Filmic Wonder and Balling At The McKittrick

Monday brought us to the Museum of Modern Art for the final day of their exhibit, “Quay Brothers: On Deciphering the Pharmacist’s Prescription for Lip-Reading Puppets.” This retrospective of the twin brothers’ 40 year career creating some of the most iconic and beautiful animated films in existence. We’ve both been fans for some time, X and I, but never thought we’d get to see something like this. This exhibit was the catalyst for the trip, to be perfectly honest.

It would be impossible to explain the Quay’s work in any way that would convey the beauty and magic of it, so best to send you off to search for some of it on YouTube and the like. That’s okay, do it now, we’ll wait…

Welcome back. This exhibit was quite thorough, featuring about 20 of the miniature sets used in making the films, as well as models and sketches, 2D artworks, such as a Blood, Sweat & Tears album cover produced long ago (who’d’a thought?) and reels of the short films and commercial work, such as Peter Gabriel’s Sledgehammer. Some longer work was shown in its entirety, such as their most famous work, Street Of Crocodiles, based loosely on the Bruno Schultz book. There were separate screenings, in Theater I, of the new The Metamorphosis, based on the Franz Kafka work.

We spent about 2 hours in the exhibit, enjoying it greatly, and after a brief sojourn to the book store (50% off sale!) and acquiring tickets to the 4:30 showing of Metamorphosis, repaired to the flat for a well earned nap.

Back uptown for the film. It was not just a simple screening, but featured live piano accompaniment by Mikhail Rudy. Here’s the museum’s description:

…these screenings of The Metamorphosis by Franz Kafka mark the North American premiere of the Quay Brothers’ newest film. Commissioned by Russian-born French pianist Mikhail Rudy in affiliation with Cité de la musique in Paris, where it premiered last March, the film is screened with live piano accompaniment by Rudy, performing the music of Czech composer Leoŝ Janáček.

The accompaniment was fabulous, and the film good (but repetitive and obtuse in places) but the entire experience was more than this, as it really delivered a sense of completeness to the exhibit and our experience of it.

We drifted across town and back down to Chelsea for our evening’s entertainment, Crescent City Stomp, a performance of the Preservation Hall Jazz Band at the McKittrick Hotel. First, though, a quick stop in at Son Cubano for a cocktail (quite good). The McKittrick is the fictional hotel which serves as host for Punchdrunk/Emursive’s production, Sleep No More. This environmental non-performance experience, based upon Shakespeare’s Macbeth, has been packing ’em in since early in 2011. Our show was in a new space, a speakeasy separate from the performance space used by SNM, on the west end of the warehouse block.

Served alongside the New Orleans riffs of PHJB was a menu of light appetizers and cocktails inspired by the Crescent City. We sampled most of the menu (having expected a proper meal here), and had wonderful corn bread, crisp muffalata croquets with tappanade, fried hominy, Brussles sprouts with pancetta and pomegranate seeds and shrimp-stuffed deviled eggs. Yum to all!

The music was stomping all right, the septet (piano, drums, tuba, saxophone, clarinet, trumpet and trombone) was tight, upbeat and having a good old time. The two sets, about 50 minutes each, were followed by a 2 song encore, by which time many of the tables had been pushed back and the floor was hopping.

The hall holds about 275 people and was full to the gills. There are an assortment of tables, from a dozen or so deuces arrayed around the stage (centered against one long wall), then 3 and 4 tops, and then larger tables and banquettes for 6 & 8. The bar fills one of the short walls of the room, and is well appointed with a good choice of liquors, liqueurs, wines and beers. Table service is fast and entertaining, the waiter and waitresses all embracing the roles of working a speakeasy.

The musicians were a treat to watch. The trumpeter, Mark Braud, looks like a more corpulent and dissolute Marsallis cousin, and belts out some grand vocals, too. The clarinetist, Charlie Gabriel, carries the aire of the old man of the troupe, while delivering some fine tunes and song. But our favorite was Clint Maedgen on tenor sax and vocals. His saxophone is painted white with fine black detailing, his hair slicked back, he could be Crispin Hellion Glover‘s louche and wayward younger brother.

