Istanbul, mon amour....

Things I loved here....

• The Grande Hotel de Londres - Amazing place, loaded with history and a great crowd in the lobby.  Wireless access, central location, strong tea, great decor and wonderful staff. (And they have great new carpeting in the lobby.)  Hemmingway stayed here, so should you.
  
• Beyoğlu - This is the neighborhood where it all happens.  Amazing food and the nightlife is endless. Everyone from beautiful people to bohemians is in the neighborhood and on the streets around Istiklal Caddesi (especially in the Asmalımescit area).  Everything to do with art, style, fashion, and food can be found here in the area between Tunel Station and Taksim Square.  Galatasaray has the championship football team.
  
• Kepabs at Beyoğlu Köftecisi - The language barrier cannot survive when there is food this good and so inexpensive.
• Hagia Sophia - In the morning light sublime, in the evening light, unforgettable.  Go early and go often.  Tourists are too shy to go up to the best parts.  Even with scaffolding in place the dome is a wonder to behold.
• Kariye Museum - This is a must see.  Preserved mosiacs, restored frescoes, and porphyry walls make this an unexpected feast for the eyes.  Go on a Thursday when it is less crowded.  I had the entire museum to myself.
• Rustempasha Mosque - For me, the most beautiful of Sinan's creations.  The tile ornament is dizzying in its complexity.  The domed space is vast and airy but the space is intimate.  It is a masterpiece of installation.
• The Museum of Turkish and Islamic Art - This is also referred to as the Carpet Museum. Nothing can prepare you for it.  The scale and execution of the materials in this place are mind boggling.  You completely understand why people wrote stories about flying carpets.  These things are so magical they could be lighter than air.
• Fish sandwiches on the Bosphorus - You get off the train and there is a guy on a boat with a grill. He tells you that a sandwich is 3YTL.  You have one and it is so fresh and so sweet and so good that you walk over the bridge from Galata every day to have one.  You are never disappointed.
• Konak Restaurant in Tunel Square - There is another location closer to Taksim but the Tunel location makes much better pide sandwiches.  Plus the front is open for people watching and the ice cream is unreal.
• Turkish ice cream - Really, it's incredibly rich and good.

"You're black wherever you go."

I am getting ready to leave Istanbul.

In a lot of ways, I have left already.  I have sort of contracted into a ball here, walking around the city in the morning and coming back to the hotel in the afternoons to sleep for a few hours.  Then going out in the evening for dinner at a couple of kebap houses near Tunel Station.  It's really great food and it's very cheap.

I think I have exhausted my time here.  

So many things were greater than I expected.  To see the work of Sinan, tiles from Iznik, the multiple layering of cultures, has been beyond belief really.  I have so many ideas for painting that I cannot wait to get back to my studio.  I have started making drawings and some things are coming into place for the work.  I am developing some ideas based on the grid that were not really available to me before I came here.  I also am wondering about the Tablet paintings and if they need to be figurative at all.  I have been really rethinking how I make these paintings.  Is color and light enough for the pictures?  Even the Savannah paintings have started to change with the insertion of various portraits into the schema of the grid.  The tiling here has really brought out the idea of pattern as an end to itself.  I am not sure if I can make a picture like that.  The figure to me has never been a thing about a way to investigate shape, it was the content of the picture for me.  To start making pictures without the figure is a thing that is coming up very much in my thinking and I have to start to deal with it.

At the same time, the ideas that I was looking at in the Tongue paintings have REALLY come back to the fore.  Seeing people walk in front of a tiled wall has really impacted me.  It is such a simple thing really.  I just started seeing it in a new way.  That space between can be flat and ornamental at the same time.  It is something Gregory Gillespie has done and even someone like Christina Renfer is doing now.  It is really the difference between painting the atmosphere and painting an area.  I was always the kind of painter who if I didn't know what to do with something, I just made it flat.  Now that idea is not enough.  I think the tile is a way into this, a way to have a dialog with pattern, flatness, content and character in the work.  I have been thinking of a way to bring the Tablets and the Tongues together.  Istanbul is giving me that, I think.

