Category: Art

American Portraits

Does anyone get their portrait painted anymore, other than presidents and first ladies? I was thinking about that after going to two exhibitions, one at the Metropolitan Museum of Art, the other at the Whitney.

The first one was entitled Sargent in Paris, and it explored the emergence of John Singer Sargent as one of the premier portrait painters in the 1880s. He was commissioned by people in high society to paint themselves, their wives and children. I don’t travel in high society, so it is possible that old money, or the richest folks among us, still do that. If they do, I haven’t heard of the artists who do it or seen exhibits of their work. I am more familiar with hiring a photographer to do a shoot, but even that isn’t common, though some do it for an engagement or new baby. Back in the day, and I’m referring to the Guilded Age, it was apparently a sign of status to engage someone like Sargent to do a portrait.

From what I read while I walked through the galleries, Sargent was quite adept at nurturing the relationships one needed to sustain his career. There is no denying Sargent’s artistry, I love his work, but I think his ability to hobnob with the circles that could pay him enhanced his career and reputation. I wonder if he liked that part of his job. Maybe it came naturally to him. I would hate it. It is possible, like Michael Jordan who had both talent and tenacity, Sargent had both the social skills and the exceptional talent that allowed him to achieve the heights of success as a portrait artist.

Though Sargent was an American, he only visited here. His parents were ex-pats who moved around Europe. He was born in Florence, and he died in London. Despite spending a good deal of time overseas, he did leave his mark here in America, particularly in Boston where his murals decorate the ceiling and walls of the main branch of the public library. He, unlike some artists, was celebrated in his lifetime. There was a period after he died where his work was less respected because it was viewed as the work of a mere illustrator, without much creativity. Then his reputation rose again as the art world took another look at the nuance of his portraiture and skill of his brushwork.

Here are some examples of the range of his work from the exhibit:

an unusual approach to portrait painting
an example of making the color white interesting
A view of the Alhambra in Spain

I love Sargent’s canvases – his formal portraits and his paintings of nature. He was so versatile. He could do watercolors, and he could paint in the Impressionist style. Whatever he did, his use of color was so vibrant, you can feel the texture of the fabric of the dress his subject wore. He also makes white come alive, which is unique – not everyone can make white an interesting color. And, even though he was often simply painting a portrait of someone I never heard of nor cared about, he manages to make them compelling.

This is the one commonality I found between the Sargent exhibit and the other show I attended, Amy Sherald: American Sublime at the Whitney. You may know Amy Sherald as the artist who painted Michelle Obama’s portrait, and that canvas is included in the exhibition at the Whitney. That work got some attention, but of the pieces on display that one was the least interesting to me.

Like Sargent, Sherald paints ordinary people but makes them notable. I suppose it isn’t accurate to say Sargent portrayed “ordinary” people, since they were, with few exceptions, very rich, but they weren’t famous in the way we understand fame today. Sherald’s subjects, with the exception of Michelle Obama, aren’t rich or famous– they are regular people. Sherald is interested in presenting people of color, offering less emphasis on their skin tone and more on their everyday lives – reflecting their joy, their dignity, their pride. She also plays with our expectations of gender and race, showing people in surprising settings.

Sherald’s work is also a celebration of color, but in an entirely different way than Sargent. Her canvases are bold, and while Sargent may have been considered bold, it was in the context of the Victorian era. Sargent’s most controversial painting, Madame X, presented a woman with the strap of her evening gown off her shoulder, which he later fixed to appease the sensibilities of the time. Sherald is far more daring, pushing the boundaries of our expectations. I’m sure some viewers, I’m thinking of social conservatives, would not appreciate her perspective. I love that her work makes you stop, think and reconsider assumptions.

Here are some examples of her work:

Sherald’s canvases, with the notable exception of the Obama portrait, are not on commission. She spots people on the street that she finds interesting for one reason or another, or she has an inspiration, and she asks permission to photograph that individual and then paints from the photograph. Unlike Sargent, she was not able to make a living as an artist until later in her life. She waited tables until she was 38 years old.

Though I did not set out to see these two exhibits to compare and contrast them, it turned out to be an interesting exercise. If you are in NYC, I recommend seeing either one or both. You can expect huge crowds at the Metropolitan. I went on a member preview day and there were lines. I’m not sure if that was due to the popularity of Sargent or the popularity of the Met. It was far less crowded at the Whitney which made for a more enjoyable and relaxed experience. There are plenty of other things to see at each museum, obviously, and if you haven’t been to the Whitney since it moved downtown, the building itself is worth a visit. The Sherald exhibit runs through August 10th, while the Sargent is open through August 3rd. If you see either one, feel free to come back here and comment. I’d love to hear other perspectives.

Here are some photos I took of other exhibits that I particularly enjoyed at the Whitney:

A Visit to MoMA

I went to the Museum of Modern Art. I hesitated before buying my ticket online because it is holiday season in New York City and that means crowds. There are always crowds at New York City’s most iconic attractions: MoMA , the Metropolitan and the Museum of Natural History are among them. But, this time of year is a whole other thing.

My strategy for any place with crowds, including Disney World, is to take the path of least resistance. I don’t have my heart set on seeing any one particular thing – I will see what I can see. Most of these places have so many choices, so much great stuff, that you can’t really go wrong. With that in mind, I decided to venture forth to MoMA.

Indeed, it was crowded, but I’ve been to exhibits where it felt like you were packed like sardines, moving slowly along a conveyor belt to see the art, which definitely detracts from the experience. This was not that – at all. In fact, I found galleries where I could sit down and look at the pieces leisurely.

