THE NEW ME

On Tuesday, November 10, I weighed in exactly the same, 174, and I'll take it. Especially after all those Ruffles. Finally - the bag is gone. Never again, will I have Ruffles Potato Chips in this house. I simply have no resistance.

Just now, I removed all the other snacks I bought, a huge mistake, to the basement. Last night, I started in on the Ritz crackers, also a fav. So I figure if they're down in the basement, I won't hear them calling me. I hope. Yes, I hear you saying I could just pitch them, but that action is not in me.

There is an article in this morning's Trib about TOPS, which I might check out. Decades ago, I did go to a couple of meetings, but stopped, for whatever reason I cannot now remember, probably five kids and stuff like that.

On Sunday, the 1st, I went to see a terrific flic, "The Damned United", down at Pipers Alley in the city, and then in the evening again out to College of DuPage to see the Thunder Drums of China, an amazing performance, all percussion instruments. Fabulous show. But no walking that day.

Monday I walked, and went to an evening movie, "District 9", probably the best sci-fi I've seen since "Star Wars", terribly under-rated. Walked again Tuesday, but Wednesday went to a Hindu temple in Lemont, rather tired looking if you ask me, and it is all about the architecture as far as I'm concerned, not being a Hindu. There is another one on Rte. 59 just north of North Avenue that is truly a wonder to behold. No expense spared there.

Thursday walked, and that's when I first weighed 174. Friday spent the entire day at SOFA on Navy Pier. SOFA being Sculptural Objects and Fine Art. Had walked to the train, about a mile, and did you know that that Jamba Juice chain serves organic steel cut oatmeal in the morning? Had some in the train station, bused to Navy Pier, walked the mile to the very end, and walked around the show til it was time for me to leave to catch the 8:40 train home. Long, long day. I was so pooped that I called my husband to come and pick me up.
Saturday, walked and babysat, which is exercise enuf in itself. Sunday another movie, this time a documentary about Afghanistan, in which I learned so much. I had driven in and parked at Wacker and Van Buren, then walked to State and Randolph. After the film, bused again to SOFA, and walked around til almost close, this time breaking down and buying a piece of abstract bronze sculpture which just caught my eye about the third time I passed it. Small, but I love it. Called "Quest" by Bruce Niemi, a sculptor who has much public art in and around Chicagoland and the nation. He had his own booth, which allows one to bypass gallery charges, nice.

Monday I walked around the cemetery in Woodlawn for an hour to my tapes, but a slower one, as I tend to ruin my feet walking fast on cement. All day babysitting, lots of movement, very little sitting. Yesterday, the start of another 5 day period, some friends and I walked around Waterfall Glen Forest Preserve for over two hours, although not at any rapid pace. Saw a guy rollerblading with ski poles.

Except for this after dinner snacking, I am in control of what I eat. Always a good breakfast, lunch and dinner. I'm not sure what's going on after dinner, because it's for sure I'm not hungry. I'l try again tonight. And still no wine and very little sugar. Smaller portions now, always.

101 days down and still trying.

CHICAGO PUBLIC ART # 24 - CLOUD GATE-2004

On the same glorious day that we went to Buckingham Fountain, we first went to the now practically world-famous "Bean".

Done by Anish Kapor, it is sited in Millenium Park on Michigan Avenue between Madison and Monroe Streets. Just look for the crowds. I might add that we ate lunch at The Park Grill, right under "The Bean" and were pleasently surprised, both at the quality of the food and the prices. I can heartily recommend the hamburger and their fries, which were terrific, and I don't much even like fries.

Artner: "This 21st Century equivalent of a grand ceremonial arch or gate to an ancient city additionally reflects the heavens and some of Chicago's important architectural legacy. (The work is popularly - and foolishly - nicknamed the Bean."

