Tinarewin

I am happy to report that Tinarewin are alive and well and played an amazing show at the Masonic Temple in the Hollywood Forever Cemetery last Sunday night.  Seeing them very up close and personal in this intimate venue only deepened my love of this band from the Sahara Desert. 

In the 1960s, after social and political upheaval in his native Mali, Ibrahim (photographed left) grew up in refugee camps near the southern Algerian town of Tamanrasset.  One day he saw a film at a makeshift desert village cinema.  It was a western and it featured a cowboy playing a guitar.  The instrument gave Ibrahim a dream.  He built his own guitar out of a tin can, a stick and bicycle brake wire and began playing old Touareg melodies on it.  He got real good and met other musicians and poets who shared a similar life experience. They formed a band.  Between then and now, Ibrahim and his fellow band members, were soldiers in Ghadaffi's army, ran with the rebel Tauregs, got famous, won a few Grammys, and have traveled the world singing songs about their homeland.  I just love these guys and the sounds that come out of their guitars and drums.  And let's just say, they're rockin' that Lawrence of Arabia look!

  

Check out their website for more information, music, videos and a tour schedule:.

http://www.tinariwen.com

Alvin!!!

Spent an incredible evening in the theater last night seeing Alvin Ailey American Dance Theater.  Admittedly, I am a little late to get on the Alvin Ailey train but still on time to experience the inspired artistry of this iconic dance company. Everything about each of the four dances; the music, the costumes, the movements, and bodies of the dancers was beyond beautiful, beyond joyous, beyond all my expectations.

After "Another Night" danced to Dizzy Gillespie's "A Night in Tunisia," then "Petite Mort" danced to music by Mozart, the evening culminated in Ailey's masterpiece "Revelations."  From 1960 and set to traditional southern gospel music it was Alvin Ailey's breakout dance and arguably one of the most well known and influential American modern dances.   By the last nod of the yellow hats, the crowd was out of their seats with cheers of joy and gratitude for this incredible evening.

  

Wolfgang Laib at MOMA

I went to MoMA to see "Inventing Abstraction" and stumbled upon Wolfgang Laib's compelling pollen installation in the atrium on the last weekend of it's run.  Only having experienced one other work by Laib, I did not immediately recognize what this powdery substance was.  Watching the video it was revealed  that this glowing yellow substance was pollen - pollen that Laib had been collecting from the hazelnut bushes that grow in the part of Germany where Laib has lived for almost 30 years.  Measuring 18 x 21 feet, it was the largest pollen work he has created to date.  I found it ethereal, mysterious, spiritual, beautiful, thought-provoking and haunting.  I haven't stopped thinking about it for days.

Laib stated that "pollen is the potential beginning of the life of the plant.  It is as simple, as beautiful and as complex as this.  And of course it has so many meanings.  I think everyone who lives knows that pollen is important."  With all the talk and concern about bees and their importance in our food supply for the past few years knows, this is so true.  It just never occurred to me how this could be art.  I loved it and loved the serendipity of discovering and experiencing it.












Click here to watch the video about the making of this work:
http://www.moma.org/explore/multimedia/videos/253/1252

Click here to read Ken Johnson's review in the New York Times:
http://www.nytimes.com/2013/02/01/arts/design/wolfgang-laibs-pollen-from-hazelnut-at-moma.html?_r=0

Although I don't agree with the last part of his review, Johnson makes some very interesting points for contemplation.  Enjoy.

Arp, Kounellis and Scarpitta at The Art Show

The first week of March has turned into "Arts Week" in New York.  With The Art Show, The Armory Show, a handful of satellite fairs and major museum exhibitions on view, there is no shortage of important and inspirational art to experience.  Here are some incredible booths that were on view at The Art Show.



"All or Nothing at All" a site specific installation by Jannis Kounellis at the Cheim and Read booth.



A solo exhibition of the work of Sal Scarpitta at the Marianne Boesky booth.


Jan Arp at Mitchell Innes & Nash

Valentine's Day is Coming

Window and jacket by Paul Smith

Hearing God in a Purple Tunic (Vieux Farka Toure at Royce Hall)

I heard god last night and he was black, bald and wearing a purple tunic.

Considering the situation in Mali at the moment, I should probably leave god out of it but there is no other way to express the transcendence of the music I heard last night. They don't call Vieux Farka Toure "the Hendrix of the Sahara" for nothing. While he doesn't exactly sound like Hendrix, his mastery of the guitar certainly would rival Jimi. Hearing Vieux for the first time last night at Royce Hall was an experience I will remember forever, probably the same way people felt about seeing Hendrix in Monterey. All I can really say is that his playing defies description and was a magical experience. Of an equal surprise was the percussion of Tim Keiper. Seeing this red-headed boy play the calabash as he did and later a more traditional drum kit was mesmerizing.  I can't recall ever being so entranced with a drummer. You could see the communication between him and Vieux and the audience was helpless but to hang on for the ride. It was an incredible evening.  And a powerful reminder of the rich and beautiful gifts that come from Mali. They need our help and support as much as we need them. Viva Mali!  Viva Vieux!

And for a bonus treat, check out the United Voices for Mali:
http://www.youtube.com/watch?v=H-54hp2ytmI

Jack Pierson at Regen Projects

I finally got around to seeing the new gallery space of Regen Projects.  Jack Pierson's latest installation was a dramatic, haunting and a brilliant use of the space. And then there was "Motherfucker." Got to love it! Bravo all around!

Walter de Maria, The 2000 Sculpture at LACMA

Visited this monumental work by Walter de Maria at LACMA and it did not disappoint!

A pioneering figure in the development of minimal, conceptual, land art, and installation art, Walter De Maria has made minimalist horizontal sculptures that occupy entire rooms since 1969. Measuring 10 x 50 meters (approximately 33 x 164 feet), The 2000 Sculpture was first exhibited at the Kunsthaus Zurich in 1992. It is one of a series of works by De Maria featuring groupings of ordered elements using precise measurements, among them: The Lightning Field (1977), The Broken Kilometer (1979), and 360° I Ching (1981). In 2010, LACMA installed the sculpture in the Resnick Pavilion, prior to the building's official opening, in order to take advantage of the play of light and vast open space of Renzo Piano's gallery building before the interior walls were installed. The initial installation of The 2000 Sculpture in the Resnick Pavilion represented an ideal relationship between sculpture and architecture. The current presentation is the first official public exhibition of The 2000 Sculpture at LACMA, and only the second solo museum exhibition of De Maria's work in the United States.