AIFF2025: Festival Passes, Nazi Art Thief, Remaining Native Or Not - UPDATED

 The button on the film festival website is now working and you can buy all film passes.  Last year the new  directors of the AIFF Pat McGee and Adam Linkenhelt did away with all film passes altogether.  There was some pushback and some were made available.  I was told there will be a limited number of passes this year.  The price is $200 each, considerably more than in the past.  That's still a lot cheaper than buying tickets one-by-one if you're going to as many films as you can.  There are a number of folks who have been doing that for many years.  It's still not clear on the website  a) how to buy individual tickets for events, or b) how much they will cost this year.  [UPDATED: Nov 19, 2025 - You can purchase tickets for individual showings for $12.  So if you're going to see more than 16 events a pass is the way to go. And you don't have to buy tickets each time. In the past you did have to get tickets at the Bear Tooth by showing your pass. (You could do one Friday, five on Saturday, Sunday, and Monday each.  There are more showings than that, but they are at the same time.)]

But if you want a festival pass, I suggest getting on the website and scrolling down until you see the link to buy passes.  

This year there are a lot of films showing at the same time.  If you have a lot of programs (showings of a feature film, or showing of a block of shorts) this will, inevitably happen.  But looking at Monday's programming, both the Alaska Experience Theater and F Street Theater have 10:30am and 1 pm showings.  Bear Tooth has a 5:30 showing.  So one of the downtown venues could have started at 10:30am and the other at noon, with a 2:30 or 3pm showing.  Then there would have only been one overlapping event.  The second Saturday, they have spaced things out so there is no overlap. 

I'd also note that on Thursday, December 11 in the online schedule as of my writing this, at 7:00 30 pm in the Museum it says:  "Jewish Museum Feature."  I'm guessing that was a place holder until the webmaster got the name of the film.  I spoke to the director of the Jewish Museum here in Anchorage and she said the film was:

Plunderer:  The Life and Times of a Nazi Art Thief - Hugo MacGregor.  

Image from 7th Art

From MFABoston: 

“'It’s not every day that you meet an old Nazi.' So begins historian Jonathan Petropoulos, recalling the day in 1998 when he first met Bruno Lohse, Hermann Göring’s art agent in Paris during World War II. Once an obscure art dealer, Lohse rose to prominence in Göring’s inner circle, personally orchestrating history’s most infamous art theft ring for Hitler’s right-hand man.

Filmed over five years and in seven countries, Plunderer: The Life and Times of a Nazi Art Thief unfolds as a detective story with Petropoulos detailing Lohse’s role in stealing countless masterpieces from liquidated Jews across Europe, and the web of postwar complicity that shielded the Nazi criminal from meaningful justice. This compelling tale exposes the art market’s disregard for provenance and confronts the enduring human cost of these crimes. It also raises questions about the ethical consequences when a writer falls prey to a source and becomes a part of the story. Produced by John Friedman under the aegis of the National Center for Jewish Film."

[UPDATED NOV 19 - It's still listed as Jewish Museum Feature and if you search that, you can get tickets now.]

And here are a few more film previews:  Remaining Native and You're Not Native.  It seems these two really should be listed together.  

Thursday, December 11  7:00 pm in the Museum

Remaining Native - Paige Bethmann

From Variety:

"Director Paige Bethmann’s technically polished and utterly absorbing film skillfully forges a link between past and present by focusing on Kutoven “Ku” Stevens,  a 17-year-old Native American determined to earn a University of Oregon scholarship in track — despite his living on the Yerington Paiute reservation in Northwest Nevada, a place rarely if ever visited by college scouts, and being the only cross-country runner at a high school that lacks a track coach.

Ku’s parents strongly support his pursuit of his daunting goal — especially as they attend track meets where Ku runs so far ahead of his competitors he appears to be moving into a different zip code. And he’s lucky enough to be spotted by Lupe Cabada, a running coach who recognizes Ku’s formidable abilities, and guides him toward competing in meets where the young runner can be seen by the right people.

But there’s more to Ku’s obsession than his O of U dreams. As he runs across the rural Nevada landscapes, he is driven by stories he has been told about his great-grandfather, Frank Quinn, who at age eight fled from confinement at an especially brutal Indian Boarding School by literally running away — 50 miles away, to be precise — after two failed attempts at escape.

