Monday Morning Art #5 - Mark Rothko

Here are some bold shapes and colours for Monday Morning Art.

We're in the middle of the twentieth century, when abstract art was exploring how basic forms and bold colours can represent the world around us, or make us feel. Mark Rothko was an important part of a movement that built on the structured geometries of Mondrian decades before, but went further from the representational, deep into the abstract.  His big bold panels of colour evoke quick emotions and visceral responses.

This piece above is from 1950 and is called "Number5/Number22"  A big stripe of vibrant red through the yellow and gold, and the scratched away red. Is it a foreground, a horizon and a setting sun? Is it the close-up of a commercial logo or label?  It's left to us, but we certainly feel something in its bold colour and strong shapes.

About these pieces Rothko said he wanted us, the viewers, to feel "the tragedy, ecstasy and doom."  It's about the extremes of emotion and thus the strong, deep colours and shapes.

Rothko too explored a variety of styles in his earlier works.  He did slightly more representational stuff in the '30s and '40s but settled soon on the blocky shapes and colour blocks for which he's remembered.

I see a strong influence of Kandinsky in some of Rothko's mid-1940s pieces.  There are a number of surrealist-looking 'untitled' pieces. One called "Slow Swirl at the Edge of the Sea (1944) explored a similar style to the one I've pasted here, which is called  "Archaic Idol" (1945)  Compare this and those other contemporary pieces  to Kandinsky's 1920s abstracts.  Here is Kandinsky's "Small Dream in Red" from 1925.  Was this a major influence on Rothko's early exploration of shape and colour? Probably.

Ultimately though, Rothko is known for broad patches of colour.  The complex geometries go away, and soon it's all about emotion and amorphous shapes. 




Scrolling through Rothko's chronological works through the late 1940s and into the 1950s is very illustrative of his evolving approach.   In this image here I've reduce down to postage-stamp sizes a view of his work from the mid 1940s to the mid 1950s.




Isn't that interesting? By the end the shapes become bigger and the detail is reduced, one might say, to pure emotion.

In conclusion I give you these two pieces. The red with white and black is "No. 46 (Black, Ochre, Red Over Red)" (1957) and the orange and yellow piece is called, strangely enough, "Orange and Yellow" and was completed in 1956. 


If these pictures, and their price tags make you angry, might I suggest you explore the works of Barnett Newman? He'll really piss you off.

Our Top Five Worst Drive-Thru Restaurant Ideas

When driving sometimes we came up with some terrible (and thus funny) ideas as we discussed the American penchant for drive-thru's and noted their steadily-increasing numbers around Canada.

We speculated, what would be the worst concepts for a drive-thru restaurant location?  Perhaps we were inspired by the scene in the movie "Sideways" where two characters are driving away for a weekend. While on the road they have a wine tasting, with their big red-wine glasses, right there in the car.  

So here are our Five Worst Ideas for a Drive Thru Restaurants

1. "Fogo To Go" Lamb-on-a-Sword. Drive Thru Brazilian Churrascaria
2. "The Raja's Temple Zip-in, Zip-out Mulligatawny Window"
3. "Dairy Dip's Flaming Alaska on a Stick" drive thru.
4. Little Ethiopia Floppy Injera and Lentil Stew Roll-Ups.
5. Jean-Pierre's Hot Oil Fondeu Drive Threu.

Some day we'll have to make up some catchy signage. 

Monday Morning Art #4 - Henri Matisse

The life's work of Henri Matisse is an interesting cross section of the art from the Belle Époque through the Avant-Garde and early Post-Modern.  From classical to borderline non-representational.
This early piece called "Interior with Top Hat" was completed in 1896.  It's a nice mix of subject matter. The composition has a nice asymmetry, but so too is the lighting nice, from the deep black of the under-desk area to the translucent white of the porcelain vase.  You can see that the artist was interested in the blocks of shape and value, as would some-day dominate his exploration of other subjects, particularly the human form.

The early works of artists are always interesting - searching for hints of which direction they were headed.  The early influences of artists give them a visual vocabulary which they draw from for years to come.  