Now I had seen this a zillion times and never once saw it for what it really is, an arch, a gateway to our city. And that makes so much sense when you look at it, really look at it, disregarding the reflections and hordes of people. It gives it so much more stature and importance to me. Yes, it does look like a bean, there's no denying that, but the real title "Cloud Gate" fits it better. It is a gate that reflects the clouds.
A gate to our wondrous city.

CHICAGO PUBLIC ART # 23 - EAGLE COLUMNS - 1989

Done by Richard Hunt, these forms are located in Jonquil Park, a small neighborhood park at 1023 West Wrightwood Avenue, at the junction of Lincoln, Sheffield and Wrightwood. Near his studio. According to Mr. Artner, Hunt has more monumental art on view here than any other Chicagoan.

These pieces posed a problem for me. While I liked them, I did not like them there. Personally, I think they should be where the "Reading Cones" are. Because the busy-ness of the neighborhood businesses in the background detract mightily.

You just cannot get a really good angle from which to appreciate them. And I'm not sure even which way they face. If north, then you have to stand across the street to view them, if south, then you should cross the park. But not from close up, unless you like craning your neck.

Yes, I liked them, beautiful forms evoking eagles and flight and soaring freedom. But not there. As you will see, from the pictures. They are quite impressive and somehow, spiritual, and deserve a better location.
I have included so many pics so you can see just what the problem is.

CHICAGO PUBLIC ART # 22 - READING CONES- 1988

Made by Richard Serra, a minimalist artist, and it shows. Situated about a block east of the east entrance to The Art Institute. On the south side of Monroe. And on the day I was there, in a rather bleak, barren landscape, which may be what the artist intended.
When I came upon these it was like "what the?" If this is art, for once it totally escapes me. But then I am no fan of minimalism. And I would dearly like to know if this form of art will still be around in 100 years or so.

Artner - "The greatest living sculptor in the United States contributes two arcs of steel perfectly conceived in relation to the human body [?] and cannily set in a blunt, dramatic relationship with land and sky."

Honestly, Mr. Artner would have to stand with me in front of those two pieces and explain all that, for I have no clue what he means. Yes, I can see that they are two arcs, but that's about all. Maaaybe a blunt dramatic relationship with land and sky, but human body? How? I simply cannot see it.
The steel is horribly rusted, and I'm not in love with rusted steel either. Although one site I did read says it is very difficult to bend steel into those shapes and at least the art should be appreciated for this technical skill. No. If a cook knows all about the ways of cooking and expertly fixes a meal that tastes terrible, I'm supposed to appreciate the art of cooking it. I think not. A filmmaker may know all about lighting, and photography, and editing, and have assembled a great cast, but if he cannot direct a story that involves us, what's the point?

And although I roamed all around the site, I could find not hide nor hair of any plaque or sign attributing this to Mr. Serra.
The reason it is called "Reading Cones" is because the steel was forged in Reading, Pennsylvania.

CHICAGO PUBLIC ART #21 - CHICAGO FUGUE - 1987

This one is in the lobby of the building at 190 South LaSalle Street, you can't miss it when you walk in. Done by Anthony Caro. Quoting Mr. Artner "An evocation of music very different [ yes indeed!] from Polasek's Thomas Memorial; this one, by Britain's leading living abstract sculptor, communicates not the general spirit of music [ as did the statue of the goddess Music] but something of one of its oldest constructions involving themes sounded in several parts or voices."
I am not that technically proficient in music to be able to comment on that. It does sound to me is if Artner is referencing the kind of songs sung in rounds, such as "Row,Row Your Boat". Although that is not old. But I could be totally wrong here. Whatever, I liked it. The Gregorian chants may be what he is talking about; I just don't know, and I don't think it matters. You like it or you don't, although certainly the more you know about a subject, the better you can appreciate it.

