Saturday, October 3, 2015

Miscellaneous: The 2nd Amendment is the Problem

The idea that guns should be controlled seems so obvious and logical to me that I find it difficult even to weigh the issue (it seems already clear, not requiring much thought), but the recent massacre in Oregon and the reaction to it among gun rights advocates set me to thinking about logical arguments supporting gun control. The automobile analogy makes most sense to me. The idea surely isn’t novel, but why isn’t it persuasive to gun rights advocates?

Why do we register automobiles? Why do we require drivers to have a license to operate a motor vehicle? Why do we require drivers to have insurance against accidents and to carry proof of that insurance? Why do we require vehicles to display proof of registration and registration renewal prominently in the form of a license plate? Why do we require vehicle owners to keep their vehicles in good repair?

Have you ever asked yourself these questions? At first it all looks complicated. One question seems to lead to another and another. But one answer seems to apply to most of these questions: Cars can kill people, and, therefore, they should be controlled. All these arguments would seem to apply to guns. If we can regulate cars tightly, we should be able to regulate guns tightly.

Why isn’t that persuasive to gun rights advocates? Is my conclusion outrageous, outside the bounds of common sense?

We register autos because cars can kill people and we want to know who is responsible when a car is involved in causing property damage, an injury, or a fatality. We require a driver’s license so that people know the basics of operating a car safely—in the hope of avoiding property damage, injuries and fatalities—and to identify the operator. We require insurance because cars can kill people and we believe it just that victims of auto-related harm should be provided for and that victims of automobile fatalities and their families should be compensated. We believe the vehicle owner and operator is responsible. We require vehicles to be in good repair, because a poorly maintained vehicle can cause an accident and auto accidents kill people. We accept the risk, because cars are useful—for pleasure, for sport, for moving things and people from place to place—but we regulate cars tightly nevertheless. We require registration and insurance and we require these to be renewed annually. We require operator’s licenses that must be renewed periodically. We don’t give licenses to very young people or to people judged physically or mentally unable to handle an automobile. Because cars can kill people.

So why not guns—which are far more dangerous and probably, on the whole, much less useful?

Because, the gun lobby has persuaded too many people to believe that individual gun ownership is protected by the constitution. I believe that’s a mistaken interpretation, as many others do (and many would probably deny). What’s clear is that the Amendment is confusingly worded. I think we need to amend the 2nd Amendment to say clearly what we believe it ought to say. The question is: What, as a nation, do we want it to say? If, as I believe, the Amendment’s intent was to limit federal interference in the maintenance of well-organized militias for local self defense (and only that), then the Amendment should say that. Guns in the hands of individuals in all other contexts then become like automobiles—just another potentially dangerous tool. If we can tightly regulate automobiles because automobiles can kill people, then surely we can do the same with guns. Let every gun operator be required to take training to obtain an operator’s license that must be renewed periodically. Let every gun in the nation be registered annually. Let every gun prominently display a unique identification plate. Let every gun owner carry insurance for each gun against its use in a criminal act that destroys property, maims, or takes a life. Let every gun owner be required to keep proof of adequate insurance with the gun at all times. Let all guns be required to undergo periodic safety inspections.

I would go further, arguing that some kinds of guns should be banned entirely, on the grounds that their potential danger far outweighs their potential utility. Just as most people don’t need potassium cyanide at home, most people don’t need an automatic assault weapon at home. If the 2nd Amendment is clarified, guns become easily controllable—like any other potentially dangerous tool. The NRA and its allies have been smart to focus on the supposed special constitutional protection of individual gun rights. The Amendment is the problem. We need to take back the 2nd Amendment by making it say unambiguously what it was originally meant to say—or at least to decide what, as a nation, we want it to say today.

[This piece in The NewYorker argues, as I do, that the amendment does not guarantee individual gun rights (in fact, the author argues that the Amendment was designed to allow regulation of guns outside of an organized militia). He therefore believes the Amendment does not need to be amended. I continue to believe that clarifying it would be helpful.]

Sunday, September 27, 2015

Art I'm Looking At: Mark Eanes on The Art Wall at Shige Sushi

I'm looking forward to showing the work of Mark Eanes on The Art Wall next at Shige Sushi, in Cotati. The show will run from October 6 through November 29, 2015. The opening reception will be Monday, October 12. Click on the image here for a larger view. For more information about the current and upcoming shows on The Art Wall, visit The Art Wall website at

Miscellaneous: Lunar Eclipse (September 27, 2015)

We were treated to a total eclipse of the moon today. Did you see the blood-orange red moon tonight? By the time I was able to photograph it, the color had gone....

Wednesday, September 23, 2015

Art I'm Making: Untitled Collage No. 110 (Santa Rosa)

I've been taking a break from the intense collage-making activity of the past two years, but here is the last one I made over the summer, Untitled Collage No. 110 (Santa Rosa). This one uses more found paper than usual. The white area on the left with a signature on it is an antique book page. The black area at the top is a piece of a platinum/palladium test print made by my photographer friend Barbara Elliott. The other pieces are papers I've made myself. Image size: 17.5 x 24.6cm, matted to 16 x 20 inches. Completed July 27, 2015. I'll start making more collages soon, as Art Trails 2015 is just around the corner.
 Click for a larger view. Visit my studio  (Studio No. 63) during the 2015 Sonoma County Art Trails open studios event, Saturday and Sunday, October 10th and 121h and Saturday and Sunday, October 17th and 18th, 2015.

