Month: February 2012

Fun with Highways: Michigan

Today we continue our “primary highways” tour with a virtual visit to Michigan, and in particular to Detroit.

My most significant visit to the state took my to Ann Arbor and the University of Michigan for a music technology conference. The conference was a great experience, of course. The campus what quite interesting as well. As with many traditional college campuses, it has an iconic bell tower, Burton Tower. But it has a second one as well on the modernist North Campus. Our conference required going back and forth between the two where we could easily see the contrast between the traditional collegiate architecture and the modernist, which I quite liked but my colleagues derided.

If instead of going west from airport to Ann Arbor on I-94 we had instead gone east, we would have arrived in Detroit. I have yet to visit Detroit, and as such the city has taken on a mythical quality. I-94 enters the city as the Edsel Ford Freeway, mostly staying to the north of the city center. We can turn south onto I-75, the Chrysler Freeway to head downtown. One would expect the “motor city” to have an impressive network of freeways. I-75 runs along the edge of downtown as the Fisher Freeway, and together with I-375 and Michigan Highway M-10 form a loop around downtown, anchored by some large interchanges on either end.

As one can see in this map, the loop frames the downtown and Grand Park Circus. The famous People Mover is primarily located within the boundaries of the loop as well. But us now turn our attention to the surface level, beginning with this view from the connection between M-10 and I-75.


[Photo by ifmuth on flickr. (CC BY-NC-ND 2.0)]

That large building behind the highways is Michigan Central Station (or sometimes Michigan Central Depot, perhaps someone can tell us which is the correct name actually is).


[Albert duce [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons]

The massive and once upon a time grand train station now sits alone and abandoned. It symbolizes much about the city and its history, both rise and decline; and people have very strong opinions about it. It’s “heartbreaking” to some who love Detroit. Some see potential for it to have new uses in the future, perhaps as green revitalization project. Others simply see it as an “eyesore” that needs to be removed. For me, it is quite captivating as a quintessentially American form of “ruin.” We tend not have ruins, preferring to remove that which offends us in favor of bigger, faster, newer, etc. And ruins from the 20th century seem even more vulnerable to our need to remove and remake. But perhaps more than most large cities, Detroit stands out for its ruins that remain. This in part because the city was the center of our iconic automobile industry, and quite prosperous with grand buildings and streets. The decline and decay are quite dramatic, but happened in such a way that many of the places are still there in their decayed state. I first became fascinated with this through the website The Fabulous Ruins of Detroit, which is a loving tribute to the city and its ruins, albeit a melancholy one. And for me, these ruins can be as much a source of creative inspiration as the landscape of Arizona that we explored yesterday. Indeed some of the basic elements of color, shape, texture and sound have things in common, although the human factor is quite different. There is definitely more that Dystopian feel here. I could certainly see music and image inspired by visiting the ruins of the abandoned Packard Automobile Factory.


[By Albert duce (Own work) [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons]

I hope to have the opportunity to visit the city and explore creativity and meet people in the local community there, and make something to share. I hope perhaps the city can find a way to live with its ruins and draw from them without it having to be “blight”, and that vital communities, perhaps greener communities, can grow up within them. Some of the old towers around Grand Circus Park are being redeveloped at this time. And this is all the context of positive news from “Detroit” the automobile industry.


[By Andrew Jameson (Own work) [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons]

In the meantime, there certainly are plenty of cultural opportunities. The Detroit Institute of Arts and the Museum of Contemporary Art Detroit (MOCAD). We have been shadowing the artist Mark Di Suvero throughout this series, and the DIA has two of his works, including an older piece Tom made primarily from wood. Music of Detroit is of course legendary. I have a fondness for quite a lot of classic Motown, much of which was done before they moved – I tend to think it works best in minor keys or when the overall sound is a bit more melancholy than when it is at its most bouncy and upbeat, but that is perhaps just me. Detroit also has a place in the history of popular electronic music. To me, these are not as disparate as others might think, particularly when one considers the harmony. (On this note, I would also enjoy hearing suggestions of music in the comments.)

But it is time to get back on the road. We can head northwest from Detroit on I-96 to Lansing, the state capital. For those like me who are amused by highway trivia, in Lansing, I-96 and I-69 meet, and even run concurrently for a brief period of time. I think this only place where there is such a mirror-image concurrency (as I-87 and I-78 in New York actually never meet). A spur I-496 turns off into the center of Lansing, with the state capital building to one side.