Clint Maedgen & Charlie Gabriel

Clint Maedgen & Charlie Gabriel

All in all a fabulous night out!

Our Gossamer Gotham

We’re presently staying in a short-term sublet in Chelsea, which is bedecked with no end of shear curtains and faux lace. It is quite the thing, not really stunning (as I’m sure it was meant to be) but rather too, too. Not much in the way of privacy, either, when one has shears in place of walls. Cest le vie!

This afternoon X joined the visit, and off we went to Ann Hamilton’s The Event Of A Thread at Park Avenue Armory (nee Armory of the Seventh Regiment). Opening on December 5th of last year, today brought the last day of this most public of public artworks. Occupying the whole of the armory’s vast Drill Hall are a few dozen large plank swings, suspended from the ceiling high above by sturdy chains from which emanate ropes in a wild and dizzying web which spans the great expanse, but all seemingly meeting along a central axis of the room — midway between west and east — where a large fabrc sheet is hung, itself spanning the room from north to south. As people swing in the swings, this elaborate web of ropes, chains, pulleys, block and tackle are all set in motion, pulling and tugging, releasing and dropping, the top edge of this huge sheet. It billows in the breeze it creates, and bobs up and down.

Thankfully we have tickets, for there is a line of people surrounding the entire armory, which fills an area of 2 city blocks, between Park Ave. to the west, Lexington to the east, 66th to the south and 68th to the north. This is the longest queue I’ve ever seen here, for anything, but quite civil and almost even festive. It surely helps that it’s a bright sun-shiny day, and warmish for the date. Having tickets, however, we skirt the line and enter directly into the west end of the hall, at 65th & Park.

A Reader

A Reader - The Event Of A Thread

When one first enters the drill hall, one finds a large library table upon which are a dozen or so wooden cages of pigeons (all look asleep), two long scrolls of text (with what looks like a stripe down the middle) and in front of each scroll sits a reader and an old fashioned microphone. The readers, wearing coarse wool jackets, slowly and in even voices read from their scrolls. We cannot really hear what they’re saying too clearly, but nearby a paper bag, bound in twine, sits on the floor and buzzes and squawks. Upon closer examination, we find it contains a speaker through which one or the other reader may be heard. There are many of these bags around the hall, and listeners snatch them up, walk with them a bit or simply sit with one on their shoulder, and then put them back down.

Paper Bag Radio

Paper Bag Radio - The Event Of A Thread

Swingers swing on the swings, while other swingers queue on line at each swing for their turn. Some swings have very long queues, while others — even near by — may have few people, if any, waiting turns. Watchers line the periphery of the hall, either along benches against the walls, or along catwalks one storey up. Dreamers lay on the floor beneath the great curtain, like a great spine of humanity bridging the hall from north to south. Some watch intently the fabric dipping and swooning above them, others with their eyes closed, listen to the paper bags and the readers beyond them. At the eastern end of the hall, another large library table is topped by a large parabolic mirror which tilts fore and back, and beneath it, surrounded by a collection of the paper bag radios is a writer. Wearing the same coarse woollen wrap as the readers, he is transcribing their words out, in longhand, into spiral bound notebooks.

Wanderers amble amongst the watchers, readers, writer, listeners, swingers and dreamers.

Dreamers beneath the drape

Dreamers beneath the drape - The Event Of A Thread

Above all of this is that incredible, inscrutable, intricate web of chains, ropes and wires which strings this all together. Many myths and stories tell of amazing machines of time or horology, intricate mechanisms which power the world or keep the universe in check and in operation. If such things exist, this is how they look and feel; of that I am sure.