I’ve commented before on this blog about the fact that works of art, or my response to them, change over time. I find I like things that I didn’t appreciate years ago. I see other works that I loved as a young person that don’t move me as much. I love that about art. These days I gravitate to things that are whimsical – especially in sculpture. For example, this work by Thomas Schutte (an artist I had never heard of before):

The museum devoted a whole floor to an exhibit of Schutte’s work. It was incredibly varied – paintings of all sorts, sculptures of all sorts. On one card next to a display of drawings, it described a project he had undertaken that I found interesting. “Over the span of one year, Schutte drew his reflection from a round shaving mirror, recording his moods and temperaments in diaristic sketches. ‘It’s the attempt to fathom oneself,’ Schutte remarked, ‘and it failed miserably.’” I was amused and heartened by his willingness to share this. We usually only see an artist’s best work and we aren’t necessarily even aware of their failures. I can’t say I loved all that I saw of the Schutte exhibit, but it got me thinking and I appreciate that.

I also find now that I have more appreciation of canvases that are saturated with color, like these:

Rothko
Vuillard

They made me think about my mother. I remember Mom telling me that she had never appreciated Rothko until someone told her to sit down, take a few minutes, and let the color envelop her – and then she got it. She got what he was communicating. As the card next to the painting explained:

“For Rothko, art was a profound form of communication, one capable of conveying the ‘scale of human feelings, the human drama,’ as he described. Through works like these, he hoped to create the conditions for silence and contemplation.” I’m not sure I “got it,” the way my mother did, but I saw and felt more than I have in previous viewings.

It was funny to me, as I walked through the galleries, different pieces reminded me of different people. Besides my mom, who is always accompanying me when I go to an art museum, in my mind at least, I worked with a woman, Courtney, who had an appreciation for color. She told me about Pantone – the folks who catalogue colors and tell us the color of the year (for 2025, they just announced, it is mocha mousse, by the way). When I looked at the Matisse exhibit, which highlighted his paper cutouts, you could not help but be struck by his color choices. The display of Matisse’s array of colors, made me smile and think of Courtney.

Matisse: cutout that was a design for a holiday-themed stained glass, the resulting stained glass (not created by Matisse) and his color palette for his cutouts

No visit to a museum is complete without stopping in the gift shop. MoMA and the Metropolitan have stellar gift shops. I have to restrain myself. I picked up a few Hanukkah presents, but didn’t overdo it.

Here some other shots from my visit. I ended my day by walking, amidst a million of my closest friends, to Rockefeller Center to see the tree. I may not celebrate Christmas, but I can appreciate the twinkling lights that brighten our winter.

Views from inside the museum:

Some classics:

Warhol
Seurat
Dali

Does anyone convey loneliness or isolation more effectively than Edward Hopper?:

Two more interesting sculptures (at least to me), one on the right by Schutte (which had to do with the influx of immigrants in Germany in the 1990s):

To top things off – the tree!

A Trip to Pittsburgh in the Aftermath

A view of downtown from the top of Mount Washington after riding the Duquesne Incline

I could write a book about our trip to Pittsburgh. We were traveling there for a mini medical school reunion.

So many thoughts flood my mind:

  • The choices we make in our lives, being reminded of a turning point and what might have been. We could have settled in Pittsburgh but wanted to be closer to family. The road not taken is hard to resist imagining.
  • The side trip that took us at least 90 minutes out of our way, not to mention the time spent at the stop itself, a museum to see an exhibit of Andrew Wyeth’s paintings. When I suggested the detour, Gary initially didn’t want to take the time knowing what a long drive it was already from Albany to Pittsburgh. Then when we got in the car to start what should be a seven- or eight-hour trip, he said, “What the heck. We aren’t in any rush. Let’s go to the museum.”  I think he took pity on me, knowing my spirits were low from the results of the election and imagining a stop to look at art might help. He was right – it worked…for a while anyway.
  • The juxtaposition of gleaming office buildings, the beauty of the confluence of the three rivers and the unhoused, hurting people on the streets of that same downtown area. It is painful to see folks strung out, young people panhandling, wondering what’s worse: to walk by with a shake of the head and a murmured “sorry,” or to give some money? Our society must do better taking care of its own. The wealth suggested by elaborate skyscrapers, high-end stores and fancy hotels, side-by-side with people whose possessions are held in a bunch of plastic bags begs for a more humane economy. Below is evidence of the issue in Pittsburgh.
  • Gathering with friends from 40 years ago, some we did see eight years ago but others we had not, in the aftermath of an election that broke my heart but likely brought joy to some of theirs, was daunting. I was worried about how it would go.

It turned out that our reunion was warm, and we avoided politics, but I did have some interesting discussions with the woman I knew best all those years ago. We sat next to each other during the Pitt-Virginia football game that neither one of us was interested in. I knew she was a Trumper, and she knows I’m a bleeding-heart liberal. We would not change each other’s minds about anything. I come away as mystified by how I feel about folks who voted for Trump as I was before. Maybe I understand a bit more about her thought process – she sees the world differently than I do. One part of our conversation I will share because I think it is revealing.

I explained that I could not forgive Trump for, among other things, his reaction to the unite the right event in Charlottesville where the marchers chanted, “Jews will not replace us” and carried tiki torches. Trump responded saying there were good people on both sides. My friend explained that Trump was referring to the people who were trying to prevent the removal of confederate monuments – that he was sympathetic to their cause –  not to the chant. I said that I didn’t understand his statement that way and if that was the case he needed to make it clearer. She told me that it was obvious to her that’s what he meant. I said that even if that was what he meant, those monuments needed to come down. She disagreed. She asked me if knew anything about Abraham Lincoln. I said yes. She went on to explain that Lincoln supported monuments and naming forts after confederate generals to allow the South to save face. I responded by saying that may well be, and may have made sense in 1865, but it is now 2024, and the country needs to understand that the South lost the war. Those statutes and stories can be displayed and explained in museums and history books. Monuments in public squares should help us to remember and celebrate our better selves – the people honored don’t have to be perfect, but they do have to be on the right side of history. She just shook her head saying history should be preserved. I said, let’s change the subject and we did.

The game took almost three hours. There was a lot of conversation. Most of it was ordinary stuff about family, travel, health, but we couldn’t help but return to politics every so often, after all some of those subjects involve policy. Every time we did, we had to agree to disagree. At one point she said, amused, “You’re just too woke.” I smiled and said, “Exactly – that’s no insult to me. I work at being woke.” We both laughed.

