Looking forward to attending the BMC conference at UNC-A’s Reuter Center Sept. 26-28. Last year I did a silkscreen of an ancient motif – this year I am responding to the writing theme of this year’s event with a give-away piece of hand-laid paper incorporating randomized sentences cut from a variety of sources.
I cut hundreds of sentences from some old paperback books lining my letterpress shop – the criteria being variety and nothing post-dating the lifetime of the college. These were spread out and “shuffled” thoroughly, then dropped into the vat of pulp a few at the time as I formed the sheets. Minor lifting and adjusting did not interfere with the groupings and each sheet has fun juxtapositions with occasional strong ironies. I made 52 to take to the conference.
The use of chance and spontaneous order is characteristic of some of the best-known BMC artists. I look forward to learning more about its use by Jonathan Williams in a writing workshop conducted by Jeff Davis, where he
“will replicate in brief form the procedure Jonathan Williams developed when he wrote the section in in his long poem Mahler for Symphony No. 7 in B Minor. After steeping himself in Mahler’s work, he availed himself of an “hallucinatory deck” of cards, and wrote on those cards the 110 words that were the “private and most meaningful words of [his]poetic vocabulary,” and then, using different rules for each of the movements, he wrote the amazing poem!
The cards I made have already helped me engender a long list of favorite phrases and it will be fun to distribute them to the wonderful folks that attend these conferences. Long live the spirit of BMC!
I never got around to posting about the wonderful BMC conference in 2012, but I’m getting a head start on this one! Above is a small souvenir/artwork which I will be distributing at the 2013 event October 11-13, a project inspired by Anni Albers’ fabric art entitled “Red Meander,” and also by the book in which I encountered the image, written by Christopher Benfey. Benfey is keynote speaker at this year’s conference, which as always includes a rich array of scholarly and creative responses to the legacy and spirit of Black Mountain College,from the dissection of BMC/Bauhaus connections to the performance poetry of Ted Pope.
Benfey’s book is called Red Brick, Black Mountain, White Clay, and is a unique family memoir that ranges far and near in exploring the connections of art, craft, and history to be found in his family history and connections. Anni Albers was Benfey’s aunt, and figures largely into his take on the relationships among artisan craft, creativity, and authenticity in artistic processes. I was very impressed with his insight regarding a productive tension Benfey discerns in the threads of influence to be found at Black Mountain College – that between calm, disciplined and reflective approaches and the unfettered spontaneity made famous by the Happenings at BMC.
This year’s conference promises to cover that same range of possibilities, with presentations on archive resources, technical poetics, action painting, transcendent pottery, the BMC print shop, and multiple assessments of the importance of Anni Albers and her husband Josef Albers. Looking forward to it.
The 2012 BMC conference, held at UNC-A and organized by The Black Mountain College Museum and Art Center, centered on Buckminster fuller and the ways his ideas, many generated at BMC, have influenced our world. I would love to write about the ideas presented eventually, but above are thumbnails of a big highlight of 2012 – the outdoor technology fair that offered hands-on experiences of some of Fuller’s concepts. Click to enlarge, and be sure to check out this wonderful annual event sometime!
The Paper Plant presents anSaturday from . John and Cara will be demonstrating papermaking, marbling, printmaking and letterpress printing. A retail display of notecards, blank books and paper, with opportunities for hands-on interactions.
528 N. Person Street, 919-618-6883
Starting with the shameless self-promotion above, here is my current outlook on Raleigh creative endeavors. I dearly hope our open studio will attract (as it did last year) some of my Bain friends, new and old. Critter, a Bain documentor, has favored me with some mail art this summer and I’m dying to show him the new Ray Johnson material I picked up recently at the Black Mountain College Museum + Art Center. Ray’s mail art show in 1976 was seminal for me: my Bain experience was galvanizing in just as big a way, here in my old age. I hope our open studio can stimulate: we will be marbling, printing and making sheets, and at 6 PM we will toast the day with all who have gathered. Please come!
Dan and Nancy Lovejoy are having an open studio this coming weekend at Lovejoy Pottery in Wendell. I posted about their show last summer in the first weeks of this blog’s existence, and it’s always great to see them and the other artists, who include Edge Barnes, John Garland & Mary Paul, Alan Leland, Julie Olson, Susan Myers, and Nancy & Kathleen Redman. As described in the earlier post, Dan Lovejoy was a founding member of Raleigh Artists Community in the seventies, and the Lovejoy Pottery show is well worth the drive to 6117 Watkins Road off Rolesville Highway. (919)266-6053.
I had the best chat with David Beaver the other day at Borders. David earned eternal endearment in the Raleigh art community by acting as jovial scorekeeper for the Poetry Slams at Forum+Function in the late nineties. He is my emblem for a 21st century shaman, being a magician, virtual reality enterprenuer, and now key member of the emerging Overview movement, which posits that seeing Earth from space is so life-changing, common space-flights could fundamentally change humanity’s perspective on the planet. Though David is working on transforming the world, he is still affable and charming as ever, and he’s got my mental cogs churning about several of his fascinating ideas.