These two paintings are a great example of that.  On the left, is Matisse from 1898, and on the right is Cezanne from 1879.  Matisse would have known this piece, and perhaps even intentionally sought to create something in that vibrant style and colour palette.  (Forgive the grey bar, that's me quickly juxtaposing two pics snagged off the web).

By the 1940s and 50s, Matisse has explored the figure in distorted, colourful and rudimentary shapes, and further sketched the form within the landscape. 

Matisse's 1910 'Dance" depicts figures in orange against a blue and green field.  His work becomes more 'primitivist' perhaps as the years pass.  By the 1950s he reaches the simplicity of his "Blue Nude" series, this one from 1952.
Like his contemporaries in Cubism and Dadaism and other multi-varied reductions of the world into contorted shapes, or simple lines,  Matisse's works were revered by art fans eager to see new ideas explored in art.

Still, others - even today - react with anger and frustration at the apparent simplicity of the work and the distortions of reality.   In that, the artist succeeds on another front, making the viewer look at the world around them. There's no right or wrong in these abstractions.  They merely give us a lens to re-interpret reality and find beauty in the ordinary.



Monday Morning Art #3 - Edward Hopper

The American painter Edward Hopper constructed gripping urban and rural scenes.  Not so much interested in landscapes per se, his stuff focussed on how people inhabit our spaces. 
Many of his works - the most well known ones - seem to focus on urban life, but his small town or rural pieces are gripping as well.    This piece is "Adam's House" from 1928.

The elements that I notice in Hopper's work are three things: diagonals, contrasting/dramatic lighting effects, and windows.   Hopper LOVES him some prominent diagonal lines, and virtually none of his pieces don't feature the diagonal.

I can't help but think he was strongly influenced by Degas' piece "Absinthe Drinker" painted 50 years earlier.   In fact, now that I think of it, Hopper seems to draw a lot from Degas.  The diagonals sure - there are few rooms which Degas doesn't approach from an oblique angle – but his dour subjects too, captured in realistic situations of the time.

The interactions of humans and the spaces they inhabit are his subject matter, and the capturing of their spirit and hinting at heavy weights upon their shoulders as well.

And their positions!  Like Degas, Hopper captures people in the corner of the picture, or truncates part of their bodies, or shows us the back of their head instead of a classical pose. 



Hopper's "New York Restaurant" completed in 1922 is such a great capture of motion and movement. Like one of Degas' studio shots perhaps?

But while Degas focussed so much on the dance studio and the personalities among the footlights, Hopper gives us windows, windows, windows.  They're peeks into people's lives, and troubles, and souls perhaps in the end.

His most famous work is surely the cult-favourite "Nighthawks" shown here.




The peeks into people's homes and workplaces, through his well-placed window frames capture the atmosphere so well, that there becomes an undercurrent that it's hard to put our collective fingers upon.  The pieces become almost surrealist, but we don't know why.

The maid working away, on we don't know what.  The businessman leaning over the evening paper, and the woman in the red dress. We know they all have stories and we want to know what they are.


Anyway - I'm rambling 'cuz I like this stuff.  But go ahead and read a bit more about Hopper, his conservative upbringing and the people in his life. It's an interesting world of which he captures scenes and gives us glimpses.










Monday Morning Art #2 - Mondrian

Before Mondrian developed his trade-marked geometric shapes and colours, he created some striking landscapes and recognizable depictions of the Dutch landscape.

This piece is "Small Farm on Nistelrode" and was completed in 1904.

I like how his colours and contours hint of his later geometric creations.

These two pieces will be readily recognizable to all, surely.  Even if you don't know the name "Piet Mondrian" you'll recognize the pattern.  Whether you saw it on the packaging of some personal-care product or food item or wall-paper, this imagery has crept into all corners of our world since he first started experimenting with colour and line more than 100 years ago.

Interestingly, the designs are so timeless, that the patterns are still exploited to give products or clothing a 'modern' look even today.

