Category Archives: Art

Age, Ferrari, Brooks Camera, General Motors, and the problem with Capitalism

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A couple of weeks ago, maybe a month now, Luca Cordero di Montezemolo, the President of Ferrari, was fired. My first reaction is that it was a good move because the Ferrari Formula One Team is doing miserably and Montezemolo is part of the problem. They need fresh blood. Formula One is a constantly evolving sport and Montezemolo who is 67 doesn’t have any new answers.

Rather than taking a chance with young drivers – and engineers – who are on their way up, like Red Bull, which has won four Championships in a row, Ferrari has hired great drivers and engineers on the way down. When a company is not gambling on the future but trying to safely replicate the past with the people of the past, is can only be mediocre and that is a great description of Ferrari’s Formula One program under Montezemolo. But, according to the F1 gossip, that is not why he was fired.  The FIAT Board fired Montezemolo because they want to increase production to increase profits and Montezemolo wants to keep Ferrari exclusive.

In the 60s, 70s, and into the 80s, there was a camera store on the corner of Maiden lane and Kearny, Brooks Camera. Brooks Camera which was started by Julius Bloch – who escaped Nazi Germany in 1936 – was the best camera store on the West Coast, maybe the nation. It was always packed, always! Like 10:00 Tuesday morning packed. It was the kind of place where one could buy a Kodak Brownie, a brand new Nikon, or an obscure camera part (I once stood in line behind a guy who bought, not one, but two  Pierre Angenieux lenses for his Bolex movie camera, saying I am on my way to Vietnam here is my NBC account number).

In different ways and at different levels, both Enzo Ferrari and Julius Block had a vision to create a company that was the best at what it did. That is what Capitalism or Entrepreneurship does best, create the money and arena to create new products and better services out of a visionary’s dream. Ferrari or Brooks would not have existed in a  Command Economy. However, the new products and better services only continue to be created when there is still a Vision. When Bloch retired, he left Brooks Camera to the employees, but they didn’t care about the vision, all they cared about was making money.

I have no idea what will happen to Ferrari, but Brooks Camera is gone. The employees turned the operation into a series of discount camera stores to increase earnings and the world, apparently, doesn’t need another discount camera store. Still, that is often not the case and that is the problem with Capitalism. Usually, after the founder/visionary leaves the company he or she founded, making money becomes the company’s reason for being. Often, when the company has a large market share, is rich enough, or has a deserved sterling reputation, it can lever that into making lots of money. For years, after Alfred Sloan left General Motors, they made more money with GMAC – General Motors Acceptance Corporation which loaned money for people to buy cars (and, eventually, houses) – than they did in actually building and selling cars.

For General Motors, making money became the goal – the overriding goal –  and, in that environment, weighing the cost of replacing millions of ignition switches against the cost of potential lawsuits from criminal negligence, made good sense. When making money becomes the goal, making good products, innovation, or providing good jobs – among other socially desirable goals – becomes secondary, although the companies often do make lots of money. However, they no longer make the world, our world, richer, they only make the shareholders richer.

As an aside, Ferrari still makes wonderful cars – great cars – but they are no longer the reflection of Enzo Ferrari, il Commendatore. If you want a car that is the reflection of one man’s vision, you would have to buy something like a Pagani Huayra, the creation of Horacio Pagani, with its stunning exterior and spectacular steampunk interior. End aside. Pagani Huayra 1

Pagani Huayra

Pagani

Michele’s Opening at Sweeties

Sweeties-9943Michele is showing her pictures at Sweeties. They are beautiful but I am not sure what to call them, let me explain.

About a year ago – maybe a year and a half, maybe eight months ago – Michele got a Sunprint kit for Granddaughter Charlotte. If you know Michele well, you will know how hard it would be for her to not get a Sunprint Kit for herself. It just hit all her hot buttons. Anyway she did and she started playing with it right way (when I say playing, I mean playing in the deeper sense, as in playing the piano).

The process is simple: place something on a piece of bluish, sensitized, paper and put it in the sun, then develop it in water. What happens is the bluish paper fades in the sun leaving only the shadows blue. In the water, the shadows turn white and the exposed paper turns blue, reversing the exposed image.

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It didn’t take long for Michele to get interested in the mid-reversal.

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She first took the paper out of the water and tried scanning the dripping wet paper, trying to control the paper with paper towels and rags. The she tried photographing it with her iPad, and – finally – using a camera on a tripod. After about a year, the mid-process scans and photographs were hidden away in the computer and the finished – but not as interesting – Sunprints graced every available horizontal surface.