NandO featured David Simonton recently and turned me on to a fantastic blog – Prison Photography, now featured on my blogroll. Their post about David’s photographs of Polk Youth Center before it was razed for the art museum shows powerful work; a stark portrait of neglect and abandonment. David’s earlier photographic work reflects “his calling as a poet of the ignored or the ruined place, the lost or forgotten landscape,” as described in this Indy profile.
Below is a sending from Susan Soper, printmaker.
Susan Soper —
Clayton Center Gallery
Clayton, NC 27520
Gallery Hours M-F, 9-5
Public opening reception
Sponsored by Clayton Visual Arts
Carter Hubbard, a papermaking contact from way back, touched base recently about an interesting project. She and partner Sara Botwick are putting together an art exhibition in the downtown warehouse where Bill and Otho created “antiques” for Niemann-Marcus and employed several dear friends in the process. The MUSA website is a bit inscrutable, but the show will offer an “interpretive visual perspective … on what it means to be ‘made in the USA.'” I’ll get back to this project soon.
Joel Haas just held a signing for his new book, Poppy Bear, illustrated by Walter Stanford. Joel’s book is his own writing, based on the “most enduring character” of his late father, the prolific novelist Ben Haas, who entertained his three boys with endless “Poppy Bear” tales but never wrote them down. Joel wrote up a prototype “Poppy Bear” story and then hooked up with Walter. The book is available from either of their websites.
Thanks for your kind attention. As always, this is just a smattering of the wonderful Raleigh culture that has come my way. Back at ya’ soon!
The first and most amazing truth is how the artists found, saw, loved and preserved the incredible piece of found art that was the Bain Water Treatment Plant. The artists, as a group, put aside individual ambitions (though not their individual styles and initiative) and sublimated their work to respond, so powerfully, to what was given. Almost as amazing was the breadth and rich variety of work generated out of this project. The initial glimpses of responses displayed at the Boylan Art Walk, the slide projections, mail art, photographs and paintings shown at the music fundraiser, the shower of documentation and Bain textures created at the preview show, all culminated with a massive but orchestrated symphony of sense experiences presented on site for two weekends. Last and most is how each person that came could build a totally unique, self-selected, more or less socialized experience for themselves to treasure, hopefully over multiple visits with lots of time for some details. That’s what I did, and the Bain Project became such a personal project that I can only review it from partly inside. But that is perfect, because I repeat: the Bain Project brought everybody inside, inside an amazing space inhabitated by the spirits of water, clean industry, and civil structure, evoked and transmutated into very present and highly charged artistic structures, made by the wonderful Bain Project team.
What an amazing challenge for a bunch of artists. The logistics of a small factory. But there was a ringer in the group. Daniel Kelly, who is Thomas Sayre’s right hand man in some fairly spectacular artistic endeavors, was the founder and leader of the Bain Project. He acted as liason with Greg Hatem, the owner and primary sponsor. He coordinated the artist meetings and kept the activities within some broad parameters, but Daniel found a way to really turn the artists loose and let some serious artistic consensus building take place. The project took on a life of its own and everybody breathed it.
The Bain experience started with finding the damn place. Isolated, sequestered, separated by chasym – all these things fit better than tucked away for the Bain site. Yet the crowds were huge each day. The poster said “site specific artwork,” but I don’t think visitors really knew what to expect. The perfectly lovely red brick art decco exterior led to a museum-like art decco lobby, and then after you were wisked into the “registration room,” all bets were off. Perhaps you would wander back to the front lobby, and discover the noxious but vivid chlorine room. More likely, you would head right into the main hall of filtration tanks, which retained a strong sense of functionality, not least because of the beautiful, pristine restoration of one of the control panels by Christian Karkow.
The row of large tanks, whose top openings are level with the floor, were a bit inscrutable. The symmetry and repetitions of the structures in this largest and least decayed room had a very calming effect. You might start discovering side rooms, or perhaps take the narrow central staircase down to the lowest level with huge pipes and valves, and then back all the way up to the small fourth story level with huge wooden cisterns and a nice view of the acres of outside water storage tanks surrounded by Piedmont meadow. Wherever you go, you see various artistic treatments of the unpolished porcelain balls that constituted the largest aggregrate of the Bain facility’s geological filtration system.
The Bain facility used gravity and the simple but effective filter formed by fixed sand to clean water for the City of Raleigh. There were additives, especially chlorine, and many other complicating factors but the fundamental processes of the Bain plant are visibly inherent in the spaces and equipment. Rather than transform these technical elements or even disturb them much, the artists re-inhabited the human spaces in the Bain facility with installations that responded to and co-existed with the strong presence of water – water magnified and empowered by brute human technology. The Bain art project celebrated and brought out the best bits of this amazing system.
It was a wonderful place to meet and greet, with many spectators and volunteers and also lots of Bain artists on hand at all times, which was part of what made the installation event so unique. By far the most spectacular piece of socializing I did was with my new urban explorer friends, who are going to show me the bowels of Pigeon House Branch underneath Glenwood South. They had been exploring Bain for at least as long as Daniel Kelly had been painting there before starting the project, and a couple of them actually served on the volunteer clean-up crew and also attended the event. They showed me what I had looked for in vain – the passage down to the main pipes leading toward downtown, where an old artist friend told me he had traveled with his spunky teenage daughter. After the event, I contacted the urban explorers and “Snailapple” turned out to be a very gifted and intelligent young man with a unique perspective on our urban landscape.
