Sunday, March 1, 2015

Oriental Carpet Design

The subject heading, “Rugs, Oriental” brings up many titles in the library catalog. Though this isn’t a topic that we are asked about at the reference desk now, it is clear from the quality and quantity of titles offered that the Oriental rug was a subject of much interest during the 1960s and 1970s. Many of these books have high quality photographs of rugs and in-depth diagrams of parts of the rug, and the knots used.

The reference book Oriental Carpet Design: a guide to Traditional Motifs, Patterns and Symbols gives a thorough introduction to all aspects of these rugs. This first section discusses the structure, colors, knots, dyes, origins of carpet design. The following sections discuss the elements of design: the border, designs that are universal, geometric and floral. Within these sections are chapter on motifs such as the boteh, and further descriptions of the geometric design. The format is somewhat of an anomaly, since the town or city where a rug is woven is often the most important factor in its design and construction - most titles in the collection divide chapters into geographical regions.

Books on this subject can be found in two different call number areas.  Formerly these books were given the call number 745.2 (as part of industrial design). More recent books have a textile arts, 746.7, call number. Here are a selection of titles from our collection:

Antique oriental rugs and carpets by Philip Bamborough (Blandford Press, 1979).

Beginner's guide to oriental rugs by Linda Kline (Ross Books, 1980).

Complete illustrated rugs & carpets of the world edited by Ian Bennett (A & W Publishers, 1977).

Oriental rugs and carpets today  by Georges Izmidlian (Hippocrene Books, 1977).

The splendor of antique rugs and tapestries by Parviz Nemati (Rizzoli; PDN Communications: Distributed by St. Martin's Press, 2001).

The story of carpets by Essie Sakhai (Moyer Bell, 1997).

The carpet: origins, art and history by Enza Milanesi (Firefly Books, 1999).

Heaven in a carpet  (Institut du Monde Arabe; Calouste Gulbenkian Foundation, c2004).

Carpets from Islamic lands
by Friedrich Spuhler (Thames & Hudson, 2012).

Tuesday, February 24, 2015

Allan Temko, San Francisco's Pulitzer winning critic

Allan Temko, longtime Chronicle architecture critic, was a writer known for his vivid phrases.
image source: SFGate

The piece-by-piece dismantling of Candlestick Park happening at this moment brings to mind the title essay in No Way To Build A Ballpark by the late architectural critic Allan Temko.  This essay, originally published in Harpers Magazine in August 1961, recaps the controversies involved in the construction of the stadium.  While a grand jury found financial irregularities, Temko found design irregularities.  In his erudite way he described what every ballplayer found out:
The air currents, sweeping off the hills and the harbor, move not only with exceptional velocity, but in an unpredictable variety of directions. ... Sometimes one flag in the outfield will be rippling toward the bay, or hanging limp, while another is stiffly directed toward right field.
He deftly described how the design of the structure itself help to circulate the air in these myriad directions.  (By the way, Temko really loved the Oakland Coliseum).

At this particular moment in San Francisco, it's rewarding to revisit Allan Temko's writings.  He wrote on and off for the San Francisco Chronicle over a 40 year period and won the paper's own Pulitzer Prize for criticism (in 1990).

He was active during period much like ours today with a radical changes to the City's skyline.  Temko wrote with fervor and with muscle and took impassioned stands for his vision of the City.

In the introduction to No Way To Build A Ballpark reminds his readers that he started writing at a transformational time in American Cities when environmentalism and slow-growth movements were taking hold.
In 1962, Americans were just learning that they would have to fight for a decent environment.  Suddenly the country was being ruined before our eyes, smashed, raped, poisoned, stunk up, and, not least, disfigured by inhumane and even hideous buildings.
He used this pen to skewer architecture that he found wanting -- he described the now iconic Transamerica Pyramid as "the biggest architectural dunce cap in the world."  He excoriated Pier 39, an oft-visited tourist destination, as "corn, "kitsch," "schlock" and even "honky-tonk."  Perhaps his most entertaining put-down was of the Vaillancourt Fountain at the Embarcadero as an object "deposited by a concrete dog with square intestines."

Following a few words of faint praise, he could suddenly skewer his target.  Writing about the then yet-to-be constructed Marriott Hotel:
There's not much wrong with this concoction ... except that the building is far too big, misshapen, and crudely detailed - quite simply a mess - after two years of design, redesign and official review.
He later acknowledged, to his chagrin, that the finished building -- the "jukebox hotel" and "mutant of Las Vegas" -- has "delighted the populace and appalled the architectural community."