Wines I'm Making: 2015 Grape Harvest

I picked our grapes this year on September 19, which is about three weeks earlier than usual. Because of the heat and dry conditions, many grapes were already beginning to turn in to raisins. Fruit set was also very poor this year--the worst it's ever been. The harvest was tiny. I took in only 18.7kg or 41.4lbs of Cabernet and 12.8kg or 28.2lbs of Sangiovese. We normally harvest anywhere from two to three times that much. The crushed cabernet must measured 26.0 Brix at a pH of 3.62 (pH squared times Brix = 340.7). The crushed Sangiovese must measured 22.0 Brix at a pH of 3.57 (pH squared times Brix = 280.4). I usually aim for a Brix reading of about 25 for the Cabernet and about 23 for the Sangiovese. I lightly sulfited both containers and set them aside in a cool place for a pre-soak.

I inoculated the juice on the morning of the third day, September 22, using the Rockpile yeast for both. Ordinarily, I press the Sangiovese after about 18 hours to make a rosé, but we had so little fruit and because of work conflicts, I had to leave it longer than that, so, by default,  I'm fermenting the Sangiovese as a red wine this year for the first time in many years. I'm trying to decide whether to blend the two varieties. I may have no choice. I ended up with only about three gallons of each, which, when pressed, will reduce to about two gallons each. That would require using four one-gallon containers, which is a pain (no one seems to make two-gallon glass containers suitable for handling wine), so it will be easier to combine them.

So, fermentation is under way. I'm also doing a hard cider fermentation at the moment. More soon.

Thursday, September 17, 2015

Art I'm Making: Untitled Collage No. 109 (Santa Rosa)

I've been taking a break from my comparatively intense activity as a collage maker in the past two years and I've been lazy about posting the newest ones. Here's a fairly new piece, Untitled Collage No. 109 (Santa Rosa), from early July. It's currently up in my show going on at The Spinster Sisters until October 4, 2015. Acrylic on paper, acrylic monoprint, collage. Image size: 14.6 x 18.7cm. Matted to 16 x 20 inches. Signed on reverse and on the mat. I didn't think about it at the time, but this a rather elemental piece using black, white, and the three primary colors.

  Click for a larger view. Visit my studio  (Studio No. 63) during the 2015 Sonoma County Art Trails open studios event, Saturday and Sunday, October 10th and 121h and Saturday and Sunday, October 17th and 18th, 2015.

Rain: First Substantial Rain of the Season (September 16, 2015)

We had odd mists of rain on a couple of days in July and in August this year--which is extremely unusual--but it was too little to make much of a difference--only 0.10 inches. Yesterday and last night (September 16) we had the first real rain of  the 2015-2016 rain season--0.4 inches in the rain gauge this morning. Let's hope that the start of a heavy rainy season. I hope the rain last night helped the firefighters up north, but I've seen no news. So far, the total for this year stands at 0.5 inches.

Sunday, September 6, 2015

Trying to Find a Creative Solution to a Problem: Epson, Shame on You

I'm a photographer, printmaker, and collage artist. Three years ago, after saving about a year, I bought an Epson Stylus Pro 3880 printer--finally upgrading to a professional level printer to expand my activities as an artist. I've used the printer very lightly, but it's been critical to my photographic work. After printing only 50 sheets, a piece of the head transport mechanism cracked, causing serious, but temporarily manageable problems. The repair shop that diagnosed the problem believes the failure to have been a result of a manufacturing defect. Epson would do nothing to help me, despite that. Not long after, the print heads clogged so badly that the machine has become entirely unusable--and these machines are designed so that they are more expensive to repair than they are to replace (Repair estimate: $1,650). During the diagnosis, the cracked head support broke off completely. I tried to suggest nicely to Epson that this is like a $25,000 auto becoming undriveable after 3,000 miles and costing $28,000 to repair. I even wrote directly to the CEO of Epson America, but simpy got another rejection from people hired to protect the bottom line. I have nowhere to turn. The machine is out of warranty. That's all Epson cares about. Period. Tough luck. They refuse to stand behind what is clearly a lemon. Others have had nothing but praise for this machine and used the 3880 for many years--as I expected to do. Clearly my experience has been anomolous, not my fault. I bought a lemon. If you look at the photo here, you can see that the factory protective films are still in place--that's how little it's been used.

Why should you donate? You shouldn't have to. Epson is responsible here, but they've left me in the lurch and I don't have the money for a new printer. Having a printer is important to supporting my work. If you love art and hate companies that leave customers out in the cold--and product design that forces replacement rather than repair (creating yet more plastic in landfills)--then please do what you can to get me up and running again.

Happy to provide documentation of any details to parties that may be skeptical. The amount I'm trying to raise ($1,582) will cover a new printer ($1,405--retail price plus tax) and the three ink cartridges I had to buy to diagnose the dead printer ($177--yes, the ink costs $59 a cartridge, and there are nine cartridges; a full set costs close to a third of the price of the printer). 

To see examples of my work, go to To make a donation, see My GoFundMe campaign 

Thank you!

Tuesday, September 1, 2015

Tidbits--RIP: Oliver Sachs

I was sorry to hear about the death of Oliver Sachs today. He appears to have died a couple of days ago. I'm surprised there hasn't been more about him in the news. I enjoyed many of his books, particularly Uncle Tungsten and remember a couple of pieces about him in The New York Review of Books over the years. Always an interesting writer.

