Censored! Trump cartoon show at the Corcoran

At the Spiked opening reception at the Corcoran School of the Arts and Design/Photo by Patricia Leslie

Everybody who keeps up with politics knows about the firing of editorial cartoonist Rob Rogers after his 25-year tenure at the Pittsburg Post-Gazette. Speaking on behalf of newspaper management, they just couldn't take them any more.

 Image ©2018 Rob Rogers. Image courtesy of Rob Rogers, Andrews McMeel Syndication.

Management spiked or killed several of Mr. Rogers's cartoons and ideas about Trump. His drawings went too far, capturing in perfect pencil and words, Trump today.

Too much!  Cried the bosses and finally, Mr. Rogers was shown the door.

Image ©2018 Rob Rogers. Image courtesy of Rob Rogers, Andrews McMeel Syndication.

Image ©2018 Rob Rogers. Image courtesy of Rob Rogers, Andrews McMeel Syndication.Immigrant Children, 6-1-18

Had they tried, they would have been unable to quash the Association of American Editorial Cartoonists from celebrating the opening last Wednesday of an exhibition of Mr. Rogers's cut works in a display at the Corcoran School of the Arts and Design (formerly the Corcoran Gallery of Art).  

Eighteen cartoons or ideas the newspaper "spiked" hang on the walls.

 Image ©2018 Rob Rogers. Image courtesy of Rob Rogers, Andrews McMeel Syndication.

Image ©2018 Rob Rogers. Image courtesy of Rob Rogers, Andrews McMeel Syndication.

At the Spiked opening reception at the Corcoran School of the Arts and Design/Photo by Patricia Leslie

How wonderful it all was to be back at the Corcoran with Rogers's powerful renderings, to admire the marble of the halls, the columns, the size of the place, the soaring ceiling. 

It's been a too-long absence for the public while the Corcoran's collections and building were batted around by D.C. deciders who laid claims on this and that. (Thankfully, the National Gallery of Art got the pick of the $2 billion collection and has placed many of the works on public display with credit always to the Corcoran. You may search its collection of the thousands of Corcoran pieces by entering "Corcoran" on the "Search the Collection" tab.)  

At the Spiked opening reception at the Corcoran School of the Arts and Design/Photo by Patricia Leslie

At the Spiked opening reception at the Corcoran School of the Arts and Design/Photo by Patricia Leslie

Two critical elements in an open society, bulwarks in the artistic world, celebrate their debuts and dedication to their respective causes in a place where the people hope the exhibitions keep on coming.

This fall with the AAEC and George Washington University's School for Media and Public Affairs, the Corcoran School (owned by GWU) will host a series about censorship, freedom of the press, journalistic integrity, and the consequences of nationalism to a democracy.

Organizers of Spiked are the University Art Gallery and the University of Pittsburgh in association with the AAEC. This fall the show moves to the University of Pittsburgh for a bigger installation. 

Do you think the newspaper will list the exhibition when it comes to town?

What: Spiked:  The Unpublished Political Cartoons of Rob Rogers

When: Now through October 14, 2018; Tuesday through Friday, 10 a.m. - 6 p.m., and Saturday and Sunday, 1 - 6 p.m.

Where: Corcoran School of the Arts and Design at George Washington University, Atrium Galleries at Flagg Building, 500 17th St. N.W. Washington, D.C. 20006

How much: Admission is free.

For more information: 202-994-1700

patricialesli@gmail.com

Book review: 'Empty Mansions' by Bill Dedman and Paul Clark Newell, Jr.

Anyone with a cent of interest in the Corcoran Gallery of Art will find this tome of particular interest, about a woman who lived to be 104 and was so fearful of invasion of privacy she refused to press charges when Edgar Degas' Dancer Making Points valued at $10 million was stolen from her New York City apartment.

The book, Empty Mansions: The Mysterious Life of Huguette Clark and the Spending of a Great American Fortune tells the story of the youngest child of W.A. Clark (1839-1925), copper magnate, former member of the U.S. Senate (whom the New York Times called "a scoundrel" in her obituary) and philanthropist who bequeathed paintings, rooms, and lots of money to the Corcoran for which thousands of Corcoran fans will be forever grateful. (Note to the National Gallery of Art:  Please keep all.)

On March 1, 2014 Ms. Clark's name was mentioned again in the Washington Post in another long story about the Corcoran's future and the $10 million gift from Ms. Clark's estate to help keep the Corcoran going, for now.

The book never really says why hyoo-GETT (the pronunciation; born in Paris) resisted public exposure which may be because no one knows.