[Criticalthinker at the English language Wikipedia [GFDL or CC-BY-SA-3.0], via Wikimedia Commons]

If from Detroit we head north on I-75, we pass through Flint (of Michael Moore fame) and then further away from the Great Lakes that define the state’s geography and into the center of the lower peninsula. But I-75 is also the main highway connection to the Upper Peninsula over the Mackinac Bridge.


[By Jeffness at en.wikipedia. Later version(s) were uploaded by Sam at en.wikipedia. (Transferred from en.wikipedia) [CC-BY-SA-2.5], from Wikimedia Commons]

North of the bridge, we can switch to US 2 which hugs the shore of Lake Michigan on the southern side of the peninsula. But we can also head inward on M-28, from which we can approach the northern shore along Lake Superior, traveling by many picturesque parks such as Tahquamenon Falls and Pictured Rocks.


[By Attila Nagy (anagy) (Own work) [GFDL, CC-BY-SA-3.0 or CC-BY-2.5], via Wikimedia Commons]


[By MJCdetroit [CC-BY-SA-3.0], via Wikimedia Commons]

M-28 continues on to Marquette, the largest city in the Upper Peninsula even though its population is around 21,000. It is home to Northern Michigan University and the Superior Dome, the largest wooden dome in the world.


[By Bobak Ha’Eri (Own work) [GFDL, CC-BY-SA-3.0 or CC-BY-2.5], via Wikimedia Commons]

In researching this article, I came across the blog Michigan Architecture. This site’s author is a gradulate of Northern Michigan University and is still based in Marquette. I recommend checking out her blog and seeing some of her interesting photograph of unexpected places around the state.

We conclude in the northernmost part of Michigan, Isle Royal. It is far north within Lake Superior, and indeed closer to Minnesota and Canada than it is to the rest of Michigan. It has an odd geography, basically a series of parallel ridges sticking up from the lake.

The middle of the island is a lake, Siskiwit Lake. It is trippy to have a large lake in a large island in a larger lake.

But it gets better. When nearby Moose Flats pond is full, Moose Boulder becomes the largest island in the largest lake in the largest island in the largest lake in the world! I will leave readers to ponder this…

Fun with Highways: Arizona

This week the primary season brings us to two very different states, each of which are a source of creative inspiration but in very different ways. The first of these states we will visit is Arizona.

We begin where we left of in Colorado. From Four Corners, we head west on US 160 through the Navajo Nation. The dry landscape is punctuated by red rock formations such as Baby Rocks, which can be seen along the highway.


[By Reinhard Schön (original photograph) and Andreas F. Borchert (postprocessing) [CC-BY-SA-3.0], via Wikimedia Commons]

The shapes and textures of the rock formations and the sparseness of the landscape are what attract me to the southwest. The unique combinations of climate, water and rock composition lead to this landscape, and individual varieties of rock (many of which are different types of sandstone) lead to the distinctive shapes in different locations. Sometimes the most interesting can simply be found on the side of the road. But that does not detract from the many iconic parks in this state. Indeed, if we continue on US 160 west to its terminus at US 89, and then further west along State Highway 64, we come to the most iconic of all, the Grand Canyon.


[By Tobias Alt (Own work) [GFDL or CC-BY-SA-3.0-2.5-2.0-1.0], via Wikimedia Commons]

It’s quite hard to summarize the Grand Canyon in such a brief article, but to say that it is most defined by its vast size. One is not simply looking at a large rock formation, but an entire carved landscape that extends in all directions. The space left by the canyon is big enough to support the same atmospheric effects as the sky itself, such as the refraction that leads to a blue tint in the space. Sadly, this also makes it a magnet for air pollution. The scale also means that from a distance one sees the rough surface and curved lines of the overall topography, but not as many distinctive formations like the Baby Rocks described above. To see such details of the Grand Canyon, one must travel to the far sections of the rim or descend into the depths.


[Photo by Al_HikesAZ on flickr. (CC BY-NC 2.0)]


[Photo by Al_HikesAZ on flickr. (CC BY-NC 2.0)]

For many, places such as this are as much about recreation (rafting, hiking, climbing), but for me the interest in going back sometime soon is primarily about the visual landscape, touching feeling and breathing the desert air, and hearing both the sounds and the silences.

