The theme for our combined Weekend Cat Blogging and Photo Hunt this weekend is natural. This complements a theme from a year ago, artificial. At that time, we explored the interplay of Luna’s natural beauty with her artificial surroundings. Especially in light of my recent experience with New Topographics, it seems like an appropriate subject to revisit. We often explore the interplay between Luna’s naturally curving biological body and the straight lines that dominate the art and architecture of her surrounding environment.
The patio is really our landscape. It is an artificially constructed one, but it is a space claimed by natural elements, such as the plants, Luna, the bugs she likes to hunt, the grass she tries to eat out of the flower pot…
Another bit of nature this morning, this time one that is not so welcome.
These snails were a menace in our garden when I lived in Santa Cruz where they seemed to arrive in swarms. This is the first one I have seen in our patio in San Francisco in over two years. Removing it from a cactus is not a simple task. On the plus side, it was opportunity to practice with macro shot, which is not something I usually do.
A sad note. Our friend Nirmanakaya’s Viandra (aka “Sniffie”) passed away last week. “Sniffie and Florida Furkids” have often visited and shared their thoughts with us on topics far beyond feline, and in turn we got to know a little about them. Sniffie will be missed, and our thoughts go out to her family.
Weekend Cat Blogging #277 will be hosted by Othello (with some assist from Astrid) at Paulchens FoodBlog?!
Photo Hunt #232 is hosted by tnchick.
The Carnival of the Cats will be hosted this Sunday by Nikita and Elvira at Meowsings of an Opinionated Pussycat.
And the Friday Ark is at the modulator.
I have been meaning to write reviews on some recent exhibitions I have seen set SFMOMA: the selections from Fisher Collection and New Topographics photography exhibition, both of which I have actually seen multiple times. This article covers the Fisher Collection, which will be closing this coming Sunday, September 19.
I have been spending some time thinking about what it means to write “CatSynth reviews” for a major exhibition like this about which so much has already been written. In the end, it’s about personal significance. It was really a microcosm of many of the exhibitions and artists that I have followed or discovered over many years – indeed, the exhibition included artists that i had first discovered through retrospectives at SFMOMA including William Kentridge and Chuck Close, or artists such as Ellsworth Kelly and Sol LeWitt whom I have gotten to know better through the museum’s programs. It is also an opportunity to explore what does (and does not) captivator me with modern art.
One of the things I find most compelling about modern art is the simplicity and sense of calmness I can feel in its presence. This is particularly true of the more minimalist and geometrically inspired works shown on the upper floor of the exhibition. This included those labeled formally as minimalism like Sol LeWitt, but also the large monochromatic panels of Ellsworth Kelly and Richard Serra’s geometric metal sculptures.
[Installation view with Janus by Gerhard Richter (1983) and multiple pieces by Richard Serra. San Francisco Museum of Modern Art.]
There is something about this type of art that I find very comforting, especially in a large scale presentation like this. I can focus on lines and curves and colors and nothing else. I can get absorbed into the repeating variations in Sol LeWitt’s drawings and sculpture, or allow my mind to go blank in Ellsworth Kelly’s simple series of panels. (Perhaps this is what made the placement of Anselm Kiefer’s straw-infused works inspired by the Holocaust in the middle of the same gallery all the more jarring.)
[Ellsworth Kelly, Blue Green Black Red (1996). San Francisco Museum of Modern Art]
Even Alexender Calder’s more organic forms fit into this category and were placed together with the others on the upper floor of the exhibit. It would be interesting to consider Calder’s curving but solid mobiles next to the intricate and delcate straight lines in LeWitt’s Hanging Structure 28c and Antony Gormley’s Quantum Cloud VIII.
[Alexander Calder, Eighteen Numbered Black (1953) . Sol LeWitt, Hanging Structure 28c (1989).]
LeWitt also touches on my interest in mathematics and algorithms (and technology) in art, and conceptual art, most notably in his Wall Drawing, which was created directly on the wall of the gallery in colored pencil from the artist’s specifications.
Gerhard Richter was a bridge between the minimalist and geometric art and the other parts of the collection. His Farben 256 with its array of solid-color rectangles was closer to the previously described works (and although I liked it I couldn’t help but think of a paint chart). Other pieces were more photographic – my favorite of these was Verwaltungsgebaude with its modern arctecture and motion.