Monday, August 24, 2015

Art I'm Looking At: More Diebenkorn

A show of Diebeenkorn's work just closed yesterday in Sonoma, but it looks like Stanford will soon display a group of recently acquired Diebenkorn sketchbooks, starting in September. Richard Diebenkorn: The Sketchbooks Revealed will be showing September 9 to February 8, 2016 at the Cantor Arts Center at Stanford University (328 Lomita Drive at Museum Way, Stanford, California).

Friday, August 21, 2015

Art I'm Making: Newer Collage

I've been taking a break from making art for the past couple of weeks. I've had a lot of work to do: I've had trouble with two different cars; I've had trouble with my Epson printer and Epson has been decidedly unhelpful and unsympathetic about it; I've put up a new show (the work of Santa Rosa photographer Barbara Elliott, at Shige Sushi, in Cotati); and I recently put up a show of my own work at The Spinster Sisters, in Santa Rosa. So, I've been busy.

Here's one of my more recent pieces, however, from back in June. Untitled Collage No. 108 (Santa Rosa). June 16, 2015. Acrylic on paper, acrylic monoprint, found paper (antique silver leaf), collage. 6.8 x 8.8cm. My show of recent work--abstract photography and monoprint collage (as well as a couple of older prints)--at The Spinster Sisters will be up through October 4, 2015.

  Click for a larger view. Visit my studio  (Studio No. 63) during the 2015 Sonoma County Art Trails open studios event, Saturday and Sunday, October 10th and 121h and Saturday and Sunday, October 17th and 18th, 2015.

Friday, August 7, 2015

The Cocktail Glass Collection: The Hydro Grill, Calistoga

Driving through Calistoga at dusk recently I saw the neon signs lit up at The Hydro Grill. This is a new addition to my collection of neon cocktail glass signs. For more, use the "Cocktail Glass Collection" tab to the right.

Monday, August 3, 2015

Art I'm Making--and Curating: Exhausting Day Hanging Two Shows (August 3, 2015)

Exhausting day: Barbara Elliott and I finished hanging her new show on The Art Wall at Shige Sushi this morning, in Cotati. Barbara's show is entitled "On the Edge of the Animate: Photography by Barbara Elliott" (August 4 to October 4, 2015). Opening reception Monday, August 10 from 5:30 to 7:30PM. See the Art Wall website for details.

This afternoon I put up my show at The Spinster Sisters, in Santa Rosa (August 4 to October 4, 2015). I'm showing recent collage work and my "Museum Shadows" series of abstract photographs. The opening reception will be Thursday, August 6, at The Spinster Sisters from 5:00 to 7:00PM. For more about my work, see my website:

See you there--and there!

Thursday, July 23, 2015

Art I'm Making: Recent Collage

This is Untitled Collage No. 107 (Santa Rosa), something I finished during the Art at the Source Open Studios event in June. It uses some plum-colored paper I made recently and scraps from several months back. In this one, I like the tension between two possible readings—one entirely abstract (the reading I intended and the one I prefer), the other vaguely representational, taking this as a view of a ship at the horizon, floating on a plummy sea. In the representational reading there's something that evokes travel poster design of a bygone era.

Acrylic on paper, acrylic monoprint on paper, collage. Image size 15.1 x 17.3cm. June 14, 2015. Click on the image for a larger view. For more, use the "Art I'm Making" tab on the right or visit my collage website at

Wednesday, July 15, 2015

Art I'm Looking At: Degas and Friends in Petaluma

It was with some skepticism that I recently visited the Petaluma Arts Center to see Edgar Degas: The Private Impressionist, Works on Paper by the Artist and his Circle, on view there through July 26, 2015. An important Degas show? In Petaluma? Before my visit, I couldn't help feeling there'd probably be one or two good pieces to look at and then much of inferior quality padding out the gallery spaces.

I was wrong. Quite the opposite is true. There's almost too much to look at comfortably here, and the art on display is of a high caliber, with only a handful of exceptions (the pieces by Ingres and Toulouse-Lautrec, for example, are disappointing).

The works in Degas: The Private Impressionist are all from the collection of Robert Flynn Johnson, Curator Emeritus of the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco. The exhibit was curated by Mr. Johnson and Louise Siddons Ph.D., Assistant Professor and Curator of Collections at Oklahoma State University, Stillwater.  Each piece is accompanied by an unusually long explanatory label. Reading these is time consuming, but you'll want to read them. I recommend allowing two-three hours to give the show its due.

The Petaluma Degas show is worth seeing for a number of reasons. First, it's notable for its breadth. It includes more than 100 pieces, about 40 by Degas himself. The latter include very early drawings, some of which are copies made in the Louvre and other museums, often with one sketch overlapping another. Several sheets have drawings on both sides of the paper (mounted here so that front and back are visible)--images Degas made for practice rather than as finished works. Thus, the early part of the show gives us an unusual glimpse of Degas learning to draw.

