Erica Galvin: November 2021

Tuesday, November 30, 2021

Andrea Bowers: Her Activism Animates Her Art

A studio visit with one of America’s foremost political artists on her remarkable journey and breakthrough career-survey in Chicago.

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Met Museum Jump-Starts New Modern Wing With $125 Million Gift

The donation from a trustee, Oscar L. Tang, and his wife, Agnes Hsu‐Tang, reinvigorates the long-delayed project and is the largest capital gift in the Met’s history.

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The Confounding Lightness of Helen Pashgian

Long underrecognized for her innovations, a trailblazer of the Light and Space Movement is suddenly juggling three tribute shows to her six-decade career.

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How a Mosaic from Caligula’s Party Boat Became a Coffee Table in a New York City Apartment 50 Years Ago

Imagine owning Caligula’s coffee table — or, better yet, a coffee table made from the mosaic flooring that once covered the infamously cruel Roman Emperor’s party boats. Art dealer and Manhattanite Helen Fioratti owned such a table for 45 years, but she had no idea what it was until she happened to go to a 2013 book signing by author and Italian stone expert Dario Del Bufalo. There, a friend noticed her table in Del Bufalo’s coffee table book, Porphyry, “about the reddish-purple rock much used by Roman emperors,” notes Gloria Oladipo at The Guardian. Fioratti’s husband bought the piece from an aristocratic Italian family in the 1960s, then affixed it to a base and made into a table. “It was an innocent purchase,” Fioretti told The New York Times in 2017 after Italy’s Nemi museum seized the artifact and returned it to its home country. Del Bufalo agreed, and it pained him to have to take it, but the artifact, he says in an interview above with Anderson Cooper, is priceless.

Caligula had two luxurious wooden ships with elaborate tile floors built to float on Lake Nemi, just a few miles outside of Rome. “Stretching 230 feet and 240 feet long and mostly flat,” Brit McCandless Farmer writes for Sixty Minutes, it was said they were once “topped with silk sails and featured orchards, vineyards, and even bathrooms with running water.” They even boasted lead pipes “inscribed Gaius Caesar Augustus Germanicus, Caligula’s official name, according to a 1906 issue of Scientific American.” He was “once the most powerful man in the world,” says Anderson Cooper above, but Caligula became renowned for his brutality, self-indulgence, and possible insanity. The third Roman emperor was assassinated four years into his reign by a conspiracy of Praetorians and senators. So hated was he at the time that Romans attempted to “chisel him out of history.” The sinking of his party boats was one of many acts of vandalism committed against his wasteful, violent legacy.

Interest in the pleasure ships was only piqued again when divers found the wreckage in 1895. “The deck must have ben a marvelous sight to behold,” wrote Italian archaeologist Rodolfo Lanciani in 1898; “it goes beyond the power of imagination for its strength and elegance.” Lanciani described in detail “the pavement trodden by imperial feet, made of disks of porphyry and serpentine… framed in segments and lines of enamel, white and gold, white and red, or white, red, and green.” But it would be another few decades before the ships, submerged for almost 2,000 years, would see dry land again when Benito Mussolini, who was obsessed with Caligula, ordered Lake Nemi partially drained in the 30s and the boats resurrected and housed in a nearby museum built for that purpose. Then, in 1944, retreating Nazis allegedly set fire to the museum, after using it as a bomb shelter, destroying Caligula’s pleasure cruisers. No one knows how Fioretti’s mosaic made it out of Italy during this time.

It seems that the Emperor’s star has been on the rise once more the past few years, since the discovery of the mosaic and of Caligula’s imperial pleasure garden, Horti Lamiani, “the Mar-a-Lago of its day,” Franz Lidz writes at The New York Times. Unearthed in an excavation between 2006 and 2015, the now-subterranean ruins found beneath a “condemned 19th century apartment complex, yielded gems, coins, ceramics, jewelry, pottery, cameo glass, a theater mask, seeds of plants such as citron, apricot and acacia that had been imported from Asia, and bones of peacocks, deer, lions, bears, and ostriches.” The ruins opened to tourists this past spring. As for Mrs. Fioratti, “I felt very sorry for her,” said Del Bufalo, “but I couldn’t do anything different, knowing that my museum in Nemi is missing the best part.” He hopes to make a replica to return to her Park Avenue living room for beverage service. “I think my soul would feel a little better,” he says.

