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Posts Tagged ‘Spiral Jetty’

Animal, Mineral, Digital, Spiritual: Jessica Drenk Explores Materials and Patterns at Conrad Wilde Gallery

Saturday, November 6th, 2010

One of my favorite Tucson artists, Jessica Drenk, no longer resides in Arizona, so her return to The Baked Apple for a new solo show at the Conrad Wilde Gallery is welcome news indeed.

I first met Jessica some years ago during the Open Studio Tour. She had recently graduated from U of A with an MFA in fine arts and I was immediately enthralled by her work. My own professional life revolves around geology, fossils, art, meteorite science and related disciplines, and Jessica’s remarkable pieces displayed in the studio that day were fascinating to me, carrying within them an ancient and natural quality, as if they were valuable archaeological or paleontological artifacts.

"Swab Skin" by Jessica Drenk © Jessica Drenk

A few artists—notably Robert Smithson and Stu Jenks—have managed to infuse their visionary creations with the essence of nature and landscape. However, whereas Smithson might transport found rocks into the studio (or fashion giant site specific sculptures such as Spiral Jetty), and Jenks might build a spiral of rocks on a lonely beach or in a silent forest, Ms. Drenk uses man-made materials and found objects like books and PVC in the creation of works that resemble things we see in the natural world, but which are entirely unique.

"Caelagraph" © Jessica Drenk

For a previous body of work Ms. Drenk began literally and physically exploring the secrets of books. She devised an intriguing process that involved submerging found books in wax, shaving and chiseling off pieces, and arranging the slivers in patterns. The resulting works were reminiscent of delicate shells found by the sea, but carried imprinted upon them barely legible fragments of text; mysterious and intriguing.

"Archaeologica," window exhibit; pencils © Jessica Drenk

Ms. Drenk’s newest works still maintain an ethereal connection with the natural world, but appear larger, more involved, and seem to carry a hypnotic quality that reminds me of the patterns formed in nature by waves, bees, and perhaps even Australian white ants chewing through dry tree branches; all juxtaposed alongside geometric forms inspired by the digital world in which we continually become more and more immersed.

From the “Artist’s Statement”:

My work is a response to, and experimentation with, materials. Each series of work begins with a specific material: books, PVC pipes, rolls of toilet paper, or planks of wood, and my own desire to delve into that material—to play with it, reshape it, and change it into something new.

Jessica Drenk’s new show, Materials In Balance, opens this evening at Conrad Wilde Gallery, 439 North Sixth Avenue, #171, with an artist’s reception from 6 to 9 pm. The exhibition continues until November 27 and the gallery is open Tuesday through Saturday from 11 am to 5 pm, and by appointment.

Highly recommended.

Hardcore Vegetarianism, Thanksgiving without Mom, and the Kindness of Strangers

Sunday, December 13th, 2009

In 1989 I commenced the journey that would eventually lead me to become a hardcore vegetarian. And when I say “hardcore” it is directed only at myself. I am not one of those preachy or militant vegetarians. I think people should make their own decisions about what they put in their bodies and I usually don’t even mention my views on devouring birds, fish, cattle, etc., unless someone asks (or asks me to dinner). But I will make an exception today.

My decision was partly health based (I don’t need the hormones or antibiotics that are force-fed to factory farmed creatures), but mostly political: While I have no problem with humane hunting and farming practices, the imprisonment and torture of animals for the mass production of processed food is just wrong. If I were a more existential person I would perhaps posit that any life form guilty of abusing and slaughtering its distant cousins might eventually suffer horrible karmic retribution (Mad Cow Disease as an appetizer?).

My very wonderful parents at Chez Paul on the Ile de la Cite, Paris

My very wonderful parents at Chez Paul on the Ile de la Cite, Paris

My late mother, Gay Flint Notkin, was the first of many to be inconvenienced by my flesh-free diet. She was a gourmet cook who for decades lavished my father, brother, and myself with wonderful home cooked meals. But from the late ’80s on there would be no more breaded chicken cutlets, tuna steaks, pot roasts or escalope of veal for me, no matter how good they might have smelled. Many times Mom would cook something for the rest of the family, and then compose a second meal just for me. Yes, I was spoiled, but I was also tremendously appreciative. She learned how to fashion chick peas into hummus, experimented with all sorts of meat substitutes, and made a killer endive and blue cheese salad (I’m veggie, not vegan).