“Maybe they got tired of chasing him,” Ku speculates. Many other students, however, weren’t nearly so lucky. Indeed, as “Remaining Native” progresses, and the first waves of accounts about unmarked graves discovered at former Indian Boarding Schools hit the news, the horrors are exposed and the estimated death count escalates."

You're No Indian - Ryan Flynn

From ITC:

"Directed by Ryan Flynn, the film gained the support of Wes Studi and Tantoo Cardinal who joined the project as executive producers.

Cardinal, a celebrated Métis actor with Cree, Nakota and Dene heritage, told ICT: “‘You’re No Indian’ is a powerful story that needed to be told. Our people are being erased, by our own tribal governments, and that truth struck a nerve. The stories in this film lit a fire in me. You see families broken apart, identity stolen, communities suffering in silence. I couldn’t ignore that. Many are too afraid to speak up, knowing they could be next. I joined this project to help lift their voices.”

Why has disenrollment become such a major issue?

“Disenrollment is not new,” Cardinal says. “It’s a modern-day extension of the same forces that have tried to erase Indigenous identity for generations. More than 11,000 people have already been disenrolled, and many more were never acknowledged at all. Their stories speak to a crisis hiding in plain sight. ‘You’re No Indian’ confronts that silence, revealing just how widespread, and devastating, this injustice truly is.

'It’s about the money,' director Flynn told ICT. “It’s unfortunately underreported – entire families and histories are wiped out with no recourse. We created this film to shine a light on this practice and amplify the voices of those affected. One person gets disenrolled and it wipes out the whole lineage.'” 

 

I haven't seen any of the films I've featured in this post and the two previous posts.  They were simply selected based on the screenshots up on the AIFF 2025 website and the titles.  Or, in the case of Plunderer,  which I've added because it isn't on the website yet at all.  This is a way for me to find out more about what is coming and to share with you.  These aren't necessarily recommendations.  

What's Keeping Me From Blogging?

So much . . .

Weekly trips to pick up our CSA (Community Supported Agriculture) [It's a USDA website so go quick before the regime either takes it down because it's too 'woke' or it crashes from neglect or incompetence.]

They use salt - some Alaska salt - and mix it with things for use in cooking, eating, and making your house smell better, like in the simmer pots.  

I've highlighted soap artist (seriously, what she does is art!)  Kit before.  She showed me a prototype of a soap she's working on that will have a Rorschach test on it.  I asked if there are psychiatrist interpretations included.  Those, she assured me, would cost a lot more.  Learn more at MirthAlaska.com. 

There was a long line at the WIC table.  This market is in the lowest income area of Anchorage and the Grow North Farm here - sponsored by RAIS (Refugee Assistance and Immigration Service), a part of Catholic Social Services - is an urban farm worked by refugees.  

It was gray and threatening, but not raining all that day, but it finally came down on the ride home.  It was so light it really only got my clothes slightly damp.  And my odometer with drops.

I've gone past my 1600 km goal for the summer - one reason I guess I haven't blogged as much.  All that biking along Anchorage's green bike paths has been good for my physical and mental health during this disastrous time in US history.  

The picture below was on an earlier ride on the Campbell Creek south trail.  And I'm delaying today's ride to get this post up.

The mushroom isn't connected to anything else in this post, but of course mushrooms and fungus in general are connected to everything underground.  You can't really tell but this one was five or six inches across.  Growing right next to the compost pile.  

  
                                                                      

Again, a somewhat random picture here.  Walking down the steps after a routine doctor visit at Providence, I was greeted with the lovely sounds of live piano music.  The acoustics in the huge atrium entrance are great and the notes pulled me over to listen to the end and thank the musician.