A Virtual Tour of Ancient Rome, Circa 320 CE: Explore Stunning Recreations of The Forum, Colosseum and Other Monuments

What Did the Roman Emperors Look Like?: See Photorealistic Portraits Created with Machine Learning

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

How a Mosaic from Caligula’s Party Boat Became a Coffee Table in a New York City Apartment 50 Years Ago is a post from: Open Culture. Follow us on Facebook and Twitter, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

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Graphic Murmurations

Danish photographer Søren Solkær (1969) is famous for his atmospheric and cinematic celebrity portraits. But he has recently turned his hand to nature photography – with mesmeric results. His 2020 book Black Sun captured the extraordinary phenomenon of starling murmurations, the mass collective swell and flight of thousands of birds as if they were a single, living organism. It’s a spectacle visible across Europe. Now, the artist has teamed up with famous graffiti muralist Henrik Soten to convert the side-wall of an apartment block in central Copenhagen into a huge mural, expressing love for non-human life.

Solkær grew up in rural southern Denmark, where the annual migration of birds became an aesthetic and emotional ritual. The budding artist would record the phenomenon with his camera each year. After more than two decades spent touring the world as a photographer, culminating in a major retrospective, he was drawn back to the marshland of his childhood, near the Wadden Sea. There he became entranced by the spectacle known as “Black Sun,” when starlings murmurate in such large numbers that they cause a brief solar eclipse. What had been intended as a week-long sojourn turned into a quest – transporting him across Europe, from Rome to Glastonbury and Catalonia.

In an interview with Aesthetica in 2020, the artist spoke about his love of Japanese woodcut art and calligraphy, citing these, along with the romantic landscape painting of Caspar David Friedrich, as major influences on the project. Indeed, through spectacularly detailed shots of the winter sky mottled with wings, much of Black Sun seems like ink drawing or visionary painting rather than photography, as if precise and stylised mark-making had been used to build up exquisite gradients of shadow. This impression is enhanced by Solkær’s use of a highly matt, textured kozi washi fibre paper. It’s a far cry from the glossy feel of most photographic prints, and it reflects the extraordinary quality with which the birds move, as if each were a feather or scale on the flank of one vast creature.

This ties into another key aspect of Black Sun: the love and respect it expresses for non-human life, in all its varied intelligence and spirit. To this end, the panoramic shots that make up much of the book are coupled with detailed close-ups of single birds. Like stills from a stop-motion film, the texture and tone of wings and beaks is captured with stunning precision. For the artist, “it really seems…that they are trying to communicate. The pictures the birds paint on the sky: many of them are really recognisable to humans.”

The idea that these “signs in the sky” represent some attempt at interspecies communication might well have inspired the striking shape Solkær chose for his mural: a heart-shaped murmuration above Rome. With his love of the “graphic winter landscape” and preference for a spare, almost black-and-white colour palette, the photographer and his collaborator, renowned graffiti artist Soten, converted a whitewashed gable-end in central Copenhagen into a vast canvas. The curvaceous swell of starlings above is framed by a line of skeletal foliage along the lower wall. It’s an arresting and painstakingly crafted motif.

By translating a photographic image into a painting, Solkær and Soten have playfully teased out the graphic qualities of the original Black Sun series. The image also sends a message of hope, empathy and love – both for the city and the other animals with which we share our planet. It’s a key message at a time of unprecedented strain on global ecosystems.

Søren Solkær and Henrik Soten’s Black Sun Mural was created as part of the Golden Days festival during Summer 2021. Find out more about Black Sun here and about Henrik Soten’s work here.

Words: Greg Thomas

All images bySøren Solkær, from Black Sun.