Our small family was a happy mix of non-practicing Jewish, non-practicing Christian and atheist/agnostic. As such, we made a tepid attempt to celebrate Hanukah and Christmas (as a budding environmentalist I was a fan of our small, reusable silver tinsel tree). Thanksgiving was special. Both my parents were American but spent most of their lives in Europe. They never forgot their roots, and so our annual Turkey Day was a heliocentric island of American tradition in an adored but slightly stuffy London. And Thanksgiving was the one exception I made: Out of respect for my favorite chef I would eat turkey one day a year, on the condition that it was a free range organic bird. My long-suffering mother went to considerable lengths each year to find such a thing. One dinner guest commented that same was “the scrawniest turkey I ever ate.” I explained that our free range bird had not been fattened up in a small cage on a corn-and-slop diet, but had enjoyed (I at least hoped) a happy and active life outdoors. My mom also made real cranberry sauce from scratch, exquisite (vegetarian) stuffing and all the other goodies. We’d set up the big table in the dining room, indulge in some excellent wine selected by my very worldly father and generally have a wonderful time.

Now that Mom is gone, I don’t really feel that comfortable at big Turkey Day dinners. I have been accused of being antisocial, but I think it is more that if the family I remember from childhood cannot be together, it feels awkward for me to participate in something festive. So, sometimes, I make my own plans. As recounted a few days ago in The Logical Lizard, this year I embarked upon an unusual and alternative Thanksgiving mission, traveling alone to the north shore of the Great Salt Lake to gaze in wonder at Robert Smithson’s Spiral Jetty.

For several glorious hours, I could have been the only person in the world. In the early afternoon, I saw a Land Rover pull up in the distance. Four people and two dogs got out, laughing and happy, and I felt a brief twinge of loneliness, wishing, perhaps, that I was with friends back in Tucson who would doubltess have welcomed me into the fold if I’d asked. I immediately decided to start the 110-mile drive back to Salt Lake City, but first went over to say hello to the new arrivals. The visitors were a delight: fun, vivacious Salt Lake City intellectuals (including a fellow journalist). They told me that they visit the Jetty every Thanksgiving, such a jaunt being “much better than sitting in front of the TV eating too much turkey.” I couldn’t agree more.

They invited me to join them for a picnic.

My fab new Utah friends

My fab new Utah friends

At first I declined, feeling I’d be imposing and perhaps secretly wanting to float in my solitary melancholy a bit longer. But they gently and kindly insisted and so I stayed. And it was my most uplifting Thanksgiving in many years. My new friends produced a truly amazing meal of smoked cheeses, stuffed olives, artisan bread, three different wines and a sense of humor that brightened up my day like an arc light. A little before sunset we all climbed up a steep cliff face to the north, and basked in an intoxicating view of the Spiral Jetty. At the hilltop I said my goodbyes and began the hike back to my truck. By the time I returned home to Tucson the following day, my new friends had found me on Facebook.

Long after dark I arrived back at my hotel near the SLC airport where I seemed to be the only guest. I checked that the restaurant would be open until 10 pm, then went up to my room for a couple of quiet cocktails. At 8:30 pm I walked back to the lobby to find the bar and restaurant entirely closed up. I questioned the receptionist about this and she said: “I’m sorry, there were no customers so the staff went home.”

“But you told me the restaurant would be open until 10.”

“I do apologize.”

“Can you help me find a local restaurant that will deliver?”

Well, no, she really didn’t know anywhere and went to get the manager. A tall and graceful Asian gentleman appeared, apologized repeatedly and asked if he could please make me a sandwich. “I’m not very good at making them,” he said, “But I will do my best.” A few minutes later he returned from the kitchen with a delicious swiss cheese sandwich on whole wheat, with lettuce and tomatoes and pickles on the side. He apologized again, and I replied: “Really, this is perfect, thank you so much for taking the time to make food for me.” He wouldn’t even let me pay for it.

In all my travels that was the first time a hotel manager personally hand made a tasty sandwich for me. And it was the second time in one Thanksgiving day that strangers had gone out of their way to sustain me. Mom would have been happy to know that somebody made sure I had company and fine food on Thanksgiving — even if it wasn’t free range organic turkey.

Photographs © by Geoffrey Notkin. All rights reserved. No reproduction without written permission.