Our power, phone/internet went out during the windstorm a week ago Friday.  This downed cottonwood was the culprit.  Chugach Electric had the power back on the next morning when we woke up.  Alaska Communications took until Tuesday or Wednesday to come out and then they didn't have the equipment to fix it right, so while the phone line and internet are back on, the wire is lying on the ground and about two feet off the ground in some places I have to walk.  In what world is that acceptable?  Alaska Communications is so terrible!  The techs I have to call now and then and those who come out to the house are generally very good.  It's just the management that has promised me fiber every summer since 2023 and not delivered that pisses me off.  And the website that has the circle of death spinning hopelessly when I try to pay online, and then they charge me a %25 late fee because I couldn't pay online.  With no grace period.  None.  Visa emails me three days before to remind me to pay my bill.  ACS emails three days after it's due to say, "We screwed you again."  I'm ready to cut that cord forever.  

Got that off my chest.  

Our neighbor did hook us up to his power with a series of extension cords to power the refrigerator since we didn't know how long it was going to take to get the power back.  We decided to go to Queen of Sheba for dinner that night.  Here's David, the owner and chef, chatting with us after our meal.  

Ethiopian food is truly special and delicious.  Anchorage folks, go eat there and keep them in business.  The prices are reasonable for this day and age.  

It's between Northern Lights and Benson - on Dawson.  

So, probably this should have been three or four blog post spread over the week.  

But I'm not done.  I've been reading several books at once, but I'll just highlight Caraval.  This was a recommendation from my 12 year old granddaughter.  When I told her I was number 25 on the waiting list at Loussac Library, she said, "I told you that you'll never get it."

But I got an email saying it was mine to pick up.  I understand why people read it.  Each chapter ends with a cliffhanger of sorts.  And I think the author has synesthesia, because every feeling is associated with a color, some vibrating.  Lots more descriptions of odors than you normally see too.  And I don't think Nancy Drew ever had chills from the touch of a young man's bare chest leaning against her. 

I'd say this teen fiction is the gateway drug to adult romance fiction.  

Moving along - I'm still overwhelmed with the barrage of outrageous statements and actions spewing from the White House.  Here are a few images that I've saved as I try to find new ways to ask my junior US Senator how long he thinks he can wade in this filth before he is sucked under completely.  He gleefully points at what he sees as 'wins' for Alaska, while the president tramples the constitution by kidnapping people off the streets, invading US cities with our military, ignoring judge's orders, bombing boaters in international waters, gerrymandering Texas to squeeze out Democratic house seats, and on and on and on.  I didn't even mention Epstein.  And Dan Sullivan turns a blind eye to all of that in exchange for some oil drilling permits.  

My previous post was on the normalization of the word normalization.  Nothing could illustrate that point better than this post by His Travesty.   

What previous president could have done something like this and not been impeached?  Some say it's just 'a humorous bit' but I did a paper on government humor once.  What I learned was that government humor that is self deprecating is fine, but government humor that punches down is NOT fine.  

And then his Vice Travesty defends another military operation off the coast of Venezuela:

Has anyone seen any evidence that these are cartel members (just like we haven't seen any evidence that Kilmar Abrego Garcia was a member of Tren de Aragua gang)?

I copied this one for Labor Day.  We're back to the time when business owners could call on the government to bring in troops to break up labor unions.  And when I say 'break up' I mean that literally.  But they stood in solidarity until they won their rights which have benefited most of us.  (You know, 40 day weeks, paid overtime, health benefits, the right to grieve bad treatment, etc.)  We have to be as brave and persistent now to prevent what's happening today.  

I don't believe ignorance is greater now than it was.  But the propaganda forces of the fascists have powerfully taken advantage of that ignorance, and the latent fears of white America.  They've taken all the damage to the working classes done by exporting jobs and increasing the income gap and blamed it on Black people and immigrants.  

 I remember when the first polio vaccines became available and we got poked at school.  My small pox vaccine scar no longer really shows, but I was inoculated.  

Public health programs have saved more lives than medical treatment of individuals.   As I look for good links to explain the importance of public health to society, I see that some of the most important public health initiatives - clean water and sewage systems - are so taken for granted that they aren't even mentioned.  But we haven't always had clean water and sewage systems.  And parts of the world still don't have them.  

President Nixon famously had an enemies list.  But no president has ever, so blatantly used the powers of the federal government to go after his perceived enemies.  The president is publicly telling the Department of Justice to investigate and prosecute people who oppose him.  And as a blogger, I found this cartoon a bit close to home.  

