Saturday, June 4, 2011

Let's Hear Who's Talking (Eavesdropping on Birds)












Wen Zhengming (1470-1559), Detail from "Gathering of personages at Huishan", painting of the garden at Huishan, Wuxi, Ming Dynasty.   Collection of the Palace Museum, Beijing



"Let's hear who's talking".  

          Caroline said that to me early yesterday evening on our terrace when we were having a drink and winding down from the rigors and depredations of the day and week.

          Apart from the continuing onslaught of bad news from around the world (bad financial news in the US followed by reactions varying from stony official silence to Tower of Babel non-official cacophony and continuing bad international news that can best be summed up in the phrase "war and rumors of war"), it wasn't a totally bad week.  Jane's 4/5 of the way through finals and feels pretty good about her performance so far and her last English paper (concerning the qualities of a hero) was well-received and achieved a good grade. 

          And we were able to squeeze in a couple of hours at the Devon Horse Show yesterday, which was terrific.  We never plan our visits around specific events, so we never know what we'll be seeing.  (It's a bit like arriving at Chinatown dim sum restaurants; it's impossible to predict what items will be in the serving carts ahead of time, but it's always good and this adds to the enjoyment.)  Yesterday was mostly decorative stepping horses and equally decorative riders (one of whom may just be an extra-terrestrial being; I need to examine his ears more closely) and there's a small possibility that I may win a Jaguar or a Range Rover tonight when the Bryn Mawr Hospital Raffle is drawn.







          So we settled down and listened to the birds, who along with the bats now, are our regular evening companions.  Last night, it was chiefly our mocking bird and a couple of cardinals and it was wonderful to hear them expounding or conversing.  It seems very odd to me now how little attention I used to pay to the birds considering how absolutely remarkable they all are: extraordinarily beautiful, capable of flight and articulate.  I'm semi-articulate at best and we'll leave the rest alone, possibly for later consideration or simply remorse.

         Some information about and pictures of mocking birds and cardinals is included below, as well as two links to youtube clips of these birds in song.








Northern Mocking Bird (Mimus polyglottos)



The Northern Mockingbird, Mimus polyglottos, is the only mockingbird commonly found in North America. This species was first described by Linnaeus in his Systema naturae in 1758 as Turdus polyglottos. The Northern Mockingbird breeds in southeastern Canada, the United States, northern Mexico, the Bahamas, the Cayman Islands and the Greater Antilles. It is replaced further south by its closest living relative, the Tropical Mockingbird. The Socorro Mockingbird, an endangered species, is also closely related, contrary to previous opinion. The bird is the state bird of Arkansas, Florida, Mississippi, Tennessee and Texas.This bird is mainly a permanent resident, but northern birds may move south during harsh weather. This species has occurred in Europe as an extreme rarity.

          Mockingbirds have a strong preference for certain trees such as maple, sweetgum, and sycamore. They generally avoid pine trees after the other trees have grown their leaves. Also, they have a particular preference for high places, such as the topmost branches of trees. Mockingbirds are often found in urban and suburban areas, where they perch on telephone poles, streetlights, or high points on buildings. While singing on a high perch they will often bolt several feet into the air in a looping motion, with wings outstretched to display their white underside, then land back on the perch without breaking a note. This has been studied and thought to be a courtship display.








Mocking Bird by John James Audobon. (From Birds of America, 1827-39)



          Although many species of bird imitate other birds, the Northern Mockingbird is the best known in North America for doing so. It imitates not only birds but also other animals and mechanical sounds such as car alarms. As convincing as these imitations may be to humans, they often fail to fool other birds, such as the Florida Scrub-Jay.


     The Northern Mockingbird's mimicry is likely to serve as a tool for increasing the size of its repertoire and thus its ability to attract females. The mockingbird is limited to imitating short units of sound, which it repeats several times before moving on to a new sound. As a result, the mockingbird sounds much better (to a human ear) imitating some species than others. Species with repetitive songs, such as the Carolina Wren, are effectively copied, but species with long, complex songs, such as the Song Sparrow, cannot be effectively imitated by the mockingbird.