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Watch Paul McCartney Compose The Beatles Classic “Get Back” Out of Thin Air (1969)

In its nearly eight-hour runtime Peter Jackson’s new documentary series The Beatles: Get Back offers numerous minor revelations about the world’s favorite band. Among the filmmaker’s avowed aims was to show that, even on the verge of acrimonious dissolution, John, Paul, George, and Ringo enjoyed stretches of productiveness and conviviality. Much else comes out besides, including that the catering at Apple Corps headquarters was miserable (amounting most days to toast and digestive biscuits) and that, even amid the excesses of the late 1960s, the Beatles dressed more or less respectably (apart, that is, from George’s occasionally outlandish choices of outer- and footwear). But it also lays bare exactly how they created a song.

The Beatles went into these sessions with little material prepared. All they knew for sure was that they had to come up with a set of songs to be recorded live, without overdubs, in order to “get back” to the simplicity that had characterized their process before such aesthetically and technically convoluted albums as Revolver and Sgt. Pepper’s Lonely Hearts Club Band. These they would then perform in a concert film. The whole project was undertaken with what Rolling Stone‘s Rob Sheffield calls a “magnificent arrogance. In a way, that’s what helped keep them together, through all their ups and downs. Without that level of arrogance, there’s no way an adventure as admirably daft as Get Back could happen in the first place.”

Somehow, to the very end, that arrogance always proved justified. For much of Jackson’s Get Back, the Beatles appear to be just screwing around, cracking jokes, drinking tea and beer, and launching into abortive performances in cartoon voices. And that’s when everyone shows up. “Lennon’s late again,” says Paul in the clip above. “I’m thinking of getting rid of him.” But instead of nursing resentment for his unpredictable musical partner, he sits down and starts playing. His first chords will sound familiar to any Beatles fan, though they belong to a song that doesn’t yet exist. Paul then adds to his strumming a bit of mostly non-verbal vocalization, which soon coheres into a melodic line: we (and a yawning George) are witness to the birth of “Get Back.”

During the lifetime of the Beatles, Paul seems to have been the most productive member. Even since the band’s end half a century ago, music has continued to flow unimpeded from his mind, shaped as if by pure instinct. In that time it has become ever more well-documented that he motivated the group to work, especially after the death of their manager Brian Epstein in 1967. While Get Back attests to a certain overbearing quality in his attitude toward the other Beatles, it also shows how McCartney’s hardworking-yet-freewheeling example encouraged each of them to express his own particular genius. When George gets stuck on the end of a lyric, for example, he, too, simply sings whatever comes to mind. Hence the temporary line “Something in the way she moves / Attracts me like a pomegranate” — and we all know how that tune eventually turned out.

Paul McCartney Breaks Down His Most Famous Songs and Answers Most-Asked Fan Questions in Two New Videos

Watch Preciously Rare Footage of Paul McCartney Recording “Blackbird” at Abbey Road Studios (1968)

Chaos & Creation at Abbey Road: Paul McCartney Revisits The Beatles’ Fabled Recording Studio

Watch The Beatles Perform Their Famous Rooftop Concert: It Happened 50 Years Ago Today (January 30, 1969)

The Beatles’ 8 Pioneering Innovations: A Video Essay Exploring How the Fab Four Changed Pop Music

Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

Watch Paul McCartney Compose The Beatles Classic “Get Back” Out of Thin Air (1969) is a post from: Open Culture. Follow us on Facebook and Twitter, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

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Hear Haruki Murakami Play Beatles Covers on His Radio Show, Murakami Radio

Now ramping up to a wide release is a film that will draw in no few fans of Haruki Murakami around the world: Drive My Car, adapted by filmmaker Ryusuke Hamaguchi from Murakami’s short story of the same name. That name itself comes, of course, from the Beatles song, their knockout opener to Rubber Soul. It wasn’t the first time Murakami had borrowed a title from the Fab Four. The novel that made him a household name, in his homeland of Japan and subsequently the rest of the world, was called Norwegian Wood.

