Jun 132013
 

marcie02112Marcie Carey died on Wednesday, 12 June 2013 in Munich, Germany. She would have been 11 years old in a few more weeks. I never knew her exact date of birth but we always celebrated her birthday on 15 July since that is the anniversary of the day she came to Miami to join Queequeg, Astra, and me.

Marcie began her life in a puppy mill in Georgia, where she had three litters of puppies before she was 15 months old. When the puppy mill was raided and closed, Marcie was for several months in the care of Italian Greyhound Rescue, to whom I am grateful for choosing me as Marcie’s permanent parent. Of the 16 IGs seized with Marcie, 11 could not recover from whatever physical and psychological horrors they had been subjected to, and they died. I always knew, intellectually, that because of her past health history (her teeth were so terrible she had to have all of them removed, she had a pronounced heart murmur, and intermittent idiopathic seizures) that Marcie would not have as long a life as her very long-lived sisters, but, really, I didn’t accept this…

Marcie must have used all her resolve to survive the puppy mill. During her life with me, she was always very quiet and introverted, a dog after my own heart. Marcie bonded with her sisters, made friends with a tiny few humans, and having been taught to do so by Astra, was extremely fond of cats. Marcie once adopted and cared for a fragile, days-old kitten until a home could be found for the kitten and I saw during these days what a brave and loving mother dog she must have been under terrible circumstances.

Toward the end of her life Marcie had a spell of difficult fortune and became deaf. She seemed to be recovering and adjusting to this new challenge though, and surprised me by warming quickly and easily to life as a European dog. The intelligence and adaptability of dogs is really incredible; just by watching our neighbor dogs out the window and in the park, Marcie quickly deduced that she no longer needed or was required by society to wear a leash, and without even one trial run about how to do so, figured out how to walk with me on the pedestrian part of the sidewalk and even to pause patiently outside the pretzel store while waiting for her own treat.

As ever she communicated by tapping me with her paw when she wanted something. In her last moments I held her tiny paw while cradling her in my arms and felt her last breath and heartbeat. For such a quiet dog she filled the home with her gentle personality and my heart with love. I know my girls are all together now and wait now myself to be with them again.

There are many other photos and stories about Marcie, Queequeg, and Astra contained in this Website. Marcie was the last connection to the family of dogs I have been in for more than 20 years.

Here is a video of Marcie persistently admiring a cat,

 

 

Jun 092013
 

Cafeful: Capitalism Can Hear You
There were opportunities during Isabelle Graw’s presentation this past week at the Lenbachhaus to make some some site-specific comments about the collections at hand, and Graw did make tangential connections to work by Joseph Beuys and Wolfgang Tillmans, thought not those which belongs to the museum’s Kunst Nach 1945 collection.

Intensely and yet breezily theoretical (I have heard Graw speak several times, on one of those occasions dismissing the Adorno-Horkheimer ‘culture industry’ works most art historians spend their lives trying to understand as insufficiently complex for her needs in explaining the reification of art) Graw is an engaging speaker, readily admitting that many of her contentions create oppositional paradoxes which thus cannot be argued against. Graw herself occupies dual roles, as professor for Art Theory and Art History at Staatliche Hochschule für Bildende Künste in Frankfurt am Main and as an art critic and co-founder of Texte zur Kunst, the respectable but for-profit Berlin art journal. Graw also has a heavy amount of street cred coming from a lengthy association with Martin Kippenberger during Kippenberger’s time in Cologne.

objecitons3Her talk at the Lenbachhaus, Malerei als indexikalisches Medium in der neuen Ökonomie recasts the idea that paintings are “alive” somehow in the sense that they emanate an autonomous value in terms of the role of Painting with a “P” as both commodity and part of the larger “organism” of the process and documentation of the making of art.

Indexical is a word mostly associated in art history  with photography, and photography is important to Graw’s current interest, which expands upon many of the ideas she raised in her recent book High Price: Art Between the Market and Celebrity Culture in the sense that “documentary indexicality” is all but a de-facto given the ubiquity of record-making technology. Additionally, in the trinity of “icon/index/symbol,” “index” marks a definite place and time by compelling a reaction in the beholder. But I think it is the more abstruse “referential indexicality” that most interests Graw in this sense, as she used Diedrich Diedrichsen’s term “Selbstdarsteller” to describe Kippenberger’s performances of himself as himself (as opposed to performing “the other” or just “being” himself).objections2

Continue reading »

Jun 052013
 

 

Artists in Schwabing.

Artists in Schwabing.