          Northern Mockingbirds, in addition to being good mimics, are also some of the loudest and most constantly vocal of birds. They often sing through the night or when the moon is full. This is especially true of those bachelor males that are trying to attract a female. They sing year-round except sometimes for the late-summer molting season. Individual males have repertoires of 50 to 200 songs; females sing as well, but more quietly and less often than males. Mockingbirds usually sing the loudest in the twilight of the early morning when the sun is on the horizon.








Northern Mocking Bird in "Display"; Photographed in Lansdale, Pennsylvania.  (Lansdale is quite close to our house in Berwyn.)  




          In addition to its well-known song, the Northern Mockingbird uses a variety of calls to communicate specific information. As with its song, these calls are among some of the louder sounds produced by birds of its size. Mockingbirds make a harsh, raspy noise when chasing other birds out of their territory. A similar but distinct call is used when defending against predators like a hawk or falcon. Other calls include a wheezing noise, a "chuck" note, and a very piercing series of notes "high low" repeated twice.

          In 2009, mockingbirds were reportedly able to pick out a threatening person from a crowd. Researchers had one person stand near a mockingbird nest and touch it, while other people avoided the nest. Later, the mockingbirds recognized the intruder and attacked him, while ignoring the other people.








Northern Cardinal (Male), Columbus, Ohio



The Northern Cardinal or Redbird or Common Cardinal (Cardinalis cardinalis) is a North American bird in the genus Cardinalis. It can be found in southern Canada, through the eastern United States from Maine to Texas and south through Mexico. It can also be found on the Big Island of Hawaii and on Oahu. It is found in woodlands, gardens, shrublands, and swamps.


          The Northern Cardinal is a mid-sized songbird with a body length of 21 centimeters. It has a distinctive crest on the head and a mask on the face which is black in the male and gray in the female. The male is a vibrant red, while the female is a dull red-brown shade. The Northern Cardinal is mainly granivorous, but also feeds on insects and fruit. The male behaves territorially, marking out his territory with song. During courtship, the male feeds seed to the female beak-to-beak. A clutch of three to four eggs is laid, and two to four clutches are produced each year. It was once prized as a pet, but its sale as cage birds is now banned in the United States by the Migratory Bird Treaty Act of 1918.

           The Northern Cardinal is a mid-sized songbird with a body length of 20–23 cm (7.9–9.1 in) and a wingspan of 25–31 cm (9.8–12 in). It weighs about 45 g (1.6 oz).  The male is a brilliant crimson red with a black face mask over the eyes, extending to the upper chest. The color is dullest on the back and wings. The female is fawn, with mostly grayish-brown tones and a slight reddish tint on the wings, the crest, and the tail feathers. The face mask of the female is gray to black and is less defined than that of the male. Both sexes possess prominent raised crests and bright coral-colored beaks. The beak is cone-shaped and strong. Young birds, both male and female, show the coloring similar to the adult female until the fall, when they molt and grow adult feathers.They are brown above and red-brown below, with brick-colored crest, forehead, wings, and tail. The legs and feet are a dark pink-brown. The iris of the eye is brown. The plumage color of the males is produced from carotenoid pigments in the diet. Coloration is produced from both red pigments and yellow carotenoid pigments. Northern Cardinal males possess the ability to metabolize carotenoid pigments to create plumage pigmentation of a different color than the ingested pigment. When fed only yellow pigments, males become a pale red color, rather than a yellow.







Northern Cardinal (Female)



          The Northern Cardinal is found in residential areas throughout its range. Backyard birders attract it using feeders containing seeds, particularly sunflower seeds and safflower seeds. Although some controversy surrounds bird feeding (see bird feeder for details), an increase in backyard feeding by humans has generally been beneficial to this species. It is listed as a species of Least Concern by the IUCN Red List. It has an estimated global range of 5,800,000 square kilometers (2,239,392.5 sq mi) and a global population estimated to be about 100,000,000 individuals. Populations appear to remain stable and it has not reached the threshold of inclusion as a threatened species, which requires a decline of more than 30 percent in ten years or three generations. It was once prized as a pet due to its bright color and distinctive song.  In the United States, this species receives special legal protection under the Migratory Bird Treaty Act of 1918, which also banned their sale as cage birds. It is also protected by the Convention for the Protection of Migratory Birds in Canada. It is illegal to take, kill, or possess Northern Cardinals, and violation of the law is punishable by a fine of up to 15,000 US dollars and imprisonment of up to six months.