I tell myself I'm just a tiny voice out in the wilderness and they have much bigger targets than me.  But I also notice that Google says my recent posts have way more hits that I usually get.  Stat Counter has always shown far fewer hits than Google, but they also track individual visitors.  I can't tell if I really have more hits or whether there are more bots.  In times past when there were lots more hits, it looked like someone scraping my blog for content, and more recently for AI.  But when that happens you can see a single user going to thirty or more different pages per day.  So many hits on a single page is different.  

In any case, I want people to stay strong and be engaged in fighting this regime to preserve our democracy (not to mention our health and economy and general well being.)  Do what you can.  And take breaks to laugh, enjoy nature, good friends.   Find like minded people.  And know your rights.  

And a teaser for a post I hope to put up this week.  

From Animalspot.net

Going To The Dogs In A Good Way

The Anchorage Museum has a dog exhibit this summer.  I thought about the dog pictures people put up on social media platforms and skipped it.  I was more interested in the famous artists: 

"historical images, contemporary art, and major artworks on loan from the National Gallery of Art, the Smithsonian American Art Museum, the Art Bridges Foundation, the Kalamazoo Institute of Arts, the Nevada Museum of Art, and the Stanley Museum of Art. 

Artists included in this exhibition include: Rebecca Lyon, Daniel Martinez, Ken Lisbourne, Jessica Winters, Adolph Gottlieb, Grace Hartigan, Theodore Roszak, Kurt Riemann, Conrad Marca-Relli, Trevor Paglen, Peter Ermey, Amy Burrell, Annie Murdock, Mark Rothko, Vera Mulyani, Franz Kline, Charles Stankievech, Willem de Kooning, Jackson Pollock, Ben Huff, and Dan Deroux."  

I was particularly looking to see the Mark Rothko paintings.  Okay, it takes a certain kind of person to be excited about Rothko's art.  And standing before one is a very different experience than looking a pictures of them.  Unfortunately, there was only one piece of his - not a particularly exciting one - and all these artists' paintings were somehow used to illustrate an installation on 

"COLD WAR TO THE COSMOS: DISTANT EARLY WARNING SYSTEMS AND THE ARCTIC"

The best part as I cursorily walked through it were the parts related to Peter Dunlap-Shohl's Nuking Alaska.  I had been expecting a great art exhibit, but the paintings were used to illustrate the Cold War.  I probably should go back. (Generally I like the juxtaposition of unexpected things, but I was looking forward to the Rothkos and was disappointed there was only one.)

But this recent visit was to see what they did with dogs.  And they did very well.  A thoughtful exhibit.  

There were plenty of sled dogs.  But they were given a bit more context than they usually get.  

The scrimshaw, and this James Albert Frost's The Sleigh Team on the right.                                       "The Sleigh Team is one of a series of illustrations by George Albert Frost for Tent Life in Siberia, a travelogue of George Kennan chronicling their 1885 travels across Kamchatka.  Keenan's writing identifies the attributes of the Siberian Husky (enduring, disciplined, and observant), indigenous sled technologies such as the oersted - a 4-foot wooden stick with an iron spike - used to slow the dog team and his own knowledge about the difficulty of mushing:  "The art of driving a dog-team is one of the most deceptive in the world. . . [one is] generally convinced by hard experience that a dog-driver, like a poet, is born, not made."

And we have more modern images.  From Alaska Natives themselves.  

Rosie Charlie, Basket c1972

Pootoogook, Composition
(Woman with Dogsled) 1991

 

But there are lots, maybe more, depictions of dogs from a whole array of artists.  A few examples:

This is a quilt by Chichi and Giannone called Coleccionistas de trapos [Rag collectors] 2022.   "Argentine artistic duo Leo Chichi and Daniel Gannon portray themselves in an everyday moment with their children/pet dogs.  Created from collected and salvaged textiles, the artists use their materials to transform and re-inscribe stories that celebrate "Cuevas configurations familiars, en este case una familia lgtbq multi specie, rodeados de un mundo de telas que representa los recuerdos, tiempos y memorias de quienes han pertenecido pestos trapos."/"new familial configurations, in this case, a multi-species LGTBQ family, surrounded by a world of textiles that represents the memories and times of those who formerly owned these 'rags.'"                     