Second, the show includes work by Degas in less common media. There are several early monotypes (one-off prints made by drawing with ink or paint on a hard surface--usually glass--and then transferring the image to a sheet of paper). Reproduced here is Heads of a Man and Woman (circa 1877-1878), notable for its combination of spontaneous execution and acute observation. There are etchings and drypoints, many of which are interesting for being late impressions from cancelled plates.  There are prints made in collaboration with publishers that reproduce some of Degas' pastels and paintings as lithographs. There are photographs by Degas.  In a combination of photography and printmaking, Degas in a couple of examples has worked on used Daguerreotype plates to make aquatints. Again, the breadth of the selections is impressive. It attests to Mr. Flynn's expansive taste and explains the show's subtitle referring to the "private Degas": Degas himself publicly showed work other than paintings and pastels only very rarely.

If you're interested in the history of photography, the show is worth seeing just for the eight photographs included (two of these show composers Debussy and Chausson). While Degas' interest in photography is well known and it's easy to see how photography influenced his cropping of compositions in other media, I don't remember ever having seen photographs made by Degas himself--although he was an avid photographer, at least for a short period of apparent obsession with the medium. It seems there ought to be more of his photographs around. Apparently, there aren't. So, this is a rare treat. One of the wall labels on the photographs is rather funny, describing Degas breaking up a dinner party by bringing out his camera and coercively posing reluctant guests in fastidiously composed scenes that then required long exposures.

Third, the show puts Degas clearly into the context of his artistic milieu by including so many works by and of artists that Degas knew and himself collected. Not all of these people will be well known to a general audience, but they include Tissot, Fantin-Latour, Moreau, Gérome, Desboutin, Aryton, and Jeanniot, among others. Better known names include Cassat, Ingres, Cézanne, and Toulouse-Lautrec. Also included are some modern takes on Degas and his work, including a very funny drawing of Degas from 1964 that David Levine made for The New York Review of Books that poses Degas in a tutu standing in the ballet dancer's fourth position, alluding to the artist's sculptures of young dancers.

Some of the highlights of the show among the Degas works include: the lovely portrait of Mademoiselle Dembrowska used on the cover of the catalog and in the show's advertising (circa 1858-1859); a beautiful pencil drawing of a plough horse from 1860-1861; several prints executed in 1934 by Maurice Potin using photogravure, aquatint, and etching to reproduce monotypes of brothel scenes Degas made between 1878 and 1880 but never exhibited; and the above-mentioned monotypes and photographs. Among the work by other artists, there is an intriguing Portrait of a Working Girl (circa 1880) by Annie Aryton (shown below)--which, as the label points out, depicts a woman who looks remarkably like the girl who modeled for a couple of the dancer sculptures Degas made; A bold drypoint self-portrait by Marcellin Desboutin (circa 1875); a portrait of Degas as an older man by Pierre-Georges Jeanniot;  a very fine red chalk drawing entitled Portrait of an Officer (1853) by Jean-Léon Gérome--an uncharacteristic subject for an artist best known for his paintings of mythological subjects; the circa 1854 Portrait of a Man (pictured above) by Gustave Moreau, a graphite drawing that looks more like an Ingres than the small Ingres head on display; a pair of small self-portraits by Jeanniot; and, among my favorites in the show, a circa 1870 graphite drawing by Adolph von Menzel of his sister asleep in a railway carriage (bottom). Fans of the sitcom Seinfeld may find it amusing that one piece in the show is on a piece of paper watermarked "Vandelay."

If I had to nitpick, I was disappointed that no photography is allowed in the galleries, which is frustrating, as it makes it very difficult to later talk about individual works without relying on sometimes-faulty memory, and the catalog is available only as an expensive hardcover edition I didn't feel I could afford. It appears to reproduce all the wall labels verbatim, so it will make an excellent resource, but I had to pass. I noticed that while the drawings and prints are generally well reproduced, the Degas photographs have been given an odd orange tinge not present in the originals on display, which is a shame. Otherwise, I can recommend Edgar Degas: The Private Impressionist wholeheartedly--but make sure you allow plenty of time to take in the full sweep of this remarkable collection. General admission is $10 (free for Petaluma Arts Center members). Thursday through Monday (closed Tuesday and Wednesday) 11AM to 5PM. Open on Saturdays until 8PM.

Saturday, July 11, 2015

Art I'm Making: Collage with Antique Silver Leaf

Not long ago I had the pleasure of visiting the studio of local artist Jenny Honnert Abell, a painter who often incorporates collage elements into her work. I'm pleased to say that I'll be showing her work at Shige Sushi in November and December this year. Her studio is full of collected artifacts that find their way into her work--buttons, book covers, wishbones with wishes written on them, old illustrations, scraps of paper. On one table was a small pile of antique silver foil sheets backed with tissue that appear have been part of a (probably Japanese) screen. I admired the sheets and Jenny kindly gave me one. Here is a collage that incorporates some of that silver leaf. It was not my intention to mimic a screen, but the finished piece seems to have the proportions of a screen. Perhaps that was inevitable? This is Untitled Collage No. 106 (Santa Rosa). Acrylic on paper, acrylic monoprint, found paper (antique silver leaf), collage. 21.1 x 11.3cm.

Click on the image for a larger view. For more, visit my collage website at

Friday, July 10, 2015

Art I'm Looking At: Turner at the De Young

San Francisco's De Young Museum is now presenting a major show of the late work of J.M.W. Turner (1775-1851). Organized by Tate Britain in association with the J. Paul Getty Museum in Los Angeles and the Fine Arts Museums of San Francisco, this is the largest exhibition of Turner's work ever mounted on the US West Coast. The De Young show runs through September 20, 2015. The exhibition is a large one, including more than sixty oil paintings and watercolors, but the museum has devoted a great deal of space to their display. The galleries therefore feel spacious, with the works widely spaced on the walls, making it easy to see them without feeling hemmed in by other viewers.