I was proud of myself. I didn’t pretend that I didn’t disagree with her, but we didn’t get heated.  I was able to hold on to the good times we shared, aware of the pain she’s had in her life, the disappointments and struggles. I assume she could do the same for me. We hugged when we said our good-byes.

Gary was sitting next to his friend and former classmate, her husband, who shares her politics. After we left, Gary and I compared notes about our experience of the game. Interestingly, they had not discussed politics at all. Not surprisingly they were more focused on the game, but they talked about other subjects too – work, memories, family, being grandpas. No politics, though. I wondered how they managed that.

I am still processing the entirety of the trip. It was only 4 days, including all that driving, but it represented so much. I am also still processing the election results. It is going to take a long time to digest it all.

The best part of the game that Pitt lost – the half time show. The band was terrific.

Money, Money, Money

Money can be a great thing. Not a surprising a statement. This notion was reinforced by the tour we took of Olana, home of Frederick Church, one of the significant painters of the Hudson River School. Church was born into a monied family. He may have disappointed his father when he announced his plan to be an artist as a teenager, but he had the luxury of making that choice. He was able to pursue and fulfill his dream. He wasn’t under pressure to make money; he could take his family on an 18-month trip to Europe and the Middle East without worrying about where his next dollar was coming from. He could come back inspired by all he had seen, buying knick-knacks and artwork, and full of ideas for building his own home in Hudson, New York. Olana was born at least in part from that trip and thanks to his vision we can enjoy his property today.

Olana, we learned, didn’t just refer to the building – which was the family home; it referred to the whole property including the acres of land surrounding it. Church viewed the whole thing, the land and his home, as a unified piece of art. Church would buy parcels as they came up for sale in order to preserve the views he found so inspiring. Here are two views from our walk of the property:

He painted many landscapes of the Catskills and Hudson River from here. When Church arrived in the area, the land had been clear cut of trees. The property was barren. He wanted to restore its natural habitat. It was the fashion of the time to plant exotic trees and plants, bringing home flora from Europe and the Middle East, but Church didn’t adopt that approach. He used native trees, and he purposely left open spaces to frame vistas. He took an artist’s approach to the project, specifying where the plantings should end so he could have a pleasing view of the mountains, rivers and farms that surrounded his property. We are fortunate that Church was a visionary. He left us a magnificent place to explore and appreciate the beauty that Is the Hudson Valley.

While we were walking the land, our guide pointed out a small cement factory that we could see in the distance. A number of years ago there had been a proposal to build another factory that would have included a 40-story smokestack. The idea was moving ahead until some in the area got wind of it and objected. Ultimately, the plan was defeated. The guide believed that if the plan had gone ahead, it would have ruined Olana. I wondered if that was the case. A view would have certainly been diminished but did that mean that Olana could no longer be a place people would want to visit and hike? Would it literally have ruined Olana? Certainly if the emissions from the smokestack were noxious, it would have. The question is moot since the State rejected the proposal.

After the last of the heirs of Church died, the land and house became a New York State Park. I am in favor of preserving wild spaces, especially for public use. But there is a balance. Economic development is also important. People need to make a living. Many towns in the Catskills have struggled and lost population. Our guide explained that Olana itself is not an insignificant employer in the region. It is a dilemma faced all over the country – the tension between development and preservation; these tensions are regularly encountered in the Adirondacks. I don’t reflexively reject development. I want to understand the implications, the costs and benefits, before coming to a conclusion. Unfortunately, it can be hard to come by good information on that. I think many of us have a knee jerk reaction to these issues. We can be predisposed to believe that any encroachment on nature is a negative thing (especially when it involves our own property or neighborhood), or we may automatically support anything that promises more jobs and tax revenue. Neither of those reactions are useful in effective policymaking.

As we finished our walk of the property, the guide asked us what we thought of the house – meaning the design of the structure. All of us on the tour liked it but saw different things in it. Some were reminded of an Italian palazzo; others saw Middle Eastern touches. It is something of a mish-mosh.

Money does give you options that most of us don’t have. Church found folks who were willing and able to fulfill his vision.

Money can also make people crazy. It can be a trap. Frederick Church enjoyed his largesse. He connected with many of the accomplished people of his day. Prominent people from New York City visited him at Olana. Other folks in that circle were not so fortunate. We learned on the tour of the Wittgenstein family of Vienna, the patriarch was a contemporary of Church, and one of the richest families in the world. Several members of that family committed suicide and the one remaining son gave all the money away. Money does not buy happiness. We can forget that when we are in the midst of challenging times. When we are barely making ends meet, or the ends aren’t meeting, it is understandable to think that having more money would solve all our problems. There is no doubt that money can help with a myriad of issues, but it doesn’t solve loneliness, or bad decision-making. Apparently, Frederick Church did not struggle with those issues and he left us a legacy we can enjoy.

River Cruise – Not Much River

Note: I have decided to return to writing about the lighter side of life though I continue to stress about the toll of the war in Gaza, the fate of the hostages and the rise of antisemitism. Gary and I were fortunate to take an amazing trip in October and, me being me, I have lots of observations and photographs to share. Here is the first of what will likely be a couple of essays.

“How was your trip?” A straightforward question to someone who has returned from vacation. Usually the answer is straightforward, too. “Great!”  or maybe “Exhausting!” Gary and I took a river cruise in October and when people ask how it was, I find it difficult to come up a pithy response. Our trip was disappointing, awesome, educational, fascinating, painful, tiring, memorable….many adjectives apply. There isn’t one overall response.

Our river cruise was a tour of Eastern European capitals on the Danube with Viking. It was slated to start in Vienna and proceed to Bratislava (capital of Slovakia) and then Budapest, with further stops in Hungary, Bulgaria and ending in Constanta, Romania. We received an email a couple of days before we left advising us that it was possible that the beginning of the trip would not be on the boat because water levels on the river were too low. We hoped that would resolve and then didn’t think much more about it since it was totally out of our control.