Above is the hatch that leads to Bain’s darkest recesses, pictured below.
Click on the picture above to see Snailapple’s Bain pics.
I was so lucky to get involved with the Bain Project as the Raleigh Naturalist, presenting to the artists on a Saturday morning last fall about Walnut Creek, Rocky Branch, and Raleigh’s watersheds. Several of the artists were personal friends, and several more became so during this process. I was asked to help with the final details of the watershed mapping activity, and I may yet help with the in-project documentation process. These ten posts have been a blast to write, and I feel I haven’t had so much artistic fun for years. Yeah, Bain!!
Thanks to Daniel Kelly, Tracy Spencer, the Bain artists and documenters, New Raleigh, Empire Properties and all the other sponsers for a great show!
The Bain Project has garnered its fair share of attention and brought together an amazing array of artistic and journalistic support. It also crossed and melded artistic media in an extraordinary fashion. The installation itself captured sights, sounds, smells and memories in a unique way, and a fitting emblem of this is the Bain Music Project cd, which will certainly stand the test of time as a valuable record of the Bain Project experience and a fascinating album of boundary-pushing music in its own right.
The cd offers short interview excerpts with a former Bain employee, mixed with cuts of local bands recording inside the Bain space. The remaining pieces constitute primary Bain Project work by Lee Moore, whose maternal condition precluded extensive on-site participation. Lee and her husband (and longtime musical partner) David Crawford put together some amazing sets of sounds as Le Machine, and also did me the great honor of building cut # 12 with an old water-based poem of mine. I recorded it with Jen Coon, and then Lee put it over ocean sounds and her newborn baby’s heartbeat! I could never have dreamed that a piece of my writing would have such a stunning setting. Thank you Lee.
I enjoy every track of the cd, especially Crowmeat Bob’s highly Bain-ful sounds and Xopher Thurston’s string interpretation of Dana Raymond’s pipe symphonies, but am totally un-equipped to remark on the local popular music. I just know my 20 year old daughter was thrilled to see me on the same album as the Rosebuds! I also know that the cd cover is masterful and fits so well with the project, thanks to Ladye Jane of New Raleigh fame. New Raleigh published the cd, and was a tremendous support to the Bain Project overall, including provision of the Bain website.
Starting from the website, let’s trace the main branchings of media and online response to the project.
May 09 “State of Things” interview with Dana Raymond, Marty Baird Sarah Powers and JenCoon
SpokenWord.org archived radio link
Volunteer call hosted by New Raleigh
January 09 Missing Plaque Mystery
February 09 Music Fundraiser
March 09 David Millsaps essay
May 09 Ladye Jane’s Q & A
May 09 State of Things alert with links to Sarah and Dana
May 09 Toxic Lead Alert with Bain concerns
March 09 Music Fundraiser guide
April 09 Indie Blog article
May 09 Calendar listing
May 09 Site and project description by Hobert Thompson
May 09 Indie blog Q & A with organizer Daniel Kelly and others
May 09 Art to suit city’s fluid identity
NC Museum of Art
May 09 blog interview with Museum staffers Jen Coon & Stacey Kirby
DESIGNlife news with listing of the numerous alumni involved
30 Threads feature
Raleighwood,NC John & Clydes visit with informative links
Queen of the Pavement – huge and lovely pics
Digital Photo Project with another, and one more – nice photos and text by Kevin Greene
almost two weeks – wonderful blend of Bain and life
a weed is just a flower out of place – just one nice photo but who can resists that title?
Bain poster critique – proof post-Boomers do not read actually a nice post
not to mention
youtube Triangle Rock excerpt
The following excerpt from an email sent out by SWCAC Chair Mary Bell Pate for the Caraleigh neighborhood.
The Bain Project, located in the SW CAC area, is all about the E. B. Bain Waterworks/Water Plant that once was the source of water for Raleigh and now is on the Historic Register. What was a beautiful Art Deco building had been ignored since it was “de-commissioned” as our water plant and now needs massive amounts of money for restoration. Empire Properties came to the rescue by buying the Bain and saving it from total destruction. Within the next few years a street will connect South Wilmington and South Saunders Streets (needed for years as an efficient cross-access between the two streets) and will go right by the Bain.
With lots of help from many people the Bain Project will become another outstanding asset for Raleigh and especially for our southwest part of Raleigh. Right now it needs your interest and participation in events designed to create awareness of this beautiful, old building opposite the Eliza Pool Park. From time to time I will be giving updates on Bain Project activities and encouraging your participation.
and last but not least
National Park Service Bain site page
If you’ve made it this far I’ll remind you that here at Raleigh Rambles ALL my work to document and preserve the Bain Project is organized and referenced on my Bain Page. The list above grew out of a reference post on the Bain Project website, which has obviously been a rock for me in this project. We can all thank Daniel Kelly for conceiving of and effecting this project, and I personally appreciated his encouragement as I participated in and documented the project.