While this show is likely to attract attention for some of the famous large oil paintings on loan from institutions around the world (such as Peace--Burial at Sea (1842), pictured at the top of this page), it's an excellent opportunity to see a large number of Turner's very fine watercolors together. I've always had mixed feelings about Turner. Some of his work seems sublime. Some moves me not at all--for reasons I can't quite articulate, but I don't much care for the allegories, especially those paintings that include figures. I think Turner was at his best when using his eyes to depict what he saw rather than attempting to tell stories. I most enjoy the work that veers off strongly in the direction of abstraction, which is perhaps why I find the often more loosely drawn and quickly executed watercolors especially interesting. The interior scene reproduced immediately above (of one of Turner's hotel rooms in Venice, circa 1840) is a good example. Only the ceiling decoration and the distant view of the Campanile anchor this little painting in reality. Without these, it's mostly a composition dominated by vaguely defined blocks of color.

An 1841 watercolor depicting the Ehrenbreitstein fortress on the East bank of the Rhine, overlooking Koblenz, is similar. Only the fortress on top of the rock is drawn with much precision. The rest of the composition is highly impressionistic, rendered in textured washes. It's easy to see why Turner is often considered to have pointed the way toward Impressionism. There is much in the show that brings Monet to mind. This piece even made me think of Rothko, with its horizontal  bands of soft color. Looking at the pieces in the show (the largest group of Turners I've ever seen at one time), I noticed that diffuse bands of color serve as the compositional architecture in many of his works--although they are mostly vertical bands--typically deep colors on the sides of a composition and a swath of bright, pale color in the middle, suggestive of color field painting, a development that lay about 100 years in the future.

I was also struck by a pair of watercolors entitled The Red Rigi and The Blue Rigi from 1841-1842, depicting a mountain close to Lake Lucerne, in Switzerland (the latter shown here). The idea of painting the same subject in a series in different lights and from different angles immediately brings Japanese printmaking to mind. Although it wasn't too long after this time that Hokusai's most famous series of images of Mt. Fuji (originally published in 1831) was becoming known in Europe, 1841-42 was probably too early for Turner to have been influenced. Monet certainly was aware of Hokusai.

Inclusion of unfinished works at the end of the exhibition is a nice touch. Turner was criticized in his own day for, among other things, his dissolution of form--for his distinctive indistinctness that many took to be incompleteness. Being able to see truly unfinished pieces makes it abundantly clear how calculated Turner's indistinctness was.

Monday, July 6, 2015

Rain: Odd Drizzle

Unusually for this time of year we've had a couple of bursts of rain in the morning or overnight. Welcome, but never enough even to register in the rain gauge more than a trace. The new rain year (the 2015-2016 rain year) began on July 1, 2015. So far, we've had just these traces....

[Update: And a little rain again today, July 9--very unusual for this time of year to have any rain at all. We ended up with 0.10 inches of rain--the first appreciable rain of the new rain year.]

Sunday, July 5, 2015

Art I'm Making: New Collages (June-July 2015)

Two newer collages--these completed in the past couple of weeks. Untitled Collage No. 104 (Santa Rosa) is a tiny collage--the smallest I've yet made, measuring only 4 x 4cm, or less than two inches on a side. This one incorporates a scrap from an engineering drawing from an old book that I found at a Goodwill store. It suggests a cityscape to me now, although I had nothing concrete in mind when I made it. Acrylic on paper, acrylic monoprint, found paper, collage. Completed June 7, 2015.

Having made some bright red papers recently, I made Untitled Collage No. 105 (Santa Rosa). I like this one for the way it simultaneously suggests both motion and stasis. Acrylic on paper, acrylic monoprint, graphite, collage. Completed June 7, 2015.

Art I'm Looking At: Diebenkorn Around the Bay Area (July 5, 2015)

We're privileged right now to have two shows of rarely seen work by Richard Diebenkorn on view simultaneously in the Bay Area, a show of prints at the De Young in San Francisco and a show of small-scale drawings, collages, and watercolors at the Sonoma Valley Museum of Art, in the town of Sonoma, a venue that has only recently come to my attention--and that accidentally: I happened to come across a reference to the Sonoma show in one of three books published by Kelly's Cove Press in conjunction with the exhibition, which is subtitled The Intimate Diebenkorn.

In keeping with that subtitle, the Sonoma show presents a selection of smaller works, the largest being no more than about 24 x 36 inches (most considerably smaller) in various media. None of the images was included in the large show of Diebenkorn's work in the summer and autumn of 2013 at the De Young Museum (Richard Diebenkorn: The Berkeley Years). Some Bay Area viewers may have seen the bulk of the Sonoma show at the College of Marin (September-November 2013) or San José State University (March-May 2014), but the selection of works now at the Sonoma Valley Museum of Art has been augmented by about 12 pieces not included on earlier stops. The show next travels to the University of Montana (September-December 2015).

The De Young show of Diebenkorn prints highlights the museum's "latest significant acquisition of [Diebenkorn's] prints, made possible by the Phyllis C. Wattis Fund for Major Accessions and the generosity of Phyllis Diebenkorn," the artist's late widow--to use the words of the introductory gallery panel. I believe the De Young Museum now has the largest collection of Diebenkorn's prints in the world aside from the collection of the Diebenkorn Foundation, from which the traveling show now in Sonoma has been assembled.

