NYC

Bleecker Street Station, New York City

Many of the stations on the New York subway system have been upgraded over the years, cleaned up and adorned with artwork and location-specific decor. The Bleecker Street Station on the Lexington Avenue line is not one of them. It’s still quite spare and run-down, the supporting columns a bit rusty. As I waited for an uptown #6 train, I took this photograph looking along the tracks and platform:

Just afterwards, I looked across to the opposite platform and saw a young woman making a similar photograph, also looking uptown. Almost as quickly, a downtown #6 pulled into the station, and as the train pulled away, she was of course gone. A typical movie cliche, but our main purpose in this little station was to catch our trains to wherever it was were going next.

MoMA, Miró, Modernism and Theremins

In addition to my adventures on the F train, I did have a small amount of time to enjoy art and music while was in New York for the Thanksgiving holiday.


One of the featured exhibitions at the Museum of Modern Art (MoMA) was Joan Miró: Painting and Anti-Painting 1927–1937. Miró often appears in my artistic travels – I have been to multiple retrospectives and visited the Miró Museum in Barcelona. This exhibition was more specific, focusing on a single decade of his career, during which he challenged the definition of “painting.” It opens with his declaration in 1927 “I want to assassinate painting” and features several examples of “non-painting”, including collages (such as Composition with Wire, shown to the right) and wooden sculptures. At the same time, however, many of the works are things we would consider paintings. Some of the canvases are unprimed, and several use new media such as masonite. But there are still primarily two-dimensional works involving paint on a surface. And most of the paintings and non-paintings include Miró’s signature elements in his more famous works such as bulbous abstract figures, curing shapes, stars, and scarabs. In addition to the theme of “anti-painting”, the exhibition follows the events in Europe, and particularly in Spain, in the late 1920s and 1930s, with the impending civil war and rise of Fascism. It ends with the Fascists coming to dominance in 1937 and the painting Still Life with Old Shoe that marks the end of Miró’s period of anti-painting.

The MoMA’s website includes a detailed online exhibition.

A few of the smaller exhibits also caught my attention. Dreamland: Architectural Experiments since the 1970s featured experiments in architecture, primarily centered around New York, or the modernist urban ideal of New York, as seen be architects. Some of the ideas, such as those in Rem Koolhaas’s Delirious New York: A Retroactive Manifesto for Manhattan, can be quite fantastic, such as an island oasis in a glass bubble atop a highway. Others were not only more realistic, but also realized, including some impressive homes in the country surrounding New York. It’s always great to see a celebration of modernism as it once was, before contemporary design and architecture took a turn away towards more mundane ideas.

Keeping with the idea of the 1960s and 1970s as particularly modern decades, the exhibit Looking at Music features visualizations of music from the era. This includes direction visualizations, such as the scores of John Cage, as well as early media works by Nam June Paik, Laurie Anderson, Steven Reich and others.

I did have a chance to hear some music as well. The weekend after Thanksgiving is often low on opportunities for new music (which is probably why I was able to book an NYC show without much difficulty after Thanksgiving in 2005). But the reliable Issue Project Room in Brooklyn hosted a show sponsored by the New York Theremin Society. The first set featured rather graphic stereo photos from World War I – still a horrific war when viewed a century later – with theremin accompaniment, presented by Robert Munn and Sara Cook. By Munn’s own admittance, this was not a performance for the faint of heart. The second set featured “Master Thereminist” Kip Rosser, who treated us to a series of jazz and pop standards that would be very much at home at a wedding or bar-mitzvah. It is interesting to think about a hybrid program featuring Rosser’s light jazz on theremin against Munn and Cook’s disturbing images from the Great War. But perhaps that would be a bit too ironic.

hpnyc.org on the F train

Yesterday while was in the F train in New York, a young blond man came through the crowded car soliciting donations. I would not have given him much notice, except that as he was carrying a small black cat, and supposedly collecting for an organization called “Homeless Pets NYC” with a website hpnyc.org. The URL will take you to a site that describes the person I saw and his black cat, and suggests that like most subway solicitations it’s a scam. Very sad.

"Trailer" for Obama NYC Rally

Watch this “movie trailer” for Barack Obama’s rally last week in New York:

The rally may have come and gone, but the video is still quite funny, as the viewer comments suggest – and in that dry sort of way I appreciate most.

But the real reason I’m posting this is to shamelessly but honestly take credit for the music. Yes, I cranked out this orchestral “film score” piece using E-MU Emulator X2 and Modern Symphonic Orchestra in just a couple of days. Most of the effort is in the back and forth that always happens when working on film or video, but I’m very pleased with the result.

With almost 7000 views as of this writing, it might be my most “heard” piece of music. And it joins a small collection of pieces I have done for (other people’s) film and video, including the East Bloc Call To Prayer, and Neptune: Prelude to Xi. You can hear some other of my film or film-ready music here or at myspace.

And if you need music for your film or video project, drop me a line. . 😉

Bruckner Interchange, again and again

In writing about my trip to New York, where better to begin than with our old friend the Bruckner Interchange:

Most of my trips to New York pass through this interchange, which connects to and from JFK Airport via I-678 (the Whitestone Bridge and Van Wyck Expressway); and north into Westchester via Hutchinson River Parkway. However, this trip involved more encounters that most, and indeed a “complete” tour of the major connections. First, north via Whitestone Bridge via the Hutch on arrival. On departure, we came east along the Bruckner Expressway (I-278) and again to the Whitestone. Our family events involved travelling from Westchester to Long Island, again via the Whitestone Bridge. For the return trip, we took the Throgs Neck Bridge (I-295) and the Cross Bronx Expressway (I-295, I-95).

I almost always use the Whitestone for travel to and from Queens and Long Island, so it had been years since I travelled on the Throgs Neck Bridge. It seems in dire need of maintenance. Big rust spots do not give one a sense of confidence when travelling on a major bridge 150 feet above water. I would expect folks to take maintenance very seriously after the Minneapolis bridge collapse this summer. Especially after I find articles like this…

Beavers in the Bronx

A beaver was recently discovered the Bronx River in New York City:

Beavers have returned to New York City for the first time since colonial days when the animals were hunted to extinction for their pelts.

Bronx Zoo-based Wildlife Conservation Society (WCS) discovered a beaver in the Bronx River. The animal was photographed and filmed.

WCS says the appearance of the animal, which have swam downstream from Westchester County, is a symbol of New York city's improving urban environment.

The beaver has been named José in honor of Bronx Congressman José E. Serrano, who has championed the restoration efforts for the Bronx River.

Clearly, the beaver is taking advantage of the opporunities in the revitalized sections of the south and east Bronx. His habitat is only a little bit upstream from the Bruckner Interchange (just east of the Bronx River parkway).