Some Anglophones were saying recently how there were no artists neighborhoods left in München, specifically how there were no longer any such enclaves in Schwabing. I think what the person actually meant is that George Maciunas isn’t walking up and down Schellingstraße tossing boxes of junk around, leafleting, or setting up a utopian community in a Hofpfisterei storefront, meaning, there are few obvious visual social interruptions of “bohemian-ness” to the reality that it is very expensive to live or have a gallery space in the center of the city there is sometimes a tremendous, pressured sense of homogeneity in the immediate environment. This is both a true and false perception.
Continue reading »

May 232013
 

Black WhippetIt’s been a little while and in fact there is a backlog of photos in waiting. This amazing creature cannot wait though, so here he is. Black whippets are rare, and a self-colored black whippet rarer still. I know there are more self-colored sighthounds in the EU than the US, but I haven’t seen any, probably because it is too cold for them to come out. This dark-haired hound was almost glowing in the rare patch of sunlight…I was already on the tram and the dog was waiting for the tram on the other side of the street, and when I got off at the next stop and walked back was already gone. I hope I see him again!

12:28 23 May 2013, Hohenzollernplatz, Trams 12 & 27, Metrobus 53.

Black Whippet 2

May 202013
 

 

Should We Go In?

Should We Go In?

I have followed Kunstraum München for some time and now that I’m here have been eager to investigate, a plan somewhat impeded by the Verein’s tendency to announce events through the city (which supports the venue/group for contemporary art and criticism – its 40th anniversary is this year) i.e. a bit slowly, and sporadically through a social media platform owned by someone with the initials MZ  I do not often participate in (more on social media at the end), and also since I am often busy on the Wednesdays when meetings and lectures take place.

In any case being free on Pfingstenmontag allowed a friend visiting from Brussels and I to haunt tonight’s talk „Warum im Kollektiv?“ by members of Hamburg’s 8. Salon. Visually this also served as a near-to-closing reception for the Mahlergruppe Austellung Of Two Minds (the actual end date is 26 May).  You can see some Mahlergruppe work on its low-key Website. The emphasis on group (founded in 2008 at Munich’s Akademie der Bildenden Künste) and the lack of artists’ statements and biographies is very refreshing, and the powerful graphite-and-acrylic bilder – somewhere between drawings and paintings, are, to me distinctively Munchneresque.

Of Two Minds also includes a sculpture, Bellestar, a craft of formed and draped corrugated framing, and a few photographs of Zurich’s “Needle Park,” circa the 1980s and 1990s at the beginning and then height of needle-borne infection. Of Two Minds isn’t a conceptually straightforward rumination on dystopia, though. Perhaps as the name implies it asks about how we remember these types of weirdly hermetic thought/images that may or may not be indexical. (Of course for Americans the first thing that comes to mind is Al Pacino’s laconic junkie in Panic in Needle Park, the film school staple from 1971.) Thinking about how much Zurich has changed in the past decades doesn’t diminish these images which aren’t exactly memories, though they do form the strong impression of something personally experienced (another film analogy would be the impression of Marseille and Brest from The French Connection and Querelle, though the French coastal cities haven’t been like that in … forever, and were already “not like that” when Genet was writing and Fassbinder and Friedkin were filming).

Continue reading »

May 152013
 

Somewhere embedded on the candlestick chart of historic tragedies, between, say, the Armenian Genocide and the Andrea Doria, is this: receiving an email from the responder ceviche.com.

MFA_Ceviche_mailchimp_Eblast

 

Waking up to this missive brought me back to the day when I had a John S. Knight Journalism Fellowship for coverage of animal and environmental issues…now I realize that this is not the same occupational caliber of the Fourth Estate, as, for example, writing about visiting the homes of the wealthy and repeatedly giving shouts-out to one’s friends in the pages of a free weekly shopper magazine, but, still.

In any case one of the stories I wrote back in the day was about the infestation by roaches of some of Atlanta’s downtown landmarks. One of the things I learned was about roach housing, or harborage, in (for another example) restaurants housed in older structures amid a fairly high building density adjacent to bodies of water and a connected estuarial sewer system (this probably does not resonate at all!) was that, because the static population of roaches is always relatively high and self-managing through nice roach habits like juvenile cannibalism, and is also largely nocturnal, something really extraordinary has to happen in order for roaches to come out and be seen during the day (like, say, in a bustling bright loud kitchen during a health inspection?), there have to be so many roaches, such an explosion of the roach population, that, basically, they have to come out and forage to prevent from starving (and as you probably also know roaches can go a good while without eating).

So in such a situation, in addition to the stray visible roaches, we are talking about an infestation of, like, millions of roaches. If you took the lid off the nearest manhole cover and shot a leaf blower into it, the sky would turn black with flying roaches… So, that. PR might be able to spin the Benghazi situation, but all the consulting in the world can’t make millions of roaches go away. Except for the gullible in-crowd wannabes, who, in an obverse of the Emperor’s New Clothes, will simply will themselves into not seeing or thinking about them. The roaches, I mean… For a breakdown of roach-related health issues, please see this totally legit publication from the World Health Organization.