          In the United States, the Northern Cardinal is the mascot of a number of athletic teams. In professional sports, it is the mascot of the St. Louis Cardinals of Major League Baseball and the Arizona Cardinals of the National Football League. In college athletics, it is the mascot of many schools, including the University of Louisville, the State University of New York at Plattsburgh, Ball State University, Illinois State University, Lamar University, the Catholic University of America, Wesleyan University, Wheeling Jesuit University, Massachusetts College of Pharmacy and Health Sciences, North Idaho College and Saint John Fisher College. It is also the state bird of seven states, more than any other species: North Carolina, West Virginia, Ohio, Illinois, Indiana, Kentucky, and Virginia. It was also a candidate to become the state bird of Delaware, but lost to the Blue Hen of Delaware.








Cardinal by John James Audobon, 1808








Reader Notes:


[1]  Northern Mocking Bird singing


[2]  Cardinal singing

[3]  For more on the Mocking Bird, please see Here.

[4]  Click on each of the images to see beautiful Enlargments.








Friday, June 3, 2011

News From Qatar -- New Richard Serra Commission For MIA Park

  





DOHA.- Qatar Museums Authority (QMA) announced today that it will open MIA Park, a new cultural destination on Doha’s Corniche, on December 16, 2011. Located on the grounds of the world-renowned Museum of Islamic Art, the nearly 280,000-square-meter (68-acre), crescent-shaped park is designed by Pei Partnership Architects of New York and will feature a vertical steel sculpture by internationally acclaimed American artist Richard Serra. The as-yet-untitled sculpture is Richard Serra’s first public artwork in the Middle East. Details of the MIA Park’s grand opening and related public events will be announced at a later date.


     “MIA Park will be a dynamic place of learning and exploration for children, families and art enthusiasts, with cultural, educational and recreational activities designed to attract one and all,” said QMA Chairperson Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al-Thani. “We are especially proud that this new destination will feature an extraordinary work by Richard Serra, one of the leading sculptors of our time. Like the Museum of Islamic Art itself, Richard Serra’s sculpture will serve as a beacon for the arts in Qatar and will further the QMA’s mission to encourage global cultural exchange and introduce the Doha community to art from around the world.”


     “It is my hope that the sculpture will provide both a public place and a private space for people to gather and experience the narrow, vertical, open column in relation to themselves, the Museum of Islamic Art, the city of Doha, the surrounding sea, and the sky as seen through the opening at the top of the sculpture,” said Richard Serra.


     MIA Park will include five kilometers (more than three miles) of lighted pedestrian pathways shaded by native palm trees. Visitors will also find paddle boats for rent in a small cove in Doha Bay, as well as a cafĂ© and kiosks offering refreshments. Year-round public activities at MIA Park will include film screenings, sports events, storytelling programs and art workshops. MIA Park will be developed in phases, with additional elements and amenities to be announced in the future. 









Reader Note:  I think it's terrific and highly appropriate that MIA Park (as an American used to the abbreviation MIA denoting "missing in action", the name caught me off-guard initially), surrounding an Islamic museum, will feature the work of the distinguished abstract artist, Richard Serra, although it has to be said that Serra's work, although powerful and impressive, is never, as former Cosmopolitan editor Helen Gurley Brown put it so well (in another context) of the cuddly "sits down and visits" variety.  (Enervated New Yorkers had strong, easily understood negative feelings about Serra's Tilted Arc sculpture (see above) that was placed in front of the Federal Building in 1981.) Still, I find it odd that QMA Chairperson Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al-Thani has described the new Serra work as "extraordinary" at a time preceding its creation.   I mean, we all hope for the best, but.......

Her statement, while clearly well-intended, is a little too Hollywood for me. 

For more on the contemporary Qatar art scene, please see Here.



Being Kidnapped (1)




 





         
   We began receiving calls about the kidnapping as soon as we arrived home from Cabo San Lucas.  Our travel agent, an old schoolmate who had arranged our early departure from Mexico City on December 30th 1996, aborting our enticing and exciting "New Year’s Eve in the capitol" plans, had alerted other mutual friends to the news.  We had also contacted my mother and our respective assistants at work, who needed to be aware of our correct itineraries in case professional emergencies arose during our vacation.