Then Michele started printing the mid-process images – eventually on Epson Hot Press  Bright, 100% cotton fiber, acid-free, lignin-free, paper – and they were beautiful. Framed, with hand torn edges, they make a striking show.

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Michele’s artist statement says, I am not big on change, even though as the iChing claims, change is the only thing we can be certain of, so it is in my nature to try to hold on to memories and bits of beauty. One of the things I love most is my garden, if you can call it that, since it is really just a tamed bit of woods in Portola Valley. I’ve noticed that every day the garden changes, just a little; something new has bloomed, something else has withered away.

Thinking we might soon be moving from our home, I started using sunprint paper as a way to record the flowers in my garden. As I did this I became fascinated with transitory images that emerged as the water hit the paper. It is a brief moment when dark and light comingle as they exchange places. These giclée prints freeze that moment during the processing of impermanent images of impermanent blossoms that grace our impermanent residence on this ever-changing planet.

Reading that statement and looking at my pictures of Michele’s opening at Sweeties, below, reminds me that we are both trying to do the same thing, freeze that moment.

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Wall Spring oasis and the Fleming Collection

Wall Springs-1864In Northwestern Nevada is an oasis named Wall Spring (for a spring in the closest canyon, Wall Canyon, I think). The Wall Spring in the canyon is a result of geology, the namesake Wall Spring is a collaboration between geology and Mike Moore. Geology provided the aquifer and Moore tapped into that aquifer with two artesian wells, one around 100′ and the other 180′ deep;   provided judicious use of rented skiploaders – or backhoes, if you prefer – over several years to make ponds and waterways; and pole-planted trees (sourced locally, he tells me).

In the past, I have referred to it as Mike Moore’s place in the Smoke Creek Desert, but it is as much Linda Fleming’s – Mike’s wife’s – as his and it is now becoming a home to some major pieces of her art. Linda is an artist who creates, among other things, Wall Art and Sculptures. Her work hangs – stands? – in such diverse collections as the Stanford University Museum of Art, the Albuquerque Museum, the Berkeley Art Museum, the Oakland Museum, the U. S. Embassy in Baghdad, Iraq, and, I want to add, Michele’s and my home where we have two of her drawings. Now some of her major pieces are at, or are moving to, Wall Springs.

On our way to Portland, Oregon to go to nephew Jason’s wedding, we decided to go via Wall Spring, in Nevada, for dinner with Linda and Mike  (it makes more sense if you have the roadtrip gene). It turned out that Mike’s brother Kirk and his sister Kathy would also be there to make it a party. We were bringing much of the dinner because we had stopped at the San Mateo Farmer’s Market and we wanted to tout our fresh produce over what we assumed – wrongly, I think – to be their meager desert fare. We are also on a barbecued goat-leg jag and we brought one with us, it is perfect for a party of six.

We wanted to be there by four to get the goat on the barbie, and catch the 5 o’clock tour of Linda’s work – and we were running late, having diddled away an hour in Truckee – so the last hour and a half of our trip was at 60 miles per hour, or so, over gravel roads. Windows up, cool air blowing through the quiet car from the A/C, the desert, almost motionless in the windshield, with only time rushing by, was a new experience for us. We were in a rented Chevy Captiva, a compact SUV, that is just sold to Car Rental Companies. I didn’t know it at the time, but it was the start of the end of our Range Rover adventures.

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Wall Springs 1--2

We got to Wall Springs on time, and while Mike prepared the barbecue, Linda took us on a tour. The one time I had seen more than one piece of Linda’s – often – huge sculptures was at a show in the Esprit Sculpture Garden in about 1988, and I was thrilled to see some more ( it even included a nice wine, like any uptown opening).

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Michele, Kathy, and Linda
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Mike and myself with “Necklace” [steel; 2000] in the background


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As an aside, the lines on the Buffalo Hills are old beaches where the water level was during the last Ice Age. End aside.

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On her website, Linda says My works hint at the co-existence of the mundane and the cosmological where two realities simultaneously exist including the possibility that the past is also present.  The structures are diagrams of thought that provide a glimpse of the strangeness beyond the every day world; opening a place where thought becomes tangible, history leaves a trace, and information exhales form. My reaction, seeing the work here, is visceral; they just seem to fit, to be part of the geological province.