Continue reading »

May 122013
 

There’s a moment when the super-creative but detached suddenly open up and reveal actually, they do know what’s going on. It’s a brave thing to do because it both raises the stakes for intellectual performance and blows away the dandelion dander of the potentially naive. Maybe partly involuntarily but resolutely nonetheless, Liam Gillick’s two works arranged in careful complement in the subterranean Lenbachhaus annex achieve this emergence, perhaps more substantively than at their dates of creation in the ‘aughts.

LG1

Part of the KiCo Stiftung comprising the very deep “Kunst nach 1945” Sammlung, Gillick’s Screened Reduction (2001) and Glanced in the Midst of a Legislative Break (2006) are opaque Plexiglas and aluminum structures, sculptures poised at the edge of painting. In reference to the latter they clearly hearken to Kenneth Noland’s high Straight Edge (think Bridge circa 1964) and are also thematically in sync with an earlier guest in the Kunstbau, Piet Mondrian, and as such more than nod to the historical commitment to abstraction.

LG2

Gillick, who is also a composer and musician (he actually made the sampling loop of the Smiths’ How Soon is Now? you will remember – if you are a former club kid – from Soho’s 1990 nightclub single Hippy Chick!), tends to characterize his work in careful Global Art Fair-speak as being about the questioning of political authority and so on. However taking at visual and bodily encounter value, Screened Reduction and Glanced in the Midst of a Legislative Break are hardly obscurantist, inviting inspection and delectation in simple optics.

I decided to take this sort of sideways approach to writing about “Das Neue Lenbachhaus” when on a subsequent visit I saw for the first time, for a long time, and up very close, Hans Hoffman’s The Conjurer (1959). Hoffman is very collected but quite under-studied, and this painting is historically significant as well as quite lovely. I hope you can see in the adjacent image the toned translucency and balance of the aqua swatch, which is so carefully balanced on the canvas that the bright color does not preoccupy the eye, and also the charcoal impasto and general texture of the canvas, which is both thick and lustrous.

Hoffman

The Bavarian-born Hoffman traveled back and forth between Munich and the United States, and like Kandinsky once opened his own school for artists. Hoffman had many talented students, including Louise Nevelson, Allan Kaprow and Helen Frankenthaler. The Conjurer, made some years after Frankenthaler became well-known for her vertical soak-stain paintings, suggests maybe Hoffman, like Morris Louis, got some ideas from Frankenthaler, too.

 

 

 

 

Apr 242013
 

The Living
The opening for Rebecca Warren’s installation at Kunstverein München on 19 April 2013 was dramatically heightened by a rain so steady and soft it enveloped more like fog. To be clear it’s just me who is describing Warren’s experiment in biomorphic austerity as an installation; you can read more about the British artist’s commission for the Kunstverein here if you do not mind the maddening floating text. One of the good things about the script for this exhibit is actually that it does not try to overexplain the sculptor’s intentions, a la the surfeit of “instructions” that seem to come with other conceptual sculptural works such as those by Teresita Fernández.

The main space is occupied by a columnar arrangement of tall cast bronze totems, embellished with female-ish parts, regularly spaced but not wholly viewable at a take. To me this suggested a course of weave poles like those on agility courses for dogs, so that was my “phenomenological” approach. The objects above were set above and in an alcove; overall, especially at night, an effective use of the placement of the Kunstverein building’s windows.

All vastly oversimplified, of course.

An “afterparty” in the foyer featured a fantastic set by Berlin-based turntable-techno-transformative-sounds collective M.E.S.H. that almost enticed some reactive dancing…

IMG_2896

IMG_2900IMG_2892

Apr 142013
 

 

Gideon Mendel and Okwui Enwezor at Haus der Kunst.
Gideon Mendel and Okwui Enwezor at Haus der Kunst.

I approached the tour of the exhibition The Rise and Fall of Apartheid (10 April 2013 at Haus der Kunst) featuring curator Okwui Enwezor and photographer Gideon Mendel with equal parts hopefulness and skepticism. The conversation and the galleries of photographs and videos were very interesting and relatively straightforwardly informational, and impressively accessible.

The event was arranged in quite a different manner than other “conversations” of this type I’ve attended before. Enwezor and Mendel actually occupied the same space as the 30 or so low-key attendees who surrounded the speakers attentively but not crushingly, giving listening and looking but not acting at all starstruck from being inches away from one of the most influential curators in the world.

The centerpiece of the talk was perhaps Mendel’s music and photo installation Yeoville, created especially for this exhibition and featuring the music of Dynamics, a South African band Mendel says he strongly associates with the mid-1980s when many of these photos were taken. Cropped to isolate details alternating with full-frame shots, these projections show Johannesburg residents during these years interacting in leisure and daily life in quotidian activities that nonetheless show, through the engagement of the mix of races and generations, the gradual, natural, erosion of the Apartheid system.