        What they learned was we had been abducted in a taxi cab outside a restaurant in the Polanco section of Mexico City on the evening of December 29th, held blindfolded overnight in a house at gun, knife and icepick point, and badly beaten.






 

        Everyone was shocked, of course, and we were still in shock, although the 8 or 9 days we then spent in Baja (at Caroline's wise insistence) were very helpful and restorative.  We had been guests at Twin Dolphin several times previously and, having been apprised of our situation, the hotel took excellent and sensitive care of us.  The governor of Baja had also recently been kidnapped and very badly injured in Mexico City and our situation, while highly regrettable (I had cartoonish lumps on my skull where I had been struck with the blackjack and black-and-blue marks covering my body, which were as close as I’ve ever come to wearing tattoo motifs), wasn’t unique or, sadly, even uncommon.  








        Our New York City and Los Angeles friends (our work and personal conversations revolved around these two cities) were also naturally inquisitive and we tried to oblige each of them by providing as detailed a narrative of events as possible upon request, which was sometimes painful and difficult to do.  








        On the one hand, we felt so lucky and blessed to be alive, to have survived the assault and imprisonment.  During the many long hours we were held, we both felt that we were pretty certain to die.  







        On the other hand, however, various everyday New York City experiences (such as even seeing, let alone riding in, taxi cabs) often reduced me to shakes, shudders and tears.  (Fifteen years later, I still have vivid dreams about icepicks, blackjacks and blindfolds, as well as visions of the last image I captured in our camera earlier that afternoon, which was of a pretty, but prematurely old-looking Mexican/Indian woman selling colorful wares in a street off the Zocalo.)  









        Still, there was no escaping the questioning and I was also asking myself questions.









Thursday, June 2, 2011

June 1, 1974 (Ayers, Cale, Nico, Eno)












        I thought  it might be a good and right thing  to take note of an event that happened thirty-seven years and one day ago today:  the June 1, 1974 Rainbow Theater, London. concerts featuring Kevin Ayers (headliner) plus guest artistes John Cale, Nico  (both former members of the Velvet Underground) and (Brian) Eno (ex-Roxy Music).


        These two shows (early and late; that’s how it used to be done) marked a wonderful time in late 20th century art history where resplendently decorative, beautiful and eccentric birds of a (sort of) feather briefly flew together. Like a sunspot eruption that wreaks havoc with terrestrial radio signals or a powerful summer shower, which briefly confuses but also clarifies everything, the June 1st effect was palpable and temporary (like Achilles).  It seemed to offer the best hope since the Beatles that rock could both be taken seriously as a powerful and sophisticated part of avant-garde art and also succeed commercially by attaining a broad, committed audience.





 Nico


 
        Kevin Ayers’ extraordinary band, The Soporifics, backed all the acts.  When the June 1, 1974 story is eventually and inevitably re-written by our descendants, it’s entirely possible that the musical talents of Soporifics’ lead guitarist, Ollie Halsall, will be the only subject deemed worthy of discussion and "how did Ollie manage that?" symposia will be held in temples and under triumphal arches displaying his image and Gibson SG guitar in colossal effigy.   That would be regrettable, however, because a lot of talent was on display that evening.


 
 

Eno




        The rush-released live album of the event was sort of weirdly produced and omitted some key moments of the show.  But the track selection:  Driving Me Backwards (Eno), Baby’s On Fire (Eno), Heartbreak Hotel (Cale), The End (Nico), May I? (Ayers), Shouting In A Bucket Blues (Ayers), Everyone’s  Sometime And Some People’s All The Time Blues (Ayers), Stranger In Blue Suede Shoes (Ayers) and Two Goes Into Four (Ayers) is basically sound and captures the essence of each artist's work at the time, i.e., Eno breaking in to his future, Cale breaking out of his past, Nico burrowing into her image and Ayers blossoming as an artist and "rock star".