We head south from the Grand Canyon on US 180 to I-40 near Flagstaff. We take I-40 east to another of Arizona’s iconic locations, the Petrified Forest National Park. The eponymous petrified trees were created by combination of trees and minerals that were deposited over long periods of time and the gradual replacement of the organic matter with minerals. The relatively soft and easily eroded sandstone have left a surprisingly large number of these artifacts in one location. The extreme erosion patterns of the area also gave rise to the colorful formations of the Painted Desert.


[By User:Moondigger (Own work) [CC-BY-SA-2.5], via Wikimedia Commons]


By Finetooth (Own work) [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons

Leaving the park, we turn back west on I-40 to Flagstaff, and then head southward on I-17 towards the Phoenix metropolitan area and a very different Arizona. But along the way, we pass by Arcosanti, an experimental town and “urban laboratory” that began construction is 1970. It was started by architect Paolo Soleri to experiment with ways of developing urban environments that minimized the impact on the natural environment. The architecture of Arcosanti is quite unique.


[By Cody from Phoenix, AZ (arcosanti western half) [CC-BY-2.0], via Wikimedia Commons]

In addition to being an experimental project itself, it hosts a variety of events (including the annual Different Skies Music Festival).


[By Cody from Phoenix, AZ (arcosanti apse) [CC-BY-2.0], via Wikimedia Commons]

And it’s on to Phoenix. It’s hard to conceptualize that in the middle of the desert is one of the largest and fastest-growing metropolitan areas in the United States. Yet there it is. The recent rapid growth of Phoenix and the entire “Valley of the Sun” and the relatively flat terrain have led to some rather impressive highway interchanges.

The rather complex tangle above is the interchange of I-10 (the Papago Freeway coming from downtown Phoenix), Arizona Loop 202 and Arizona State Highway 51, which is supposedly the busiest interchange in the state. A more elegant one (which I have in fact seen in a museum piece) can be found further east where AZ 202 meets US 60.

The lines and curves complement the desert terrain (disregarding the subdivisions for the moment). Indeed, the structures themselves have a reddish color reminiscent of the desert landscape.

Traveling up Arizona Loop 101 to Scottsdale in the northeast corner of the metropolitan are, one finds Taliesin West, the winter home and school of Frank Lloyd Wright. Wright designed this home to reflect “Arizona’s long, low, sweeping lines, uptilting planes”, aspects of the natural landscape which we have explored in this article.


[I, Gobeirne [GFDL, CC-BY-SA-3.0 or CC-BY-2.5], via Wikimedia Commons]

In ways, his goals predate and inform the work that continues at Arcosonti, although the latter has more of an urban focus.

Heading south and east on I-10, we come to Tucson and a very different but still quintessentially “Arizonan” landscape. Here the most distinctive features are not the rocks but the vegetation, especially the saguaro cactus. Like the Grand Canyon, the saguaro is a symbol of the state, and of the best preserved tracts of these and other cacti can be found in Saguaro National Park west of Tucson.


[By Saguaro Pictures (Own work) [CC-BY-3.0], via Wikimedia Commons]

Heading back west on I-10, we switch to I-8 through the southwest corner of this southwestern state. We turn south on State Highway 85 through relatively empty but rocky landscape. Highway 85 intersects with 86 at the small town of Why, named for the “Y” shape of the original intersection of the two highways. Because Arizona law required location names to have at least three letters, the name “Why” was used instead of “Y”. Continuing south on 85, we eventually reach Organ Pipe Cactus National Monument.


[By Pretzelpaws at en.wikipedia [GFDL], from Wikimedia Commons]

Although this park is named for the organ pipe cactus (shown above), it contains many of the other varieties found in southern Arizona, such as the saguaro. However, the converse is not true. The organ pipe cactus only grows wild here. I visited in the winter of 2004-2005 and found this park to be quite sparse and peaceful. The landscape does not really have many of the monumental rock formations further north, but it does have interesting hillsides covered with rough crumbling stone and frequently punctuated by the cacti.

And I think the final desert sunset is an appropriate way to conclude this article. I of course know there is much more to consider in Arizona, and welcome thoughts and ideas from others as comments.

CatSynth Video: Arp Odyssey Strange noises and drones, using sample and Hold modulations

From our friends at polynominal.com, another video featuring images of Mimi. The modulated sounds are quite interesting as well – lots of rich noisy timbres.