The other thing, the hard thing, the thing I did not expect, is that I have not really been able to relax here.  Turkey does not have a very diverse population.  I really stick out here, and people stare - a lot.  At first it was interesting to me because it didn't seem weighted with the racism of home.  I was like "The Brother From Another Planet," or something.  I took photos with school children who were shocked that I said "Merhaba" when they said hello.  That was the nice part of it.  The not so nice part was the cops, the stares on the subway, people putting my change on the counter instead of my hand.  The accusatory way they ask "Where are you from?"

Apparently, I look like I come from the Arabian peninsula, and since the end of the Ottomans there is not a great deal of love between the Arabs and the Turks.  Also, I have been taken for a "gypsy" or one of the Roma people and let me tell you, there is not a great deal of love for the Roma anywhere.  In light of all of this, I walk down the street feeling very uncomfortable and very vulnerable here.  I know that I am safe, but the looks on people's faces are not exactly welcoming.  I don't think I could ever get used to being looked at that way.  You might think that all of that kind of prejudice is the same, but it really isn't  In America, you get looked at like a criminal or a danger. Here it is like you are a freak or something.  It is very unsettling, especially since the Turks are such nice people and cannot understand American-style racism at all. But when they think you might be "arap" or from Iran, or gypsy, it gets a little weird.

I had a moment at Topkapi's Hall of Relics where I got a little worried.  I was in line to see the mantle of the Prophet (p.b.u.h.) when I felt this man looking at me. I turned and he said "Where are you from?"  I usually start speaking French at this point (and I thank my mother for making me take 5 years of the language) but this time I answered in English that I was from the United States.  He glared at me said "I hate your President."  I said that I understood.  "Bush wants to kill all the Muslims," he said.  "Well, we won't let him," I said.  Then we both stood in front of the window that looked into the golden room, with the golden stand, holding the golden box in which was a piece of cloth worn by Mohammed.  We shook hands and departed each other.  My friend Michael made me promise that I would stop telling people I was from the United States after that.  I didn't, but I did speak french in public a lot more.

I think I was chasing the experience that James Baldwin had when he went to France and got treated like an American.  Not as a negro, or colored, just some knucklehead writer from the US.  I didn't get that in Istanbul.  I got a real reminder about being different, being outside. It is the position of the constant observer, really, the flaneur, the "Painter of Modern Life."

My father used to say, "You're black wherever you go."  It was a warning about the way the world saw my brother and I.  

 

Rauschenberg is dead at 82....

Michael Kimmelman memorializes him in the NYTimes (and actually mentions his partner, Darryl Pottorf).  

For me, he is so incredibly important because he could do whatever he wanted.  He exercised complete freedom in his work.  When I saw the Guggenheim Retrospective in 1997 (so large that it filled the museum's midtown and SOHO locations), I was completely blown away.  It was then that I realized all the stuff that people were crowing about in the 90's (collaboration, performance, expanded painting, technology, mediated imagery, working outside of the rectangle, graffiti, symbolism, painting as language, politics, multiculturalism) had been part of his practice from the beginning.  And the "Erased deKooning Drawing" is still one of my favorite works of art of all time. 

No way to treat orphans....

There is pending congressional legislation that will remove significant copyright protection from all works of art if it is enacted.  The Orphan Works Act of 2008 makes it possible to declare a copyrighted work "orphaned" if an infringer says that he is unable to locate the author based on the infringer's idea of a reasonable search.  If a company wants to use your images, all they have to prove is that they used what they determined as reasonable methods to find you.  When they don't find you, they can use your images for whatever they want, without your approval or compensation.

The Illustrators Partnership of America has been at the forefront of opposing this legislation that gives away an artist's right to their own work.  They have made it very easy to contact your elected officials to stop this legislation.  

Take action:  Don't let congress orphan your work.

Magic carpet ride....

OK.  I think a sufficient amount of time has passed since the purchase of my Turkish carpet to begin to talk about what happened.

I had just come out of the Basilica Cistern.  I had gone there at the suggestion of my friend Cecilia because she said it was one of the things in Istanbul that had a great impact on her.  I have to say I feel the same way.  The cistern is so incredible (despite the music they play down there) that it is really like descending to another time, not just a different space.  I was trying to get my bearings and let my eyes adjust to the light when a tour guide started to talk to me.

