earth day

Sai Baba died today.

TODAY!

the reason this fact is so notable
besides, of course, all the regular reasons,
is that i first heard about him, even saw a film about him,
40 years ago... today.

i had to double- and triple-check to believe my eyes --
that the one time i look him up is the day he dies.

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but i get ahead of myself.

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If you're going to San Francisco
Be sure to wear
some flowers in your hair
If you're going to San Francisco
You're gonna meet
some gentle people there





For those who come
to San Francisco
Summertime
will be a love-in there
In the streets of San Francisco
Gentle people
with flowers in their hair




All across the nation
such a strange vibration
People in motion
There's a whole generation
with a new explanation
People in motion people in motion





For those who come to San Francisco
Be sure to wear
some flowers in your hair
If you come to San Francisco
Summertime will be a love-in there



If you come to San Francisco
Summertime will be a love-in there

•

and so i went. the first commune i lived in was called "free city," wherein among many other things, a young man named David Lloyd-Jones transcribed, printed up, and circulated a speech by R. Buckminster Fuller. he, like so many others of that moment, could see further into the future than many republicans can see to this day. he could see that it was a world of abundance, and that it could be made to work for every soul on the planet.

•

skip to one day early in 1971, i began to hear commercials on the then very cool KSAN, fm radio. they were for this thing called, "World Game," a series of workshops, and classes and discussions, all about ways to make the world work, a brainchild of R. Buckminster Fuller.

and it was indeed very cool. to simplify to the extreme, Bucky had worked it out so that if all nations would cooperate (yeah, right) in allowing there to be an international grid, there would be more available energy for each person on the planet to have what americans have today.

the sources of all this power: tidal, solar, and wind. it's all there; it's just not hooked up right.

to the left is his Dymaxion Map (or Globe). Bucky believed that to view the planet from this perspective, not only was it more accurate, but it also relieved the viewer from having to try to figure out what's up. for, of course, there is no up, or down for that matter. only in and out.

very quickly we students formed a gang, and did all and sundry things. we dropped acid and had profound discussions out on the grass. we had massive thanksgiving dinners in a Russian Hill mansion someone had donated for the duration.

we went to the Institute of Ability where we attended Enlightenment Intensives. we had dinner at the Swami Satchidananda ashram which was right up the hill from where i lived.

and, forty years ago today, we went to University of California at Davis's first Whole Earth Festival, held on the very first Earth Day. it was concerts, and dancers, and craftspeople and lectures and yoga and huge "Om" circles and so much more.

there was the woman who had come down from the mountains, who walked around all day with a green parrot on her shoulder, wearing nothing but a green crocheted bra-top, and a large piece of yellow satin wrapped around her hips.

she sold earrings she had made with feathers from her parrot; i still have one green feather earring today.

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and there was the Fairfax Street Choir (hear them here).
singing full-of-light songs and dancing, even tap dancing; how heavenly.

and, in a classroom, in a building a bit away from the rest,
we saw a movie about Sai Baba.

Turning Japanese II

This was the state of the art of printmaking in 1850,
the dark silence before the dawn of the Japanese
influence on everything:

Then the tsunami hit: and the stories
of the means of that onslaught are many.

Perhaps, since the woodblock prints were supposedly used
as wrapping paper on ceramic imports,
they were inadvertently discovered
by painters buying ashtrays.

(That's what they told me on the sightseeing tour to Giverney.)

There were the scholars, vendors, and pilgrims,
many of whom have been discussed here, whose
curiosity drove them to Japan itself as soon
as they could. They were inspired, profoundly awed,
and they looted the back rooms for whatever they could
for museums and private collections.

Extremely important, too were the Universal Expositions
which bloomed on every shore and brought
artist, craftsman, and person-on-the-street
into direct contact with the Japanese items themselves.

To explore the variety in more depth, check out this.

There were entrepreneurs on all shores (also previously
covered here), who opened shops, started magazines (or both),
to display and sell the imports; or in Japan where they began
to marshall artists to produce what the West wanted.

Now, I'm not saying that each artist pictured here was
introduced to Japanese arts and crafts in one of these ways.
What I am saying is that every single one (and all the more
who are not featured here) was influenced none the less.

No longer was the body's content as important as were its bones.
And all of the other Japonisme-y things: flat planes of color,
asymmetry, outlines. Consciously or unconsciously,
people had begun to see differently.

The language changed, and changes still.

charles
clive

swimming in the shadows

i have read similar things about the dutch art nouveau porcelain in numerous places:

The Art Nouveau movement developed as a reaction against historicism. The interpre- tation of the wealth of forms to be found in the worlds of plant and animal life, follow- ing the example of Japanese art, was one of the innovative aspects of this movement.

It was also a reaction against the frequently low quality of industrial design. In the Netherlands as elsewhere there was a desire to reinstate honest craftmanship, which led to reforms of technical training and to exhibitions of good examples of design. Art Nouveau in the Netherlands, unlike that of other countries, generally takes the form of symmetrical compositions in which asymmetrical details are incorporated. Decorations are also often confined to the flat surface.

Dutch ceramics of this period are characterized by the large quantities that were produced and by the high degree of mutual influence present. Floral, linear and geometrical designs were adapted. A fairly small group of designers is respon- sible for most of the original models; the others often go back to classical Chinese porcelain and traditional Delft ware.