“For more info, longer demo and more, please visit the arp odyssey page at this URL:
http://www.polynominal.com/site/studio/gear/synth/Arp_odyssey/index.html”

Weekend Cat Blogging: Luna encounters the Skatchbox

Those who read yesterday’s review of Music of Invention concert encountered Tom Nunn’s musical invention, the Skatchbox. Today, Luna discovered this instrument for herself:

I chose this model of the limited-edition mini-Skatchboxes made specifically for the concert because of its visual aesthetics. It reminds me a bit of paintings of Kandinsky. As for the sound, it can make a variety of loud noisy timbrally rich sounds. They were a bit new to Luna’s ears:

I literally just scratched the surface (no pun intended). I wouldn’t yet play this in a formal musical setting. But it is loud, and a somewhat sneaky way to participate in this week’s Saturday Photo Hunt on the theme LOUD. Here is another image of Luna with the Skatchbox using the new America pack in the Hipstamatic app.

Those who have regularly seen my photos know I tend to prefer crisp images with high contrast, whether from the Hisptamatic or the DSLR. But this one seemed to work best blurred. And Luna was not going to cooperate for another take.

Weekend Cat Blogging #351 is hosted by The Bengal Business.

The Saturday Photo Hunt is up with the theme of LOUD.

The Carnival of the Cats will be hosted this Sunday by When Cats Attack!

And the Friday Ark is at the modulator.

Music of Invention: A Concert Celebrating Tom Nunn’s Invention

Today we review the Music of Invention: A Concert Celebrating Tom Nunn’s Inventions which recently took place the Community Music Center in San Francisco. This retrospective concert brought together not only many of Tom Nunn’s musical inventions from the past decades, but many of his closest musical collaborators as well. The evening was divided into several miniature sets, some with established ensembles as well as individual collaborations. Most of the names on the program were quite familiar, and I recalled from my interview with Nunn his describing the “master players” he has been fortunate to work with over the years.


[Bart Hopkin and Tom Nunn. Photo: PeterBKaars.com.]

The concert opened with a “inventors’ duo” as Tom Nunn performed alongside music-instrument maker Bart Hopkin. The first sounds were scratchy and metallic, primarily from Nunn’s instrument, the crab. Hopkin’s instrumental performance started out quite percussive as well but soon settled into a more tonal marimba-like state, albeit a tonality with an odd scale. The crab seemed to have two types of sound and texture that reflected the different types of rods, one louder and more metallic, and another more quick and watery. They settled into a pattern with quick rhythmic textures from the watery sounds and bass notes, with a steady rhythm forming and then breaking apart and then forming again. Hopkin switched to one of his other instruments, the ‘Moe, a clarinet-like instrument with a continuous pitch control. Although the sound was unmistakably that of a clarinet, the rapid pitch bends sometimes made it sound more like an analog synthesizer (with a square wave, of course). Against this, Nunn generated a musical “waterfall” from the crab that concluded with a harp-like arpeggio.


[Bart Hopikin on ‘Moe. Photo: PeterBKaars.com.]

This was followed by a performance of Allan Crossman‘s piece Plasticity. This was one of the only fully composed pieces on the program (the other being Skatchbox Blues). Originally for Sonoglyph and orchestra, on this occasion it was reduced to Sonoglyph performed by Nunn and piano performed by Crossman. The music began with metallic watery sounds from the Sonoglyph and anxious harmonies on the piano. The overall effect was quite dreamlike, and I had the impression throughout the piece of being a well-crafted children’s movie with a richly detailed imaginary world. The instrumental sounds ranged from resonant and chime-like to more scratchy and noisy. There were sections with traditional contrapuntal textures, humorous phrases, and even something that brought to mind a march or procession.

The next set featured the Octatonic T-Rodimba, a pitched instrument tuned to three separate octatonic scales. Nunn was joined for this set by guitarists Gary Knowlton and Michael Knowlton. From the start, it was a clash of timbres between the guitars and the T-Rodimba, with slow chords against fast runs. Over time, the guitars became more melodic and all three performers settled into a jazz-like feel. The rhythms were all separate at first, with scratchy guitar sounds providing percussion, but coalesced into a single unit with repeated phrases. Certainly, the octatonic scales were part of the music, but not a distinct part to be heard separately. With the rhythms aligned, the tonalities of the different instruments blended together. The music became louder and more percussive before concluding with a guitar drone and effects from the green Line 6 pedal many of us know and love.