The Sonoma show provides an intimate overview of the various styles in which Diebenkorn worked. There is a good selection of representational work including still life subjects, nudes, and landscapes as well as abstract work, both in the fluid, organic style of the Berkeley and earlier periods and the more rarified, highly linear style best known from the large paintings of the later, Ocean Park period.

The works are arranged thematically rather than chronologically, which allows a comparison of similar types of work from different periods, although it somewhat obscures Diebenkorn's journey from abstraction into figurative work and still life and then back to abstraction--part of what makes looking at the whole of his artistic career fascinating. Despite the diversity of subject matter, Diebenkorn was always concerned with formal compositional problems. An interior view of a posed model or a landscape was for Diebenkorn always as much about dividing up space on a flat plane as any abstraction was. The works as shown demonstrate both the breadth of his subjects and the compositional concerns that unite his work. The 1962 figure drawing in ballpoint pen shown here (above) is an excellent example--a highly economically rendered pair of nude figures but, at the same time, a composition consisting in large part of blank rectangular or squarish areas of paper separated by thin lines. The legs of the male figure at the left side of the page are particularly ambiguous. The 1958 untitled oil landscape on paper shown below likewise blurs the line between the abstract and the descriptive.

The Sonoma venue is divided into four areas: the main exhibition space, a permanent art library off to one side, a space at the front of the building where visitors are offered a place to play with paper and drawing tools if inspiration has hit them, and a darkened area behind a wall at the rear, where two videos about Diebenkorn run in a loop. One of these was made at the time of a major retrospective of the artist's work at the Los Angeles County Museum of Art, in 1977. The other shows Diebenkorn at work at Crown Point Press, in Oakland, collaborating with master printers Marcia Bartholme and Hidekatsu Takada, in 1986, photographed by Kathan Brown, the founding director of Crown Point Press. The former is short (22 minutes) and interesting mainly because it shows Diebenkorn politely, somewhat shyly interacting with an adoring public at the opening reception for the Los Angeles exhibit. The latter video (35 minutes) is of greater interest and well worth the time it takes to watch. It offers a rare look at the artist in the studio, showing him proofing prints, working on copper plates, consulting with the printers about changes, and finally coming to decisions about finished versions of a number of pieces (one of which he ultimately decides to abandon after much frustration).

Diebenkorn's working style was highly interactive, restless, and experimental--the interaction having been between the artist and his materials. Each new piece was a kind of conversation with the medium: an idea proposed, considered, approved of or rejected--the artist always listening and responding to the voice of the evolving work--the cycle beginning again, repeating until an equilibrium was achieved. It's a style especially well suited to collage, so it's not surprising that collage enters into many of the smaller works on display in Sonoma. Some of the drawings are on joined pieces of paper. One small abstract work from 1992, the year before his death (shown here), consists of pieces of what appears to be a drawing cut up and arranged on a second blank sheet (coincidentally, highly reminiscent of some of the work of Basque artist Eduardo Chillida (1924-2002)). The Crown Point Press video shows Diebenkorn cutting up proofs and pasting them together to rework a composition--essentially designing a print by collage.

The De Young Exhibit focuses on Diebenkorn as a printmaker. He seems to have been interested in printmaking of various types throughout his long career, and many of the last works he made--when ill health had made it impossible to tackle the large canvases he favored as a younger man--were prints. Most were etchings and drypoints, but the De Young show includes a fair number of lithographs and you get a sense looking at the early examples that he was testing the limits of what appears to have been a new medium for him at the time. Some of these early lithographs are essentially line  drawings in crayon, others look like puddled ink drawings. Later color lithographs from the 1980s are more mature, looking very much like Diebenkorn the painter. Again, the subject matter in the De Young exhibit is diverse, including figure studies, landscapes, still life subjects, and abstraction. Again, nearly all the pieces exude something essentially Diebenkorn despite that diversity.

The show at the Sonoma Valley Museum of Art (one half block from Sonoma’s historic Town Plaza: 551 Broadway, Sonoma CA 95476, (707) 939-7862) runs through August 23, 2015. The show at the De Young Museum in San Francisco (Golden Gate Park, 50 Hagiwara Tea Garden Dr., San Francisco, CA 94118, (415) 750-3600) closes October 4, 2015.

Sunday, June 28, 2015

Art I'm Making: More Collages (June 28, 2015)

The recent Art at the Source Open Studios event afforded me a lot of time to work. I finished several new pieces while hosting visitors to my display area and just before and after the event. Here are two newer pieces. Above is Untitled Collage No. 102 (Santa Rosa), using acrylic on paper, and monoprinted paper elements. This one uses blank areas to anchor the overall composition, small jots of color to keep the eye moving at the same time. The freer, linear element at the center was made by drawing in paint on a glass plate with the back end of a paint brush. June 1, 2015. Acrylic on paper, acrylic monoprint on paper, collage. Image size 11.4 x 11.5cm.

Below is Untitled Collage No. 103 (Santa Rosa), the result of a chance meeting with some of the people at Iota Press, in Sebastopol. Next door to the press is Beekind, where I sometimes buy beekeeping supplies. I noticed the Iota Press sign as I was leaving Beekind. I dropped in and got into a conversation with the man that runs the place and got him to give me some paper discarded in the wastebaskets. One of these (the torn scrap in the center) I've incorporated into this piece. June 5, 2015. Acrylic on paper, acrylic monoprint on paper, found paper (printer's scrap), collage. Image size 23 x 21.5cm.