Temko was a strong critic of the Embarcadero Freeway and an early advocate for knocking it down. 
The current political battle over the freeway is a classic case of human environmental rights vs. the tyranny of machines. ... It amounts to a choice between a sunny, open waterfront and the dark, forbidding, virtually moribund place The Embarcadero has become since the freeway's technocratic shadow enshrouded it a quarter of a century ago. 
The present revitalization of the waterfront is a testament to this vision.

We wrote thoughtfully about the San Francisco Public Library Main Library building where this blog is being composed.  His verdict was that a "great thing comes in so-so package."  He described the Library as "a great book with a bad cover, ... best studied from the inside out.

He praised the building's atrium writing that:
All is warmth and sunlight, which changes constantly in the course of the day, and the building at last comes wonderfully into its own.
At the same time he was critical of the "needlessly complicated floor plans."

Those wishing to read Allan Temko's architectural criticism should of course check out No Way To Build A Ballpark.  The San Francisco Chronicle / Newsbank database has full-text of more than 100 of Temko's articles from 1985 onward.  The Art, Music and Recreation Center has a Newspaper Clipping File that contains articles by and about Temko.


No Way To Build A Ballpark: And Other Irreverent Essays On Architecture (Chronicle Books, 1993).

"Great Thing Comes In So-So Package," San Francisco Chronicle April 18, 1996, pp. 2; 12 [in the Newspaper Clipping File].

"'Jukebox' hotel never had a chance," San Francisco Chronicle June 17, 1985 [in San Francisco Chronicle (Newsbank)].

"Why Embarcadero Freeway Must Go," San Francisco Chronicle November 4, 1985 [in San Francisco Chronicle (Newsbank)].

Tuesday, February 10, 2015

SFUSD Art Teachers Exhibit

The Art, Music and Recreation Center, the Business, Science and Technology Center and the San Francisco Unified School District (SFUSD) have collaborated to present a exhibit of the SFUSD Art Teachers. 

The San Francisco Unified School District has a corps of over seventy-five visual art teachers working in the classrooms, supporting teachers and children of all grades.  We are fortunate to be able to exhibit the artwork created by nineteen of these dedicated professionals.

The goal of this exhibit is to encourage our SFUSD Visual Arts teachers to continue their development as artists by creating and exhibiting their artwork.  Students benefit by having their teachers model lifelong learning and their ongoing artistic journey.  Through their artwork teachers refresh and renew their frame of reference and bring new ideas into the classroom, augmenting the curriculum and inspiring all.  We also hope to bring awareness of the resources available at the library that can support the teachers and students on their journey.

The nineteen artists represented are: Jack Alter, Donna Mankus, Staci Kavanagh, Phyllis Ciment, Dawn Weickum, Ingrid Brook-Kothlow, Elizabeth Medrano, Jacqueline Ruben, Lawrence Montgomery, Danielle M. Contreras-Denton, Patricia Copeland, Maria Teresa Rode, Catherine Theilen Burke, Anne Grajeda, Jan Padover, Kirsten Bahrs Janssen, Elahe Shahideh, and Julian Pollak.

The exhibit will be on display from February 7, 2015 - April 30, 2015 in the Steve Silver Music Center on the 4th floor of the Main Library.

The following images were taken of the exhibit:




Further reading on art -- study and teaching:









Thursday, February 5, 2015

Rod McKuen (1933-2015)


Rod McKuen, a well-known figure in music, literature and popular culture, passed away on January 29, 2015. The opening sentence for his entry in The Encyclopedia of Popular Music sums up the man very well:
One of the revered poets of the late 60s love generation, Rod McKuen is also a highly acclaimed singer, songwriter and soundtrack composer.
Of course, San Francisco was the locus of the "late 60s love generation," so it's not surprising that the poet and songwriter had strong ties to the San Francisco Bay Area.

Phyllis Diller, in a memoir, remembered McKuen as a co-worker and friend who had a prime time radio show on Oakland radio station KROW (later KABL) in the early 1950s.  He would talk on-air with teen listeners about their romantic problems.  Diller later helped McKuen get his regular gig as a folk singer at the Purple Onion nightclub in San Francisco's North Beach.  He became loosely affiliated with the Beat poetry scene (page 94 of his memoir Finding My Father includes a photograph of McKuen taken by Jack Kerouac). He later sojourned through Los Angeles, New York and Paris where he rubbed shoulders with creative people in all fields.

