Several years ago, I had the delightful pleasure of meeting the Surrealist artist Enrico Donati (February 19, 1909 – April 25, 2008). I even acquired one of his abstract pieces. Donati was a contemporary of Duchamp and Breton, but continued creating artwork beyond his Surrealist training into a Constructivist phase in the 1940s and a Spatialism period. Working with surface and texture and combining color with media like dirt and soot, Donati finished his life with an expansive collection of work that is vibrant and tactile in its expanse and breadth. There are monstrously large pieces that are frightening black and gray, decrying depths of destruction and decay. And then there are gorgeously vibrant works of red and teal and orange, but juxtaposed with ground earth tones gravel with textures and shapes.

Walking by Weinstein Gallery on Union Square in San Francisco this gorgeous, sunny afternoon, I sauntered in and was taken aback by the expansive collection on display. I knew they were preparing for Centennial Retrospective, but I was not prepared for how expansive and impressive the entire collection was. Donati passed away shortly after my meeting and there were dozens of paintings which had been in his private collection and had not been seen which is now available, not only for public viewing but also for purchase (in the $25k to $300k range).

Wandering around the three floors of Donati pictures, I was surprised to be completely taken aback by one particular piece. Here I was – among dozens of paintings with shapes invoking urns and monoliths, boulders and conch shells – with a particular piece of two orange walls facing each other, one orange wall with a window, cradling a suspended boulder shape and opposite that, a larger wall with a perpendicular post providing stability and strength. An endless gray sky provides the infinite space behind the stalwart monoliths and a glow below the edifices reflect the magnitude above. What was it about this piece that struck me? I didn’t know, but I sat for nearly 15 minutes, enraptured. I mentioned as such to Travis, who helped me with my acquisition several years ago, and he enlightened me. Take a look at this Max Ernst painting, created two years into the Surrealist movement about when Donati would have met with that brethren.

Donati’s Dialogue of Carcassonne II, 1978	Virgin Spanking the Christ Child Before Three Witnesses, 1926

Note the two walls, their relation to one another and on the right-hand wall, the sturdy post which stands in the interior, with the shadow cast diagonally across. View the cut-out window in the left-hand wall with its perspective. And look at the shape of the Madonna’s back, bent over in its act of corporal punishment. It is the same shape as the suspended boulder in the Donati. Enrico Donati has taken Ernst’s basic shapes and transformed them into a powerful statement of force and existence, alluding to its religious progeny.

Weinstein has a number of galleries in and around Union Square, but their main establishment is at 383 Geary Street. Hitchcock fans will note this is famous for being the first opening scene in The Birds building that Tippi Hendren walks by after she has crossed the street is where Weinstein now stands. I suppose that is just another reason I love this gallery.

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For the past several weeks, during the “time of transition,” I have been taking very long walks around the city of San Francisco. Beloved friend, Joan, came and stayed with me for a while and we expanded our horizons of walking explorations. In preparation for my housewarming party, I suggested we stock-up on sausages and cheeses from my favorite European market and since it is so far out on the Avenues, we decided to incorporate the trip with a walk on the beach. Arriving near The Cliff House restaurant, I saw a trail lead off on the right and suggested we walk that way. What I did not realize at the time was that we were on the Land’s End Trail.

It is a beautiful walk, in and out of woods, on a sandy trail, up and down stairs… All these were slightly expected as the walk is adjacent to the Golden Gate Park and The Presidio. What was not expected and entirely delightful, were bits of art. The first we found was on a log stump — a face cajoling and laughing at us in jest. I was thrilled and pointed it out to Joan, “See,” I exclaimed, “You know never know when you are going to stumble on some art!” It was a great beginning. We walked down a dark, meandering path so that I could touch the ocean and found a series of standing stones. A small cluster were grouped on a large piece of driftwood and larger groupings were scattered throughout the rocks. I was getting giddy. Continuing the walk, yet another creation — or should I say recreation? — of the Chartres Labyrinth in rocks.

What a fabulous day and what a fabulous way to explore the city and get inspired for the adventure which awaits me!

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NY Times Obit ~ April 26.

He apparently was in a taxi-cab accident last July which contributed to his death. This is disheartening to me as I actually me him last July during his sojourn to San Francisco for the DeYoung exhibit. He was having a huge retrospective and being newly represented by Weinstein Gallery, where I bought one of his later pieces. There was a gala dinner held at the DeYoung on the 17th of July and it must have been shortly after that he returned to New York and was in the accident. The picture below is our second meeting — I have another pic that is a print-only of me holding the artwork, Arrival of Alyssa, standing next to Donati at a smaller, private reception the night before the DeYoung dinner.

