what if you were in the wrong head space after a fight with your partner or a bad day at work and weren’t able to give the film the attention and scrutiny it deserved?

* * *

Witold Rybzcsinski on the decline of architecture magazines:

A reduction in intellectual content in the glossies was largely the result of an increased reliance on photography, especially color photography. There’s something about a color photograph that glamorizes its subject, and architectural writers soon adopted the slightly breathless tones of fashion reporters. You are more likely to find tough architectural criticism in the New York Review of Books, the New Republic, and The New Yorker than in any of the major architecture magazines.

* * *

Victor Davis Hanson sings “I left my appendix in Tripoli”:

Libyans seem to talk nonstop. It’s as if they have been jolted from a long sleep and are belatedly discovering, thanks to their newfound Internet, satellite television, and cell phones — many carry two to ensure that they are never out of service from competing companies — that there is indeed a wide world outside of dreary Tripoli and beyond the monotonous harangues of government socialists on the state-owned TV and radio stations.

They talked about their new gadgetry, and much else, with infectious optimism. As one hopeful Libyan travel entrepreneur with friends in the government explained, there might be some irony after all to Libya’s long, self-imposed insularity. Yes, he conceded, foreign investment declined. Oilmen left. Petroleum production nose-dived from more than 3 million barrels to never more than 2 million. But there was a silver lining: Did all that not have the effect of saving Libya’s precious resource to await the return of the present sky-high prices? Yes, Libya had banked a sort of strategic oil reserve that now was to be tapped at its most opportune moment. Yes, it was Libya’s grand strategy to deny Westerners its petroleum treasure for years, until they finally came around to pay what it was really worth

* * *

At Slate, Daniel Gross discusses the trend of foreign companies to buy U.S. brands that are on the wane:

[T]o these foreign owners, the U.S. market represents the holy grail. American consumer-oriented firms that have saturated the U.S. market, such as Coca-Cola, McDonald’s, and Nike, look to developing markets for their growth. But these foreign buyers see a different kind of opportunity here — an unmatched combination of wealth and growth that doesn’t exist in Germany, or China, or Denmark. The U.S. domestic market, 300 million people strong, is composed of wealthy consumers who routinely spend more than they make.
But iconic American brands only tend to come up for sale when they’re damaged.

It’s funny to me is that, for more than a century, China has been the holy grail for U.S. & European companies, along the lines of, “If we just get [x]% of them to go for our brand, we’ll be rolling in dough!”

* * *

Dare to dream and all that, but I still don’t believe Rem Koolhaas’ Chinese Television Authority building is going to stand up.

Mourning light

I started Kaddish by Leon Wieseltier this week. It’s about his explorations into that mourning prayer following the death of his father. My brother gave it to me a few years ago.

I’m only starting out — about 70 pages into its 574, but much of it is sorta epigrammatic, so it’s not a long slog — and it’s helping me formulate questions about faith, prayer and language. It also yielded this wonderful paragraph during this morning’s reading:

I have read of people whose lives are transfigured in an instant. I do not believe that such a transformation can happen to me. For what changed those people was not only the instant, but also their subsequent fidelity to the instant. This is the paradox of revelation. It disrupts the order of things and then depends upon it.

Without tradition, a revelation is merely an epiphany. It can inspire nothing more than art.