It's also interesting to compare the three pieces shown here and see how Mondrian's observations and interpretation of the world around him evolved to find pleasing combinations without having to retain the 'representational' element.

He echoed this in naming approach as well, giving the pieces simple names like "Composition with Red, Blue and Yellow" or Tableau.  Later though the names reference locations of inspiration like, "Broadway Boogie Woogie," "Trafalgar Square," and "Place de la Concorde."
These geographical names point out how his roots in painting the landscape continue to inspire, even when he's representing the places with only geometry and colour.

Well there are lots of places for you to read about Mondrian - and my yammering is not going to bring anything new to the discussion.  Take a look at the Mondrian body of work on WikiArt if you are so inspired.




Monday Morning Art #1 - Monet

On a weekly basis, check my twitter feed for a Monday Morning Art posting.  I endeavour to bring a bit of art, be it interesting, beautiful, unexpected, or maybe even all three, into our day.

Monday seems like the perfect timing for this.  And while Twitter is particularly quiet in those first few hours of a Monday morning, I'm thinking what better time to enjoy a noteworthy piece of art than when things are quiet.

I was inspired to share a few tidbits from the history of art, after coming across this Monet work, called "the Chapel Notre-Dame de Grace at Honfleur."

We probably all know Monet, and many of us have seen much of his work, whether hanging in various galleries around the world, or in books we've browsed, or in poster-form on your friends bachelor pad.  That's why I was surprised and elated to come across this piece, which I had never seen before.

Further to this picture of Monet's brilliant painting, I found the same location on Google's StreetView, and had to do a side-by side comparison.  How fun is that? 
Forgive the slightly-oversized-for-the template issue, but it seems worth it for the comparison view. The left is Monet's painting, 150 years before the photo on the right.


A little artistic license, but it's still quite true to reality. Nice to see that the space is appears to be still relatively intact as a pastoral green space, even if there is a paved road running through it now.

Hope to share a few more pics from artists well known and perhaps a few obscure ones too.  There's a lot to chose from, so I'll enjoy browsing through the rich wealth of art history to chose a few gems.

A great resource to browse, if this has put you in such a mood, is the WikiArt site at this link.  Happy browsing.


Too Many Words™ - A Tale of Two Sandwiches

To walk from Katz's deli in New York City to Schwartz's in Montreal would involve trekking for 599 kilometres along US Highway Nine. And it just might be worth it.

In fact, someone may be able to walk the full distance while you are reading this diatribe on the subject, as I will go on a bit in this next piece in my "Too Many Words About…" series. 

Comparing the two is a smoked-meat tale of epic drama. The best of lunches, the worst of lunches.  A saga which left me shocked and amazed. And it all happened just a few days ago.  (Cue the back-in-time montage music, and blurry vision…)

In New York City for the weekend, we, with a couple of decades of exposure to Montreal's smoked meat royalty,  vowed we would finally make our way over to Katz's Deli.

Seems like the perfect time to explore how many words can I can possibly write about a smoked meat sandwich.

Living in Ottawa, we find ourselves in Montreal on a regular basis.  There, Schwartz's deli is a bit of
Schwartz's Montreal - via Google StreetView
a temple of smoked meat. Figuratively of course. If it were literally a temple of smoked meat it would be kind of floppy, and too humid inside.

Around since 1928 on St. Laurent Blvd (AKA 'The Main') it has served up smoked meat to regulars, lunch-counter style, and built up a close following of devotees world-wide, one sandwich at a time.

Yes, I'll be first to admit that it has evolved into a bit of a tourist trap. Invariably there is a long lineup to get in, and these things tend to feed off themselves.  The line-up experience spreads the tale of the line-ups, like rivers worthy of fording for the treasures on the other side, and the legend draws more visitors.

Some locals will look with disdain and claim that it used to be something more.  But once you are crammed around a table with a group of strangers (every seat counts here) and get your $6 sandwich, you are happy that you waited a bit on the cold winter avenue, or under the sweltering August sun to get your sandwich and a Cott's 'black cherry' cola - the drink of choice.