John Cale


        I eventually  had the privilege of discussing the background of the concert (rehearsal period through post June 1st UK mini-tour) fairly extensively with two of the principals, Kevin Ayers and Ollie Halsall.  It was, naturally,  the usual “truth is stranger than fiction” story related by two differently gifted and temperamentally disposed raconteurs.  As good as the performances were, and as committed as each of the artists was to the truth of their art, the performing arts world always ends up resembling a soap opera that reminds me of the old New Yorker cartoon, which said something to the effect of "In the future, hatred will no longer be based on race, creed or gender; Everyone will hate everyone else for purely personal reasons."  Fortunately, most of the artists who played at the concert are still alive (I believe we've only lost Nico and bassist Archie Leggatt) and many scaled great heights after June 1, 1974.  For others, crevasses opened; some climbed out and some didn’t.   At least, the rest wasn’t silence and it's nice to report that Kevin Ayers recently made his finest record, The Unfairground.







Kevin Ayers




        Seemingly soul mates, these artists were all approaching their creative maturity on June 1, 1974.   I’m certain each of them changed many other lives than just my own, which they affected decisively. 









Note:  The official June 1, 1974 concert recording pictured above is still available both in its integral, original version, as well as an anthologized selection of material from the show, which is included in the Kevin Ayers' collection, Didn't Feel Lonely Till I Thought Of You.   Completists can also obtain fairly poor quality audience recordings of the "missing" songs (e.g., Cale's Buffalo Ballet and Gun, Nico's arresting Song Of The Germans, Ayers' rude, but funny and tuneful I've Got A Hard-On For You, Baby, and his magnificent anthem whatevershebringswesing, featuring a spectacular Mike Oldfield performance) from various sources.  These recordings are not available on Youtube in the US for copyright reasons, but Youtube contains other excellent performances of these songs by each artist.  This morning, poised on the cusp of "Recovery Summer 2", I'm feeling like a cross between Kevin Ayers' Shouting In A Bucket Blues and John Cale's rendition of Heartbreak Hotel, with a dash of Eno's Baby's On Fire thrown in, seasoned with a soupcon of Nico's version of the Doors' The End.

The Return of Harald Blacktooth











Mr Bandicott was an archaeologist, but he was also a business man, and he was disposed to use the whole apparatus of civilisation to announce his discovery to the world.  With a good deal of trouble he got the two chief Scottish newspapers on the telephone, and dictated to them a summary of his story.  He asked them to pass the matter on to the London press, and he gave them ample references to establish his good faith.  Also he prepared a sheaf of telegrams and cables – to learned societies in Britain and America, to the great New York of which he was the principal owner, to the British Museum, to the Secretary of Scotland, and to friends in the same line of scholarship.  Having left instructions that these messages should be despatched from Inverlarrig at dawn, he went to bed in a state of profound jubilation and utter fatigue.












From John Macnab (1925) by John Buchan

Wednesday, June 1, 2011

A Glimpse of the Divine: Michelangelo Drawing to be Offered at Christie's in July (From ArtDaily.org)




 




Michelangelo Buonarroti (Caprese 1475-1564 Rome), A male nude, seen from behind (recto); Studies of male nudes (verso) black chalk, watermark crowned eagle (close to Briquet 89) 8.5 x 7 in. US$4,600,000-7,500,000. Photo: Christie's Images Ltd 2011.





LONDON.- Christie’s will offer an exceptional and rarely seen drawing by Michelangelo Buonarroti (1475-1564) at the Old Masters and 19th Century Art Evening Sale on Tuesday 5 July 2011 in London. Drawn at a pivotal point of the artist’s career, this preparatory study is one of only 24 sheets related to his seminal, prestigious and lost commission of The Battle of Cascina – and the last to remain in private hands. The commission saw Michelangelo pitched directly alongside his elder rival Leonardo da Vinci who was commissioned to paint The Battle of Cascina on the opposite wall of the newly-built Sala del Gran Consiglio in Florence’s Palazzo della Signoria. The drawing has been seen in public only once before at the exhibition of the artist’s drawings at the Albertina, Vienna, in 2010, and is expected to realise £3 million to £5 million. It is being offered at auction for the first time having been in the same collection for over 30 years.

         Benjamin Peronnet, Director and International Head of Old Master and 19th Century Drawings, Christie’s: “This drawing relates to one of the highpoints of the Renaissance – the commissions for the Sala del Gran Consiglio in Florence. The young Michelangelo was pitched directly against his elder rival, Leonardo da Vinci, as both were commissioned to execute large-scale depictions of battle scenes. Sadly neither exists, and there are few relics relating to these epic masterpieces. This drawing offers an exceptionally rare, direct link to one of the greatest Western masterpieces that never was, and offers us a glimpse into the mind of a genius at the peak of his powers as he freely put his thoughts to paper. We’re very excited to be offering the work at auction for the first time, and to be able to show a rarely seen drawing by Michelangelo to the public in Hong Kong, New York and London.”