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The Sublime Spirals Of Photographer Stu Jenks

Wednesday, June 10th, 2009

I am a great fan of the Open Studio Tour. When I relocated to Tucson some years back, and hardly knew anyone here, I thought going on a self-guided weekend tour of 100+ artists’ work spaces would be a good way to meet some of the movers and shakers in the Pima County arts scene. I was right.

Sitting alone in my car on a hot, sunny, Saturday morning outside the old Toole Shed artists’ workshop collective, I pored over a brochure that listed all participating tour artists, trying to decide where to begin. A green SUV pulled up and parked immediately in front of me. It had a well-used look that broadcasted: “Here is somebody doing something with his life.” And it bore a custom license plate that read, simply, “SPIRALS.” A tall, somewhat dashing guy with close-cropped hair and glasses, got out and walked decisively into the Toole Shed. He looked, at once, both adventurous and intellectual. I concluded that if this intriguing character was heading into this particular collection of artists’ studios there was cetainly something of interest to be found inside. So I took my little map, and headed in to explore.

"Great Salt Lake #9" Photograph by Stu Jenks © Stu Jenks

"Great Salt Lake #9" Photograph by Stu Jenks © Stu Jenks

Some time later, and mostly by accident, I navigated my way down a narrow staircase into that rarest of Tucson architectural features—a basement. The old walls were formed of hand hewn stone blocks; lovely, gentle ambient music played in the background; a stunning collection of photographs basked in soft, low light on the walls and tables. Standing there, talking enthusiastically with another visitor, was the man from the SUV. The basement was his hidden retreat, and his name was Stu Jenks. I spent half the day down there under Toole street, talking with Stu about landscapes, rocks, cameras, darkrooms, printing techniques, music, and travel. We have been friends ever since.

"Signal Hill #1" 2009. Photograph by Stu Jenks © Stu Jenks

"Signal Hill #1" 2009. Photograph by Stu Jenks © Stu Jenks

One of my favorite artists is the great Robert Smithson, of Spiral Jetty fame. Athough Stu’s work is amazingly original, when I first looked at his majestic landscapes; beach, dune and forest images; and the meticulously engineered stone spirals and circles that inhabit his work, I couldn’t help but be happily reminded of Smithson.

With an expert eye for composition and the beauty of the natural world, Stu’s photographs are moody, thoughtful, and magical. He is also an entrepreneur and innovator. While one wall of his studio might display a massive self-printed triptych of pines and mountains, another will delight the visitor with its collection of diminutive prints, cards, and refrigerator magnets—all bearing Stu’s trademark imagery. Stu’s work is also shockingly affordable. I often tell him that he needs to start charging more for his prints, all the while building up my own collection of Jenks originals.

"Pine Forest Spiral #8" 2008. Photograph by Stu Jenks © Stu Jenks

"Pine Forest Spiral #8" 2008. Photograph by Stu Jenks © Stu Jenks

My favorite piece is Megan’s Circle, a slightly sepia-toned image, printed full-frame from a large format negative, with the number “18″ visible within the border. In the foreground we see a delicate stone circle with a line drawn through its center. In the distance, rocky hills north of Tucson hunch and shamble up and over the horizon. From talking to Stu, I know that the piece is a remembrance of a former sweetheart. Megan’s Circle is wistful, lonely, grand, and little sad: an old romance lost in the landscape of memory. It resides permanently on my living room wall and is frequently admired by visitors.

Intrigued by what Stu might come up with in a somewhat different genre, I hired him to shoot a series of rock ‘n’ roll portraits of bands I played with at the Great Cover Up shows in 2006 and 2007. He also worked as my location photographer while I was filming the How the Earth was Made documentary series for the History Channel. The results were outstanding; Stu is every bit as comfortable on a commercial project as he is on an exploration of spiritual imagery.

"Cradle Rocks Spiral #1" Photograph by Stu Jenks © Stu Jenks

"Cradle Rocks Spiral #1" Photograph by Stu Jenks © Stu Jenks

In the past few years Stu has presented solo shows at Hotel Congress, Endicott West Art Foundation and Tohono Chul Park, and Bohemia art emporium on East Broadway carries his work. Stu authors a wonderful photography blog at Typepad, and maintains an extensive website at StuJenks.com—both projects rich in beautiful images. Stu is a towering talent and one of the most accomplished photographers working in the Southwest today. Look him up online, or on the next Open Studio Tour, and I wouldn’t be a bit surprised if you ended up with a Jenks original on your wall too.

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Logical Lizard illustration by Timothy Arbon
On location filming "Meteorite Men"