When we arrived in Vienna we were told by the Viking representative that met us that indeed we could not go to the boat because the situation had not improved. They were not sure when or where we would be able to board the ship. We were taken by bus from the airport to a Hilton Hotel well-located in the middle of Vienna. Though the transfer to the hotel went smoothly, we were disappointed to find that things were quite disorganized upon our arrival. It wasn’t clear what was happening with our luggage. Rooms were not yet available, it was mid-morning. They did not communicate the status of meals for the day and no activities were scheduled. It was an inauspicious beginning.

Gary and I were traveling with his brother, Steven, and his wife, Shari. Though we were quite tired, it had been an overnight flight, we set out to explore the area on foot. It was very breezy and chilly, but we enjoyed our walk and stopped at a café. We made the best of the situation. We wandered around for a couple of hours – now it was around 1:00 and we returned to the hotel. Steve and Shari’s room was ready, ours was not. We were informed that a buffet lunch was available in the restaurant of the hotel.

We hoped that after lunch our room would be available. We went to the buffet only to find that none of the dishes were labeled – various foods were displayed without any identification. Was it fish or chicken? Pork or beef? What kind of vegetables were under that cream sauce? Those of us with allergies or food preferences were concerned and confused. The folks refilling the chafing dishes were unable to answer our questions. Oy. After much pestering of the staff, we were able to gather some information. We made it through lunch without anyone getting a rash or anaphylaxis (at least as far as I know). Dinner wasn’t much better, somewhat better labeling but not great choices. Certainly not meeting the standards expected on a Viking cruise.

I think you are getting the picture. Things were not starting out great. Especially when you consider how expensive these trips are. Despite that, though, I loved walking through Vienna, being in a new place, taking in the architecture, people-watching, seeing a city I had only read about.

As we were finishing lunch, Gary went to the registration desk to inquire about our room – it was now around 2:30. At first they said they didn’t have one available. Gary appealed to their sympathies. “We have been traveling since 6:00 yesterday evening, we didn’t sleep on the flight, we haven’t showered, can’t you do something?” Fortunately, they could. Why they couldn’t in the first place, is a mystery. But at least we had a room! We got our luggage – it was supposed to be delivered but we saw it sitting in the lobby so we just took it – and went up to our room and collapsed.

I won’t go through the whole trip giving a minute-by-minute report, but I wanted to give a sense of our frustration with how it started. Viking still didn’t have a clear itinerary for those first days or a timetable for getting on the boat. We were okay with taking it as it comes – as long as we were seeing interesting sights and as long as Viking was fulfilling its promises, even if it wasn’t on the river.

Unfortunately, I can’t say they were able to do that. The food provided at the hotel and the one restaurant they took us to in Vienna were subpar, at best. The communication was not what it should have been. On the upside, the hotel was comfortable, and the tour of the city was excellent. I loved what we saw in Vienna. Here are some photos of points of interest.

statue of the mayor of Vienna from decades ago – a known Nazi
On our walk when we first arrived in Vienna
Holocaust memorial
A canal that is an offshoot of the Danube

On the afternoon that we had free, Gary and I chose to go the Belvedere Museum because I am a fan of the artist Gustav Klimt. I had read that his most famous paintings were housed in that museum. I was not disappointed. The building itself was magnificent and the grounds were beautiful, as well.

Since we were not on the boat, we were given a choice: spend more time in Vienna or take an hour bus ride to Bratislava where we would take a tour. Gary and I chose to go Bratislava. During the bus ride, the tour guide provided a lot of information about both cities – Vienna and Bratislava and the two countries, Austria and Slovakia. Back in the day, Austria was not part of the Soviet bloc, but Slovakia was. The lasting impact of that was evident in their respective landscapes and the ambiance of those capital cities. As we would continue to learn throughout the trip, Russian influence was stronger and stronger as we went east. In Bratislava the tour guide told us jokes that were at the expense of the old Soviet Union. For example: a man went to the Skoda (small, Czech made car) dealership to buy a car. He was told it would be a ten year wait. The man asked if it would come in the morning or the afternoon. The salesman responded, “Why does it matter, it’s in ten years?” “Because I have the plumber scheduled to come then.” Obviously, a dig at the inefficiency of the Soviet system. The guide seemed grateful both to be able to tell the joke and that things had changed.

Bratislava’s old town was charming. It had been a walled city. Now it has lots of shops and restaurants within the remnants of the wall. Our tour guide explained that because the cost of labor is low, as are taxes, tech corporations have established offices in Bratislava. Thirty years after communism fell, there is a vibrance to the city and it is growing.

Opera House in Bratislava
Castle that overlooks the Danube
Gary with iconic bridge over the Danube that connects two parts of Bratislava
one of the streets in the old town of Bratislava

Despite the fact the cruise was not going as planned, and in fact we weren’t cruising at all, the main purpose of travel was being accomplished. We were learning about places we knew little about and expanding our horizons to include more of the world.

[more to come!]

Call Us What We Carry

I keep telling myself I want to read more poetry. But I don’t do it. Why? I think in part it is because for me it is hit or miss. I love it or I don’t get it. And when I don’t get it, I feel less than. It feels unsatisfying. With a book, it is different. I may like the story or the writing, or I may not, but I don’t often feel a sense of failure. With modern art, or even classical paintings, if I don’t appreciate something, I just move on without judgment – not of the artist and not of myself. Why does poetry that goes over my head, or if it doesn’t move me, make me feel like it is a personal failure? I think I need to adopt the attitude I have about other art forms – enjoy what resonates and let the rest go. Maybe then I would make it more of a priority. After all, poetry lends itself to our lifestyles these days – they can be quick reads (maybe not quickly understood and processed, but it doesn’t require a huge time investment) so it would seem to be a good fit.