The other direction that my artist interests tend is towards urban environments, including graffiti or industrial scenes. Cy Twombly’s large paintings in the exhibition feature repeated curving scribbles that remind me of the graffiti that I often photograph. The white scribbles on gray background in Untitled (Rome) reminded me specifically of walls I saw shooting photos in Warm Water Cove.
Twombly was placed along other works from the middle of the century. A large-scale piece by Lee Krasner was prominently featured (I have yet to see a solo retrospective of her work). A canvas with bright blue by Sam Francis caught my attention. The permanent collection of SFMOMA prominently features works by Richard Diebenkorn, and I think I liked those more than his work in this collection.
In addition to minimalist and geometric works, I also tend to notice art with a playful or surreal nature, or things that are particularly unique. William Kentridge’s installation based on Mozart’s The Magic Flute falls in this category. He built an entire miniature stage with archival photographs and moving images set to selections from the opera. While much more elaborate and complex than the previous works, the performance was still very arresting.
Strictly speaking, there was relatively little photography in the exhibition (although many of the paintings seemed derived from photographic sources). Of the few photographs, the strongest was an image by Sophie Calle which depicted a decaying bed in a courtyard of an apartment building, and was accompanied by a rather morbid story. Another of the featured photos, John Baldessari’s Blue Moon Yellow Window, Ghost Chair was quite painting-like with its extreme contrast and colored overlays.
I certainly did not touch upon everything within the exhibition in this brief review, so those who are interested are encouraged to check out the online exhibition page, or visit if you are in the area in the next five days.
Once again, the Outsound Music Summit opened with Touch The Gear Night this past Sunday, in which the public is invited to come and, well, “touch the gear” and interact directly with many of the festival artists who use technology in their music. “Technology” included software, electronic devices, DIY projects, and mechanical and sculptural instruments.
I attempted to both cover the event for CatSynth and demo some of my own gear, which made for a hectic but fun evening. I kept my demonstration relatively minimal, with my Monome 8×8, the Korg Kaoss Pad and the Dave Smith Evolver:
[click to enlarge]
Basically, this was a subset of the gear I used at the Quickening Moon Concert (which was part of Outsound’s regular Thursday series at the Luggage Store Gallery). The monome was driving a simple software synthesizer, which along with the Evolver was being processed by the Kaos pad. The monome in particular attracted a lot of attention with its clean geometry and texture, and mysterious nature. It’s just an array of lighting buttons with no marking whatsoever, which invites curiosity.
[click to enlarge]
One could hear the noise generated by the worms (which was a low-level rumbling static sound) and see the corresponding image generated by the SSTV software projected onto a screen.
Walter Funk presented a variety of instruments and objects, including Phoenix, a metal music object created by Fred the Spaceman. It was attached via contacts to an effect processor and a speaker, and could be struck or shaken to produce a variety of sounds.
[click images to enlarge]
He also had an old Realistic (remember that brand?) variable-speed tape recorder that included a bucket-brigade (BBD) chip which could be used for a variety of pitch and time shift effects. It would be interesting to modify the unit to take live input in addition to recorded tape input, although the use of tape is part of the charm of such a device. Additionally, he had a small custom analog synthesizer made from inexpensive breadboards made by Elemco that were originally designed for test equipment.
Tom Duff demonstrated the Sound Labs Mini-Synth, a DIY synthesizer kit designed by Ray Wilson. It’s a basic subtractive analog synthesizer, a la a Minimoog. More intriguing were the two generations of Bleep Labs Thingamagoop and Thingamagoop 2. The Thingamagoop 2 includes the photocell-and-light control and analog sound-generation from the original, plus an Arduino for digital sound and control. I want one of these! It was also fun to put the two generations of Thingamagoops together to control one another.
Cheryl Leonard brought some musical objects from Antarctica, including flat stones, bones and limpet shells. The stones had a high but short sound when struck or rubbed against one another. These were used in her Antarctica: Music from the Ice project.