Though he was often described as a troubadour, he was an outsider to the American folk revival scene.  This is probably because he did not consciously look to American folkways for inspiration.  Furthermore, he did not lend his voice to the major social and political movements of that era, such as opposition to the Vietnam War or Civil Rights.

He was considered a serious enough musician to be included in Ruth Anderson's Contemporary American Composers, which lists 7 orchestral works and notes that he has received 11 ASCAP awards.  As recently as 1992 he was listed in the Baker's Biographical Dictionary of Musicians; however, he was dropped from the "Centennial edition" of the dictionary in 2001 - the first one to be published after long time editor Nicolas Slonimsky's death.  Presumably Slonimsky himself wrote this colorful put-down of McKuen:
...he appeared as a folksy balladeer in San Francisco nightclubs; obtained a music theory book and learned to write tunes ... eked out a posh living by crashing parties and gorging himself on choice comestibles.
Slonimsky then dismisses McKuen's output:
He became a roving poet, dispensing a plethora of facile country-style songs with monosyllabic assonances for rhymes and a simple appeal of scenes of non-obscene free love against an artificially flavored pastoral landscape.
Nora Ephron famously skewered McKuen (along with Eric Segal of Love Story fame) in her 1969 essay "Mush" (anthologized in the collection Wallflower at the Orgy).  She inadvertently hits on what might be the main cause for such fervent negative criticism - McKuen's sheer success.  She quotes him saying that he had sold 5 million books ("but who's counting") and had an annual income of three million dollars - undoubtedly grounds for resentment.  Ephron goes on to enumerate the source of this success:
[P]oetry is only the beginning.  There are records of Rod reciting his poetry, records of Rod's music, records of Rod singing Rod's lyrics to Rod's music, records of Rod's friends singing Rod's songs--much of this on records produced by Rod's record company.
This is not to mention his concerts, film soundtracks, and television specials.  By 1969 Rod McKuen was really big.

McKuen's impact can be located in surprising places.  A search for the name Rod McKuen in the Ancestry Library Edition database (a subscription database only viewable at San Francisco Public Library branches) brings up a large number of results.  But few of them concern McKuen directly.  The Ancestry Library Edition has scanned many high school and college yearbooks -- the yearbooks from 1968-1972 are filled with quotations of McKuen's poetry and lyrics.

David Ewen, in Popular American Composers, remarked that McKuen's "songs often touch upon his experiences in love and travel, his loneliness and volatile moods, his reaction to social currents..."  Reviewing a 1970 performance at Philharmonic Hall, New York Times music critic John S. Wilson described McKuen's songs as "sentimental laments of loneliness, some with an implication of hope, some carrying a sense of defeat."  It's easy to see how people coming of age during that time could see something of themselves in this kind of personal expression.

San Francisco's Stanyan Street held some kind of personal hold over McKuen.  It's a song title, the title of a poetry collection (Stanyan Street & Other Sorrows) and is also the imprint for a sizable amount of McKuen's creative output - Stanyan Music, Stanyan Books, Stanyan Records.  The song's lyrics culminate in the phrase "As life falls apart in a little room on Stanyan Street." If read autobiographically the words suggest the loss of some form of meaningful intimacy.  The exact context of "Stanyan Street" remains elusive, but Ken of the official Rod KcKuen website has written the following:
I'm not sure if Rod actually lived on Stanyan Street but as we all know he certainly spent time there and I'm guessing that would have been during the early 60's. Special meaning? Well, it was a very special love affair. One point of interest is that Rod is on record as saying that only two people know the exact location of that little house on Stanyan Street.
 In a 1975 San Francisco Chronicle article, Blake Green wrote that the Stanyan Street was, in fact, a "long-ago demolished Victorian."

After a slight from Chronicle critic John L. Wasserman, McKuen threatened never to perform in San Francisco again.  He did not keep that promise and his name is still hard to dissociate from San Francisco of an earlier era.  We'll let Rod McKuen bid us adieu with his song "So Long, San Francisco."


Songbooks by Rod McKuen at the San Francisco Public Library

Rod McKuen at Carnegie Hall (Warner Bros. Music, 1970).

Twenty-Three Rod McKuen Songs: for voice, piano, uke, guitar, etc. (Stanyan Music Co., 1968).

The World of Rod McKuen (Random House, 1968).