I am pleased to report, though, that a book of poetry I just read, prompted by my family book club (thank you, Nicolette), did not fall into the category of going over my head. I found it accessible and meaningful. Amanda Gorman’s Call Us What We Carry was insightful, moving, intelligent and creative. My niece, who picked it as this month’s read, called it a ‘time capsule,’ and I think that is very apt. Gorman wrote it during the pandemic, it was published in 2021. The poems remind me what the early days of Covid felt like – the isolation, the fear, the uncertainty. The poems cover that year, 2020, and all the upheaval that went with it. While some might not want to be reminded, it is important because though we think we have moved beyond it, in our quest for normalcy, there are residual effects that we need to reckon with.

It Is amazing to me that Amanda Gorman is so young – as of today she is 25. When she recited her poem, “The Hill We Climb” at Biden’s inaugural (that uplifting poem is included in this collection), she was 21! She is clearly well-read and well-educated – how much is formal education (she earned her B.A. from Harvard so there had to be some of that), or her own reading and research, I don’t know, and it doesn’t matter. She brings a sense of history and culture to her poems that is so impressive. There are references to the pandemic of 1918, the Great Migration (the movement of African Americans from the south to the north during the first half of the 20th century), the Civil War and her own life. She includes footnotes and endnotes. All of it is called upon in service of enlightening our present moment.

It isn’t common for our book club members to all agree on something we have read. Usually there are differences of opinion, and we bring a variety of perspectives and preferences to the piece  – which is what is beautiful about it– and we read a wide range of genres. Everyone was impressed with Call Us What We Carry. Each of us picked up on different themes, some things resonated more than others, but we all valued the experience. I should note that we do not all share the same politics – though I would not characterize any of us as extremists, we are mostly center-right, center-left, and maybe a bit further left. I point this out because one might be tempted to assume that Gorman’s poetry would be heavy-handed. We did not find it so – she writes substantively, with evidence and passion – not propaganda.

Several of our members perceived that some of the poems communicated anger. I can’t say I felt that as I read. I didn’t pick up on that in her tone. If it was there, it wouldn’t be without cause – there is plenty to be angry about. It didn’t hit me that way, though.

I think this collection of poems offers an important contribution to our time. I recommend reading and or listening to it. Our book club had a discussion about how best to engage with it – some had listened, some read and one of us read and listened at the same time. I think, if one can, that last method would probably be best. Reading it allows you to appreciate some of the artistic choices made in how it is presented (the poem in the shape of the U.S. Capitol, the use of white space, the color of the paper, etc.). Listening likely offers more of an appreciation of the rhythm and the playfulness of the language.

I will leave you with two parts of poems that made a meaningful impression on me. The first comes from “The Shallows,” which describes a time challenging to the human spirit, she concludes the poem with these lines:

Shall this leave us bitter?

                Or better?

Grieve.

Then choose.

The other piece is entitled Pre-Memory:

“Marianne Hirsch posits that the children of Holocaust survivors grow up with memories of their parents’ trauma: that is to say, they can remember ordeals that they did not experience personally. Hirsch calls this postmemory. Seo-Young Chu discusses what she calls postmemory han, han being a Korean conception of collective grief. Postmemory han, then, is the han passed on to Korean Americans from previous generations. As Chu writes: Postmemory han is a paradox: the experience being remembered is at once virtual and real, secondhand and familiar, long ago and present.” The whiplike echo of Jim Crow, too, passes through Black bodies even before birth.”

The piece then goes on to explore this idea. The notion that we inherit trauma, if it is true, has major implications – and would explain a lot about why people behave the way they do and why it is so difficult to move on.

Amanda Gorman is wrestling with provocative and interesting ideas. I think it is worth the time to explore them. I look forward to seeing what she will offer us as she grows.

Self-Care: Filling Your Cup

Last week’s blog entry that I entitled Self-Care drew some interesting comments that got me thinking. Gary, my husband, who is also a doctor, pointed out that taking care of oneself was a good investment of time and energy. A number of the things that I identified as self-care were doctor recommendations. I can see his perspective. Rather than resenting the time it takes to do the physical therapy or whatever it is that has been prescribed, one could look at it positively. Time spent making yourself healthier, perhaps pain-free, or with improved mental health, is a good use of one’s time and better than a lot of alternatives. Once again, reframing something has its benefits.

I also received useful feedback from Leah, my daughter. She argued that activities I was including in self-care didn’t necessarily belong there. She suggested that self-care can be thought of as activities that ‘fill your cup;’ things that restore your spirit. I like that notion. While I didn’t specifically list brushing my teeth as part of my self-care routine, it was included as part of what I do to get ready in the morning. I don’t think that should really count as self-care, except in the broadest sense. It is necessary to preserve my dental health but doesn’t do much to restore my spirit. Although, replacing morning breath with minty-fresh breath is a big improvement – I think I’m getting too far into the weeds here. It is safe to say I am over-analyzing this.

Back to the main point: Even if I take a broader view of self-care than the one Leah offered, I like the exercise of thinking about what is restorative. It is helpful to be mindful of the activities that energize us because when we do have a bit of time to spare, we can make a good choice as to how to spend it. Sometimes I take the path of least resistance – turn on the television and vegetate. There is a role for that, occasionally. But, more often than not, spending time on the couch watching something mindless is enervating. I feel worse, not better, afterwards.

What does make me feel better or more full? First and foremost, spending time with my children and grandchildren. Sometimes that isn’t possible so making a plan, having something on the calendar, so that I know when I will see them is wonderful. It doesn’t have to be complicated – we don’t need to be doing anything special – actually the less hectic the day, the better. A couple of weeks ago, our son’s family visited, and we went to the playground, came back and hung out. Our granddaughter set up an obstacle course on the living room floor (it involved navigating a path through pretend lava – paper – and hopping over pretend rocks – crayons) and we took turns. She is four years old and she delighted in first showing us what to do, then telling us if we were successful. I loved it. What better way to spend time?