The best parts of the book are the vignettes which pop up every few pages, especially closer to the beginning, written in first person by Ms. Clark's cousin, Paul Clark Newell, Jr., who communicated with her every so often, or rather, she communicated with him by phone, calling him and never leaving a personal telephone number.  (Most...most?  Not most, but all contacted her via her attorney which is another story.)

If you've heard that she owned huge mansions in New York, Connecticut, and California which she never visited for decades and paid staff to maintain them all, and in the case of the Connecticut house, bought it in the 1950s partly as protection from the Russians in case they stormed New York (hmmmm), an estate she never occupied, you heard right.

If you've heard Ms. Clark spent the last 20 years of her life in a hospital, you heard right.  (No worries about grocery shopping, dry cleaning, companionship, housekeeping, bill paying, taking out the dog, preparing meals, etc. since...) 

If you've heard that Ms. Clark gave her hospital nursemaid $31 million you heard right.  (It was not all in one lump sum, the tax man cometh,  but spread over 20 years, for spending on the nurse's family's upkeep, this and that, roof repairs, college educations of children, new cars, tires, a spring bouquet.  How about a trip or two?  You need a house?  A new one? You know how bills mount up.)

But it wasn't only the hospital nursemaid who came whining to Ms. Clark for handouts, but hospital doctors, nurses, attorneys, accountants, friends of friends who were about as bad, and she rewarded most of them. 

Beth Israel Hospital got mad when staff learned she was only going to leave the hospital $1 million and immediately sentenced her to a room without a view. (The estate is suing the medical center for $100 million.  You go, Estate!)

When some of Ms. Clark's jewelry worth in the millions and stored in "securities" at Citibank went missing in 1991, "Whoops!" said Citibank "Can't find it! But we can call in Lloyd's of London if you must have the appraised value, darling, which will mean press, lots of press, and is that something you really want?" She accepted a reduced value of $3 million.

And then that bank went and did it again, in 1994, when one bank department forgot to pay her safety deposit box fee to another bank department and "Whoops!  So sorry we couldn't find you.  Owner? What owner? We called the locksmith and broke that lock on that box and sold everything in it.  To make it up to you, we'll give you 35 cents for every dollar of your value, how's that?"

What did she do for fun? 

She did paint and collect original dolls and ordered the construction of meticulously crafted Japanese doll houses and castles over decades for which she paid thousands of dollars.  (Where are they now? The book says the nursemaid got them, however, after Empty Mansions was published, Mr. Dedman, the author, reported for NBC News on January 30, 2014 that the Bellosguardo Foundation, the recipient of her $85 million Santa Barbara, California estate, will get them ($1.7 million value). Many of her art works, priced in the millions of dollars, are presently on world tour (skipping a stop in Washington, not enough money here, I suppose, but then Moscow was bypassed, too.  Maybe, not such a good time to stop in Moscow) culminating in auctions at Christie's in May and June.  Get your number.)

You will be surprised to learn that when Ms. Clark died in 2011 relatives came calling, most of whom had had no contact with her for decades, if they had ever met her. "Why Cousin Cosette, fancy meeting you here at the grave site."  "If your last name is Clark, please get in line." (The estate battle is being fought in the courts in New York.)

The book is well researched, but its biggest downfall is a dearth of pictures. I was so frustrated when this and that painting would be mentioned, and there would be no picture. Alas! I have never known such consternation when reading a book which boasts 70 graphics which are at least 70 too few. You would think copyright holders would be pleased to share their images to boost traffic, but perhaps, that was not the case.  Anyway, the writing style borders on encyclopedic which is adequate since it is facts I want, author, not concocted fictional conversations, thank you very much.

As the authors say, Ms. Clark (who called herself Mrs. Clark; different generation; you have to read the book) never used her money to treat anyone in an ill manner. She gave handsomely to the Girl and Boy Scouts, among many other non-profit organizations.  In her sister's memory her parents donated 135 acres they bought 40 miles north of New York City to establish the first national Girl Scout camp which is still open today, Camp Andree Clark.

Ms. Clark maintained her lucidity throughout her life and appeared to know exactly what she was doing.

The book's title and cover are par excellence.  Of course, being without Huguette's purse, I did not buy the book:  I got on the waiting list at my favorite public library:  Fairfax County.  It pays.


patricialesli@gmail.com

Drone art at the Corcoran

Drones at the Smithsonian National Air and Space Museum/Patricia Leslie

An art exhibit on drones closes July 7.
 