Gordon Parks, Woman and Dog in
Window, Harlem, New York 1943

And this dreamy picture is by Shona McAndrew  "Oh, To Be Loved"  2023

Sesse Elangwe, A Different Kind of Love, 2022

"Texas-based Cameroonian artist Sesse Elangwe frequently paints his subjects with bold colors and patterns to celebrate their individuality and confidence.  Reflecting on this work, which also features three pet dogs, Elangwe shares, 'We look so different but so alike;  you're my soul's true counterpart.'"

There is a lot more to see in the museum.  A good reason to get an annual membership that allows you to go as often as you want so you can look at one small part on each visit.  Or you can go free on the first Fridays of the month.    

And I want to call people's attention to the exhibit in the atrium - photos, large photos, by Roman Dial of the trips he's taken, often cross country for miles and miles, through Alaska's wild lands with friends and family.  Here's one picture I found amazing - both the picture itself and how it is presented.  

I didn't catch the title, but there's a packraft at the bottom and then folks way up on top of the ice.  And it's displayed right on the wall, over a door with the handle right there.  

 Again, I encourage folks to go.  Get distracted, get your brain stimulated, or your heart.  

SUMMER HOURS (May - September)
10 A.M. to 6 P.M. Monday - Sunday
*Extended hours through 9 p.m. on First Fridays with free admission after 6 p.m.

MUSEUM Admission & Tickets

$25 Adult (18-64)
$20 Alaska resident (18-64)
$18 Ages 13-17, senior (ages 65+), military, and students 
$12 Ages 6-12*
FREE Children age 5 and younger, museum members, and enrolled members of federally recognized tribes.

*Children age 12 and younger must be accompanied by an adult age 18 or older. 

There are a number of times when there are free or discounted tickets which you can see here.

Or find a friend with a membership who can take you as a guest.  Or get your own membership.  

 

AIFF2024: Cigarette Surfboards; Alaska Native Masks Out In the World

Two more days of festival.  Well only one more for us.  Not that long ago, the Festival website said the festival was Dec. 6-14 and we made our plane reservations for December 15.  Then the more recent edition of the website moved it to December 15.  

This festival has been filled with crazy good documentaries - Champions of the Golden Valley, Ultimate Citizens, Porcelain War, 76 Days Adrift, The Empathizer, Diving Into the Darkness - and I heard Unearth was also great.  And I thought Queen of the Ring was also quite good, but not quite at the level of those others.  

Today we saw two more:  So Surreal:  Behind the Masks and The Cigaret Surfboard.  The basic 'discovery' in Surreal, was how Yupik Alaskan Native masks along with Native Masks from British Columbia had a huge influence on the surrealist artists early in the 20th Century.  This was something I'd learned some time ago.  But the film combined a number of themes - the spiritual meaning and use of Alaska Native masks, the history of how the churches and white government banned the ceremonies in which masks were used and confiscated them, how the Surrealists discovered these masks and were inspired by them, and a detective tale of where some of the masks were today and how to get them repatriated.  The magic of the film is how seamlessly all these themes were intertwined.

Perry Eaton (center) and Drew Michael, both Alaska Native mask makers featured in the film, talk afterward about masks and the film.  

But I also was very pleasantly surprised by how good Cigarette Surfboard was.  I'm biased.  I grew up near Venice Beach, and while I was too lazy to lug a surfboard around (they were big heavy monsters back in those days, and none of my friends were surfers) I was an avid body surfer growing up.  
 

This film starts out with Taylor talking about how cigarette butts are the most numerous item when people are cleaning trash off the beach.  (I had encountered this once long ago when I helped pick up trash with a Covenant House mentee in downtown Anchorage.  So many cigarette butts.)

Not only is the tobacco full of chemicals, but the filters are not biodegradable.  So Taylor decides to make a surfboard using cigarette butts to draw attention to the pollution they cause.  The first one - in the photo - was two heavy.  But he got it down in weight and then got professional surfers to use the boards as a way to get the environmental message across.  The basic question people seemed to ask when they saw these boards was "It must take forever to collect all the butts."  They get told, "Not really, they're everywhere."