Mendel has much other work in the exhibition including a stunning color series of some Afrikaans “heritage” re-enactors. South African Jürgen Schadeberg’s work spanning 50 years is also wide-ranging. Most stunning, to me, were some of the covers and images from the 1950s magazine Drum, one of which stunningly restored the recently deceased Miriam Makeba to vibrant zenith. Continue reading »

Apr 062013
 

Some intermittent institutions … I’m probably not going to see them again. I always wonder what “the last time” doing something or going somewhere will be like, if it’s better if you know beforehand or preferable to find out the continuum is now a memory afterward.

I have been going to the Castle, Tampa’s gothic and industrial music nightclub, in its various iterations, since I was a teenager. No matter how long I would move away for, it would always be here when I returned. Over the years, I was able to compare it experientially with all sorts of clubs, from Sanctuary in Salt Lake City to Warsaw in Miami to Berghain in Berlin and scads of “rave-themed” house parties in Antwerp and Brussels.

This past year I haven’t gone out as much in general, but I still met up with longtime friends on Mondays once in a while. We wouldn’t set up a date or anything, you’d just show up and some of the crew would be there. Attendance has been down on Mondays and while Ybor-City-in-the-Nineties legacies like the Senator and Theo Wujcik still make the scene regularly, eventually, the world will move on. It’s sad in a way to think of this last vestige of the once incredible Tampa Bay electronic music scene, which at one time including rotating DJ nights at Rene’s, Empire, Trax, Palladium, Club Detroit, Masquerade, and pop-ups at Act IV and other places (not counting London Victory Club, which began it all) falling into history but … I was really happy that the Castle has made so many attempts to keep up to date with electro and added lots of cool newish elements to its rotations, particularly in the music video department, mixing in Ladytron, Interpol, Cut Copy and Presets to the “hits.”

The last night I went to the Castle, I was braced to be a little disappointed, since I’m one of the people who actually prefers the new material to, you know, the entire Hacienda playlist from 1987. But actually it was just perfect. My friends were there, it wasn’t too crowded with glowstickers, and there was a lot of room to dance, yet it wasn’t empty. I don’t know if I will see the Castle again but this was a good way to remember it if I don’t.

The Castle

Mar 162013
 

When I was packing up some “important papers,” I found amid them this Roz Chast cartoon I had ripped from The New Yorker (undoubtedly belonging to someone else) in 2004. I remember I could not stop laughing when I saw this cartoon the first time and it always makes me laugh whenever I run across it in moving stuff around, which is why I have kept it so long. It made me faintly faint-y when it surprised me this time, but then when I reread it I still thought it was too funny.

Man with a Hoe
New Yorker

Feb 182013
 
Assistance Dog in Training at CAA 2013

Assistance Dog in Training at CAA 2013

During the session “Reframing Painting: A Call for a New Critical Dialogue,” in the midst of a wonderful paper called The “Irrelevance” of Robert Rauschenberg’s White Paintings by Christina Chang of the Minnesota Museum of American Art, I noticed this handsome assistance-dog-in-training was sitting almost right in front of me. What amazing good fortune, and what a great place for an assistance dog to train (and if he or she is training to help people with certain types of disorders, a lot of likely assist-ees).

Even while being mesmerized by the talk my body began to pay more attention to the dog. He or she was a Labrador-type dog but with lustrous long hair, with cowlicks and widow’s peaks leaping to and fro. My fingers itched to twirl and smooth those curls and I could not help but wondering what is really important.

The dog was a bit anxious and needed to go outside so his person, and nice woman who I exchanged smiles and eye contact with, took him before the session closed. I couldn’t find them again. I would like to know more about them both…

Feb 172013
 

It was actually a very solemn week and past few days but in recounting some stories it’s easier to begin with flashes of humor, and there were a few extremely funny episodes to report.

The first was while visiting the Cloisters. There was a lot of Medieval awesomeness which I will mostly repost on the Photography page galleries because I do not really know enough about it to comment upon, except to say it was beautiful and I loved it. However after viewing the very disturbing (to me) tapestries of the allegorical (but very graphically woven) hunting of the unicorn we came upon this:

PalmeselCalled a Palmesel; this model dated 1470 is from a church in Mellrichstadt – perhaps I should have guessed that such a fun crazy object would come from Bavaria – and apparently they continued to be quite popular in the beautiful south to the relatively modern times, protected from the Reformation.

We went to the Metropolitan Museum of Art which is another whole story I will get to…but, in trying to dash through the rooms and rooms of Impressionism to come out in the relatively tiny alcove of the good stuff, out of the corner of my eye, I spotted this:

I think he means "peniche."

