Beijing and Harare have nothing on Denver and St. Paul

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nothing to see here, folks – keep moving*

Move over, China and Zimbabwe: Make room for America. Okay, so I exaggerate a bit; let’s just say instead that the gap is definitely narrowing between us and those nasty foreign governments whose practices we decry, when it comes to what can be done to prop up an unrepresentative regime.
Four weeks ago we were told that in Denver demonstrators who wished to address those attending the Democratic Convention (that is the unpaid, unprofessional, unworthy lobbyists, the unwashed multitudes) were/are not permitted to get within a quarter mile of the gates to the arena. A high-wire-fenced free speech pen was set aside somewhere in the boondocks where attendees would not be able to hear or see the people who want to approach their supposed representatives and the media which fawns on those official politicos. Not surprisingly, no one showed up. And then I have to read Markos of Daily Kos report from inside, with the chosen:

I listened in briefly to a cop and some convention goers having a nice chat as we tried to get a cab to the hotel. He was saying how uneventful the convention had been, how well-behaved protesters had been, and how everything appeared to be going nice and smooth. Knock on wood, I suppose. I don’t know how the TV blowhards have been portraying that stuff, but from my vantage point, it’s been quite civil and — dare I say it? — even tame.

I try not to scream.
In Minnesota, one week before the Republicans meet in St. Paul, the local constabulary shows looks like they’re trying to outdo the NYPD Brownshirts. They’re taking on the aspect of a Secret Police: Artist/videographer/journalists of the Glass Bead Collective, who were responsible for releasing the video of the New York cop body slamming a cyclist, were detained and searched yesterday morning by Minneapolis police. Their equipment was confiscated. No reasons were given.
They’re in St. Paul as members of the independent press documenting the Republican National Convention. Three police and sheriff cars stopped and photographed them at 2 in the morning as they were returning to their rooms. They were videographed by the police and questioned individually about their travel plans and what they intended to report on. They were forced to line up against a police vehicle and they were first searched and then their personal belongings, including notes, phones, computers and personal objects, were confiscated, even though they were released without charges.
The obvious assignment for these thugs with badges was to get information on the identity and plans of anyone planning unregulated speech during the Democratic Party Convention and to intimidate anyone who might be thinking about exercising rights these officers should be protecting. Do not fail to watch this powerful video; if we survive this regime, it will become an important document of these times.
Today we learn that a billboard company has abruptly canceled a contract [signed August 8, revoked last week] which a recognized New York artist had for her “Soldier Billboard Project” to be mounted on billboards in St. Paul next week while the Republicans were in the city. The large-scale photographs of Suzanne Opton are powerful portraits of American soldiers between tours of duty in Iraq and Afghanistan.
An executive of the advertising company involved (owned by CBS) provided this statement, apparently trying to explain his corporation’s censorship:

“The reason we have advised you that we cannot post these as billboards is that out-of-context (neither in a museum setting or website) the images, as stand-alone highway or city billboards, appear to be deceased soldiers. The presentation in this manner could be perceived as being disrespectful to the men and women in our armed forces.”

It’s now clear they’ve got us where they want us, wherever we live. All they have to do is say that what we do is what terrorists do, and that seems to be enough for our frightened or doped fellow citizens. The new fascism: Don’t expect a formal announcement.

*
Agence France-Presse caption:

Members of the Denver Police Department patrol Auraria Parkway outside the Pepsi Center as activists protest prior to the Democratic National Convention on August 23, 2008 in Denver, Colorado. A tight security net enveloped Denver as the city braced Sunday for the arrival of tens of thousands of supporters and protestors for the Democratic Party’s political extravaganza.

[image by Doug Pensinger from AFP]

August home dinners

Thanks to the Union Square greenmarket and good fishmongers, we enjoyed some very good meals at home this weekend, once again in excellent weather, windows open to the garden.
Only now as I’m composing this entry do I realize that two of these suppers seem quite closely related. I experienced them as totally distinct when planning and sitting down to them, but I’m still surprised that the outward similarities (from happenstance, and from the modest bounty of our larder) didn’t occur to me at the time.

Friday, August 22
pimiento_de_padron.jpgPimientos de Padr�n sprinkled with salt
baby yellow watermelon
Rioja Reserve Riscal, served slightly chilled

Sunday, August 24
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red heirloom tomatoes, basil, oil, Boucheron, Panelle
Arctic char fillet pan-grilled on bed of salt, dribbled with excellent Spanish oil
boiled small red new potatoes, oil and parsley
grilled miniature sweet yellow, red, orange bell peppers sprinkled with salt
Kulfi Pistachio Cardamon ice cream
Argentine Torrontes Torino

[first image from nygirleatsworld; second from reimerseeds]

David Byrne bike racks only temporary

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hanging out with the man in Chelsea, but only for a bit

We still don’t have our Second Avenue subway or public toilets, despite promises going back decades, or almost a century in the case of the subway, but it didn’t take long to see the colorful and varied site-specific shapes of David Byrne’s bike racks pop up around the city. Hooray for David – and for all bikes and bikers! Now, if we hope to save the streets for people, we just have to figure out how to secure these wonderful machines from thieves.
I saw this particular grouping last Friday on West 25th Street, in the midst of the Chelsea gallery neighborhood. I like the friendly or family mix of cute bikes.
Wait, wait! I wrote those two paragraphs before I had looked for a link to use with this post and only just now did I see in the NYTimes story that the racks will only be installed for 364 days. That’s bunk!