The Beatles’ albums have also provided him with inspiration, as evidenced by his story “With the Beatles,” published in translation last year by The New Yorker. It takes place in 1965, when the Beatles had become hugely popular in not just the West but Japan as well. “Turn on the radio and chances were you’d hear one of their songs,” says the narrator. “I liked their songs myself and knew all their hits,” but “truth be told, I was never a fervent Beatles fan. I never actively sought out their songs. For me, it was passive listening, pop music flowing out of the tiny speakers of my Panasonic transistor radio.” Despite being a high-school, then college student in the 1960s, “I didn’t buy a single Beatles record. I was much more into jazz and classical music.”

This story is fictional; its narrator is not its author. Yet Murakami, who happened to come of age in the same era, made similar remarks about his experience with the Beatles a couple of years ago. His originally one-off session as a disc jockey on Tokyo FM has become a more or less full-fledged show, Murakami Radio. Each of its broadcasts he dedicates to a different musical theme, and it was thus only a matter of time before he got around to the Beatles.

Despite his early indifference, as Murakami explains between songs, he later, in his thirties, came to sense the genius of John, Paul, George, and Ringo, during a stay in Greece with their self-titled 1968 “White Album” on tape in his Walkman — which, despite lacking its title song, inspired him to start writing Norwegian Wood. Apart from that memory, the late-period Beatles figure only secondarily into Murakami’s “Beatles Night.” He focuses instead on their early, pre-Rubber Soul work, or rather, on a variety of lesser-known covers thereof.

You can hear eight of those numbers in the Youtube video above, including Little Richard’s interpretation of “I Saw Her Standing There”; “All My Lovin'” as performed by Chet Atkins and Suzy Bogguss; and even “Tu Perds ton Temps,” English pop star Petula Clark‘s French-language version of “Please Please Me.” If you listen to the actual broadcast on Japanese video-streaming site Niconico, you’ll also hear such additional Beatles covers as “Do You Want to Know a Secret” by Motown singer Mary Wells and “She Loves You” by Rita Lee of Brazilian rock titans Os Mutantes. Obviously, the appeal of the Beatles transcends cultural boundaries, as does that of the extensively translated Murakami. What explains it? Perhaps, in both cases, that they created their own genres — or rather, their own wondrous realities.

Haruki Murakami Became a DJ on a Japanese Radio Station for One Night: Hear the Music He Played for Delighted Listeners

A 96-Song Playlist of Music in Haruki Murakami’s Novels: Miles Davis, Glenn Gould, the Beach Boys & More

Stream Big Playlists of Music from Haruki Murakami’s Personal Vinyl Collection and His Strange Literary Worlds

Haruki Murakami Day: Stream Seven Hours of Mixes Collecting All the Jazz, Classical & Classic American Pop Music from His Novels

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Galvanise:The December/January Issue

There is so much happening right now. It feels like everything is moving at a cataclysmic speed. This issue of Aesthetica is dedicated to perseverance, resilience and determination. Through these artworks, we are reminded that in the face of anything, we do have the power to change.

In this issue, we interview David Benjamin Sherry, whose large-format images of the American west examine endangered monuments in aftermath of the Trump administration. The images were taken as a form of photographic activism, with saturated colour palettes alerting viewers to a sense of danger.

In photography, we are thrilled to present further series from Kate Theo, who places characters in their own surreal worlds. William Mullan and Andrea A. Trabucco-Campos offer highly stylised portraits of apples: the fruit that has long symbolised knowledge and power.

Elsewhere in the issue, we examine a new exhibition at The High Museum of Art, Atlanta: Picturing the South. The American South has diverse and complex histories. The show asks: what happens when 16 photographers are invited to picture the region over 25 years?

Other striking image series include Kevin Krautgartner’s In Full Bloom, which captures large-scale tulip agriculture from above. Aerial shots depict rows of flowers like striped barcodes. On the cover, we have Harriet Moutsopoulos (aka Lexicon Love) who produces digital collages that provoke, tease and confuse.