At the Corcoran Gallery of Art recently, about 100 turned out to hear Londoner James Bridle, artist, writer, and humanist, deliver a talk, “A Quiet Disposition,” about his self education on drones.  It was the launch for Mr. Bridle's exhibit on "unmanned aerial vehicles," which, among other things, are used to kill, herd livestock, help with land surveys, and assist in fire and crime prevention.

Five research-based projects form the basis of the show which include digital installations and training tools to identify drones.  Mr. Bridle, 33, coined the term new aesthetic.

With its proximity to the White House, the Corcoran makes an excellent drone art site at the corner of 17^th and E where Mr. Bridle, with the aid of Corcoran staff, outlined a drone's silhouette. He is replicating drone sizes and educating people about them around the world. 

At the Corcoran's corner at 17th and E streets with a drone shadow outlined on the sidewalk.  Across the street and to the left are White House grounds/Corcoran Gallery of Art

A drone's shadow in Istanbul, 2012/James Bridle

In his talk Mr. Bridle presented drone images and information, part of his expanding knowledge about them, all of which he obtained from public sources.  

James Bridle speaking at the Corcoran Gallery of Art with a photograph he created. Public photographs of drones firing weapons are not available...unless, unless...Mr. Snowden?/Patricia Leslie

 

 

Rather than an angry mob burning an effigy at the stake, Pakistanis were pictured burning a drone in a photograph Mr. Bridle put up on the screen along with a headline from the Washington Post about America's "kill lists." [One estimate numbers drone attacks in Pakistan over nine+ years to be more than 350.  The number of deaths range from about 2,000 to 3,300.]
 

A lack of visual sense of what drones do is unsettling, Mr. Bridle said, whereas battlefield engagements are photographed and can be widely available.  This is "not a local issue," he said. "These are everywhere." 

The Smithsonian label says this one, the "Predator," flew 196 reconnaissance and attack missions over Afghanistan.  Designed for combat, it also "served" over Iraq and the Balkans/Patricia Leslie

 

 

[In the U.S. 42 state legislatures have debated their use, and six states have enacted drone laws. Click here for a report by the ACLU.]  

 

 

Before his talk Mr. Bridle visited the Smithsonian National Air and Space Museum to check out its drones, a visit which he found “a deeply strange experience.” 

This drone, now an "antique," retired in 1999.  It's the RQ-3A "DarkStar," reminiscent of a giant stingray in the sky/Patricia Leslie

 

 

Mr. Bridle has initiated what he terms “dronestagrams” to record drone locations and strikes.  The results are not perfect but fairly close to reality, he said.

 

 

When the military considered honoring drone operators with a medal to be ranked higher than the Purple Heart, veterans objected.  After all, the operators guide their strikes from inside air-conditioned trailers hundreds or thousands of miles away from battlefields where troops fight, die, and are maimed.  However, Mr. Bridle said drone operators experience higher levels of stress. 

This is the X-45A, the first modern UAV, which flew 40 sorties, now at the Air and Space Museum.  Overheard at the museum:  A man said to his wife:  "Honey, come and look.  Here's what they spying on us with."/Patricia Leslie

The X-45A has two weapons bays/Patricia Leslie

Looking up at the X-45A/Patricia Leslie

“What interests the public is not necessarily in the interest of the public,” said Mr. Bridle. 

 

 

After Mr. Bridle's talk he answered questions from the audience, and then everyone walked over to a lovely reception in Gallery 31, the drone site at the Corcoran. It is not a huge show, but an enlightening one where you’ll learn something about drones. It sent me straight to the Air and Space Museum and scared me out of my wits.  What's left.

 

After a lapse of several years of dormancy while it debated mission and location, it is exciting to see the Corcoran come to life again, with an invigorated staff and events and to know it’s staying put, not to be converted to a hotel or drone landing pad at the White House.  

 

 

Welcome, Corcoran, to the new Drone World!  While you were napping, strange things were happening, and even stranger things now.  Please stand by.

 

 

Also at the Corcoran through September 29: War/Photography:  Images of Armed Conflict and Its Aftermath.

What:  A Quiet Disposition

When:  Through July 7, Wednesday - Sunday, 10 a.m. - 5 p.m., with a late closing on Wednesday night at 9 p.m.

Where: Corcoran College of Art and Design and Gallery of Art, 500 17th Street, N.W. Washington, D.C. 20006

How much:  Gallery 31 is free, and the Corcoran's Gallery of Art is free on Saturday (in the summer) and on other days (the Corcoran is closed on Monday and Tuesday) admission is $10.75 for students and seniors, and $12.75 for adults via Ticketmaster

For more information: 202-639-1700

Metro stations:  Farragut North or Farragut West

patricialesli@gmail.com

Maya Lin at The Corcoran

Run, go fast, and see the Maya Lin show at the Corcoran.