The nine racks will be removed about 11 months from now; they were made of durable materials but are intended as temporary public art, not a permanent installation. (A temporary art project cannot remain on public land indefinitely without approval by the city’s Public Design Commission.) Mr. Byrne arranged to have the racks fabricated and hopes to have the chance to sell them, eventually, as works of art.

Once again it seems that in New York money “trumps” (choice of word is deliberate) both art and the public good.

David Rakoff says take a walk, a proper walk

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whose streets? [1980: Chris Parker* walks in Jarmusch’s “Permanent Vacation“]

The back page of the “Week in Review” section of Sunday’s NYTimes was devoted to three writers offering advice on “how to get New Yorkers moving faster”. The first two were quite serious, all about arranging cars, buses, trains and taxicabs, but they were fundamentally pretty “pedestrian” and had little of interest for anyone who already knows all the solutions (like me). However the third invited guest, the wonderful author and performer David Rakoff, offered something completely different in a piece about real pedestrians, below the delicious title,”Walk this Way“.
He begins with a reference to the period of hard economic times the City is about to re-enter:

. . New York City is about to get interesting again. Those who regret having moved here too late, having witnessed only her metastasized proliferation of glass-walled condos and cupcake purveyors, can take heart at the prospect of shuttered libraries, underfinanced schools and grimy hospitals. Those bygone days of “Midnight Cowboy” grit might soon be upon us once more. Why, if you squint just a little bit, you can almost see Verdi Square changing back into “needle park.”

In spite of the infectious New York cynicism, Rakoff has actually written a very funny column about the rules of engagement in the art of walking the streets of New York, one of life’s supreme pleasures, we both seem to agree. He also offers some exceedingly practical advice, much of it useful even to New Yorkers (you know who you are). This is one of them:

CHOOSE A LANE: Yes, there are lanes. If you see something you like in a shop window, check your blind spot and, when it’s safe to do so, shift over. (Happily, soon the stores will have closed, their windows boarded over, or smashed and empty from the latest blackout looting, rendering this rule as anachronistic as the requirement that men remove their hats in an elevator when a lady enters.)

I can survive any kind of New York, so long as I know there will be David Rakoff with me.

*
playing the perambulatory Allie, whose unhurried and unfocused persona has these defining lines early in the film:

Some people, you know, they, they can distract themselves with ambitions and motivation to work, you know, but not me. . . . . They think people like myself are crazy, you know. Everyone does because of the way I live, you know.

[image from reverseshot]

a win for free speech in New York – only five years late

NYPD_anti-protest_squad.jpg We’ll call it a win, even if the forces of reaction prevailed on the street, as they always have in this city. But silencing and intimidating an entire citizenry wasn’t the only outrage: In addition to the April 7, 2003, NYPD assault on our civil rights itself, the City’s years of delays in negotiating the civil settlement announced today helped to lock down protest everywhere in New York (abominably, during the 2004 GOP Convention), served to educate “law-enforcement” agencies fighting the fraudulent “war on terror” in other cities across the country, and cost taxpayers here plenty.
Go to this page on the site of the Center for Constitutional Rights for the complete press release, parts of which are excerpted here:

A group of 52 local activists today announced a $2 million settlement in their lawsuit against the City of New York. The activists were illegally arrested on April 7, 2003 while protesting against the Iraq war in front of a military contractor’s offices in midtown [the Carlyle Group, known for its ties to the Bush family and its extensive portfolio of holdings in the military-defense sector]. The settlement in Kunstler et al v. New York City follows the dismissal in 2003 of all criminal charges brought against these individuals and four costly years of delays by the City in negotiating an end to the civil lawsuit.
. . . .
Attorneys and plaintiffs noted, however, that the City’s decision to drag the case out is part of a long and disturbing pattern by which it attempts to “wear down” plaintiffs to avoid political damage, even at huge expense of tax dollars and City resources.
. . . .
The police tactics used that day became the model used by the NYPD during the 2004 Republican National Convention held in New York.
At that event, thousands of activists were illegally arrested, jailed and mistreated. Lawsuits related to the police conduct at the RNC are still winding their way through the courts. NYPD officials are now consulting with police departments in Denver and Minneapolis on their plans for the 2008 Democratic and Republican Conventions.

[image of riot police at March, 2005, downtown Brooklyn anti-war protest from dailyheights.com]

Holly Coulis at 31 Grand

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Holly Coulis Boy and Eagle 2008 oil on linen 28″ x 28″

I love this painting. I can’t say why, but I’m sure there’s more to it than that it portrays a beautiful youth – not that I have anything against that, at least for a starter. Holly Coulis’s painting was just one work within an excellent-but-recently-closed group show, “Admirer“, at 31 Grand, curated by the artist Maureen Cavanaugh.

Hrag Vartanian’s “Re:Public” bows on ArtCal Zine

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Poster Boy & Aakash Nihalani collaboration (2008 collage on subway car floor)

Hrag Vartanian has written a terrific debut piece for his column, “Re:Public”, which will be appearing regularly in the Zine section of ArtCal.
The subject of his series will be street art, most of it found in New York, most of it of the moment. Today, in “Masters of the Ephemeral” Vartanian writes about and includes images of work by Poster Boy, Aakash Nihalani and the Poster Boy/Aakash Nihalani collaboration.
Vartanian’s own excellent site should already be on the feed of anyone interested in the art and ideas of our time.

[image from Poster Boy’s Flickr site]