This is absolutely monumental in size. I'm sorry I don't have someone in the pictures to give you an idea, although the couch does help. There is a nice viewing area in front of it, with a 2 comfy sofas, chairs, coffee table. And a couple of chairs off to one side. There are guards at the doors, but as long as you are just staying in the lobby, it's fine.
One of the things I like about it is that it fits its space so perfectly. In looking at these pictures online, I notice that they really do not convey, in any sense, the power of this sculpture. You must see it. So if you are in the vicinity, please do drop in. It is well worth it.

CHICAGO PUBLIC ART #18 - "I WILL"

Erected in 1981 on the northeast corner of Fullerton Avenue and Cannon Drive in Lincoln Park. By Ellsworth Kelly, who created those geometrical colored forms that grace both sides of the upper hall outside of The Art Institute's Regenstein Hall.

Now it's funny, this art, because for decades now, I have turned that corner to look for parking along Cannon Drive because I frequently go to the Landmark Movie Theater up on Clark Street, and most always park on Cannon and walk up. And probably somewhere in my subconscious if you had asked me, I might have recalled a something on that corner, but could not have told you what.

But yesterday on a day that definitely had a taste of spring in the air, I did go to a movie at Landmark, did park on Cannon, and before the movie, walked down to the corner to look at and admire this piece.
All the articles call it a column; I'm not sure I'd use that word. According to Webster's New Collegiate Dictionary, a column is "a supporting pillar; esp: one consisting of a usu. rounded shaft, a capital, and a base". This is not that at all, as you can see from the pictures. It is a geometrical form, very slightly bulging in the middle, and almost invisible from the sides, it is so slender.

Also, according to the sign embedded in the facing rock formation, Kelly calls it "Curve XXII", not "I Will".
Artner says this is stainless steel and calls it a "minimal column". It is most certainly minimal, but beautiful in its starkness, I think. It is situated at the farthest point north of the Great Chicago Fire of 1871, and yesterday, at a little before 1 pm, the form reflected that fire in my pictures. Serendipity? Purposeful by Kelly? Who knows? The form faces southwest, and at that time of day in February perfectly both absorbs and reflects the sun. The red spray at the top is only in my picture. Doesn't it look like a flame shooting up?

















Supposedly, the form relates to our skyscrapers that were built after the fire, but here, to me, it seems to have been sculpted to be a shooting flame. At least at a certain time of day in the year. and I was lucky enough to have caught it. (This is not the same picture, lest you think it was a fluke; I even have a third.) And if you look very close, the ground in front seems to be reflecting that light.
Apparently the "I Will' comes from the fact that that was the motto adopted by Chicagoans after the fire. And they certainly did.
Other literature says it's hollow, although when I touched it, and even gave it a rap, it didn't seem hollow. It is totally flat, and so slender, it is almost two-dimensional. I loved it.

CHICAGO PUBLIC ART # 17 - BATCOLUMN

This one, done in 1977, is by Claes Oldenburg, and is located at 600 West Madison Street, just a block or so west of Ogilvie Transportation Center. And on the same side of the street. It is clearly visible as you cross the bridge over the Chicago River by the Lyric Opera Building. Especially at sunset. From a distance is looks like very lacy lattice work, but up close it is seen to be what it is, painted Cor-Ten steel.

Artner - "wryly gives the American obsession with sports the same status as an ancient obelisk or imperial column" Absolutely.
Note to the city. The large sign in front is fading badly, and very difficult to read.
This one taken from the base, in front of the Social Security Administration Building.

CHICAGO PUBLIC ART # 16 - CELEBRATION OF THE 200TH ANIVERSARY OF THE FOUNDING OF THE REPUBLIC

Another one that will have to wait til spring. This one is right at the east door of The Art Institute, and unfortunately, is the recipient of all the detritus from the construction work going on there. It is a fountain, and the cement pool and surrounds are chuck full of boards, litter, pipes, etc. As that construction is due to be finished by May 16th, I will return around then to see both it and the newly refurbished Buckingham Fountain. Both are fountains. Hmmmm. Season for fountain renewal?