Another thing I find energizing is travel. While it is fabulous to take trips overseas or to cities or landmarks in the United States, again, it doesn’t have to be that elaborate. I’m happy to explore the hilltowns a few miles away, or take a ride in the Catskills. Anything new is interesting to me and if we can find some natural beauty, a lake, some mountain views, all the better. I am happy just to take in the scenery. Of course, I wouldn’t turn down a trip to Paris or the Canadian Rockies, but clearly those are rare. The trip we took last fall to the national parks in Utah and Santa Fe was sustaining. I look at the pictures every so often and it brings back the exhilaration of seeing those beautiful places. Being in nature is the best way to restore my equilibrium. When my dad was in the hospital in Florida, and he was terminally ill, I either went to sit by the ocean for a few minutes or walked in the bird sanctuary most days and just breathed. If I hadn’t done that, I don’t know how I would have coped.

Reading, particularly a good novel, makes the cut as self-care, too. Not all my reading experiences, though, fall into this category. I have read stories that annoyed me. Why I stayed with the book is a reasonable question, but sometimes even when the main character is exasperating, I still want to find out what happens. Also, if I am reading non-fiction, it can be challenging to find the right balance between what is stimulating to learn about and what is so disturbing that I have to close the book for a while before continuing. Reading anything about the Trump administration would not fill my cup! I guess reading can be a bit complicated.

I can’t leave this topic without also mentioning art museums – I love them! They can be small, like the Fenimore in Cooperstown or Albany’s own Museum of History and Art, or huge like the Metropolitan in NYC, I find looking at the art in relatively calm, quiet spaces to be relaxing and energizing at the same time. Add an outdoor sculpture garden and I am in my element. I don’t even have to love the art itself, though if I can find a few pieces that speak to me that’s all the better. Walking through rooms where the focus is on what people have created and taking it in, is delightful. I think some people may get hung up on thinking they are missing something if they don’t ‘get it.’ I try not to worry about that – I just like looking and generally will find something that is either just interesting or moving.

As I consider this, I realize that I don’t find spa treatments all that fulfilling. The idea of it is more appealing than the actual experience. I like the end result of a pedicure or manicure, but the process just doesn’t do it for me. On the rare occasion where I have gone with a friend or with Leah, I have enjoyed it much more, but otherwise I would rather take a nice walk.

What do you find restorative? Have you thought about it? We might be making certain assumptions about what fills our cup based on popular culture and it may not really work for us.  It would be great if readers would share.

From a local winter walk in the woods – Five Rivers
From a local walk in the woods this past Fall – Thacher Park

“We Are Here”

I have read quite a bit about the Holocaust. Recently I read Eichmann in Jerusalem by Hannah Arendt, which reported on the trial in Israel of the Nazi who was responsible for the transport of Jews to concentration camps. I also read Fugitives of the Forest by Allan Levine which profiled Jewish Partisans who fought and survived in the forests of Poland during World War II. Any reading about the Holocaust is challenging because you can’t help but be overwhelmed by the evil that was perpetrated and these two books are no exception. It is hard to wrap one’s brain around the breadth and depth of cruelty and viciousness.

            This past week offered an opportunity to look at another dimension of the Holocaust, one that reminds me that in the midst of evil, people can express their humanity, they can still be moved to affirm their faith in life by creating beauty. On Thursday evening I attended a concert at Carnegie Hall in New York City that included music, song and poetry created in the ghettos and camps during the Holocaust.

            The evening was conceived of and co-produced by a friend of my brother Mark, Ira Antelis. Ira became aware of a series of songbooks published just after the war ended that memorialized music created in the camps and ghettos. He wanted it to be heard, to bring awareness to its existence. It was originally performed in a Chicago synagogue last April, and they brought it to New York to commemorate International Holocaust Remembrance Day. The evening was appropriately entitled “We Are Here.” Broadway performers, renown cantors and elite musicians contributed their talents. Each piece was introduced by a prominent individual, for example David Gill, German Consul General to the United Nations, another by Cardinal Timothy Dolan, Archbishop of the Diocese of New York. These introductory remarks gave context: who the composer and lyricist were, some information about them was shared and where they were when they wrote the piece.

            I didn’t know what to expect of the music. One might imagine that it would be quite dark, and some of it was. But, most of it wasn’t. The music was beautiful, often hopeful, sometimes even upbeat. The lyrics could be sad, reflecting the reality of the pain and loss they suffered. But, all of the works represented acts of defiance. The Nazis may have wanted to wipe the Jewish people and culture from the face of the earth, but these artists were leaving a legacy. Perhaps it was an expression of their faith, or a need to reclaim their humanity by creating beauty in the face of ugliness.

            One particularly meaningful piece for me was the Partisan Anthem (Zog Nit Keyn Mol), “Never Say You Have Reached the Final Road, We Are Here,” which gave its name to the whole program. When we went through my in-laws’ house several years ago as it was being cleaned out in preparation for sale, I found a notebook with pages of Yiddish writing. On one of our visits with Paula and David, we hoped they could tell us what it was. It looked like it might be poetry, given its structure. They recognized it immediately. The first page were the lyrics to this song. They began to sing it. More than sixty years after they had likely last sung it, they were able to recall it. Paula, who had lost most of her ability to make conversation because of Alzheimer’s, joined in. At the time, David provided us with a rough English translation.

            These are the lyrics (in English):

Never say you are going on your final road,
Although leadened skies block out blue days,
Our longed-for hour will yet come
Our step will beat out – we are here!

From a land of green palm trees to the white land of snow
We arrive with our pain, with our woe,
Wherever a spurt of our blood fell,
On that spot shall spurt forth our courage and our spirit.

The morning sun will brighten our day
And yesterday will disappear with our foe.
But if the sun delays to rise at dawn,
Then let this song be a password for generations to come.

This song is written with our blood, not with lead,
It is not a song of a free bird flying overhead.
Amid crumbling walls, a people sang this song,
With grenades in their hands.

So, never say the road now ends for you,
Although skies of lead block out days of blue.
Our longed-for hour will yet come –
Our step will beat out – we are here!