Heavenly Machinery

Heavenly Machinery - The Event Of A Thread

Is it art? Indisputably. But it is more than that. The Even of a Thread is an experience, a public, shared, magical experience of such beauty and power that it takes one’s breath away. Kids and adults, couples and friends, families and loners, all are engaged by this. A man gingerly rises from his wheelchair and mounts a swing, then his friend pushes him to and fro. A small girl in her fuchsia tutu scrambles up beside her father and sister to swing, the father pushing with his feet to get them moving — squirmy little girls and all — while a third sister, holding hands with the dancer — runs alongside.

A woman in her twenties with long braids down to her waist, bold garish makeup and a small entourage, moves about the room, seemingly trying to make her own bit of art by her mere presence here. Cameras are everywhere (no flash) trying to find some way to record this most unique experience. I do likewise with my meager camera phone. Some videos and stills are here.

If we were to end our visit now, seeing nothing else, this would be enough. Ann Hamilton has made something amazing here, and I thank her, and all involved, for it. I cannot even begin to imagine what has gone into the making of this. There is a 24 page newspaper which serves as a guide and talisman for the event, there is a small army of people wired and loosely uniformed, patrolling, there are sound and light technicians, pigeon wranglers, singers (each night ends with a song sung from the west balcony. Beneath the balcony an antique record lathe records the song, which is then played back the following morning) etc. I spent some time on the south catwalk standing near the southern end of the drape, next to me a swing cop, whose job it was to carefully monitor the floor looking for people engaging in unsafe swing behavior, and alert floor patrols.

Madison Square Ramble

Took a little stroll through Madison Square Park this morning.  Here’s some photos:

Flat Iron Building

Flat Iron Building

Pine Cones on Fountain

Pine Cones on Fountain

Bucky Ball Sculpture

Bucky Ball Sculpture

Bucky Ball close-up

Bucky Ball close-up

Around the base of the sculpture are several loungy benches from which to appreciate it.  The sculpture itself is bedecked with fancy-ass lights which trace various routes around the ball.  These benches let one get completely absorbed into this acid-trip experience, at least after dark they do.

 

Piscataway Airs

It even smells different, New York. Those subtle cues you get as you enter the concourse at La Guardia; you know you’re somewhere else. There are so many little things which separate one locale from another, and it is the job of the modern airport designer to eliminate these differences to the extent possible, but New York just smells different.

Not bad, I’m not trying to say it’s a stinky place, or worse for the odors, just that it’s different is all. Like the hand soap or disinfectant concession has been granted someone who simply doesn’t trade anywhere else in the world. We don’t have this scent in Milwaukee; eau de toilette de La Guradia.

From La Guardia to Piscataway is an hour and 30 minutes of close up driving on the BQE, Staten Island Expressway and the 440. The lanes are narrower than those in the Midwest, and the roads rougher (for the most part) so every one is jostling along hoping that that truck next to us won’t jostle this way at the same time that we jostle that way. For the most part we succeed.

Work, work, and then sleep. Restless sleep, and restless awakening. Complimentary breakfast buffet (complimentary to what, one wonders) and then the pensive wait before departure.

Fog Horn Memories


Out in the bay, the fog horns are sounding, their long, low, throaty wails echo lazily off the high rise buildings of Yankee Hill.  Occasionally they are answered by a ship asea, like some love lorn animal seeking its mate.  These horns bring back such fond autumn memories for me, of my childhood growing up on Hackett Avenue.

Every fall we would build forts from the leaves, my brother, sister and I, and shoot up the neighborhood from the safety of our burrows within them.  We had few firearms.  Our parents were pacifists, as it were, and housed Students For McCarthy one election, and supported our efforts on behalf of a certain Senator four years later.  But this time of year out would come the rat-a-tat-tat mechanical plastic machine guns — M16 or AK-47, I could tell you not — and we’d dust off the old cap pistols from the cowboy and Indian sets.

Upon settling in the house on Hackett, in 1966, my father went exploring at Boerner Botanical Gardens.  The rose gardens there being modeled after Queen Mary’s Rose Gardens at Regent’s Park, London.  He loved those roses, and was determined to find some which would acquit themselves well in this climate.  He selected some Florabunas, tho he didn’t know it yet.  He wrote to the chief grounds keeper, describing the flowers he wanted, and their location within the grounds, and received back by return post the specifics and where to buy them.