The limpet shells had a resonant sound with well defined pitches. I found myself playing a subset of three shells that together produced an interesting set of harmonies and intervals.
Bob Marsh demonstrated Silver Park, a beautiful instrument that started as a proposal for a park in Detroit with metal sculptures and structures.
[click to enlarge]
Marsh sometimes performs with Silver Park as part of his Mr. Mercury project. The instrument version features springs in addition to the original metal objects, which add to its timbre. In a quiet room (unlike the room we were in) it can be played acoustically, but it can also be played with microphones and electronic effects. Whenever I see pieces like this, I am inspired to create one of my own, but also reminded how much work it is to create sculptures with metal, adhesives, etc. I did get some tips on some “baby steps” to work with similar sounds without necessarily committing to a sculptural artifact.
Another visually powerful instrument was Dan Ake’s 12×13, a large box with 1/4″ metal rods and washers. When the box is spun, the washers slide and shake along the rods producing a metallic cacophony of sound and visual motion.
By spinning the box, or leaving it tilted at various angles, one can get the full effect of the falling washers, or freeze them in mid-fall to cut off the sound.
Philip Evert performed with an auto-harp processed by a large series of effects boxes. The control and sound of the effects chain was largely indeterminate, though the demo that I heard began with ring modulation before becoming a more complex mix.
Tom Nunn brought his Skatchboxes for visitors to try out. Here were see T.D. Skatchit demonstrating the main Skatchbox.
[click to enlarge]
He is a virtuoso on this instrument, and we have reviewed his collaborations with Nunn in previous performances. The Outsound Summit included a demonstration and class on building your own Skatchbox, which sadly I was not able to attend.
Mark Soden (of phog masheeen) demonstrated a chain of effects processors including a Electrix Filter Queen that produced chaotic oscillations when driven with an appropriate sound source. He had a Roland SP-555 to drive the effects, but the more interesting demo was using a trumpet with contact microphones on its body. One could generate sound by blowing, tapping, or otherwise exciting the body of the trumpet which then drove the chaotic effects processing.
Amy X Neuburg demonstrated the two instruments I have seen her use in her live sets. The Blippo Box produces chaotic signals that are compelling and very easy to play – the effect of turning knobs on the sound, even if it was unpredictable, was very smooth. Of course, the challenge is that the instrument is so chaotic that is very difficult to reproduce the same exact sound twice. She also showed her looping setup, which included a drum pad and an Echoplex.
Rick Walker demonstrated his new “Walker Manual Glitch pedal”. It featured both built-in sound generators and live input, and the ability to “glitch” or reply snippets of sound from any of the sources. This seems like it will be a powerful instrument, especially when combined with loops as input or a live improvised performance.
The piece I had commissioned from artist Flora Davis was completed in late June:
The metal surfaces of each box are glued and covered in a protective layer, and the sides are finished with a metallic paint.
The piece now also has a title: For Luna. It seems appropriate, as both Davis and I have cats named Luna. And of course it is a nice tribute.
It was exciting to see it complete and take it home. The final step will be to display the artwork. Combined with the companion cat painting Zeus, the five boxes can be arranged in any number of ways. Here are but a few examples:
I have yet to settle on a final arrangement.
The themes of this month here at CatSynth are health and creativity, and we reflect on those themes for Weekend Cat Blogging.
We have started a recent phase in our beginning yoga practice centered on opening up creativity, prosperity and opportunity. It is of course also good exercise and helpful for health and well being. Luna enjoys joining in, too:
Photography continues to be a central form of creative expression, even as I need to balance it with music, especially with several more shows coming up this month. Luna obliged me earlier this week by posing in front of one of the patio sculptures on a warm afternoon:
I got several great photos from this session, one of them appeared earlier this week during Wordless Wednesday. Here is a small version, but readers are encouraged to check out the larger version in the WW post.
Weekend Cat Blogging #265 will be hosted by Jules and Vincent. Because of the Independence Day holiday here in the U.S., the roundup will be up on July 5.
The Carnival of the Cats, will be up tomorrow, July 4, at Mind of Mog.
Nikita Cat will be hosting the monthly Bad Kitty Cats Festival of Chaos on July 4 as well.
And the Friday Ark is at the modulator.
