I was at Cantor yesterday, looking for the Lucy Lewis owl, but noted that the famous or infamous mentawai gibbons is gone. Could be merely moved, or probably rotated meaning stored, but I recall and dear readers of Plastic Alto might that a Mentawai named Jun Tulius gave a talk at DeYoung in 2012, a panel AOA called “Forgeries and Frauds” and showed a slide of a carved gibbons (monkey) from his people and that Stanford was slightly off in its understanding of this piece. Gerry Masteller and I, both Palo Altans but fans of DeYoung AOA looked at each other, consulted then approached Jun, and then the next morning I drove from PA to SF — it was the Stanyan Hotel — picked up the young, Holland-based oceanic, drove to Cantor, banged on the door, they opened, the person responding recognized him, an assitant to the AOA person there, let us in, Jun checked out in person the piece and basically tried to helpfully point out, as he had apparently been telling all comers, in his travels that yes the piece is by a master carver and is museum worthy, and he researched it pretty thoroughly back in the hood, but it was not as old as Stanford thought or had been led to believe, was not as ceremonial, that the carver was probably more market savvy and less primitive and that probably, and I may be embellishing here, the consultant who brokered or catalyzed the carved monkey — and I am flashing to the black dingus Maltese Falcon here but wood and a monkey not a bird – but I also saw those carved black stones start with an “a”, from Pacific Northwest, Stanford Cantor and not of course Anderson nor McMurtry — and I am flashing to the fact that there is or was an Anderson Murtang, from Borneo — may have been, as Madden would say, giving them the business.
There’s another funny coda about Jun Tulius and his magic fingers that may appear below but I will skip for now.
And Cantor is indeed probably my favorite cultural institute in the world and I’ve been there 100 times, it’s free and nearby and world class. And Go, Connie Wolf, who is appearing next week at a nooner on campus I hope to make lwatcdr.
I also, Cantor wise but not indigenously, have a bit of an update on the Hopper, and my quibble (that someone should tell the exact connection that so far maybe me, Connie and Jeff make) the connection between the Carleton Watkins show and the Hopper show.
And also as I lay rising today and thinking this through — and there was a digression to Vietnam and Portland and Dao Strom day job in SF, imagined as a post-modern performance piece or workshop in SF, some day soon — I also wonder if I am the only one who knows that Nathan Oliviera “Battle of the Little Big Horn” which was on view as part of a set of lithographs and limiteds at Smith-Andersen recently is actually based on Red Cloud set of ledger drawings and not the historic event. It interprets a specific interpretation or is an homage.
And I also think that –and this is not not not a non sequitar — this sequits like the best of they, in mentawai –surfs up, on track, in the roll pipeline — Jacob Garchik could and should play with Charlie Hunter (who was offered “magic fingers” once in Austin, post show, because I was there, ich weiss ino ) but Darcy James Argue recently at Bing — not my fav, yet so near — about conspiracy or what not kinds blows, and not just the reed section and horns and is infereror to and derivative of Dave Douglas Witness, and Vijay Iyer Mike Mark Ladd “In what language” and maybe Negativland “communism is good, democracy is stupid”.
I go away now too.
and1: I started in Indonesia and ended up in Berkeley but I did just try to reach Charlie Hunter or his electronic avatars to ask him something about Jacob G — little schmoozer that I am, or interloper or nudge — noodge — and then flashed to hiring Charlie Hunter solo to play my dad’s memorial this sunday nov one all saints day just the guitar parts to not “mentawai went away” but “running in fear from imaginary assailants”. Stoff of dreams. Full herzenberg.
andand: no, seriously, and sorry if you read this enough to have heard all 50 anecdote over and over ad nausea but I did ask dave douglas once about him should play with bill frisell and then years alter dave has a dream that he is playing with bill frisell and calls bill and says “hey what is your song that goes from the minor fifth to the vibratto loop, or what not” and bill says I don’t have a song like that why and dave says um I guess in my dreams I just wrote that and why don’t you play on it? And he told me that later when he introduced or someone at IAJE had he and charlie on a panel and they played other dave douglas and a minute of “friends seen” by CHT, he told me he had brought my idea from dreamworld to his world and ours. Speaking of bird omenology.