I think he means “peniche.”

 

M^2 knew what time it was but the group of admirers who were lingering to count the dots or whatever were perplexed by our laughter so as you can see I had to share this important re-enactment with them. It’s kind of hard to explain anyway, but the people seemed amused and we were also very cheerful.

Feb 102013
 

If it works this will be a breakthrough in mobility blogging, again. There’s now a RIM-compatible patch for the WordPress code…
I’m a replacement task procrastinator, substituting code writing for real writing. Maybe. Let’s see if it works.

Feb 072013
 
Zwei Wölfe, Franz Marc, 1913

Zwei Wölfe, Franz Marc, 1913

“Furr” – Blitzen Trapper

Yeah, when I was only 17,
I could hear the angels whispering
So I droned into the words and
wandered aimlessly about till
I heard my mother shouting through the fog
It turned out to be the howling of a dog
or a wolf to be exact.
The sound sent shivers down my back
but I was drawn into the pack.
And before long, they allowed me
to join in and sing their song.
So from the cliffs and highest hill, yeah
we would gladly get our fill,
howling endlessly and shrilly at the dawn.
And I lost the taste for judging right from wrong.
For my flesh had turned to fur, yeah
And my thoughts, they surely were turned to
instinct and obedience to God.

You can wear your fur
like the river on fire.
But you better be sure
if you’re makin’ God a liar.
I’m a rattlesnake, babe,
I’m like fuel on fire.
So if you’re gonna’ get made,
don’t be afraid of what you’ve learned.

On the day that I turned 23,
I was curled up underneath a dogwood tree.
When suddenly a girl
with skin the color of a pearl,
wandered aimlessly,
but she didn’t seem to see.
She was listenin’ for the angels just like me.
So I stood and looked about.
I brushed the leaves off of my snout.
And then I heard my mother shouting through the trees.
You should have seen that girl go shaky at the knees.
So I took her by the arm
we settled down upon a farm.
And raised our children up as
gently as you please.

And now my fur has turned to skin.
And I’ve been quickly ushered in
to a world that I confess I do not know.
But I still dream of running careless through the snow.
An’ through the howlin’ winds that blow,
across the ancient distant flow,
it fill our bodies up like water till we know.

§ § §

*(Actually February 8) This year’s anecdote: In the frustration of inertia I went back to as yet untranslated Marc letters, and I found some correspondence that looked interesting about when FM went to visit the Brücke  at the beginning of 1912. FM was only supposed to be gone for a few days but actually disappeared for, like, three weeks – this was noted by KBoyV who wrote annoyed notes almost every day commenting on the the situation, i.e. “You left on 2 January and were supposed to return on 5 January and it is now 12 January!”

FM sent some cheerful postcards but made no mention of being in any hurry to return to being, as FM put it, “henpecked.” (FM went to Berlin around the holidays anyway, to visit his perplexed in-laws, camp out on the doorstep of the von Eckhardts, continue investigating the musems, and generally “see what was going on.”)

FM was very intrigued by the crazy goings-on at the Brücke hangout, trying to remain unfazed in the midst of what must have been, even by FM standards, extreme partying situations, nonetheless reporting breathlessly in letters (“OMG these guys are doing DRUGS and stuff!..” and [this is an actual quote, not my interpretation for the modern times] about people “doing goblin-like gymnastics and  cartwheels.”

The Brücke  had made all their own furniture, wall hangings, murals, even ceramics, lamps, glassware and stuff, and despite the CD cases, pizza boxes and beer bottles strewn around it looked like kind of  a cool studio to hang out in. Anyway, a repeated theme in people’s observations and sometimes FM’s own about himself is that he was, sometimes, kind of clumsy or as KBoyV frequently remarks “awkward.” The Brücke dudes finally agree to let FM put some of their stuff in the second Blue Rider show. Meanwhile, FM  keeps accidentally busting up their handmade furniture. On 19 January 1912, there was actually the classic sit-down-on-a-chair-and-it-breaks pratfall.

HM was finally dispatched to Berlin to get FM detoxed from opium, teenagers, or whatever, and back on the train home to Bavaria (this lead to a typically digressive and huffy mini-festo on the annoying tendency of trains to go, you know, directly from place to place instead of just cruising around for a while). FM remarked to HM upon departing that even though the place was pretty much already trashed when he got there, it looked like “a couple of giant bears had turned everything over” by the time he left…

From (more or less): Franz Marc: Briefe, Schriften, Aufzeichnungen. Leipzig: Gustav Kiepenheuer, 1989, S. 60-66

Dec 242012
 

marciecarey12121Marcie Carey has chosen “the quiet mind.” I loved from first sight and have come to greatly respect the steadfast “resistance to extroversion” of this retiring Italian Greyhound who mostly devotes herself to patient admiration of her cat and kitten friends. Marcie’s indulgences are that she enjoys eating all kinds of unusual foods, unusual for a dog, I mean, like cranberry relish, and to being stroked and snuggled by people she has known for more than six years, which at present includes only myself.