But, wait, didn't it just start?

Yes, run, go fast and see the Maya Lin show at the Corcoran.

Garcon! My skates, s'il vous plait.

The size, the materials, the scope, the construction, the curves, the wood, the designs, all of which have a strange, calming effect which I need. Surely, the muted color of the materials contributes. Except the big straight pins. They have a story to tell.

About 200 members attended the members' opening on Tuesday night and heard Ms. Lin speak a few moments about the exhibit, "Systematic Landscapes," her interest in the Earth and introduce her children (and her husband, too? I could not see or hear).

A guard told me the Corcoran staff spent six weeks putting the show all together.

You mean, all the wood pieces in the mound and the hanging wire?

Yes. They are numbered. Everything is neatly diagrammed so the staff knew where to hang/put it/them.

On the floor of one gallery are black rectangular squares which act like floor fences surrounding three individual lake pieces. The guards keep visitors "out" of the blocks. But in the "mound" gallery, feet come perilously close to wood pieces which form the base of the "mound" and there are no guards to "keep out."

'Splain!

I said to the guard: "I guess it would have been too tacky to put up signs telling people to keep off and away from the sculptures." The guard smiled: Yes.

But "Tonight's our first test to see how it works. If someone knocks over a few pieces, that won't upset the mound too much since the wood is 'stabilized,' but if someone falls flat on it, that will be an upset." The "lakes" are unusually precarious and need protection, the guard said.

Everyone was having a good time with old and new friends, beer, wine, cheese, bread, scallops (the best!), beef sticks, cous cous, lemon creme puffs, and the new show.

Overheard: "It's all the media's fault. The media has driven this. The market was up 400 points today." And: "Frank is catatonic. The market was up 300 points today."

Run, go fast, and see the Maya Lin exhibit at the Corcoran. It closes July 12.

Pictures to come.

The roof is still under repair on the other side, but you don't even notice. Now, about those floral designs...

Richard Avedon at the Corcoran Gallery of Art: Portraits of Power

It's a great show. Well worth the price of admission ($14; less for students, seniors and children under age 7).

The Avedon opening for members was crowded, but, at least, we were able to see the photographs standing not ten deep.

Rather than 9 p.m. (the announced closing), we left at 9:50 p.m. with no rush by the guards. (Obviously, not the Smithsonian guards who could give lessons to NASCAR.)

Anyway, the photographs! Many, stern, serious, few smiles. Most are quite unflattering. White backgrounds. Black and white. Severe. Large.

One of the few smiles is on Robert McNamara. Why is he smiling? He should never smile again.

Almost everyone looked far worse than you have them pictured mentally, except, John Kerry. In a picture taken in 2004 he's the only one who looked handsome and better than reality which is mean to most of the subjects.

(Henry Kissinger (in the second photo of him in the show) might have had the flu. The pain and agony on George Wallace's face (in the third picture of him) makes a viewer wince. If he had not died before Dick Cheney erected his Torture Chamber, he could have been sitting on boiling water at Guantanamo.)

Come to think of it, the show is pretty darned depressing overall.

Standouts in the crowd: Several shots of the Chicago 7, George Bush the First, Rudolph Nureyev, Jimmy Carter (was handsome), Barack Obama (in color), Dwight Eisenhower (with eyes seemingly rolling around his head), the Rosenberg boys. (Where are they now? Twice in the news in a week).

I cannot recall a more uncomely photograph of Ronald Reagan. Avedon easily (to a viewer) captures the arrogance of Arnold Schwarzenegger.

Few women grace the exhibit. But the outrageous, the charming Dorothy Parker with her personality and wit flowing from the frame is there, contrasted with, a few galleries away, the eternally injured Vietnam woman who is too painful to look at for more than a second or two.

Richard Avedon died in 2004 from a cerebral hemorrhage.

I recently upgraded my membership to get invitations to the members' previews with wine and hors d'oeuvres, and the upgrade has been a splendid value.

Plentiful treats and drinks amidst seeing the shows without the hordes. Plus, additional benefits, like free admission to Mt. Vernon (expired at the end of July. Yes, I went.). Plus entrances without charge at other fee-based museums.

This coming Thursday night I return to the exhibit and to hear the curators, Frank Goodyear and Paul Roth, deliver a lecture about the show, another membership benefit. The exhibit ends January 25, 2009.