He was handsome and charming and, like the majority of Turks, very friendly.  We chatted for a bit and I told him I was on an extended visit in Istanbul to look at art and design.  He mentioned that he worked at a store nearby and that he would be happy to show me some carpets and kilims for my research. It was early in the day, around 10:00 a.m.  I told him I was on my way to Topkapi Palace, but I would love to come by another time.  I gave him my card.  He said that he had his cards at the store and that it was on the way to the Palace, so I went with him to get his card.  I was not interested in buying a rug.

When we got to the store, there was a lot of talk in Turkish and the guide gave me his card.  He offered me a seat and introduced me to another gentleman named Hakim.  Hakim got me a glass of apple tea and the three of us started chatting about nothing really.  Then I noticed that the guide was gone, and Hakim and I were alone in the showroom.  Hakim spoke to one of the men in the store and suddenly rugs were being rolled out in front of me.  The most beautiful designs and colors and textures.  Hakim was really great at explaining the differences, how they are named for the region, why Turkish rugs are better (the double knot) and details about color and dyeing and all sorts of things.  It was really an education.  I was looking, but still I had no plans to but a rug.

More tea and more tea.  Hakim asked me which one I liked best and I told him there were so many that it was impossible to choose.  He told me he would make it easier for me.  He asked me which ones I did not like.  It did make it easier to eliminate some.  Hakim kept saying "Which is your champion?"  I was really enjoying myself looking and deciding which I liked. It finally got down to a really beautiful rug.  I told Hakim I was not interested in buying a rug, certainly not one for so much money.  He was very friendly and said "Didn't you come to Istanbul to see beautiful things?"  I agreed and he told me that this rug, which was from Cappadocia, he would sell me for half of the price that was on the tag.  I gasped and thought, well, that is a really great deal.  So we shook hands and I gave him my credit card and I thought that was that.

Now Turkey is often blocked by credit card companies.  I called my bank before my trip to let them know I was going to be in Istanbul for an extended stay.  Still, there had been some trouble with my bank with daily limits and such.  Also, I had only been in Istanbul for 2 days at this time.  So when one of the men told Hakim my card was declined, I really thought nothing of it.  "Please try again," I said.  "This has happened a couple of times."  

More tea.  And more Turkish conversation.  Hakim tried to call the number on my card but said he could not get through.  I offered to try but he said not to worry.  "Banks are a pain," he said.  He asked me if I could go to a bank machine and I said sure.  He had one of the employees walk me to a machine, but, because of my daily limit, I was unable to take out the entire amount.  He walked me back to the shop.

"Let's go up to the office," Hakim said.  I followed him.

From the colorful airy light of the showroom we went upstairs and around a few corners to the office, which was dark and low ceilinged but well appointed with a sitting area and a large office desk.  The lights were localized around the desk area.  One man in an Italian suit sat smoking on a sofa.  Another man with white hair and a knit sweater sat behind the desk.  Another large man with a doughy face in a suit was standing behind him.  Hakim offered me a seat at the desk with the Sweater Man.  He handed the Sweater Man my credit card and said something in Turkish.  The Sweater Man looked at me and started bending the card.  He picked up the phone and dialed the number on the back.

"How are you?" He asked.

"All right," I said.  "You?"

"Banks." He said.

"I don't know what the problem is,"  I said.

"We'll figure it out."

He dialed a few times and then put the phone down.  He looked at me, bending the card in his hands.  He said, "This card is bullshit."

"Excuse me?"

"This is bullshit.  This is a bullshit number on this card.  How do you call a number like this?"

"What do you mean?"

"This B-A-N-K.  How do you dial that?"

"Use the key pad to spell out the word."  I showed him how.  He dialed it and held the phone to his ear.

"Do you want some more tea?"

"No."

"We have a bathroom."

"Thank you," I said.  "But no."

The Sweater Man laughed and handed me the phone.  I heard the recording from my bank asking to call back during normal business hours.  I had forgotten about the time difference.  It was about 4 a.m. in Boston.

It's hard to remember, but I think now is when I started to feel frightened.  Hakim was gone. The door was behind me and I was pretty sure it was locked.  The man on the sofa was staring at me and the Doughy Man was somewhere behind me.  The Sweater Man was glaring at me now.

I looked past him to the monitors on his desk which I had not noticed before.  It was closed circuit television - camera in various parts of the store, and on the street.