The graft roots in hand, the next season he planted them along the front walk; a line of thorned sentries to guard against stray pets (and their clumsy owners).  These florid red roses would all be gone come October nights, of course, but their skeleton were perfect structural support for the siege walls of our leaf forts.  To this we would add cardboard boxes dragged from the curb, and branches felled by those city crews who waged war against the Dutch Elm Disease which was to decimate, many times over, the ranks of our formerly cathedral-esque streets.

From the safety of our forts, under a sanguine, weighty and magnificent hunter’s moon, we waged war against our foes, real and imagined.  It may be the Smirle boy from down the street, or the Clarks, two doors to the south.  Maybe the Litzaff kids would venture our way (always ill advised) but we would hold them at bay, our rat-a-tat rifles springing to life under our seasoned command, our incongruous tri-cornered hats perched on our heads.

As the years crept by, however, those accouterments were first joined then supplanted by the various bits of Vietnam war paraphernalia which found its way to our house, from the rummage sales of the veteran-students who lived amongst the families on our street.  Along with this gear came a growing realization, too, that the very thing that our earnest student house guests — and even ourselves — were protesting about, war, was what we were playing at.  Gradually, then, the games of war fell away from us.  The great piles of leaves in the front yard went back to being prospective mulch in my mother’s compost heap, and our attentions turned to the unlikely election of one Senator McGovern to the Presidency, hoping to put to an end this reckless and ridiculous war which even in our little corner of Milwaukee one saw evidence of.

There had been the marches, of course, the uprisings at the university, and as the body counts on the nightly news began to crack into our childhood consciousness we were soon in full confrontation with the weightiest of issues, and our childhood was ending just as our political lives began.  We carried on an English tradition of Guy Fawkes Day.  We kids would fashion an effigy out of newspaper, leaves, old rags and paper bags.  My father would choose the political scourge of the day from the cover of the Saturday Review, Newsweek, or the rotogravure and plaster it onto the paper-bag head of our Frankenstein Guy.

We would load the Guy into the Radio Flyer wagon and parade him around the neighborhood on November 5th (which conveniently fell near to election day) and sing our little song, “Please do remember on the fifth of November that poor old Guy Fawkes was reduced to an ember!” then our plea, “Penny for the Guy, penny for the Guy!”  For Unicef, of course — Even in such dark celebration we maintained our liberal political correctness.  When we returned home we would place the Guy on the fire grate and commit him to the pyre.

But before that, all back through our young histories in Milwaukee, living as we did by the water, were the fog horns, those stoic sentries of the water, those siren guardian whose unflinching, signal wails would guide the ships to safety and away from peril.  As a youngster my favorite nights were those with the still cloak of fog heavy in the air, that Hunter’s Moon a mere smudge in the sky, and my mother and I reading bedtime stories to each other — H.G. Wells most often, but C.S. Lewis or others, too — as the fog horns wailed in the back ground.

After the last chapter of the night, my mother would pack up the book, tousle my hair, and tuck me in with a wee peck on the cheek.  “Go to sleep now,” she’d say, “and no staying up with that flashlight!”  Such admonition was hardly necessary, though, when the fog horns were sounding.  I would burrow deep into my covers, pulling them as high up around me as I could, and imagine myself at sea, with those taciturn fog horns wailing, the waves crashing, the rocks threatening, and my own future uncertain with peril.

Much of this memory comes crashing home this year — the foggy fall, the political currents, and the timely (it would seem) death of that brave Senator from my past.  George McGovern probably never had any chance, back then in 1972, but to my young eyes and to those of my siblings, he was a hero.  My politics were forever forged in the furnace of Vietnam, the 60’s, the races riots and body counts and fair housing marches and assassinations.  But it was those childhood nights of echoing fog horns which forged my soul, in the dark, under the covers, the words of H.G. Wells still resonating inside, feeling safe under my parent’s roof and wrapped tightly in their love.