Bibliography

Baker's Biographical Dictionary of Musicians by Nicolas Slonimsky (Maxwell Macmillan International, 1992).

Contemporary American Composers: A Biographical Dictionary, compiled by E. Ruth Anderson (G.K. Hall, 1982).

The Encyclopedia of Popular Music [4th edition], edited by Colin Larkin (MUZE : Oxford University Press, 2006). 

Finding My Father: One Man's Search for Identity by Rod McKuen (Cheval Books, 1976).

"Flight Plan for 16 July 2003," Rod McKuen, A Safe Place to Land (website).

Like a Lampshade in a Whorehouse: My Life in Comedy by Phyllis Diller (J.P. Tarcher/Penguin, 2005).

"The Many Sorrows -- And Successes -- of Rod McKuen," by Blake Green, San Francisco Chronicle (January 6, 1975), 16. [from the Art, Music and Recreation Center Newspaper Clipping File]

Popular American Composers from Revolutionary Times to the Present; A Biographical and Critical guide. 1st supplement, by David Ewen (H. W. Wilson Co., 1972).

"Rod McKuen," in Current Biography Yearbook 1970 (H.W. Wilson Co., 1970).

"Rod McKuen Offers Poetry and Songs To Sold-out House," by John S. Wilson, New York Times (April 29, 1970), p. 49 [available through the New York Times Historical database]

"Unusual Response by Rod McKuen," by John L. Wasserman, San Francisco Chronicle (December 30, 1974), 34. [from the Art, Music and Recreation Center Newspaper Clipping File]

Wallflower at the Orgy by Nora Ephron (Bantam Books, 2007) - originally published in 1970.

"What? A Best-selling Poet?," by Jack Fincher, Life (February 9, 1968), pp. 35-38 [scanned on Google Books]

Tuesday, January 20, 2015

Clint Eastwood The Director

http://upload.wikimedia.org/wikipedia/en/1/10/American_Sniper_poster.jpg 
As you may already know Clint Eastwood’s war drama American Sniper has earned six Oscar nominations, including the Best Picture and Best Actor categories.  Eastwood, a San Francisco native who grew up in Piedmont and Oakland, has long starred in and directed films that pose difficult moral questions.

Critics are divided about American Sniper and a twitter war is on. Rogen Seth has likened the film to "Nation's Pride" about the Nazi sniper in Quentin Tarantino's Inglourious Basterds. Michael Moore’s tweet is even more acerbic: My uncle killed by sniper in WW2. We were taught snipers were cowards. Will shoot u in the back. Snipers aren't heroes. And invaders r worse. This tweet earned a response from Newt Gingrich, the former Speaker of the House: Michael Moore should spend a few weeks with ISIS and Boko Haram. Then he might appreciate American Sniper.

While some have praised the movie for various reasons, others have reacted to it in the fashion of the earlier critique surrounding Zero Dark Thirty which the critics believed seemed to have justified the use of torture. Eastwood’s American Sniper focuses on the concept of war brought home as the soldiers, even the best of them, return, they are victims of post-traumatic stress syndrome which can lead to a wrecked family life.

The film's critics argue that while the movie presents the U.S. Navy SEAL Chris Kyle in heroic light, it never questions the morality of our occupation of Iraq, not to mention the racism Chris Kyle exhibits in his memoir which the movie is based on. Laura Miller, writing about Kyle's book, points out that,
It is both cruel and perverse to reproach soldiers for killing the enemy when that’s what they’re sent to war to do, and when they do so in defense of their own lives and the lives of their comrades. Nevertheless, you can expect soldiers to kill and still recoil when they kill blithely and eagerly. In 'American Sniper,' Kyle describes killing as “fun” and something he “loved” to do.
In our collection there are some very good books about the Western actor turned acclaimed director. Sara Anson Vaux’s The Ethical Vision of Clint Eastwood is a good starting point to explore the sources that anchor his moral vision and what they are. The following quotation gives a good summation of Eastwood's outlook:
He decided instead to celebrate the journeys of the losers, the immigrants, outcasts, and vagrants who made the winding journeys, those whose poverty or race or country of origin increasingly had excluded them from a so-called successful American life.
This poses the question whether Eastwood is cautioning us that the conditions of modern American warfare are turning our returning soldiers into new outcasts?


Here is a reading list for those interested in further exploring Eastwood's complex body of work.


The Ethical Vision of Clint Eastwood by Sara Anson Vaux (William B. Eerdmans Pub. Co., 2012).