March 27, '09 - It has occurred to me that this is a piece of public art, and hence, not owned by the Art Institute. Why then is it being trashed by their construction crews?

May 25, 2009

Hurrah!! It's up and working. Last Wednesday, May 20, I went to the Art Institute, and ( I thought) on the off chance the fountain is working and cleaned up, I took my camera. And LO and Behold! it was. Will wonders never cease?

Unfortunately, since all this time has elapsed, I have lost or thrown away my notes, although I'm sure I could google it. I do remember that the granite used to construct these two pieces is something like two or three million years old. Is Noguchi trying to say something about the endurance of our nation? It was erected in 1975 and looks like it was done yesterday, water cascading down from both the tall piece and the long, log-like piece. It is right at the east door of the Art Institute. It's OK, but I think it needs more land around it to fully appreciate it. It backs right up to the east windows of the AI, and is reflected in them. Again, his purpose?

















Here you can see the log part reflected in the windows. The pictures do not show too well the water flowing, but it is. And see how the obelisk mirrors the building behind it?

CHICAGO PUBLIC ART # 15 - FLAMINGO

Well, who doesn't know this famous Chicago sculpture? By Alexander Calder of mobile fame. Done in 1974, it stands immense in the Federal Center Plaza, Dearborn Street near Adams Street.
According to Artner, "In form, size, scale, materials, color [hence this type color] and placement this stabile - a fixed sculpture as opposed to mobiles - is the best of the Loop outdoor masters." I cannot disagree with any of that, although I might have, until I actually saw it on foot. And he further says that it looks equally good at night, although I haven't seen that, yet.
Actually I rather liked it. There's something, don't know what. I do think Flamingo refers to it's color, rather than shape, as it certainly does not resemble a bird, but then again, flamingos are pink, and I have seen those.
Personally I think it looks like an anteater. A giant anteater. Which raises the perennial question - why do we feel the need to relate art to that which is familiar?

CHICAGO PUBLIC ART - #14 - TWO FORMS - 1969

Done in 1969 by Barbara Hepworth, it is subtitled "Divided Circle". To be found behind Northwestern University's Mary and Leigh Block Museum, as part of the Sculpture Garden. In Evanston, at 40 Arts Circle Drive, it is a stone's throw from Lake Michigan. It is a little taxing to find, as there are many sculptures around the grounds behind the museum, but once you know it's two circles, it's a snap. (Don't forget to visit the museum also. Last Wednesday, they had Robert Maplethorp Polaroids, and two (honest to god) small sketches by the Master, Michelangelo.) There is ( or would be if the parking garage was not in the way) a wonderful view of "Sweet Home Chicago" from the circle.

I loved this one. Even though it was hovering around 15 degrees and I thought my fingers would fall off. This is cast bronze, large, and it wonderfully suits the space. According to Artner, ". . . its display here bring [s] us close to her ideas about abstract art in the natural environment". Yes, totally. I can't really tell you why I liked it; I just did.

The pictures were taken around 3 pm, on a bright, cold sunny day.

CHICAGO PUBLIC ART - #13 - NUCLEAR ENERGY

This one, done in 1967 by Henry Moore, is on Ellis Avenue between 56th and 57th Streets, smack dab in the middle of the University of Chicago, where an awful lot of construction is going on. South of the Midway, just a block south of The Court Theatre building, their parking garage, and the Athletic Center.

Alan Artner of the Tribune thinks this form is "perfect for the site of the first self-sustaining chain reaction that began the Atomic Age".

Not me, nor my friend. Hey, I'm not against modern art, I love some stuff, but this one leaves me cold - no pun intended. You can see the snow in the pictures. I though It looked like nothing so much as a football helmet, and my friend did that one better, saying it resembled Darth Vader's helmet. I hear that the scuttlebutt around the campus says that it is supposed to be a skeleton topped by a mushroom cloud. Whatever.


I have taken pictures from all sides to try and give you an idea.

So, what do you think?