Marcie (who arrived with this normal non-avant garde non-literary name, the one word she knew, and thus kept) has always been a very beautiful little dog, tiny even by Italian Greyhound standards with expressive black shoe-button eyes and her white scarf, feet, and tail-tip. Since Marcie has gotten older her blaze and mask has extended up her nose and face and now covers her eyes. Her fur is also salted and peppered with many different flecks shading from white to black and all the saturations of grey in between; you can see some of these variations, even in the whiskers, in the high resolution photo above. Marcie has several whorls of fur, called when they occur in horses wheat ears or corn ears, on her chest and neck. These are oval, almost heart-shaped patches or hair that grow in opposite or circular directions as compared to the rest of the fur – crop circles of hair. I tried to get some photos of her (below) where you can see these patterns, but Marcie was skeptical about being photo documented.

I was thinking today about how talkative MC, as most people call her, has become over the years. When she first came to live with Queequeg, Astra, and me in Miami she hid for most of the first days. The person from Italian Greyhound Rescue who placed Marcie with us did so, actually, knowing that we would not try to make any extraordinary socializing efforts with this very timid dog who was seized from a puppy mill and very nearly feral. Quee and Astra were so gregarious. They were very loving with the new little sister at once and showed by example that there was only sharing of attention, sleeping surfaces, and food. Sometime I will tell more about Marcie’s first months, but they were spent in silence. I tried not to think about what had happened at the puppy mill but I began to worry that something had happened to MC’s larynx or throat and that she was unable to bark.

Gradually, though, Marcie did begin to express herself, through more frequent instances of allowing to be touched, stroked, and finally, held, and through some adorable “breath sounds,” small chuffing and sighing noises she still to this day makes. One day I was making some food she was particularly interested in – some kind of noodle soup I think because I remember the hot cauldron – and suddenly Marcie emitted a little “woof!”. MC was surprised and I was surprised. I tried not to react one way or the other so she wouldn’t attach any traumatic significance to using her voice, but I was very thrilled. After that, Marcie began vocalizing more and more and today she has the same screeching trill as many other IGs. Italian Greyhounds are close to Basenjis, the “yodeling” dogs, and like their cousins they are capable of quite a large range of sounds, almost like mynas. While she is far less interested in conveying communication to humans via sound (or understanding human speech) than her sisters were, Marcie has a fairly large repertoire of noises.

 

Dec 062012
 

 

Wassily Kandinsky, Franz Marc, Briefwechsel : mit Briefen von und an Gabriele Münter und Maria Marc

…After several years of seeking this book and not being able to find it, or finding it and having it be a million Euros or something, I was surprised to locate it in a German used bookstore’s inventory and not too crazily dear. It came in a package from Frankfurt am Main with probably the most Luftpost and other sticker adornments ever in the history of mail. I liked the wrapping so much that I just left the book in it for like a month and kept admiring it. Finally I actually needed to look something up and I had this week to open it. I was beyond thrilled to see that it had a dust jacket with fantastic 1980s typography and an X-acto bladed cutout of the “Show Him the Picture!” photo. The pages aren’t highlighted or written in, but they are pretty beat up and smell like bourbon and tobacco; I am always happy to find someone has really been reading a book hard.

I have been reading, listening to Bayern 2, and conversing with my two patient friends auf Deutsch a bit more diligently and was very pleased to be able to just sit down and read the book without too much difficulty, a far different experience from when first I met it. There are a lot more references to August Macke than I remember, and to AM’s influence…FM was always agitating on AM’s behalf.

I see from looking in Worldcat that this is something of a rare book (rarer now that the Little Mermaid dragged the USF copy to the bottom of the ocean or something – way to stay classy). I wonder why Piper never issued another edition, because in addition to the text of the letters there are extensive notations about the context of the references in the letters, and, very helpfully, descriptions of what was on the obverses of the postcards FM sent that he didn’t make himself. Between the paint, the content, and the terrible writing and incomplete addresses, FM was a real terror to the kingdom’s postal service – they regularly sent his stuff back or just handed it back and refused to deal with it – and they must have been relieved to see just normal “art” postcards such as people send today.

 

The other text I came across when I was organizing some shelves of books was this: The Decipherment of Linear B. I have always been very fascinated with cuneiform and with the work of Michael Ventris. The author, John Chadwick, was a friend and colleague of Ventris and though this is a very staid account of the process of identification and transcription of the cuneiform characters as both compared with Phoenician and Egyptian and deductively derived, Chadwick mentions Ventris’ untimely death in the introduction. I snatched this book from the trash and am very glad to have it now.