Clint Eastwood: Interviews / edited by Robert E. Kapsis and Kathie Coblentz (University Press of Mississippi, c1999).

Clint Eastwood: A Biography by Richard Schickel (Knopf, 1996).  [Overdrive Ebook]

American Rebel: The Life of Clint Eastwood by Marc Eliot (Harmony Books, 2009).  [Overdrive Ebook] [CD audiobook] [Overdrive audiobook] [Hoopla audiobook]

Clint Eastwood: Evolution of a Filmmaker by John H. Foote (Praeger, 2009).

Clint Eastwood, Actor and Director: New Perspectives (University of Utah Press, 2007).

Clint Eastwood's America by Sam B. Girgus (Polity, 2014).

 

Wednesday, January 7, 2015

How To Read Oceanic Art

One of the pleasures of being a San Franciscan is ability to visit local museums that allow us to view great art from around the world.  One of the strengths of our DeYoung Museum is their collection of Oceanic Art.  In addition to Jolika Collection of New Guinea Art, the DeYoung has many excellent works from Australia, New Zealand and many South Pacific Islands.

While these artworks make strong statements by themselves, it is difficult for cultural outsiders to understand their significance.  The Metropolitan Museum of Art has published a new title, How To Read Oceanic Art that helps to explain the mystery and power behind these creations.

How to Read Oceanic Art opens with introduction discussing the background of the artwork, discussing the regions, religions and spiritual practices, uses of decoration and the depictions of humans and animals.  It also looks at the role of the artist in these societies and considers the impact of the contact of these cultures with the West.  The book then looks at 42 individual works of separated into six regions: New Guinea, Australia, Island Melanesia, Island Southeast Asia, Micronesia and Polynesia.

image source: Metropolitan Museum of Art

The above image of a Female Figure made from a sperm whale's ivory tooth on the Ha'apai Islands, Tonga in the 19th century is used to engage with the now almost trivialized notion of the "tiki."  The book's author notes that tiki has been used through many parts of the region to refer to images with human features.  He describes the significance of the over-sized head -- another common feature of Polynesian art -- as reflecting the seat of a person's mana or power.  From these he concludes that the figure is a representation of a "powerful female deity" and goes on to describe the ritual use of such an object.

With this book in hand you will gain a new appreciation of the art you view on your next visit to the DeYoung.


How to Read Oceanic Art by Eric Kjellgren (Metropolitan Museum of Art, 2014.)

Sunday, December 21, 2014

"American music is not jazz. Jazz is not music."

Paul Rosenfeld
Paul Rosenfeld, photographed by Alfred Stieglitz (image source: George Eastman Archive, Still Photograph Archive)

Today these words shock.  They were probably even shocking to some who read them at the time in 1929.  But they were written by one of America's most esteemed music critics, Paul Rosenfeld, who wrote at various times for prestigious publications like The New Republic, Vanity Fair, and The Nation.  That he was a recognized figure in America's cultural life is attested to by his being the subject of the portrait above by famed photographer Alfred Stieglitz.

The Library owns six books of Rosenfeld's writings about music.  The notorious quote above comes from An Hour With American Music.  This book was part of publisher J.B. Lippincott's "The One Hour Series" which commissioned introductions to a variety of topics "by an expert in the field."  For instance, Ford Madox Ford wrote "The One Hour" title for the English novel, Samuel Eliot Morison wrote the title for American history, and Gilbert Seldes wrote An Hour with the Movies and the Talkies (the Library still has a reference copy of the latter, but has not owned the former two books for a long time - but you can request them using Link+).

A closer look at the entirety of of An Hour With American Music will show that Rosenfeld set up this polemic not so much to run down jazz as to introduce and advocate for other contemporaneous American music.  The composers he discusses and extols read like a roster of what our San Francisco Symphony's music director Michael Tilson Thomas would call "American Mavericks."  He devotes parts of chapters to composers like Leo Ornstein, Dane Rudhyar, Carl Ruggles, Aaron Copland, and Edgard Varèse.

What we get with this book (after a not fully comprehending, but nevertheless interesting and opinionated put-down of jazz) is an informed look at some of the most daring classical composers of the roaring twenties.  In the the twentieth first century both kinds of American music can be found together in our concert halls, but it's informative to know one critic's reaction to them when they were current.


An Hour with American Music by Paul Rosenfeld (J. B. Lippincott Company, 1929).