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“Insinuation” [steel; 1997]

As an aside, the dog is Lefty who is a rescue dog. Lots of people I know have rescue dogs – or cats – but they don’t know they are rescue animals, but Lefty does. Mike found him with his left foot caught in a coyote trap about 70 miles from the nearest paved road (for the longest time, I kept calling Lefty, Lucky, and still want to call him Lucky for what I think are obvious reasons). End aside.

Pink Glass- [cast glass-steel; 1988]
“Pink Glass” [cast glass/steel; 1988]
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“Grey Matter” [laser-cut powder coated steel; 2006]
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“Hercules” [wood and steel;1988] with the Granite Mountains in sunlight

The tour ended as the shadows stretched out along the Buffalo Hills, we retired to the back porch for drinks and appetizers. -Pink Glass- [cast glass-steel; 1988]-1855

Sitting on the back porch, drinking  my wine, eating Linda’s appetizer of heirloom tomatoes, and watching the alpenglow glow on the Fox Range , I am struck by two, almost diametrical, thoughts. Why does this austere, inhospitable,  landscape so pull me? How come it doesn’t pull everybody?

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We had roast goat leg, corn brought by Kathy and Kirk from Truckee, and salad for dinner as the Terminator – the line marking the earth’s shadow – under the pink Belt of Venus, ended the day.

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The air is soft in the Gloaming and the Silence flows in off of the desert floor. On the back porch, we soak up the moment, knowing it is valuable for being transitory. Tomorrow, the heat and the glare will return; the air so dry it buzzes, the light harsh, and the heat an overbearing physical presence.

The next morning is Monday and getting our usual late start, we turned off the gravel Smoke Creek Road onto an actual paved road at about 11:30. In this case, the paved road is Highway 447 which goes north into Cedarville and beyond.

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Lucky in-law

Growing up with two successful artist brothers has been a fortuitous education.  I got a first hand view of how their art has evolved through the years.

I’m still amazed how they’re able to render personal views/beliefs/emotions into tangible works on canvas, paper, and stone.  My older brother, Michael, paints and draws while younger bro Bryan, sculpts marble and wood.

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 Bryan in his workshop in Italy 2012

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Michael’s art at “Making Places” in Santa Fe 2013

Then I received an “extra credit” bonus in my artistic enlightenment when Michael married Linda Fleming.

Linda Fleming and Mike Moore

She’s an incredibly talented sculptor/teacher/artist and has a CV brimming with exhibitions titled “Tangible Mind”, “Galilieo’s Daughters”, “Perishable Industry”, “Tracery”, “Parallel Universe”, “Brainstorm”, and “Modeling the Universe”.

How can anyone produce the sculpture those titles describe?

Linda has done it with ingeniously designed manifestations using a variety of materials.

Over the years those materials have evolved to the sophisticated, laser cut, powder-coated steel layered structures she now employs to translate her nature-derived art. They’re studies in organic and geometric forms that dance with color, movement, light and shadows.

In 2007 I saw “Refugium”, Linda’s mid-career retrospective in Sonoma. In July of this year I got to experience the monumental exhibition with Michael in Santa Fe, “Making Places”.  The more I see, the more I am staggered by Linda’s imagination (not to mention her uncanny ability to construct the products of that imagination).

On November 2nd I attended the opening of her newest show, “Evanescent” at the Brian Gross Gallery in San Francisco (248 Utah St. 94103). Rather that attempt to describe it, I will simply share some photos, with the caveat that they do not do justice to the art.  You should go see it in person, 11am-6pm Tues-Saturdays until December 21st.

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Kirk Moore shot 1

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Lind Fleming Opening KM1

If you do go to the gallery, look through the “Refugium” Sonoma show catalog; it’s a helpful historical document to understand where Linda’s imagination is coming from. As for where it goes from here…this lucky in-law can’t wait to see.

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Linda and Michael with “Fieldnotes random walker” bloggers Steve and Michele.

Guest blogger

Linda Fleming Opening-0030Saturday, a week ago, Michele and I met Richard Taylor at Linda Fleming‘s Opening of Meanderings, an exhibition of sculpture and drawings at Brian Gross Fine Art. When I picked up my camera to bring it along, I realized that the battery was dead and I had forgotten to charge the batteries I had used up on the trip to Maine. Linda’s brother-in-law, Kirk Moore,  was there, fortunately, and he has generously agreed to post some of his pictures of the opening.