Nov 022012
 

Imagine a dog moving through the northern woods. The movement, over a trail he has traversed many times before, is distinctive, unlike that of a fox or a bear, yet he appears, if you are watching, sometimes vulpine and sometimes ursine. It is purposeful, deliberate movement. Occasionally the rhythm is broken by the dog’s pause to inspect a scent mark, or a move off the trail to paw among the stones where a year before he had cached meat.

The movement down the trail would seem relentless if it did no appear so effortless. The dog’s body, from neck to hips, appears to float over his long, almost spindly legs and the flicker of wrists, a bicycling drift through the trees, reminiscent of the movement of water or of shadows. The dog is four years old. A male. The trees he is moving among are spruce and alpine fir on the eastern slope of the Alps in southern Germany. He is for the most part polar white – even his eyelashes and whiskers are snowy – but there are blond and grey hairs mixed in the saddle of fur that covers his shoulders and extends down his spine and even a few silver and red hairs mixed in too.

It is early May; an easy time of year is coming though there is still the chance of unpredictable windstorms and snow. Still the temperature is pleasant. Deer and cows are fat. Suddenly the dog stops mid-stride. A moment, then his feet come slowly alongside each other. He is staring into the distance. His ears are rammed forward, stiff. His back arches and he rears up and pounces like a cat. A deer mouse is pinned between his forepaws. Eaten. The dog drifts on. He approaches a trail, crossing an undistinguished crossroads. His movement is now slower and he sifts the air. He sniffs a scent post, a scrawny blueberry bush in use for years, and goes on.

The dog weighs 130 pounds and stands 39 inches at the shoulder. His feet are enormous, leaving prints in the mud along a creek (where he pauses to hut crayfish but not with much interest) more than five inches long by just over four wide. He has two fractured ribs, broken by a cow the year before – they are healed now, but a sharp eye would notice the irregularity – and a once long-plumed tail unceremoniously docked after being accidentally caught in a slamming door.

The dog is tied by subtle threads to the woods he moves through. His coat carries seeds that will fall off, effectively dispersed, along the trail some miles from where they first caught in his fur. And miles distant is a raven perched on the ribs of a rabbit the dog killed ten days ago, pecking like a chicken at the decaying scraps of meat. A smarter snowshoe hare that eluded the dog and left him exhausted when he was a pup has been dead a year now, food for an owl. The den in which he was born one April evening farther up the mountains was home to foxes last winter.

It is now late in the afternoon. The dog has stopped traveling, has sat down to look at the sun before it goes behind the mountains. After a few moments he flops on his side, rises, stretches, and moves a few feet to inspect – minutely, delicately – a crevice in the rock outcropping and finds or doesn’t find what draws him there. And then he ascends the rock face, bound and balancing momentarily before bounding again, appearing slightly more unsure of the process – but committed. A few minutes later he bolts suddenly into the woods, achieving full speed, almost 35 kmh, for forty or fifty yards before he begins to skid, to lunge at a lodgepole pine cone. He trots away with it, head erect, tail stub erect, his hips slightly to one side and out of line with his shoulders, as though hindquarters were impatient with forequarters, the cone inert in his mouth. He carries it for a hundred feet before dropping it by the trail. He sniffs it. He goes on.

The underfur next to his skin has begun to shed with the coming of summer. In the fall and winter it will become so dense it will be almost impossible to comb it through to the skin. In several months he will weigh more: 150 pounds. He will have tried unsuccessfully to dislodge a newcomer puppy from the house where he lives. He will have learned to herd deer, and will have fallen through ice into a creek. He will have fought with dogs on neighboring farms.

He moves along now to the edge of a clearing. The wind coming down-valley surrounds him with a river of odors, as if he were a migrating salmon. He can smell ptarmigan and deer. He can smell spruce and the fading sweetness of fireweed. Above he sees a hawk circling, and farther south, lower on the horizon, a flock of sparrows going north. He senses through his pads with each step the dryness of the moss beneath his feet and the ridges of old tracks, some of them his own. He hears the sound his feet make. He hears the occasional movement of deer mice and voles.

But, finally, dogs go with people. This dog trots off obliquely to the place where his person is also outside, also exploring. They approach each other across a small clearing, briskly, almost formally, postures stiff; greeting abruptly with caresses and licks. And then they are gone, down a vague trail, the human first. After a few hundred yards they begin to walk side by side.

Nov 012012
 

Happy 1 November: To those who worship in a cathedral of rain dripping from the trees, woodpeckers etching a gospel into the bark, mockingbirds calling the sun out of the shadows, bats folding their wings tipped with sunset, owls threading the night air and stitching a cape that whirls them away through the starry sky, to the constellations who have watched over every creature ever born.