There's a definite culture about the place.  You get a sense of it from all the tweets, newscasts, YouTube videos and short-film productions that rant about the place.  But with a few visits you get to feel it for yourself.  A camaraderie with other patrons both regulars and first timers.

It's when you're sitting there, with people of diverse origins that you occasionally strike up a conversation and hear the stories of first visits, or witness someone experiencing it then and there. Invariably it's a bit understated. It comes after the first bite. Someone chewing, nodding. "It's good." is typically the first indication.  A few minutes later: "This is good."  The rest of the mystique builds days later, back home when you start to think of your next visit.

People are respectful of one another, I've found over the years.  I haven't had anyone become an over-bearing instant pal because you're sharing a table.   Sometimes there's no more than a smile as you share the mustard.  Other times you have a bit of a conversation. Usually it's after the expectations have been met, and the chewing is loosening tongues.

Sometimes your tablemates aren't the couple from Calgary who described the flooding last year, nor the large family from Nunavut that ate a years-worth of smoked meat in one sitting, nor the couple from Ottawa, or the local guy beside me when I went solo on a business trip to get a quick-access stool at the bar.  He had a steak(!)   Sometimes it's someone from the States who raves about the experience and adds "I guess this is kind of like Katz's deli in New York."

I always wondered about that.  Well, now I can say, "No, not really."

Because of those conversations, Katz's had been on our agenda for a while.  Last weekend, we were in the Big Apple, looking for the big sandwich.

We had started the afternoon with a walk along the East River, and a quick duck under the Brooklyn Bridge.  You don't really have to duck, it's quite high, but there were some waterfowl there too.

We then decided to catch a subway over to the High Line, NYC's spectacular park on stilts.  It was a bit of a chore, because some subway security incident had disrupted the service, rendering a couple of lines closed, and diverting huge throngs of people onto the other lines.

We had a bit of an elevated walk in the sunny spring weather with crowds much bigger than we'd hoped. We had a seat on a stylish sculpted bench, and feeling peckish, we remembered our vow to locate and conquer Katz's for a late lunch, and thus achieve what we had not managed to do on previoius trips to NYC.

We found out quickly that we had been very near to Katz's that morning, and heading back would put us deep into the suspended-subway mess again.  I reluctantly proposed that we again skip it for the current trip.

K had the right attitude, though, and suggested moments later that no, we should make it happen this time and stop putting it off.  Thus we walked a few blocks to a south-bound thoroughfare, and hailed a cab, which barreled headlong through the streets, horn honking, to bring us along the SoHo/NoHo boundary and our destination.
Katz's New York - via Google StreetView

Here, like Schwartz's, there are line-ups at 3pm of smoked-meat seekers. As veterans of the
cured-meat queue, we were unfazed and took our place, and a few selfies with the signage. Since 1898, no 1888, proclaims the hand-altered sign.  Clearly, during the 30 years between their emergence and the rise of the Montreal deli experience, significant advances were made.

Upon gaining entry, you realize that there are both similarities and differences.  Schwartz's and Katz's both preserve some history in their decor.  A nice patina of age and kitsch.  But rather than the friendly arbiters of seating in Montreal,  here there are barking NTSA-like bouncer-types handing out cryptographic blue tickets and directing you towards a shoulder-to-chin crowd, wedged up against counters where workers slog away serving up sandwiches.  Their repeated orders barked out constantly. "Do NOT lose your ticket" they say, and the signs too threaten.  There are hints of grave financial penalties for anyone who tries to leave the building without a ticket. Is there really a smoked-meat force that imprisons ticketless dissidents?  Keep your ticket, you need it to get out, even if unused.  What is it used for, one wonders.  What nefarious scheme could I perpetrate were I ticketless and managed to run the border?  I never did find out.

"How does this work" we ask a young lady at a podium amidst the throng.  We are told you can order and acquire your food in one of the lines at the counter, and take a seat at any of the specially designated tables.  "Do NOT use the tables along the edge, they are for table service," she warned.
"What if we want table service?"
"Stand over there and we'll call you."
And so we did.