In Topographies of Fragility, Ingrid Weyland manipulates and alters the landscape. The collage compositions, shown above, tap into the age of Anthropocentrism, with human hands literally altering ecosystems from the inside out. Weyland’s “expanded photography” spans Argentina, Greenland and Iceland.

In an interview with Noémie Goudal, we explore deep geological time and the narrative of Earth’s 4.543-billion-year lifespan. Further bridging the gap between art and science is Foto/Industria’s photography biennale, which offers a look at industrialised farming, and its impact upon global consumption processes.

Finally, Karen Constine subverts the LA landscape using an infrared camera. Deserted suburban streets are transfigured into surreal, hallucinogenic planes. The images are beguiling, with hedges like spun candy-floss. Here, Constine explores the realms between façade and reality.

Aesthetica Issue 104 is available now. To Subscribe & Save 40% + Free Gift Wrap & Personal Message, click here.

Image Credits:
1. Harriet Moutsopoulos, Haughty Holly (2020). From the series Corned Beef. Courtesy of the artist.
2. David Benjamin Sherry, Grand Plateau, Grand Staircase-Escalante National Monument, Utah (2017). Chromogenic print. Courtesy of the Artist and Salon 94, New York © David Benjamin Sherry.
3. Kandil Sinap (Anatolia or Crimea). From the series Odd Apples.
4. Kate Theo, Untitled. (2021) Courtesy of the artist.
5. Jim Goldberg, Hailey and Whitney, Right of Way Road, Augusta, Arkansas (2021, detail). High Museum of Art, Atlanta, commissioned with funds from the H.B. and Doris Massey Charitable Trust. Courtesy of the artist. © Jim Goldberg.
6. Kevin Krautgartner, from the series In Full Bloom (2019). Lisse, Netherlands. Courtesy of the artist.
7. Harriet Moutsopoulos, We Want the One You Call McNeal (2020). From the series Corned Beef. Courtesy of the artist.
8. Ingrid Weyland, Topographies of Fragility VI. (Iceland, 2020) Collage, Digital Photography. Archival Pigment Print.
9. Noémie Goudal, Phoenix V (2021). 200 x 149.4 cm, C-Print. Courtesy Edel Assanti.
10. Yam, Calabashes, Aso-oke, Egg and Pink Sponge (2017) © Lorenzo Vitturi. Courtesy T293, Roma.
11. Covid LA, Day 62, 9:16am (detail) ©Karen Constine

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Satirical Photomontage

“I am drawn to the unsettling, and try to inject it into my work where possible, seeking out connections between humour and tragedy. At first glance, these emotions might not seem to go together, but their relationship is complicated and, ultimately, one cannot survive without the other. It is in combining the two that true magic begins.” Harriet Moutsopoulos (aka Lexicon Love) produces digital collages that renegotiate and manipulate the origins of images – provoking, teasing and confusing the viewer. Comedic, yet distinctly satirical, these pieces challenge traditional notions of beauty, whilst tapping into the intimacy, security, and at times, revulsion, that food and eve- ryday objects conjure. Despite broad cultural references, the compositions are based upon subtle visual suggestion. She notes: “I employ a self-imposed ban on using any more than two, and on the rare occasion three, elements.”

lexiconlove.com

Image Credits:
1. Harriet Moutsopoulos, I Came Here On My Own (2020). From the series No Game To Play. Courtesy of the artist.
2. Harriet Moutsopoulos, The Breeding of a Jackass (2020). From the series Annus Horribilis. Courtesy of the artist.
3. Harriet Moutsopoulos, Failure in the Kitchen (2020). From the series Amaranthine. Courtesy of the artist.
4. Harriet Moutsopoulos, Burnt the Bibles (2020). From the series Corned Beef. Courtesy of the artist.
5. Harriet Moutsopoulos, We Want the One You Call McNeal (2020). From the series Corned Beef. Courtesy of the artist.
6. Harriet Moutsopoulos, The Escape Route (2019). From the series Ice Where It’s Bruised. Courtesy of the artist.
7. Harriet Moutsopoulos, Krios (2019). From the series Blue Money. Courtesy of the artist.
8. Harriet Moutsopoulos, Uncomfortably Numb (2018). From the series Real and Imagined. Courtesy of the artist.
9. Harriet Moutsopoulos, The Mother of Invention (2019). From the series Ice Where It’s Bruised. Courtesy of the artist.
10. Harriet Moutsopoulos, Haughty Holly (2020). From the series Corned Beef. Courtesy of the artist.
11. Harriet Moutsopoulos, Lorem Ipsum (2020). From the series Amaranthine. Courtesy of the artist.