Click on the images for larger views. For more, visit my collage website at

Serendipitous Art: Museum Shadow (June 28, 2015)

Shadows in a stairwell at the Aviation Museum at San Francisco International Airport looked like art to me. Serendipitous art, unintended art, found art.

For more unintended art, see my blog Serendipitous Art.

Wednesday, June 24, 2015

Wines I'm Drinking: Two Primitivos from Salento (June 24, 2015)

At my local Grocery Outlet today (Santa Rosa), I came across two Primitivo wines from the Salento region of Italy. They were attractively priced, so I decided to compare them. Salento, in Puglia (Apulia), is essentially the heel of the Italian boot. The region has been known for the quantity rather than the quality of its output in the past--much of which has traditionally become the base for vermouth. As in so many parts of Europe, however, legal requirements to reduce grape acreage and more modern winemaking techniques seem to be raising the overall level of quality--although Primitivo from this area has long had a reputation for being among the region's best products. So, it was with some hopefulness that I snagged these two bottles and gave them a try. Brief tasting notes follow:

2010 Duca Petraccone Salento Primitivo (Antica Vigna): Deep ruby red but with a hint of the garnet color of a mature wine. Dusty rose petals on the nose. A hint of tobacco. Raisins. But, overall, fairly closed on the nose, at least initially. Pretty nonetheless. Medium-bodied. Ripe, soft, slightly raisiny fruit flavors on the attack followed by a softer mid-palate and then a rush of acidity toward the finish. Decent length. Very soft tannins. Easy-drinking and surprisingly delicate overall. Appealing although not especially complex or deeply interesting. Both wines were disappointing. Still, probably a decent food wine--solid, but unobtrusive; in other words a wine that would not distract from good food either by being especially distinctive or by being obviously flawed. A good value at only $4.99.

2013 Caminetto Salento Primitivo: Deep ruby red, but not quite as opaque as the above wine. Earthy scents. Clay. Raisins. A hint of rose petals. Again, fairly restrained on the nose at first, but pleasant and inviting nevertheless. Sweet fruit flavors with some balancing acidity, although perhaps not quite enough. Raisiny mid-palate. Moderate length, with delicate tannins lingering. A little brighter and fresher tasting than the Duca Petraccone wine, but not as subtle. I suspect this wine might quickly tire the palate because of its up-front grapey fruitiness. Perhaps an excellent summer wine to serve cold with a splash of soda water--or as a base for Sangria. Inexpensive at $7.99, but I won't buy this one again.

Friday, June 12, 2015

The Cocktail Glass Collection: The Washoe House

At the corner of Stony Point Rd. and Roblar Rd., to the west of Cotati, CA, sits The Washoe House, a run-down roadhouse dating back to 1859. Still a bar and restaurant, Washoe House has been an inn, a restaurant, a bar, and, according to Wikipedia, a butcher's shop as well as a post office and a community hall. It was a stage coach stop on routes between Petaluma and Santa Rosa. Ulysses S. Grant is said to have given a speech here once, but the Wikipedia article points out that no supporting evidence for the claim exists. I drove by the place at night tonight for the first time in many years, which afforded an opportunity to photograph the neon cocktail sign lit up--the latest addition to my growing collection of neon cocktail glass signs in front of bars. For more examples, use the "Cocktail Glass Collection" tab to the right.

Thursday, June 11, 2015

Plants I'm Growing: Zucchini (June 11, 2015)

Everything is ripening early this year. It's only the first week of June but we're already harvesting delicious, fresh zucchini. The trick is to pick them when they're still small--before you have to start looking up imaginative recipes to use them up and before you start annoying your neighbors with too many zucchini offers.

Art I'm Making: New Collages (May-June 2015)

The second weekend of Art at the Source Open Studios event is approaching. I've got new art to show--new collages I've made during lulls in the stream of visitors to "Studio 48." I put that in quotes because I'm actually showing in my mother's nicely repainted garage, not in my home studio.

Art at the Source (unlike Art Trails, the October Sonoma County event) requires you to show on the west side of Highway 101. Here are a couple of my newest pieces: Untitled Collage No. 101 (Santa Rosa), shown above, and Untitled Collage No. 102 (Santa Rosa), shown below.

Click on the images for larger views. Even better, come see my work in person during the second weekend of the Art at the Source Open Studios event, June 13 & 14, 2015. I'll be showing at Studio 48, in Sebastopol. Come see my photography (abstract work, nudes, bird photography), printmaking, and, of course, collages.

For more about my collage work, visit my collage website  at

Friday, June 5, 2015

Art I'm Making: Art at the Source Open Studios Event (June 6-7 and June 13-14 2015)

Art at the Source--Open Studios. Tomorrow, June 6 and Sunday June 7. Then again the following weekend June 13 and June 14. Showing photography, printmaking, and abstract monoprint collage at Studio No.48, in Sebastopol. 10:00AM to 5:00PM

Wednesday, June 3, 2015

Beekeeping: New Bees Settling In (June 3, 2015)

I captured a large swarm from my existing beehive this spring and, finding no one to give it or sell it to, I got a new hive box and installed the bees in what is now our second backyard hive. I painted the hive bodies the same color as the original hive.