We waited again, but were still hopeful.  Finally we and another local-ish couple were given seats at a table for six with (gasp!) a space between us.

We had barely picked up the menu, trying to find the options.  Ah, cherry coke here too - a consistent drink pairing logic then.  A good omen, but where is the sandwich?   Wait a minute.  Is this $18 item the sandwich?  Really?  We this asked of a waiter, who popped by before we had barely sat down.  "Is that really for just a sandwich?"

"Yup."

We looked at each other.  Do we really want to do this? We weren't sure.  We felt a little abused, like we had just been plucked from a sinking ship, and barely out of the water, we needed to hand over our wallets and wrist watches for the lift in to shore.

The waiter was quickly gone to let us read the menu, and we debated staying.  I think I would have left at that point, though  K pointed out that the investment was already substantial in terms of time, cab-trajectory-life-risk,  cab fare, line-up time and corral time.  In for a penny, in for a pound. So we decided to plunge ahead.

Then we waited. And waited. And waited.

FINALLY after probably twenty minutes, a waiter returned to take orders from both couples.  The other dating duo kept their spirits up.  We were a bit more impatient to get our insanely-priced hostage meal, but the customer abuse continues.

It's one thing to demand extortionate prices for a sandwich - I can almost understand that. As long as people line up, you may as well keep charging more to maximize your revenue, I suppose. If that's all that's important to you.  But the ridiculously slow service and empty table space seemed to contradict that. Really, wouldn't you rather maybe charge a bit less and pump the patrons through the place with speedy service, and quality food, raking in the profits?  Schwartz's could show them a thing or two both in the kitchen and in the manager's office. 

Probably twenty minutes later the waiter was back, and we put in our order.  Cherry coke, corned beef (they have both corned beef and pastrami).  Can we get a half-sour pickle?  Oh yeah, we give you a whole plate of pickles anyway.  Well, there is that, anyway.

Guess what? Then we waited, and waited again.  I looked at the time to see it was an hour after our arrival before we saw the food.  The copious staff seemed to be active, but not busy.  There was much standing around behind the counters.  Our piled high smoked meat arrived though, and the proof, as they say, was thus about to present itself via the pudding.

I'll jump to the chase then.  The Katz's product, after all of that, was substantially inferior.  The meat isn't seasoned as well. Moreover,  the cut is very coarse and chunky and drier than the Schwartz's.  There's no flexible choice of lean, regular or fatty, though K noted there was an option for lean if you PAID MORE.

How better to illustrate the experience than with tweets - the ultimate source of documentary evidence of real life.  I quickly found tweetable illustrations from @foodpornx and @snagfilms - both of whom took excellent pics of the respective products.  So I offer Twitter evidence to let you compare:
And here is the Schwartz's result, illustrating a finer cut, and the bread...
The bread on the Katz's sandwich was insubstantial white/pseudo-rye, whereas the Schwartz's was more dense, tasty rye that meets your rye expectations.  Even the cherry cola was a disappointment.  Cott's black cherry had set my expectations. The Katz's option tasted watery, and unflavourful.

Well, let's not draw it out.  We sacrificed just under $50, but at least we can share the experience with you.  The local-ish couple wrapped up as we did and the young man said to his date, "those sandwiches are $18."  "What? $18 each? Holy cow!" she exclaimed.

Maybe one of two outcomes will result from this, my manuscript to future lunchers.  Maybe Katz's will dispatch an emissary to Montreal to see how it's done properly, and then lose the authoritarian ticketing and self-serve hell they've created, and work to improve the product.  Or maybe you, dear reader, will choose not to spend your hard earned dollars in visiting them.   Or, maybe if nothing else, you will decide to give it a spin anyway, and at least know what to expect.

But, hey - it turns out I can write a LOT of words about a couple of smoked meat sandwiches.

Ultimately, other than for blog-fodder, I wish I had known a bit more before venturing through those doors.  I may well have turned left towards US Highway Nine, and started the walk towards that other city, where 'tis a far, far better smoked-meat sandwich I have eaten, than I ever ate before.