"There's a time difference," I said.  "There's no 24 hour service at my bank."

From behind me, the Doughy Man said something in Turkish.  He went to a phone and got out an olde time charge plate slider.  He called Visa and got the purchase approved the old fashioned way.  I surmised this from watching him take my credit card and slide it through the machine, writing an approval code on the sheet and giving it to the Sweater Man.

"It's all set.  We had to do two transactions to get it in right," the Sweater Man said. "My cousin," he said, indicating the Doughy Man, "he does a lot of business in America.  He knows how to get around all this."  I thanked the Doughy Man in Turkish.  He nodded.  The sweater man put the receipts and a small card on how to care for the rug in an envelope.

"The monitors," I said.  "You can see everything."

"You need to," the Sweater Man said.  He glared again. "People try to rob you sometimes, gypsies pretend to be customers."

"Gypsies?  Roma?" I asked.

"Yes," he said.  "You have to be sure."

Hakim reappeared and patted me on the back.  I almost jumped out of my skin when he touched me.  "It's all right," he said.  "Everything is ok.  Come and get your carpet."

In a stupor, I went down stairs with Hakim.  He packed up the rug and put it in a satchel with handles. He put the receipts inside and told me to carry it home in my luggage.  He shook my hand and thanked me for being the first sale of the day.  I stepped out into the cold air of the street.

Everyone tells me what they would have done.  They would have gotten up and left.  They would have told the guys to fuck off.  They would have done all sorts of things.  Maybe they would have.  I don't know.  I do know that everyone handles situations better than you after you have had to live through them.  A pleasant moment turned very ugly very quickly and I cannot explain how.  I was probably swindled and probably paid way more for my rug than it was worth.  Because I was alone in a foreign country, I didn't think I had any recourse.  I felt (feel) very stupid about the whole thing.  They were probably looking for American suckers on their closed circuit TV and were waiting for me the minute I came out of the Cisterns.  I was shaking all the way back to my hotel.  I completely forgot about my plans for the day.  I put the carpet in the wardrobe of my room and went to bed.  I didn't even want it anymore.

I had to go back the next day.  For reasons too complex to explain, the Doughy Man charged me in YTL instead of dollars, so I needed to pay the $60 difference.  I could have blown it off and kept my money, but I wanted to be ethical even if I felt like they weren't.  Hakim was very sweet and very kind and showed me more rugs and gave me more tea.   He told me about his favorite piece (the guy is holding it in the photo).  This is the rug in his office.  I told him about my website and showed him my paintings.  He was impressed, or at least he pretended to be.  He wanted me to buy a silk rug that was created as a dowry piece.  He asked me to come back tomorrow to have lunch at the store with him and his family.  I said I would.

I went back to my hotel.  I haven't returned to that carpet showroom.  When guys on the street say hello to me now, I smile and keep walking.  I wear my sunglasses all the time to avoid meeting their gaze.  When I leave the country, I will post the name of the place.

The artist Pippa Bacca was found dead outside of Istanbul a few weeks before I arrived.  She was trying to prove that trusting people was key to human understanding.

The Six-hour dinner party...

When I told my friends back home I was going to Turkey, I asked them if they knew anyone there. I was prepared to spend my time alone, but I thought it would be nice to have a contact in country.  Elise, who works for Skowhegan, put me in touch with here dear friend Alina, an artist and teacher here in Istanbul.  After many attempts to connect (many of which were frustrated by my not having a phone) we finally had tea at the Londra hotel.  She invited me to her place to have dinner with her partner Faruk and some of their friends.  I liked Alina immediately and told her I would love to come.

Alina and Faruk live in Beyoğlu not far from the Londra Hotel where I am staying.  Alina met me and we had a short (and BEAUTIFUL) walk to her flat.  We got there and Tom and Chris, their American friends were there.  Oliver, an ex-pat from Louisiana came as well as Ahmed, a colleague of Faruk's.  Faruk was working on dinner and had a smile for all of us.  It was a really fun time.  We ate an amazing meal and then had ice cream with maple syrup (who knew?).