Work continues on the art piece that I recently commissioned from local artist Flora Davis. Please refer to the first article in the series for more background about the commission and some images of the piece in its initial phases.
Since then, things have progressed. The metal surfaces are now cut to the appropriate sizes for each of the boxes and ready to be glued on:
Here they are after the surfaces were glued. The sides of the boxes have also been primed for painting.
It’s great seeing the boxes and the metal surfaces come together for the final piece. They do look like what I imagined. I have to admit, the stark white against the textured metal surfaces is a little jarring, but this is just an intermediate phase. The final paint on the sides will be metallic.
This is the first of several articles showing the work in progress on a piece I recently commissioned from local artist Flora Davis. I had first met Davis at Open Studios in 2008. I purchased a small cat painting at the time but also reflected on how it might be interesting to combine it with her more recent work that explored abstract metallic surfaces, including series of metal boxes. When I met her again this spring, I proposed the idea of doing a series of metal boxes to be placed together with the cat painting Zeus, and we are now going ahead with it!
Part of the process was choosing the sizes for boxes and then the materials/textures for them. Here are the initial sized boxes along with the cat painting:
As one can see, they range in size from only a few inches to almost as large as the original painting. In the final piece, they can placed in any number of arrangements around or near the painting, the idea being for one element to overwhelm the others, and to maintain a sense of straight lines and the square shapes without conforming to a single grid.
Next, it was time to select the exact squares from the various metallic surfaces:
The metal surfaces are quite complex and rich in color and texture. This one with the turqoise/green patina was perhaps the most complex, and thus I wanted it for the smallest of the boxes. Overall, the colors and textures of the various surfaces tended towards browns, greens and reds that picked up elements of the painting.
Here are some of the metal textures seen in place with the boxes and the cat:
With all the materials and dimensions now specified, the next step will be to cut the surfaces and adhere them to the boxes. We will see the results in an upcoming article soon!
On April 1, I attended the opening for the Art of Illusion exhibition at Driftwood Salon. The exhibition took it’s title from the date of the opening and its reference to illusion and trickery. “As artists, we strive to create aesthetically pleasing works of art, but sometimes we like to use that ability to trick the mind, and play with shapes, images and dept of field by pushing boundaries and defying gravity.”
Beyond that initial statement, the works in this show were quite diverse in terms of style and subject matter.
Along the wall, second from the left, is a piece by Rebecca Kerlin. I have seen (and reviewed) Rebecca Kerlin’s work before at Open Studios. Her work often involves highways, a frequent subject here at CatSynth, as well as other elements of the urban landscape and infrastructure. She takes familiar scenes, such as the freeway overpass near 4th Street and Bryant Street in San Francisco, and distorts the image through collage.
[Rebecca Kerlin, Underpass Under Construction In Blue #1.
Image courtesy of the artist. Click to enlarge.]
One on hand, we see the whole image of the overpass and intersection, but at the same it is a series of separate images that are adjacent, overlapping or slightly out of alignment. Similar processes can be seen at work in Blossom Hill Road, San Jose, CA #2. It took me a moment to recognize the highway 85 freeway entrance sign.
While Kerlin’s pieces begin with familiar elements such as highways, Evan Nesbit’s contributions seemed based on pure abstract geometry, and primarily on straight lines and angles. In his large piece “the god effect”, lines are arranged in crossing diagonal patterns that lead to the illusion of curvature. This was an effect I learned myself as a young adult and repeated many times in images. In “Untitled”, the crisscrossing lines are used to mark out areas of solid color, which in turn form geometric shapes such as the central hexagon of the piece. However, these geometric elements can be seen to represent a door leading inside from a patio or walkway, an illusion heightened by the grass in the lower corner. Without the grass, one might not see the other shapes as a house at all.
Among the other work that caught my attention was Jose Daniel Rojales’ Ulua.
[Jose Daniel Rojales, Ulua. Click to enlarge.]
It is on one level a representation in metal of an ulua, a popular Hawai’ian game fish. But the metal rectangles and geometric elements are quite distinct, particularly around the head, and in some ways stand out by themselves.
You can see more images from the show at the gallery website. The show will remain on display until May 2.