Yesterday was Astra Carey’s birthday and today is the day in 1517 when Martin Luther nailed his 95 Theses to the church door in Wittenberg. I was thinking about both of these things as I spent Halloween for the first time ever as an “adult” at a nice dinner party — a popular activity this week. At the first I heard the latch snick shut too late, but tonight was surrounded by my fierce Teutonic guardians. Of course when I got home I watched Lars von Trier (earlier this week Melancholia and then tonight AntiChrist to keep in perspective how things actually are “broadcast from the outside in” [I am pretty sure that’s what that Maps lyric really says or at any rate I like it better].)

In the exactly three months since I “resigned in protest” from the church I have not missed it at all. I had already spent all the years I can remember from a child just meditating and thinking about being this or that animal the entire duration of every service anyway, though I believed in the teachings about forgiveness, patience, love, charity and so on and appreciate communal rituals and think they are important. Of course I am completely skeptical of yuppies who claim to be “spiritual but not religious” as this is just a cop-out not to have to be bothered to go to a service. Of course now I am one of those people while I am figuring out how to implement “organized pantheism.”

Toward the end of her life a relative was so upset and disgusted by the priest/child abuse situation – the horror itself of course but also the cover-ups – she was seriously investigating other religions, everything from the Anglican church to the Baha’i faith. She was a rational and methodical person but I understand now that this is a rational behavior – if – not in the historical abstract like the Borgias – actual people alive now who you know who are Catholic are deceitful, sadistic, unforgiving, abusive of the trust of those they hold power over and you are Catholic this generates a ?. So they have to go, or you do. Finally having such a personal revelation I was suddenly quick to voluntarily excuse myself.

But I am a little nostalgic today. I used to love not just Halloween but All Souls Day and All Saints Day. These days of obligation were taken very seriously in Belgium, almost as seriously as May Day: the trains, metros, stores, banks, postal service, schools – everything – would shut down and people spent the day walking from churches to the small graveyards beside the churches to the larger cemeteries. This was a solemn public ritual but I could tell other people felt similarly hopeful that perhaps the interceding saints, on this one day, would let the departed know how much we loved them still in life. I’m pretty sure my animal and human family members and my (sadly, many) friends who have died the past few years knew because, well, they did. But you never get to say everything, and you never know what is going to happen. Maybe the comforting thing about participatory rituals is that they make a reality.

Oct 082012
 

After being “back” for only a week I find I am already struggling a bit to remain in the cocoon of wellbeing spun by having been “home” the week previous…so I decided to quickly tell a couple highlights of my adventure in the interest of hanging on, at least in words.

The citizens of Würzburg, in the center Bayern Inferioara not Hessen, determinedly identify with their neighbors on the Main in Frankfurt as opposed to affiliating with the residents of the Kingdom with whom they actually share statehood. One citizen explained to me that Oktoberfest was not celebrated in Würzburg, “only in Bavaria.” (Just to clarify, Würzburg is in Bavaria.) I cannot be exactly sure why this is, since, while it is certainly not as wacky and zany as any place in UB, it is very agreeably weird in its own way. I will investigate further in the future.

In any case, a number of amazing things happened while I was there. The first one was that suddenly, I could speak German. After the fiasco of this past summer, I had really only been studying haphazardly, by which I mean listening to the “party music” programming on Radio Bayern 2, reading just a couple pretty easy books, and practicing with my friend the idiosyncratic new language based on 30 percent German and 70 percent JDilla.

However it became obvious even in the short distance between the Frankfurt Hauptbahnhof and the Würzburg hauptBahnhof that an increased level of proficiency was going to be necessary and that filling in the unknown vocabulary with French, Italian, Dutch or Lupe Fiasco would be both impossible and sociologically ill-advised. For some reason I was not very worried, probably because when you are fortunate to be on a train in Germany in Bavaria and it is cold enough to wear a hat, scarf, and gloves, there is not really anything to worry about. When I got to the hotel, the lobby of which doubles as a Mexican restaurant (see I told you this place is afterall in Bayern), for some reason without really thinking anything about it I just asked (bitte) for die Schlüssel zum Zimmer zweihunderteins? A few minutes later, looking out the window of said room, I realized something must have gone horribly wrong since in the past I rarely get articles and never numbers right on the first try in conversation.

Yet this was not an accident or aberration ( at least for the week or maybe the whole thing was). After that, I just could speak German. I know it sounds like some sort of miracle but actually I should be able to speak German, I just hadn’t been able to until this very moment. After I tested out this new ability over the next few hours – getting directions, getting a magazine at a newstand, chatting with some people who were also standing by the Main admiring the swooping bats and rain on the river – I was convinced of its existence.

At that point I was suddenly overcome with one of the greatest senses of ecstasy I have ever known. Continue reading »

Follow

Get every new post delivered to your Inbox

Join other followers