Fun with Highways: Austin, Texas

Some of you might have noticed that this site went dark for several days. During this time I was in the bucolic Texas “Hill Country,” away from any sort of computer and internet technology (not to mention cell phone service).

Like many out-of-state visitors, my first introduction to the area was the Austin airport. And you cannot leave the airport to either the city of Austin or the countryside without vist passing through this interchange:

This interchange connects I-35, the area's only interstate highway, with state highway 71, still called Ben White Boulevard even though a large portion has been converted to a freeway. However, significant portions are still not freeway, and as I discovered there is no way to connect to or from I-35 south of the interchange without going through at least one traffic light and/or stop sign. Indeed, this interchange between Austin's oldest and newest freeways is still very much under construction:

From the impressive site TexasFreeway.com:

This intersection is the worst traffic disaster in Austin. The 290/71 freeway ends about 0.5 mile to the west of the interchange, dumping all the traffic into this substandard intersection with a traffic light. But relief is on the way. The 5 level stack is under construction. Texas 71 will be depressed below grade, and the feeders will be at grade.

Austin seems to be a city awash in freeway construction projects. Several were plainly visible from the air. Again, the TexasFreeway site is an excellent source for more detailed information.

Another freeway of note in Austin is the MoPac expressway (aka “MoPac Boulevard”), or Loop 1. Texas has several so-called “Loop” highways that must use a different definition of the word “loop” than most of us. Loop 1 is mostly a north-south highway that fails to loop around much of anything. But hey, it's Texas, it's different, what can I say? Many readers might know Texas by its reputation, which has most certainly been harmed by George W Bush and his cronies. Austin, the state capital, has a separate reputation as a liberal oasis and thriving music/cultural scene at odds with the rest of the state. And within Austin, the MoPac is known for being quite scenic, at the interface between Austin and the Hill Country, and not having the usual frontage roads that track most Texas freeways. The frontage roads mostly attract ugly strip malls and other commercial developments that were almost as tacky as the televangelist I heard while driving on I-35 south – he seemed obessively concerned with identity theft (maybe he was bitter after sending his checking-account number to someone in Nigeria?), and decrying the assumption of power-of-attorney for elderly parents as a sin. If he has any grown children, I might advise them to do just that.

As my trip to the area was for family reasons, I will not go into details, although I probably will have some photos and other items of interest to share in a later post.



SF May 13 Part 2: Picasso and American Art, and Brice Marden

i]As described in Part 1 of this series, I had an opportunity to visit the San Francisco Museum of Modern Art (SFMOMA), and view two exhibits that were going to close shortly thereafter. The first of these was Picasso and American Art, in which the influence of Picasso on American artists of the 20th century by placing works side by side. For example, several of Picasso's iconic Cubist works were displayed alongside works of Max Weber that they inspired. My favorite of the Picasso works in the exhibition was The Studio (1928):

This work is considered an example of Synthetic Cubism. Compared to earlier Cubism, this style is typified by more abstract shapes and simple lines, along with brighter colors. Picasso's Synthetic Cubism had a strong influence on several prominent American artists, including tuart Davis, Willem de Kooning and Arshile Gorky. Below is Gorky's Organization (1933-1936), which is quite clearly influenced by (and indeed a response to) The Studio:

Artists such as de Kooning and Gorky were influential in creating the American art movement Abstract Expressionism, and their interest in Synthetic Cubism can be seen a direct predecessor along with other abstract styles. I also see works such as Organization as a bridge between Synthetic Cubism and the Surrealist work of Spanish (Catalonian) artist Joan Miro, and then through Surrealism back to Picasso's later work. Miro is among my favorite artists, and I did have an opportunity to visit the Joan Miro museum in Barcelona in 2005. I found many works with a similar (yet quite distinct) combination of sparse geometry and bright colors:

Actually, I had seen this same exhibition in New York last November at the Whitney Museum. It was interesting to see how the two museums presented the same exhibit. The main difference was the galleries themselves, SFMOMA was more light and open, while the setting at the Whitney was more intimate and somehow “quiet.” Additionally, the Whitney made the audio tour available at no additional charge. I usually don't do audio tours, but since it was “free” I decided I would sample specific parts and thus it influenced my visit.

Additionally, I found myself more drawn (during both visits) to the earlier works, mostly before 1960 (up through an including Jackson Pollock), and less interested in the pop art and 1980s styles in the last section. That being said, I do like many artists from the 1970s and later, and this is a good segue to the retrospective of Brice Marden. Marden began in the 1960s as Minimalist painter, and I think most viewers would agree with that characterization. His early work is primarily large monochromatic fields, often arranged in diptychs and triptychs, as in the Grove Series and D?après la Marquise de la Solana (1969):

The Guggenheim collection, which includes the above work, describes it as ” a response to Goya?s portrait of the Marquise, which Marden saw in the Louvre.” With that in mind, here is a computer-generated work in the spirit of Marden's early Minimalism using a photo of Luna as the source for a triptych of color fields:

All fun aside, I did find the large monochromatic works interesting in the context of the full retrospective, especially when several large examples were placed around one of SFMOMA's spacious galleries. The retrospective also gave the opportunity to see Marden's remarkable transition in the late 1970s and early 1980s with his interest in Asian calligraphy and his adoption of more complex images filled with organic curves. He continus to use this style to this day, as in the recent 7 Red Rock 2 (2000-2002), shown to the right. He did have an interesting digression in his work into complex series of crossing lines, such as the 4 and 3 Drawing, shown below. This was probably my favorite from the exhibit:

I suppose I don't really have a “conclusion” to draw here, except that as usual I walk away both appreciative and a bit overwhelmed and bewildered by major exhibits, and always go back for more.

Veterinary Forensics Pioneer Melinda Merck on NPR's FreshAir

I just heard an interesting interview on NPR's FreshAir with Dr Melnda Merck, who is a pioneer in the field of veterinary forensics. From the site veterinaryforensics.com:

Melinda D. Merck, D.V.M., has been studying and investigating animal cruelty cases since beginning her practice in veterinary medicine. After graduating with her veterinary degree from Michigan State University in 1988, she opened The Cat Clinic of Roswell in June, 1990, in Roswell, Georgia. In addition to private practice, she worked on cruelty cases with local animal control agencies.

That's Roswell, Georgia, not Roswell, New Mexico, of UFO-sighting fame. The interview focuses on Dr. Merck's practice and her investigations of animal cruelty. Some of these stories are quite disturbing and distressing, nonetheless I recommend that those interested in the subject listening to the program here.

CatSynth pic: dj kikovas with Roland SP-404

From dj vivi pedraglio, who left this photo for us on myspace:

dj kikovas…with his roland sp-404.

dj vivi pedraglio comes to us from Argentina and has some really interesting beats and sounds. Check out her link above. She has also been featured recently on matrixsynth.

dj kikovas has at least one other photo, so we'll see more of him soon here at CatSynth. As for dj vivi herself:

Looks like she has the same idea here as Mimì 😉