[Tom Nunn on Lukie Tubes and Paul Winstanley on prepared bass. Photos: PeterBKaars.com.]

The following set introduced the Lukie Tubes, an instrument with a resonant metal plate suspended on balloons that excited using a series of cardboard tubes. Nunn was joined by Paul Winstanley performing on “prepared electric bass”. He performed by bowing on the bass, which had several rods inserted between the strings and the neck for a variety of sounds that were enhanced by additional electronic effects. The bass blended will with the Lukie Tubes as the set began with a long metallic drone on both instruments with different resonances coming in and out of focus. The overall effect was a lush but eerie landscape, punctuated with bits of static and shorter tones. The were moments that brought to mind whales and others reminiscent of Central Asian throat singing. In addition to the acoustic strength of Lukie Tubes, Winstanley used another Line 6 pedal to build up energy. The loud sounds gave way to softer higher tones and then a quiet but more percussive conclusion.


[RTD3. Photo: PeterBKaars.com.]

The final set of the first half featured RTD3, a trio of Ron Heglin, Tom Nunn and Doug Caroll. I have heard RTD3 on several occasions in the past. For this performance, Caroll was on cello as usual, Heglin was performing only on voice (i.e., no trombone), and Tom Nunn was on Skatchbox. In particular, this was the debut of one of the “perfect” Skatchboxes that I had seen during the interview. Musically, things start of softly with voice a percussive cello. Heglin’s vocals featured a wide variety of effects, groans, gurgles and rumbles, along with incantations on unknown (and perhaps unknowable) words. The vocals filled the space in between the cello and the distinctive comb noises of the Skatchbox. Nunn switched to Lukie tubes during the performance, and then to another instrument called the Techphonic plate. During this time Caroll’s cello performance moved from traditional practice (pitched bowed tones) to more plucking and percussive techniques, and finally to extended techniques such as using a cork on the strings and scratching on the back of the instrument. All three performs came together for a final drone that ended with a minor modal harmony.

The second half opened with a live performance of “Skatchbox Blues”, which was released as a single in conjunction with the concert. It was a lighthearted departure from the other sets with a traditional “country blues” feel provided by Gary Knowlton and Michael Knowlton on guitars, and Aurora Josephson on voice. The Skatchbox itself as played by David Michalak was a purely percussion instrument in the context of this piece, with the grinding and buzzing sounds working together with the guitar to provide the familiar traditional rhythm. The lyrics were a humorous send-off of the experience of building and playing a Skatchbox, with the repeated cadence “treasures in the trash.”

[Skatchbox Blues. Photo: PeterBKaars.com.]

The next set featured Ed Herrmann on the Octatonic T-Rodimba with Nun on the Crab. Here, the tonality and timbre of the T-Rodimba was used to full effect, with Hermann performing rhythmic phrases and switching among different types of mallets. Between the two metal instruments and rhythmic texture, this set was particularly “gamelan-like”, with call-and-response between the two performers and moments of synchronicity. There were moments of slower movement and empty space as well. During the set, I heard something from hall which I dubbed at the time “unexplained bass”, a series disembodied low bowed tones. It turns out the Doug Caroll was had quietly slipped into the audience with his cello and joined into the mix. The acoustics of the hall helped to give his addition a more surprising and disorienting quality. But overall, it did add a supporting quality to the music and a contrast to the more metallic sounds. The overall effect reminded me quite a bit of the music of Harry Parch.


[Rent Romus and Tom Nunn. Photo: PeterBKaars.com.]

TD Skatchit, the Skatchbox duo of Tom Nunn and David Michalak, made its official appearance with a pair of mini-sets, each with a guest soloist. The first featured Rent Romus on saxophones. The result was a delightfully noisy set the requisite squeaks, squaws and other effects, punctuated by more jazz-like tonal phrases. Nunn and Michalak provided a rhythm trading notes on the Skatchboxes. The tones were more of the continuous scratches and rumbles, but after a grand pause, Nunn produced a more rhythmic sound from one element of his Skatchbox with a repeated beat that reminded me a bit of rumble strips. The music gradually grew louder, with more complex and intricate jazz runs. Ultimately, Romus pulled out both an alto and soprano sax to play simultaneously in a loud and intense final run.