So this is an environmental movie and a surfing movie.  We see lots of people riding the waves on their cigarette surfboards.  

Taylor also visits surfers in different parts of the world.  In Ireland one former surfer decided flying around the world to go surfing, while fun, was not environmentally defensible, and he switched to sustainable farming that won't harm the ocean.  In southwest England, a group of surfers had successfully lobbied - with surfboards at Parliament - to end the practice of dumping raw sewage into the ocean.  

A fun film with a message.  

Anchorage Stuff - Garry Kaulitz Art, Highway Proposed Over Chester Creek, Film Festival Coming Soon

from Fog 24 Gallery

Garry Kaulitz was a long time University of Alaska Anchorage artist and professor.  His works are still alive and available online.  Here's the link.   Worth a look.  

A letter from the Rogers Park Community Council alerts neighbors of a Department of Transportation proposal to put a highway above Chester Creek.  There's a meeting at the Senior Center - which would, if I read the map right, be under the viaduct.  

Meeting to discuss is  

TUESDAY, DECEMBER 10, 2024 

FROM 4:30PM TO 6:30     

SENIOR CENTER

And I'd be remiss if I didn't remind folks that the Anchorage International Film Festival begins Friday, Dec 6, 2024 and runs through Dec.15.  

This image is from the page labeled 'FILMS'.  It keeps going well below this screenshot.  

There are always great films as well as some that are not so great.  But everyone has different tastes so there will be something for everyone.  Films will mostly be at the Bear Tooth and the Museum.  

There is also a change in the festival organizers this year.  I described that a little bit back in September and you can see that post here.

I'll cover more about individual films soon.  

There's a new tab up on top under the orange banner for AIFF2024.  That will be an overview of the Festival and an index of my posts about the festival.  

Seattle Outing - Food And Art

Our grand parenting duties shrink back as our granddaughter gets older and has more autonomy and more activities to fill up her time.  That's not a bad thing.  We still get to spend lots of time with our daughter and granddaughter, but I also have plenty of time to read, think, write, and delete emails  that never seem to slow down.  Even as I unsubscribe to emailers I never subscribed to, new ones seem to find me.  

But we had an anniversary yesterday and we decided to take the ferry and wander around downtown Seattle.  

It's been pretty rainy, but the sun made itself known as we approached the ferry terminal.  

We tried the post office on 1st Street, but it was closed for lunch.  

So we made our way to Pike Place Market for some clam chowder.  The seats weren't that comfy, but the chowder was hot and the guy with the red sleeves kept up a constant entertaining chatter.  

We wandered a bit through the market.  Then across the street to a kitchen ware shop where we found a gift for our granddaughter and her dad.  We stopped in at H-Market for a look around.  Then made it to another post office where I was able to send my package.  I had the book in an envelope I'd received a different book in, but the clerk immediately told me I should buy a new envelope which would be cheaper than buying a roll of tape for the envelope.  While we waited, another customer asked another clerk if he could tape the address label on and was told to buy a roll of tape ($3.99).  This is new.  Post office personnel used to be helpful.  I guess Trump's postmaster who's apparently still in charge, thinks saving pennies is better than making customers feel like coming back.  

Then to the Seattle Art Museum.  I'm always taken aback by how much it costs to enter major museums these days.  I know it costs money to run things, but art is a major expression of a culture and museums are a serious part of public education.  If we can pay to be the most armed country in the world, we ought to pay even a percent of that for public art museums.  But I quickly got over that as we interacted with what was on the walls, the floors, and even the ceiling in places.  

There's clearly a change in how museums display items.  There's a lot of obviously intentional diversity.  There's mixing up of pieces of different eras and cultures to find (or at least claim to find) commonalities.  

And I was particularly struck by the universality of human art - both geographically and in terms of time.  We tend to think that we are smarter and more skilled than people who lived hundreds or thousands of years ago.  Certainly a fair chunk of today's US population (like those who believe their cult leader is going to improve their lives) aren't nearly as wise as the brightest people in past generations.  