Faruk works as a carpet dealer in the Grand Bazaar.  I think he may be the only scrupulous carpet dealer I have ever met.  He is not interested in haggling over prices and will tell you exactly what something costs without any crap.  I told him about my experience buying a carpet and his responses went from laughter ("You are what we call a very good customer.") to rage over the way I was treated.  (Dear reader, I will elaborate on my frightening experience buying a carpet later.  Suffice it to say I wish to GOD I had met Faruk earlier.)

It was one of those evenings where the conversation is rich and lively and fun and serious and difficult and easy all at the same time.  We talked about everything from masculinity in Turkish culture, the upcoming elections (Faruk thinks that John McCain is going to be the next "President of the World" and I am inclined to agree with him).  I thought Faruk's head was going to explode when I tried to explain American style racism.  And he had me laughing out loud so much that my head began to hurt.  The man can tell a story that is so funny and he can do it in two languages at the same time.

Tom and Chris have both been lovely.  They live in Brooklyn and visit Istanbul very often. They are big fans of Faruk and Alina.  Chris and Alina are going to work together on some design and fashion projects in Istanbul and the US.  The market for this is wide open here.  There are so many buildings being "rehabbed" in Istanbul that the need for competent structural and interior design is great.  Also, given Turkey's westward focus, modernist ideology is very much at the forefront of what is going on here for better or worse.  Alina also makes these incredible silkscreen prints onto t-shirts that will no doubt be walking down the streets of NY and Istanbul.

So we all talked and talked and then when I saw Ahmed's watch I saw the time was about 3:45 am.  I was shocked that we had been there for so long but it really was an incredible evening.  I made amazing friends.  Tonight (Friday) we are going to a party at Tom and Chris's before they leave for America on Sunday.  It should be a lot more fun.

Turkey doesn't have a non-smoking section....

Everybody smokes in Turkey, whether they want to or not.

I am not one of those reformed smokers who thinks everyone would be better off if they quit.  I do not see it as my mission to stop others from smoking.  Once I quit, I figured I no longer had a dog in that fight.  "Smoke all you want," is how I see it.  As long as I don't have to smoke, who cares what you do?

Here it is different.  If someone offers you a cigarette, or a narghile (water pipe) or a cigar, they are extending themselves to you in a really intimate way.  Smoking isn't a dirty habit here.  It is a way of exchanging confidences, of indicating that this is no longer a casual conversation we are having, we are now friends, conspirators, even lovers.  So you have to kind of take it seriously when someone offers you a smoke.  You have been provided an opportunity to come inside as it were, to be one of us.  It isn't really shameful here the way it is in the US.  

Plus you add to the fact that the coffee here is universally terrible.  I know, you think that the silk road and coffee exports coming through Turkey and Turkish coffee and all that hoo ha.  Let me tell you something, it's OVER.  When you order coffee here, your server responds with "Nescafe?"  That's right, Nescafe. Instant coffee. One would have hoped that instant had passed but not here.  If you order kahve, which would be Turkish Coffee, you would also be disappointed. Contemporary Turkish coffee is make in about 45 seconds using grounds, an espresso roast, hot water and a butane torch.  The stuff is very hot and very sweet and very strong, but it is not flavorful.  It certainly gets the job done, but it is more for effect than taste.  Turks don't really drink coffee.  They drink tea, and lots of it.  

Still, I have not had a puff of anything at all.  I have learned that the offer of a cigarette is a kindness here.  I explain my deficiencies in not being able to smoke.  I usually get a laugh.  "Then you should smoke," my new friend says.  "It will improve your health."

Sketches....

I have a sketchbook that I take with me everywhere.  I really pride myself on having a daily practice, but I gotta say I have not made a single drawing since I have been here.  I have been so completely overwhelmed visually that I can't even conceive of how to make a image right now.  I think I am intimidated by the glory all around me.  My friend Linda tells me that I have to let the experience sink in - that I should not be too hard on myself.  For a workaholic painter like myself, that is easier said than done.

What I have been doing diligently is making notes in my sketchbook.  Writing things down as they occur to me or so I do not forget them.  It has been a useful practice for me.  

I stress that I do have to start trying to draw while I am here.  I have taken a lot of photos (so many that I had to buy a portable hard drive to keep from crashing my Mac), but they are no substitute for the drawn experience.  The ability to translate what I am seeing to a painterly realm is only available through my eyes, not through a lens.  The lens is democratic - it includes everything - the eye does not. 