Inspiration for the decorations was drawn from the pattern- books of, for instance M. Verneuil and E. Grassèt, and the domestic and foreign magazines that circulated. 1

it's that part, as another book puts it, "The artists took as models illustrations from the French book on ornamental plants La Plante et ses Applications ornementales, published in Paris in 1896. This is an instance of how knowledgeable the artists were about the very latest developments in ornamenta- tion... the leading fashions were closely followed by the factories," 2 that confuses me.

it's clear that the influx of japanese arts and crafts had as much of an impact in the netherlands as they did elsewhere throughout the west. though as in every country the dutch put their own spin on it, the influence is unmistakable.

in fact, though japan's influence is mentioned in these books and sites, they seemed to pay more credence to the 'design books' of the times. but i have been through dozens of images of (mostly rozen- burg) porcelain, and the same amount of the many verneuil/ grasset/ mucha style books, and i have actually found very few that have seemed related except for on the most superficial levels. the japanese influence is throughout.

and yet, just as modernisme (art nouveau) in spain is influenced by moorish design and architecture, holland's nieuwe kunst is influenced by both the japanese (which we've discussed to great length), and the indonesian styles, as the dutch east india company set up trade in both places centuries before the rest of the west were allowed to.

note this particular rozenburg vase, one which makes quite obvious the reason their porcelains were called 'eggshell.' both indonesian and japanese influences are readily apparent. flowers with art nouveau grace, stems with the angularity of a shadow puppet.

my continuing ignorance can be immediately revealed when i tell you that it simply had never occurred to me that the afore-mentioned design books were used in such a way! i don't know what i thought they were used for, but never that!

and while i quite knew, as we have discussed before, that japanese design books were made for just exactly that reason, it didn't occur to me that the french ones were too!

so how did that work? were the designs under some sort of copyright, and a fee had to be paid to the designer (or, more likely, the publisher) to use them? what about the silver studio designs? surely they were not available without some kind of licencing.

the answers to these intriguing questions will have to wait. maybe someone read- ing this knows! if so, please add your knowledge. see another part of the same loop in the paintings of jan toorop -- clearly the same set of inspirational inputs. look too at all of the dutch calendar makers we've been chronicling: they also designed the pottery, painted the paintings; it was not a large crowd, but it was, as we've seen, a tight one.

sweetness

SWEETNESS

Just when it has seemed I couldn’t bear
one more friend
waking with a tumor, one more maniac

with a perfect reason, often a sweetness
has come
and changed nothing in the world

except the way I stumbled through it,
for a while lost
in the ignorance of loving

someone or something,
the world shrunk
to mouth-size,
hand-size,
and never seeming small.

I acknowledge there is no sweetness
that doesn’t leave a stain,
no sweetness that’s ever sufficiently sweet ....

Tonight a friend called to say his lover
was killed in a car
he was driving. His voice was low

and guttural, he repeated what he needed
to repeat, and I repeated
the one or two words we have for such grief

until we were speaking only in tones.
Often a sweetness comes
as if on loan, stays just long enough

to make sense of what it means to be alive,
then returns to its dark
source. As for me, I don’t care

where it’s been,
or what bitter road
it’s traveled
to come so far, to taste so good.

Stephen Dunn

Stephen Dunn, “Sweetness” from New and Selected Poems 1974-1994. Copyright © 1989 by Stephen Dunn.
arthurwesleydow

it was all going on all at once

"We [poster artists] were young and swimming in the same socio-political milieu that produced the rock bands, the drug culture & the sexual revolution. All this was going on in a very small part of the world, and it was all going on all at once."

so continues david goines: "The most important poster event of the ‘60s, was a 1965 show of Jugendstil posters at the University of California Art Museum, organized and curated by Herschel Chipp.

"This exhibition was seen by all of the people in San Francisco who were doing posters for the rock ‘n’ roll events of the time, and the very next posters were all but direct imitations of those of the Jugendstil, particularly reflecting the lettering of Ferdinand Andrei (President of the Vienna Secession 1905), and Leopold Forstner of the Wiener Werkstätte, which you will recall as letters all made to fit into a square, or some other shape, and almost illegible."

every one of the earlier posters shown here (and most of them here) were at that exhibition.

more from david goines: "Some of the poster producers were: Berkeley Buonaparte, The Print Mint, The Family Dog, The Food, and Bill Graham. Important designers of that time were: Stanley Mouse and Kelly, of Mouse Studios, Wes Wilson, Victor Moscoso, David Singer, Rick Griffin and Bob Fried.

"More than anything else, the psychedelic poster era, brief as it was, created an audience for posters that had not existed since the turn of the century. The psychedelic and rock poster was not an art reproduction of a poster about a far away event, as was the then-ubiquitous Spanish bullfight poster. They were real advertisements for real events of immediate interest. The posters had a commemorative value as well as being something neat to put on the wall.

"The general acceptance and enthusiasm that greeted the poster designers of the late 60s and early 70s can be attributed to the Fillmore and Avalon posters that preceded them."

when seen in context with what had been going on around the world, the mucha exhibition in london in 1963 and the beardsley in 1966, the influence became vast and intoxicating.

perhaps direct correspondences are harder to find here than in a previous post, but the worm in the bottle is obvious; with squiggley lines, and blowing hair, and the mad swirls of toorop and the decorative elements, the liberties taken with reality, and the general breaking up of our very air, the artists of the secession were in much the same milieu as the stoners 50 years later.

once vision is al- tered, can it ever return?

reference: jugendstil & expressionism in german posters, 1965, herschel b chipp and brenda richardson; regents of the university of california.