On the left is Charles d'Amboise.  The painting was done about 1505 (just over 500 years ago) by Bernardine de'Conti who lived in Milan about 1470 -1522.  

The description says:

"The French nobleman Charles d'Amboise became the governor of the Duchy of Milan after it was conquered by France.  The collar of scallop shells and knots denotes the Order of SaintMichael, granted to him about 1505, perhaps the occasion for commissioning this portrait. 

D'Amboise was a friend and patron of Leonardo da Vinci, but he hired a more conservative artist for his portrait and chose to be portrayed in a classic profile view, which records his features but provides no psychological insight.  He most likely wanted to link his image with the great rulers of the ancient past, depicted in side views on coins and medals like those shown in the case nearby  D'Ambroise himself was an avid coin collector as he proudly demonstrates here."

I'm going to assume the curator knows a lot more than I do about art and this painting.  But I'm not sure why a side view can't provide psychological insight, or that a full face portrait can.  But what little we learn tells us a great deal.  With a different haircut, or maybe just a baseball cap, he could fit in walking down the street today.  There was a hierarchy of which he was in an upper level, and he collected coins.  And the painter could easily get work in today's world.  Both could probably fit into 2024 fairly easily with a little bit of coaching on the advances of science.  

The one on the right is not as old (about 1699), painted by French artist  Nicolas Colombel who lived from 1644-1717.  He died fifteen years before George Washington was born.  He was a year younger than Isaac Newton, but died ten years before Newton.  Nevertheless, the story of Cupid (Eros) and Psyche is much older.  Wikipedia tells us:

"Eros and Psyche appear in Greek art as early as the 4th century BC"

The curator wrote the following to accompany this painting:

"The jealous goddess Venus sent her son Cupid to make Psyche fall in love with a horrible monster.  Instead, Cupid became enamored himself and installed Psyche in a palace where he visited her at night so that she couldn't learn his identity.  One night she stole a peek at his beautiful face.  Startled awake, Cupid left immediately, and his palace vanished.  Psyche wandered the earth search for her lover, performing impossible tasks set by Venus in hopes of winning him back.  Finally, Jupiter intervened:  he made Psyche a goddess and reunited her with Cupid, giving their story a happy ending.  Here Cupid has just abandoned Psyche, who chases him as he hovers out of reach.  This moment allows Colombel, a French artist who was trained in Rome, to show the Roman countryside - the appropriate setting for this classical myth." 

So this story goes back 2500 years, yet we have the same human emotions and conflicts: a woman possibly falling in love with a monster (how many battered wives are there today?);  a forbidden young love;  a jealous and vengeful mother-in-law (no they aren't married, but Venus was Cupid's mother).  I'm not sure why the curator thinks the Roman woods to be the appropriate background, perhaps because the Romans appropriated much of Greek culture including their myths.  

I knew from the beginning this post was going to be much too long, so let me jump to another exhibit - this of Ausralian aboriginal artists.  

These large detailed paintings speak to me in a language I can't identify.  They tell stories of people and worlds I do not know.  Yet they move me a great deal.  This is a beauty and a visual language that still exists, outside of Western culture.   

Here's detail of a painting called Kalipinypa Rockhole (2003) painted by Elizabeth Marks Nakamara.  The curator writes:

"Lightning bolts that ignite the sky are the source for this striking white maze.  Kalipinypa is an important site where ancestral forces swept in with a huge storm that caused lightning to flash and water to rush across the country.  They left behind a rock hole surrounded with sandhills that are seen here as vibrant patterns created by dotting that fuses into lines that wiggle ever so slightly.  Elizabeth Marks Nakamara was married to the renowned artist Mick Namarari.  She watched his painting for years but did not begin to paint herself until after his death in 1998."

One more from that collection.  There's no story with the description - just the facts: 

" Marapinti, 2016

Acrylic on canvas

Nanyuma Napangati

Australian Aboriginal, Pintupi people,

Papunya, Western Desert, Northern Territory,

born 1940"

Most of what I know about Australian Aboriginal culture comes from Bruce Chatwin's book Songlines, which I wrote about here.  And songlines (check the link, really!) are clearly part of this art.  Truly a book worth reading.  