I am so oddly depressed and crying as I write this, but so happy I got to meet him and thrilled to have the opportunity to talk (a little) about his days with Breton and Duchamp. He was incredibly kind with still a sparkle in his eye and a quick wit despite some hindered movement in his legs. The piece I acquired was from the 1960s and came from a time where he worked with multi-media in Abstract Expressionism; utilizing ground sand, coffee grounds, and “stuff from his vacuum cleaner.”

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Shame on me for not writing this up sooner. My birthday present to myself this year was a trip to Los Angeles to see old friends and to finally dine at the mythic Urasawa. There was as much anticipation in approaching this meal as there was in going to the French Laundry for the first time; so much has been written about it and its masterful chef, that one can almost anticipate disappointment. I mean, how special and remarkable can ultra-expensive hunks of raw fish be after all? Suffice to say, that nary a meal in my past can surpass what I experienced at the hands of Hiro Urasawa. Yep, its true. It is the best meal I have ever eaten in my entire life, bar none. No mis-steps, every taste a revelation, every offering better than the last.

Old food-chat-board buddy, Jschyun, was my dining companion for the evening and this was her — what? — fifth or sixth visit (if you can believe that!). It was funny to watch Hiro recognize her upon our entrance. She insisted on doing the camera duty for the evening so that I could just relax and enjoy what was to come. The only regret is that I did not bother taking notes and when the onslaught of nigiri commenced, upon reviewing the photographs after the fact, all cannot be remembered specifically. I have to laugh a bit about that, though. In perusing other blogs to try and match some others’ recent pictures with what we ate, I learned that we easily had five or six MORE nigiri than what others have been served on similar dates. Jschyun and I are chalking that up to her presence; it seems she used to even eat a lot more than what we had that evening. I left stuffed so how her tiny little self is able to consume even more boggles my mind.

1. We started with a small crystal bowl of Junsai, a bit of fresh seaweed, a bit of fish (I thought shrimp, but Jschyun doesn’t think so), all topped with a bit of gold leaf. Elegant, refreshing and a wonderful start.

2. Next was a gorgeous, delicious offering of o-toro, topped with a bit of grated radish, a bit of green, more gold leaf and all perfectly displayed in a rustic, handmade dish with an exquisite broth.

3. An incredibly simple offering came next, a single slice of Japanese eggplant with dipping sauce. Clean and fresh.

4. Goma Tofu – A stunning little dumpling made of sesame tofu stuffed with fresh uni and some red snapper. A little more gold leaf and a delicate broth.

5. The sashimi offering – on Hiro’s famous hand-carved pillar of ice (which frosted, actually LOOKS like folded paper!). Seaweeds, Spanish o-toro, red snapper, and uni. The wasabi was fresh and very sweet.

6. Chawan-Mushi – Hiro’s sous chef, brother-in-law, Kim, instructed us to lightly mix the bit of wasabi hiding under the gold leaf. When he saw me scooping down the bottom to blend, he reached over with his chopsticks to show me that only the top gelée and wasabi were to be blended together. Within the custard were a bit of grated mountain potato and sweet shrimp. Elegant and enticing.

7. Tempura with uni, red snapper, a bit of greens. I can never not like a fried dish and tempura is a favorite. I could have eaten a number of these…

8. Seared fatty tuna – The stone placed in front of us was the cooking stone and while Jschyun was shooting pics, Hiro looked playfully annoyed as he reached over to cook her food while Kim cooked mine. So flavorful and rich it could have been mistaken for seared quality beef.

9. Shabu-Shabu – We had been watching Kim thinly slice foie gras and I had no idea that it was going to be cooked in a soup! The foie is added first to give the broth a level of depth and richness with the melting fat. Then the sweet shrimp (which we had been laughing at their movement during Kim’s dessication) and a bit of Wagyu beef. Again, Hiro was scolding Jschyun as he is obviously anxious that the foods being prepared are eaten within minutes and she was delaying. I was fascinated that the chef was so conscientious about the timing of the courses and their consumption!

10. Being served some of the chef’s homemade pickled ginger, the onslaught of nigiri was about to begin! First up was o-toro. Ohmygod. I apologize there are not specific notes on all of the nigiri. They were each remarkable and a great deal of the joy was the relaxed enjoyment while not analyzing and note-taking.