[Aurora Josephson with TD Skatchit. Photo: PeterBKaars.com.]

Aurora Josephson returned to perform in the second set with TD Skatchit. It was clear from the start that this was going to be different from her traditional blues vocals only a few minutes earlier, as she took a large swig of water from a bottle and began to vocalize with subtle squeaks and wiggles as well as louder gurgles. Her percussive sounds blended well with the Skatchboxes, which responded with squeakier timbres. The performance was visually and aurally quite humorous and small bursts of laughter could be heard from the audience – to me, this seemed perfectly appropriate and acceptable for such a performance. At times, she seemed to be a third percussion instrument as she traded short notes with Nunn and Michalak. There were a few messy (i.e., wet) moments, but Josephson reminded us, “It’s just water.”


[Ghost in the House. Photo: PeterBKaars.com.]

The final performance featured Ghost in the House, with Nunn and Michalak joined by regular group members Karen Stackpole on metal percussion and John Ingle on saxophone, and guest Bart Hopkin. Like RTD3, I have seen Ghost in the House a few times before. This time they did not do their usual ritualistic procession into the hall, probably because of the logistics involved, but they appeared on stage bathed in eerie blue light punctuated by candles. The opening sounds were quite resonant and featured rich harmonics. Nunn’s instrument, the Crustacean, blends quite well with Karen Stackpole’s gongs, and a rhythm emerged in the beating patterns between the instrument. Layered in between was Michalak’s lap-steel guitar, which always seems to have a melancholy sound. Bart Hopkin’s instrument, called the Disorderly Tumbling, provided a cascade of high bell sounds that lingered above the other timbres. In a performance like this I find myself listening for the details such as these. Others that caught my attention in this section of the performance were Stackpole’s row of keys, Ingle’s swelling saxophone town, and intense sound of the bowed Crustacean. Over time, the texture became more sparse and glitchy, including mouthpiece noises on the saxophone, striking of metal bowls, and short notes on the Techphonic plate. The music then moved into an eerie phase with lap steel drones, toy-like sounds and the Lukie tubes that reminded me of an old radio or classic science fiction soundtrack. The tones became richer and darker, with long tones and wiggling metal sheets, saxophone multiphonics and glissandi; and finally more rhythmic, with bouncing high tones and the cascading bells, matched by saxophone and gong.


[Karen Stackpole and Tom Nunn. Photos: PeterBKaars.com.]

The concert was well received, and there was quite a long moment of mutual appreciation between Tom Nunn and the audience. This was clearly a special occasion for him, for the musicians and those in attendance. There was also a warm recognition of David Michalak, who was primarily responsible for proposing this concert and making it happen as well as it did. It was quite a logistical feat to have so many sets with large and unusual instruments.

We conclude with what I believe is the smallest invention of the evening. Nunn had made several limited-edition mini-Skatchboxes to commemorate the evening. One of them went home with me and waits to be used in a future musical project inspired by what I heard at this concert.

Ellsworth Kelly and Metropolis II at LACMA

While in southern California for NAMM last month, I made a point of stopping at the LACMA (the Los Angeles County Museum of Art). The museum and the trip to get there through downtown LA were the perfect coda to the overload of NAMM. And by chance, it was the opening day for a retrospective exhibit of works by Ellsworth Kelly.


[Installation view. Ellsworth Kelly: Prints and Paintings. January 22-April 22, 2012. Los Angeles County Museum of Art. Photo (c) 2012 Museum Associates/LACMA]

I am quite familiar with Ellsworth Kelly’s paintings through SFMOMA (see my review of the Fisher Collection show from 2010 which featured several large pieces). His large panels in single colors with rectangular or curvilinear shapes are quite iconic, as are his grids of colored squares. But in LACMA’s comprehensive exhibition, which focused on Kelly’s printmaking along with some drawings and paintings, I was exposed to different and unexpected directions in his work. There was a room of minimalist panels, but all in black and white instead of his usual bright colors. There were also pieces with organic and complex patterns based on plants and rivers. In between there were brightly colored abstract works that seem to bridge the gap between the organic and the minimalist.

An example of the familiar and unfamiliar in Kelly’s work appears in the first gallery. Around the corner from a large set of four solid shapes is a piece with a similar curvilinear shape but a rougher and more natural looking texture.