Another descriptor at this exhibit read:

"'Dreaming is an all-embracing concept that provides rules for living, a moral code, as well as rules for interacting withthenatural environment' - Jeannie Herbert Nungwarrayi(Walpiri speaker) 2000

Dreaming is known by Pintupi speakers as Tjukurrpa.  Tjukurrpa is called a template for a dynamic duty or way of observing laws passed down by ancestors - the powerful shape-shifting creators who formulated the earth's features, people, and culture.  Dreamings stimulate intellectual and emotional life, as people recall extensive genealogies and ceremonial song cycles that describe the ancestors' adventures.  No country - the lands, waters, flora, and fauna of an area - is without a trail of their presence, which offers a living continuum of wisdom for all to learn from.

Dotting was a biodegradable at for for centuries - on ceremonial objects, in sand paintings, and on painted and adorned bodies.  Dots of ochres, down, feathers, and leaves could at times totally overcome a human form, enabling dancers to enter a mythic envelope as they enacted ceremonies. Dots began appearing in painting as a echo of this sacred significance.  Some contend they help conceal sacred knowledge, and others suggest they express the flash of ancestral power.'

Surely, there's nothing here more supernatural than believers of Western religions embrace.  

There was so much more reshaping edges of my brain and heart.  The ways of human beings haven't really changed all that much since homo sapiens appeared.  When politicians call for STEM education that leaves out art and music and humanities, we leave students with a huge hole.  Science has given us a way to tinker with nature, but without a study of the human spirit and behavior and morality, we leave out the part that helps us make decisions about what technology is worth pursuing and what is likely to give us more pain than joy.  

We are reminded about this daily - from the movie Oppenheimer, to politicians' inability to pass gun reform that would significantly reduce the loss of life, to the onset of AI as a profit making venture that has the possibility of eliminating people's ability to discern truth.  

A Long And Amazing Life Ended Today

I just learned that Gerda Bernstein passed away peacefully today.  If I've got my dates right, she was just shy of her 101st birthday.  

She was my mother's first cousin and was able to get out of Germany before World War II started.  She was always a presence in my life, though I'd say she knew me longer than I knew her.  My family moved to LA from Chicago when I was still under three. While I see pictures in the photo albums of her in Los Angeles, I don't really remember her from then much.  

My first vivid memory was when I traveled back home from my junior year studying in Germany and stopped for a day in Chicago.  She was a bigger than life person - warm, beautiful, welcoming.  Here's a picture of her wedding I found during this stay in LA .  

Below is from a post I wrote in 2016 when we visited her huge art studio in a warehouse in Chicago.  She was a significant artist.  Much of her work was large installations.  Her website says:

"Gerda Meyer Bernstein is an internationally known Chicago-based artist who addresses thorny global issues. Her previous exhibitions include "Witness & Legacy," a traveling museum exhibition; The Alternative Museum in New York City, The Spertus Museum and Cultural Center in Chicago; "Passages" at the Ellis Island Immigration Museum; and at the New Berliner Kunstverein, Berlin, Germany."

  I have some video from that trip which I thought I'd put up.  I'll try to add it later.  

Then we went to visit a first cousin of my mom's, who is also an artist of some stature - Gerda Bernstein.  We, fortunately, met her at her studio.  My mom's had a lithograph of hers hanging in her house forever and I've seen catalogues of her work.  But since most of her works are large installation pieces, there's nothing like seeing things as they were meant to be seen.  The studio is a small gallery.  Some of the installations are up, but most are represented by photographs.  I want to do more on Gerda, but were busy every day visiting folks so this is just a brief post. 

On the left is view from near the entrance to the studio. 

This piece is called Gaza Tunnel.  It's a reconstruction of the tunnels used to smuggle things into Gaza.  But this tunnel is reimagined to be lined with books and the idea of the transformational power of books. 

Most of her works raise issues of people's suffering in the world.  As I understand it - though I'm not positive - many early works were holocaust related and the focus has taken in other oppressed peoples. 

I'm afraid I was overpowered by the art in the studio.  My initial interest in Gerda is that she's the only person I know of who is still alive who knew my mother when she was a young girl in Germany.  We talked about that a little bit, but the art was too strong to resist.