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From the Orchard

Apples, as visual iconographies, are deeply embedded into western culture, from the Bible and Magritte to the logos on the backs of our smartphones. Green apples, in particular, have had weighted cultural significance, starting with the Italian Annurca specimen, first mentioned by Pliny, author of the world’s first encyclopaedia, before 79 AD. Today, it is estimated that there are 7,500 varieties of apple, a fact that has captivated photog- rapher William Mullan and designer Andrea A. Trabucco-Campos. The Odd Apples series contains 90 still lifes, representing four years and three seasons of researching, read- ing, finding, tasting and photographing. In these surreal, and sometimes farcical images, Mullan and Trabucco-Campos offer hyper-stylised aesthetics, focusing on the fruit that has symbolised knowledge and power – both literally and metaphorically – for centuries. Odd Apples is published by Hatje Cantz Verlag.

hatjecantz.de | oddapples.photo

Image Credits:
1. Kandil Sinap (Anatolia or Crimea). From the series Odd Apples. Photographer: William Mullen. Designer: A.A. Trabucco-Campos.
2. Pink Pearl (California, USA). From the series Odd Apples. Photographer: William Mullen. Designer: A.A. Trabucco-Campos.
3. Porter’s Perfection (Somerset, England). From the series Odd Apples. Photographer: William Mullen. Designer: A.A. Trabucco-Campos.
4. No Blow (New Hampshire, USA). From the series Odd Apples. Photographer: William Mullen. Designer: A.A. Trabucco-Campos.
5. Trail (Ontario, Canada). From the series Odd Apples. Photographer: William Mullen. Designer: A.A. Trabucco-Campos.
6. Red St. Lawrence (Maine, USA). From the series Odd Apples. Photographer: William Mullen. Designer: A.A. Trabucco-Campos.
7. Hidden Rose (Oregon, USA). From the series Odd Apples. Photographer: William Mullen. Designer: A.A. Trabucco-Campos.
8. Geneva (Ontario, Canada). From the series Odd Apples. Photographer: William Mullen. Designer: A.A. Trabucco-Campos.
9. Black Oxford (Maine, USA). From the series Odd Apples. Photographer: William Mullen. Designer: A.A. Trabucco-Campos.
10. Otterson (New York, USA). From the series Odd Apples. Photographer: William Mullen. Designer: A.A. Trabucco-Campos.
11. Firecracker (Oregon, USA). From the series Odd Apples. Photographer: William Mullen. Designer: A.A. Trabucco-Campos.

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Journey into Colour

Colour-blocking has been a huge source of inspiration for artists and designers since the early 20th century, pairing complementary shades and producing strong visual contrasts. Bold palettes can be found everywhere, and they continue to influence culture at large, from Mondrian’s rectangles and Warhol’s silkscreens to Pantone’s colours of the year charts. Kate Theo (b. 1979) is a graphic designer based in Puglia, Italy, whose images are defined by block backgrounds, each frame created around the ethos of “essentials and simplicity.” The characters are placed in surreal worlds, subject to their own laws of gravity. Whilst concentric circles hover like ellipses, butterfly cages, golden frames and curtains shroud figures from our view. In each vignette, the backgrounds draw the eye as they consume and juxtapose against their characters. Theo reflects upon the role that colour plays, both internally and externally, as it is embedded in visual culture.

instagram.com/katetheo79