         Michelangelo is one of the very few artists whose reputation has never faltered and who excites the same admiration today as he did among his contemporaries, who called him ‘divine’. This vigorous, dynamic double-sided sheet, which is a preparatory study for The Battle of Cascina, probably dates from late 1504, shortly after Michelangelo had begun to work on the commission. At this stage his ideas for the composition were still fluid and this sheet is evidently an exploratory work in progress, perhaps seen most clearly in the pentimento on the recto which betrays an earlier idea for the inclination of the head. The verso gives an impression of forceful energy, combining three figures at different stages of finish, which seem almost to blend into one another, the lightly-sketched form on the left countering the densely-hatched hip and thigh on the right-hand side of the sheet. The male nude was always the subject which most inspired Michelangelo, who saw in the unclothed form the perfection of the Platonic soul. His decision to focus The Battle of Cascina on a group of bathing soldiers, unexpectedly called to arms, allowed him to explore the full potential of the twisting, energised male body; and both sides of the present sheet show a characteristic interest in the tension of the back and thigh muscles, and the delineation of the spine.

         The Battle of Cascina was to represent a Florentine victory of 1364 over neighbouring Pisa, against which the Florentines were again considering military action in 1504. Commissioned for the newly-built Sala del Gran Consiglio in Florence’s Palazzo della Signoria, the fresco was to inspire and educate the 3,000 members of the city’s republican government who gathered in the hall. The commission was a coup for Piero Soderini, the elected head of state. Florentine civic virtue was to be commemorated through two frescoes, each representing a historical victory. The two frescoes were to be executed by the two most notable Florentine artists of the day: Michelangelo and Leonardo, directly set against one another in a thrilling ‘battle of Battles’. Unfortunately, Soderini’s dream was never accomplished: Michelangelo was recalled to Rome by Julius II in 1505 and completed no more than the central section of his cartoon. Leonardo began to paint his fresco, but it began to deteriorate almost instantly and was abandoned partway through. Michelangelo’s cartoon, which had such a powerful influence on the next generation of Florentine artists, was broken up and dispersed among admirers within only a few years of its execution. It is now known only through copies. The present drawing is therefore one of only 24 sheets from Michelangelo’s hand which record his vision for The Battle of Cascina and it is the only study for the fresco in private hands, as well as being the most recent addition to the group.



Note:  I encountered this interesting and exciting story (for a blandly written Christie's press release, it's still pretty exciting) on ArtDaily.org today when I was trying to gather my thoughts for a future piece I plan  to write about artworks I would like to own.  Obviously, owning this drawing would be a remarkable thing, but it's "out of reach" both financially and as far as the fear factor inherent in possessing something so precious and valuable would be.  I'm happy to look at works like this in museums during their quieter hours.  Heavens, though -- it's really exquisite.

30 Days (June 1, 2011) (Chuck Berry)









I'm gonna give you 30 Days to get back home
I done talked to the gypsy woman on the telephone
She gonna send out a World-Wide Hoodoo
That'll be the very thing that'll suit you
 I'm gonna see that you be back home in 30 days

Oh -- 30 Days (30 Days!)
Oh  -- 30 Days (30 Days!)
I'm gonna see that you be back home in 30 Days






 

I done talked to the Judge in private early this Morning
And He took me to the Sheriff's office to sign a warrant
Gonna put a false charge again' Ya 
That'll be the very thing that'll send Ya
I'm gonna see that you be back home in 30 Days






Oh  -- 30 Days (30 Days!)
Oh  -- 30 Days (30 Days!)
I'm gonna see that you be back home in 30 Days 









If I don't get no satisfaction from the Judge
I'm gonna take it to the FBI and voice my grudge
If they don't give me no consolation
I'm gonna take it to the United Nations
I'm gonna see that you be back home in 30 Days 














Performance link 1 (first chorus):  Chuck Berry

Performance link 2 (second chorus):  Ernest Tubb