The bees have been in there for almost a month now (I installed the swarm on May 5), so the first crop of truly new bees will already have begun hatching (a worker bee takes 21 days to develop). The population of the hive should begin to take off. In a week or so, I'll open the hive and have a look to see how much of the foundation they've drawn in to new comb, and to look for signs that the queen is laying.

Monday, June 1, 2015

Art I'm Making: New Collage

Painting a thick layer of pale acrylic color on glass using a toothed plastic brush left me with a mono-printed background texture that became the starting point for my latest collage piece--Untitled Collage No. 100 (Santa Rosa). Working on a glass plate that wasn't well washed after its last use resulted in flakes of blue getting embedded in the paint--an effect I rather liked. The bottom half of this piece is constructed from fragments of assemblages that became other pieces of art. May 28, 2015. Acrylic on paper, acrylic monoprint, found paper, collage. Image size: 13.9 x 22.2cm.

Click on the image for a larger view. For more, visit my collage website at Or, come see my work in person during the Art at the Source open studios event, June 6 & 7 and June 13 & 14, 2015. I'll be showing at Studio 48, in Sebastopol.

Books I'm Reading: Vision and Art; Forbidden Knowledge; Turing's Cathedral

A lot of reading recently but not much time to write about what I've read. So, a quick look here at the three most recent books I've finished.

Margaret Livingstone, a Harvard neurobiologist, has written Art and Vision (Abrams 2002), a volume on the biology of seeing ("the biology of seeing" is the book's subtitle) that will be of interest to anyone curious about how we see and especially to artists; the book reproduces many, many works of art that illustrate the biological principles the author lays out. Livingstone covers the nature of light itself before moving on to an explanation of human color vision and then to a chapter on luminance and night vision. These early chapters are worth reading more than once before moving on; most of the rest of the book assumes the reader has taken this information fully on board. Despite being challenging in places, a very attractively laid out, informative book that I'll probably go back to many times.

Roger Shattuck's Forbidden Knowledge (St. Martin's Press, 1996) is subtitled "From Prometheus to Pornography" so it's not surprising that the book begins with a discussion of the Prometheus story and is mostly finished by the time the author has discussed the writings of the Marquis de Sade in some detail, although a final chapter and an appendix attempt to summarize arguments laid out earlier in the book. Shattuck asks very basic questions: Is there some knowledge best left unknown? Are there experiences best imagined? Are there lines better left uncrossed? Then he looks at the implications and consequences of answering these questions in different ways. The first part of the book takes a mostly historical approach, covering Prometheus, biblical sin, Milton and the Adam and Eve story, Faust, Frankenstein, asceticism (La Princesse de Cleves), aestheticism (Emily Dickinson), Melville's Billy Budd, and Camus (The Stranger), before a set of "case histories."

These case histories look first at science and technology. Shattuck discusses development of the atomic bomb and pursuit of The Human Genome Project as illustrative of two sharply contrasting attitudes toward the advancement of scientific knowledge--one, deeply ambivalent, sees the advance of science as perhaps inevitable but at the same time sinful; the other makes no apologies for supporting unbridled scientific investigation. The section on the writings of the Marquis de Sade asks whether they deserve the appreciation they've attracted in recent decades, examining along the way the question of how they may have influenced serial killers and other sociopaths. The final chapter is a summary that itself refers the reader to an appendix in which Shattuck attempts to categorize the types of forbidden knowledge discussed in his book--these being: inaccessible or unattainable knowledge; knowledge prohibited by divine, religious, moral, or secular authority; dangerous, destructive or unwelcome knowledge; Fragile, delicate knowledge; knowledge double-bound; and Ambiguous knowledge.

The first four of these, as the author himself points out, are fairly self-explanatory. Shattuck's last two categories are less so. Knowledge double-bound refers to the mutually exclusive nature of objective (exterior, contemplative) knowledge and subjective (gained through direct experience) knowledge. "Exterior objective knowledge will never carry us to a full grasp of any subjective experience. On the other hand, as the French proverb suggests [Tout savor c'est tout pardoner: To understand all is to forgive all] full empathy with another experience or another life takes away from us the capacity to see it objectively and judge it aright." Ambiguous knowledge refers to the sometimes contradictory effects of knowledge. Well written, dense with intriguing ideas, and well worth the time it requires to read, although this is the kind of book that you may need several readings to fully absorb.

Turing's Cathedral (Vintage 2012) by George Dyson, son of Freeman Dyson, is breathtaking in its detail--both personal and technical. I had expected a book about Turing when I picked this up, but there is little in it about Turing the man. The book simply takes Turing's 1936 notion of a "universal machine" as its starting point. A universal computing machine is hypothetical, not material, but Turing's idea is usually taken to be the germ from which Von Neumann created the computer architecture that bears his name and that remains to this day the architecture behind virtually all computers. Turing's Cathedral is an exhaustive look at the contributions of the people behind the word's first digital computers (so many people that the book starts with a six-page list of "principal characters"). These computers were developed mostly at Princeton just after the end of World War II, supported to a great extent by the US military as computing machines were wanted for modeling atomic and hydrogen bomb explosions. Dyson's book looks at the computers themselves, at the people who made them, and at how computer code took on a life of its own in the early stages of a revolution that continues today. A fascinating look at how the birth of the hydrogen bomb and the digital computer went hand in hand and how the digital universe we know today came to be.  
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