• The "Splendid Door" at Hagia Sophia is a character in its own right. I want to make a painting called "Boys at the Splendid Door."
  
• I understand the effect the bleached marbles of Turkey (Ephesus, Afrodisias, Pergamon) had on LeCorbusier (Chromophobia, chapter 2), but the fact that he found an absence of color is truly astounding. 
• The grid can be divided endlessly.
• Pattern works because you see the pattern before you see the individual elements that make it up.  This leads to hidden meaning in patterns that become clear through longer term investigations.
• Simple tessellation results in complex patterns.
• Reconsider blue (Aegean, Iznik, sea, sky, ocean, salt, heavy, hard, electric, air, invisible, protein, mavi, denim, headscarf, endless).
• Intersecting patterns look more complicated than they are.
• Iznik tile is impossible to replicate but I have to try.
• If a pattern has an effect on the viewer, does the viewer change because of the pattern?
• The amount of ornament is secondary to its absence.  (Palace vs. Mosque)
• Is ornament a sign of overindulgence?  Amazing design show at Istanbul Modern about this very issue.  Adolf Loos Ornament and Crime is noted and I haven't read that in years.  I don't even think I can remember reading it.  Did I read it?  Well, now I have to read it.
• If the grid can hold anything, what does it hold?  
• Can the grid hold anything? Does it have to hold anything?
• I want to paint the light from the chamber of relics at Topkapi.
• "The Arm of the Baptist" is a great title for a painting.
• I want to remember that a photograph is just an index.  I have no responsibility to the photograph.  I am responsible to a painting.
• The grid is the situation.
• Small things in a big space can be as awesome as the space itself.
• I want to make paintings of tourists looking at nothing.
• I want to make paintings.

No picnic this Labor Day....

Let me reiterate: cops are the same all over the world.  My friend and colleague, Noel Ignatiev says "All over the world cops beat up poor people; that is their job, and it has nothing to do with color."

I spent the majority of the day in my hotel room yesterday.  In every country that is not the United States, May Day is International Workers Day.  Here in Istanbul, there was an attempt to hold a rally in Taksim Square in honor of the union activists who were killed there in 1977.  Every year they try to do this and every year it is squashed by the police.  This year was no exception.

I went for a brief walk and was confronted by the image of amassed firepower across the street from my hotel.  Suddenly I understood why the cop was being so aggressive yesterday; he probably thought that I was some sort of agitator for the rally.  The rally was set for Taksim Square about a mile from my hotel, but the cops were EVERYWHERE.  They were decked out in full riot gear with shields.  I thought better of taking a walk and went back into the hotel.

Now to prevent people from getting to the rally, the Mayor of Istanbul effectively cut all transportation to and from Taksim Square.  That meant there was no way to get here, but really also no way to leave unless it was on foot.  And since many of the roads were blocked by the above referenced police, you could get to a point where you were allowed no further.  And there is no point trying to explain something to a teenager with an M16.  

So I sat in the lobby of the hotel and looked at the news and saw all those images that everyone else saw.  I am not remotely interested in seeing people squirted with fire hoses, so I did not go down there to take photos.  Also a foreigner in a situation like that runs the risk of being misunderstood by gesture or presence.  I am not a photojournalist and I am not a hero.  I did feel my heart break for the people as they were hosed down.  I wished I could do something.

The police presence was reduced in the evening and I had to get some dinner.  I went to a place for a kebab sandwich and saw the school buses that they used to round up the protesters.  Some of the people detained had been on the bus since the beginning of the day.  There were armed guards protecting the buses and the same massive police presence.  I ate really fast.

Today, May 2, it is a different story.  It is really as if May 1 did not happen and the city was not occupied for the entire day.  The Turkish people seem to have taken all of this in stride - something akin to the running of the bulls in Pamplona.  It happens every year, some people get hurt and then we move on.  

We moved Labor day from May to September in the US.  Most people don't connect this change with the Haymarket Massacre, the Wobblies or Eugene Debs.  We don't really think about solidarity with foreign workers or unions.  We take the right to assemble for granted (even when it is denied like at the Republican National Convention in NYC).   It really made me think about how precious it is to be able to walk down the street in solidarity with others.  All over the world, even at home, this is becoming a harder experience to have.