Lyrics by: Hirsh Glik  

Music by: Dmitri and Daniel Pokrass

            The performance of the song on Thursday night by a group of talented vocalists was stirring. It was not the only profound moment of the evening. Another song was introduced with the explanation that it originated in a cattle car to Treblinka when a man started singing a known prayer to a new melody. Somehow the melody was passed on and eventually published. Though the composer didn’t survive, the melody did. Cantor Yanky Lemmer sang it so powerfully I got goosebumps.  The prayer, Ani ma’min (Never Shall I Forget), is based on the writing of Maimonides in the 14th Century (in English, it was sung in Hebrew):

I believe with all my heart

In the coming of the Messiah,

And even though he may tarry,

I will wait each and every day

For his arrival.

I believe in the sun

Even when it is not shining.

I believe in love

Even when I do not feel it.

I believe in God

Even when He is silent.

Melody by: Adriel David Fastag

            The evening of music and song was not my only reminder of the strength of the human spirit. Another artifact found when cleaning out the Bakst house was a small spiral notebook. Each page had a separate entry, some in Russian, some in Polish, others in Yiddish. Some of the notes were accompanied by crayon drawings. It wasn’t until I brought it to YIVO a few weeks ago that we learned what it represented. It contained notes to Paula from friends at the displaced persons camp, Ranshofen, in Austria. It was created as a keepsake of the relationships established during the almost three years that Paula was at Ranshofen. I look at that notebook, even without knowing the translation and I see the spirit of teenage girls that I might have grown up with. Paula was 14 when she arrived at the DP camp, after living in the woods for 4 years. After all they had been through, they still could make fanciful, colorful, hopeful drawings. Here are some of the pages from the book:

            In sharing this, I am not minimizing the horror or suffering. It is not to shift attention away from the enormity of the loss. It is essential that we not become numb to the tragedy – or the tragedies that continue to be perpetrated by those who are evil and the many more who are indifferent. But, it is also essential to have hope. These creations, these melodies, lyrics, gestures, and notes are expressions of hope and beauty. They are remarkable.

Note: If you would like to learn more about the concert, please go to http://www.wearehereconcert.com

Road Trip (and More)!

I originally planned this trip to the southwest of the United States in 2019 long before I had ever heard of Covid-19. We were supposed to go in May of 2020 but had to cancel, much to my disappointment. Well, we are taking the trip now!

This past Friday we flew from Albany to Albuquerque, New Mexico, leaving very early in the morning. Other than a misunderstanding about our hiking sticks – I thought they could come on as part of my carry-on baggage, TSA disagreed. They characterized them as ‘weapons.’ You’ll never guess who won that battle. We had to leave the security area and check our bags. We were early enough to get to the Delta check-in counter and back through security a second time so there was no issue. Otherwise, our travel to Albuquerque was uneventful, long (because we had a four-hour layover in Atlanta) but uneventful. Given the horror stories one hears about air travel these days, I am grateful.

We picked up our rental car and promptly got on the road to Santa Fe which is only a little over an hour drive. As we exited the small airport and got on the highway I did look around Albuquerque trying to find evidence of Walter White and Jesse Pinkman, to no avail.

On the road in Albuquerque

The landscape looked about what I expected. It got prettier and prettier as we approached Santa Fe.

Snapped from our moving car

We checked into our hotel, the Inn on Alameda, a mere 14 hours from when we started our day. But it was still early enough to go explore a bit and get dinner. The gentlemen who checked us in was friendly, efficient, and provided us with good information about restaurants and nearby attractions, and a map (I love maps!).

Though we had not planned it to coincide, this was the weekend of Fiesta in Santa Fe. It is an annual celebration of the city’s Spanish heritage. The festival has evolved over recent years in recognition of the complicated relationship between the Spanish settlers, the indigenous people and the Mexicans who also ruled the area for a time. From our perspective, as tourists, what it mostly meant was that the city square had food and craft booths set up, as well as a stage where various performances were featured. It made for a fun, lively time.

After dinner we walked back to our hotel in a light rain. We basically collapsed in our bed so we would be ready for our scheduled walking tour the following morning.

We met up with our tour guide at a lovely coffee shop. He gave us an overview of the area’s history as we sipped our coffee. Then we started our tour. Here are some scenes from our tour:

The tour ended at the Georgia O’Keeffe museum. We enjoyed looking at her work and learning  her history. Women who are brave enough to forge their own path are inspiring – and she certainly did that. Plus, I like many of her paintings.

Not a ‘typical’ O’Keeffe, but I appreciated it. She did live in New York City for 20 years after all

We came back to our hotel, legs aching more from standing than walking, we had been on our feet for about 4 hours. Rather than make life complicated, we had lunch at our hotel. They had delicious offerings, as it turned out.

After a brief rest, we headed out again to explore – this time to Canyon Road where many of the art galleries are located. It is amazing how many talented people there are in this world. The paintings and sculptures were breathtaking.

Sunday morning, we had breakfast at the hotel. I couldn’t leave Santa Fe without getting a magnet – I make a point of collecting magnets from wherever I travel. The wall in our mud room has metal sheeting attached so I can put them up and remind myself of all the fabulous places I have been. I neglected to get one as we were wandering around on Saturday, so we drove over to the Five and Dime (that was the name of the store!) and I found a great addition to my collection. Now we could move on.

We had only 7 hours of driving ahead of us! – to get to Antelope Canyon, Arizona. Gary and I don’t mind long car rides, though this was pushing it. Some observations: The northwestern part of New Mexico is kind of depressing. Some of the landscape is beautiful, but some of it is dreary and desolate. You also see the poverty of the native peoples – pawnshops, scrap yards, and not much else in the way of industry.

Here are some photos shot from the car as we drove through New Mexico and into Arizona

Our destination was Horseshoe Bend, Arizona, where the Colorado River emerges from the Grand Canyon. We finally made it. We started our day in 55 degree Santa Fe. We emerged from our car into 90 degree blazing sun. It was a 1.5 walk from the parking lot to the site. Fortunately, we had water with us, though within minutes the bottled water was hot! But hot water is better than no water in that climate! The walk was well worth the effort.