[Installation view. Ellsworth Kelly: Prints and Paintings. January 22-April 22, 2012. Los Angeles County Museum of Art. Photo (c) 2012 Museum Associates/LACMA]

The next section featured Kelly’s studies in abstraction, influenced from his time in Paris in the 1950s. Here were see experiments with different pairs of colors on the same shape, with simple titles such as Orange over Blue (Orange sur Bleu). The shapes, rounded rectangles and arrows, seem manually cut and have the imperfections of natural (or at least handmade) forms. But through the medium of printing with different colors, they become more mechanized.


[Installation view. Ellsworth Kelly: Prints and Paintings. January 22-April 22, 2012. Los Angeles County Museum of Art. Photo (c) 2012 Museum Associates/LACMA]

The next room was the most surprising. All the works here were in black and white, something which I had not associated with Kelly up until this moment. One wall featured the same curvilinear or angular shapes as his more colorful abstract works, but in monochrome they are far more severe. But this is good thing. In monochrome, he plays with contrasts and positive and negative space with the shapes without the distraction of color.


[Installation view. Ellsworth Kelly: Prints and Paintings. January 22-April 22, 2012. Los Angeles County Museum of Art. Photo (c) 2012 Museum Associates/LACMA]

But even more unexpected were his monochrome prints based on natural forms, which were in this same room. He did a series of lithographs of botanical forms in the late 1960s that featured simple line drawings that capture the imperfections of natural subjects. I would never have guessed these pieces were his without the labels. More recently, he did a series of large monochrome prints based on the texture of the moving water in the some of the world’s most famous rivers.


[Installation view. Ellsworth Kelly: Prints and Paintings. January 22-April 22, 2012. Los Angeles County Museum of Art. Photo (c) 2012 Museum Associates/LACMA]

So how does one fit these in the context of Kelly’s more colorful abstractions? Certainly, the black fields can be seen as simply another color study; and the rivers can be seen as abstract but complex textures informed by nature. The textures of the rivers can be seen reflected in abstract piece Red Curve (State I) from the first room of the exhibit. The botanical pieces are the ones that are the most difficult to place in context aesthetically, the artist himself states that “the drawings from plant life seem to be a bridge to the way of seeing that brought about the paintings of 1949 that are the bases for all my later work.” It is possible to see the repeated curving shapes in his abstract work as inspired by plant forms.

The final room featured more of the style that I most associated with Kelly: angular solid fields and color grids.


[Installation view. Ellsworth Kelly: Prints and Paintings. January 22-April 22, 2012. Los Angeles County Museum of Art. Photo (c) 2012 Museum Associates/LACMA]

It was in this last room that another museum visitor came up to me and asked, “Why is this good? What do you see in it?” I’m sure I was gazing rather intently at various pieces which probably signaled to her that I had a genuine interest in this work. I did my best to try and answer her question, which seemed to be as much about minimalist artist general as Ellsworth Kelly in particular. For me, good abstract and minimalist art captures my attention and “arrests the mind” (with apologies to James Joyce). Additionally, all art and perception of art has context. There was the context of each piece, even if a single-color panel, within the greater body of work on display. There was context of my experience, and joy in looking at these works in the quiet gallery, the calming effect. There is also the execution, choosing the right colors and the right proportions for shape and size of each piece, that Kelly was able to do consistently. I’m not sure the woman was particularly satisfied with my answers. She walked away saying “I guess I just don’t understand why this belongs in a museum.” I did my best – I do truly want to share the enjoyment of modern art, and especially abstract art, with others, which is why I write articles like this.

Also on view at LACMA was Metropolis II, large kinetic installation by Chris Burden. It features stacks of highways weaving their way among densely packed buildings. A continuous stream of cars speed along the highways, some of which are six lanes across. The result is a frenetic pulsating vision of a future city, or an imagining of the pace and anxiety of a contemporary city. This piece is best experienced in motion, and you see a bit of it in this video:

This piece of course appealed to me as a person who loves cities and the urban landscape and who has a fascination with the patterns of roads and highways. Looking from above, the traffic is simply a current like moving water and provides none of the stress that one experiences on actual city streets. I can also admire the amount of work that must go into making something like this. The toylike scale of the installation also gives it a playful quality. It was just fun to experience.

Ellsworth Kelly: Prints and Paintings will be on display through April 22, and Metropolis II is ongoing. Both are worth seeing if you are in Los Angeles.