Then it was on to our bed and breakfast – only 30 minutes away. Our host provided a beer for Gary and a glass of  well-chilled Chardonnay for me (a generous pour, too!). Ahhh! Lovely. We caught a beautiful sunset and moonrise before going to sleep.

view from the B&B rooftop deck at sunset
Moonrise

We have finished 3 days of our vacation, 6 more to go with so many more magnificent places to see (Antelope Canyon, Bryce Canyon and Zion National Parks are coming up) before ending our journey in Las Vegas. By the way, did you know that there is a Las Vegas, New Mexico? We were confused by road signs for it as we drove to Santa Fe. We know our geography well enough to realize that Las Vegas is not 125 miles from Albuquerque. Who knew there was another one? One of the many things I learned on this trip. Apparently, New Mexicans refer to it as Las Vegas, and call the one in Nevada ‘Vegas’ to distinguish them.

Can’t wait to see what else I learn.

Art, Artists and Audiences

“And I went to see the doctor of philosophy
With a poster of Rasputin and a beard down to his knee
He never did marry or see a B-grade movie
He graded my performance, he said he could see through me
I spent four years prostrate to the higher mind
Got my paper and I was free”

These are lyrics to the song “Closer to Fine,” by the Indigo Girls, released in 1989. They were the words sung by about 10,000 people attending a concert at Tanglewood in Massachusetts. The Indigo Girls began the song but stopped singing after the first verse and chorus, continued to play their instruments and invited the crowd to take it from there. And we did. It is a powerful thing to be among so many people singing words together – and these aren’t simple lyrics. Not “I love you, yeah, yeah, yeah.”  We were among strangers, and yet we weren’t. We all shared the experience of singing that song for decades, in our cars, in our dorm rooms, in our headphones while we jogged, while hanging out with friends. We were different people, living separate lives, varied ages and backgrounds, but united in finding meaning and connection in that song. It is a unique sensation experienced only when attending concerts in person.

When I bought the tickets a month or two ago, it was to see Brandi Carlile; I didn’t know the Indigo Girls would be the opening act, that was a bonus I learned in the days leading up to the concert. I first became familiar with Brandi Carlile from my local radio station (WEXT) and noted that I liked her sound. I saw her interviewed and was further impressed. I bought the tickets based on that. Then, more recently, I saw video of her performance with Joni Mitchell, and I am a huge fan of Joni, at the Newport Folk Festival. That sealed the deal; I was excited to attend my first in person musical performance since the pandemic began.

Tanglewood’s capacity, with lawn seating, is 15,000. It was close to full (there were some inside seats open until the rains came). Though most had come for the main attraction, it was clear that the Indigo Girls had their own fans, as well. The audience was very enthusiastic from the first notes and the performers fed off the energy of the crowd. I can only imagine how it feels to have lyrics you have written sung back to you by thousands of voices. How validating! Perhaps, after years of it, it becomes old hat. It didn’t seem that way for any of the performers that night. Brandi Carlile exulted, with her bandmates, that after years of playing chowder houses and chain restaurants in the Pacific Northwest, they had made it; they had, in her words, achieved their dream. I couldn’t help but feel happy for her and her talented band as they reveled in the cheers and absorbed the energy of the crowd.

Artists may pursue their art for a variety of reasons. Some may not love the public part, the performing; they may derive more satisfaction from the creative process. Some may choose to generate their work alone; others seek out collaboration. Brandi Carlile appears to enjoy both the performing and the collaborative potential music presents. Writing books, poetry or essays is generally a solitary craft, at least initially. Publication involves others.

No matter how the work is produced, though, the reality is that if you don’t have an audience, it may feel incomplete. People can talk about creating for its own sake, but without a reaction, without any audience, isn’t something essential lost? And, beyond that, the artist certainly can’t make a living without it.

This notion was reinforced by another ‘show’ I attended of an entirely different sort. The Clark Museum, also in the Berkshires, is hosting a Rodin sculpture exhibit. I have always appreciated Rodin’s work, especially The Thinker and The Kiss.

A small reproduction of The Thinker sits on my desk

I learned a few things from this exhibit. Rodin sketched first, then created a clay or plaster model (not necessarily full size). He did not cast the bronze or carve the marble himself; he employed someone to do that. I was surprised to learn that a woman, Camille Rosalie Claudel, did some carving for him. She was his student, assistant, model, and romantic partner for a time (Rodin also had a lifetime woman companion with whom he had a child but that is another story).

Learning that someone else did the carving was interesting on many levels. Part of me feels like the carving is an essential part of the artistry. One of the extraordinary things about sculpture of the human form is coaxing emotion and texture from stone. Does Rodin get credit for doing that if he didn’t do that part of the work?

Is this common practice? I have watched a number of profiles of artists on the news magazine CBS Sunday Morning. When working on large installations, artists have used teams of people to weld, pour concrete and other tasks involved in creating the work. But that struck me as different than having someone else do the ‘sculpting.’ But, where do you draw the line? Does it matter?

I don’t recall when I’ve seen Rodin’s work displayed at other museums whether the person doing the carving was given credit. If they were, I didn’t notice. At least at this exhibit they were.

I was also surprised to find that it was a woman who did the work. Maybe that wasn’t unusual either, he was creating in late 19th and early 20th century and I would not have expected that. It comes as news to me.  

One of the major themes of the exhibit was the role that patrons played in Rodin’s success in the United States. Without a few dedicated supporters, who bought his art, got it displayed in major museums and spread the word about his talent, he would not have become the world-renowned artist he became. It was also interesting to note that many of his patrons were women.

We may have an image of artists as lone creatives, toiling by themselves, perhaps tortured souls. A piece of that may be true. But, if we know about that their work, if they have achieved wide exposure, then it is likely that they have benefitted from a network of people who have supported them. Nothing wrong with that – and I am not suggesting it is luck, though that may play a role for some – but as a writer seeking publication, it is useful to keep that in mind.