11. Seared Wagyu nigiri.

12. Aji nigiri.

13. Tai Red Snapper nigiri. If you look closely at the picture, you will see a fine dusting of yuzu on top. Much of the ritual of the evening involved Hiro slicing the fish for the nigiri while Kim watched intently, grating fresh yuzu in a small hand grater. Just as the pieces were ready, Kim would hand the grater to Hiro who, after topping the pieces with a light marinade of yuzu sauce and a light soy, would grasp a chasen (green tea whisk) to brush the grated yuzu onto the pieces. It was a ballet of culinary proportions.

14. Sawara Mackeral nigiri.

15. Shiitake nigiri.

16. Maguro nigiri.

17. Skipjack nigiri.

18. Red Snapper nigiri

19. Squid nigiri.

20. Ebi (Sweet Shrimp) nigiri. A beautiful presentation where Kim is scooping out the shrimp brains and pulverizing the offal into a “sauce” which is smeared on the raw shrimp. Stunning.

21. Kohada (Spanish Mackeral) nigiri.

22. Abalone nigiri. I enjoyed watching Kim prepare this. Only the “heart” of the abalone is used — the rest discarded. And is very carefully scored so that when eaten raw, is completely tender.

23. Spanish Mackeral Tataki nigiri.

24. Scallop nigiri.

25. Migugai (Giant Clam) nigiri.

26. Anago (Sea Eel) nigiri.

27. Tamago – Egg custard.

28. Grapefruit Kanten – A sweet bite with bits of grapefruit and wolfberries, garnished with a touch of 24k gold.

29. Wagyu nigiri — Okay, we couldn’t resist and I asked for one more serving as I had never tasted a beef so tender. Served completely raw, it absolutely melted in the mouth.

30. Sesame ice cream with green tea – Hiro whips the tea himself and the ice cream also has a touch of gold. Such a beautiful finish to an amazing evening.

31. Barley tea. A way to clean the palate and relax while paying the bill. Yes, this meal was $500 a person (I alone drank sake). In retrospect, it was the most well-deserved and easily spent $500 I have ever spent. Worth every single penny.

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I am an admitted snob in that I prefer to have my vacations centered around old cities, good restaurants, and museums with lots and lots of art. It was surprising then that I found the Royal Caribbean’s® Liberty of the Seas ship to be studded with some fairly decent art. The ship has two main stairwells both starboard and aft; the starboard side goes twelve floors and the aft side of the ship spans fourteen decks. On the wall in between each deck is a different piece of artwork – all two-dimensional (no multi-media, sculptures, textiles, etc.) There are acrylic paintings, watercolors, photographs, and digital art – and much of it is very evocative, which is good when you are trapped in a stairwell waiting to depart the ship for an excursion.

Also of interest are the thematic hallways. The hallway which held my cabin was the “Fact or Fiction” hallway and cabins were spaced with photographs from various sci-fi or fantasy movies including Star Wars, Edward Scissorhands, and The Matrix. Near the entrance for each section was a small sculpture (usually an odd rabbit-like creature) and a larger diorama of some sort. In my Fact-or-Fiction hallway, I had paper origami flying pigs. But I was more intrigued with some of the other hallways; Myths & Legends, Fiction & Fantasy, and Hocus Pocus. The Hocus Pocus hallway’s diorama was a collection of jars and potions, magic implements, and ephemera – a tad more interesting than my flying pig display.

I had great fun wandering all of the hallways to experience the art. There was an attempt to shot photos of all the work, but as I tried to do this right after having a rather stunning massage, I was not quite as steady on my feet as I could have been. I’ve included the notes of those pics I have included, but it is far from the hundreds of pieces which intrigued me.

Marta Volkova (b. 1955, Russian) Origin of the Paper Industry, oil on canvas. “As in Capitalist publicity and Socialist propaganda, statements are expressed through the combination of images and text – and Marta Volkova is playing with it in an enjoyable way.”

Karen Knorr (b. 1954, American) Série Fables (Carnavalet), 2004 Threshold, Ledoux’s Reception The Green Bedroom Louis XVI, Lamda C type Fuji Christal Archive print. “These photographs, taken at the Carnavalet Museum in Paris, France, allude to stories based on Aesop’s and La Fontaine’s Fables and Ovid’s Metamorphosis. While driven out of the countryside by an encroaching human presence, fox and vermin scavenge the buildings of urban France. This is a cautionary tale in the age of global warming in which non-human inhabitants share the cultural heritage of our museums.”

Maggie Taylor (b. 1961, American) Boy who loves water, Three trees – two rabbits, Poet’s house, Late, Woman who loves fish, Messenger – “These images are made using old trays, nineteenth century photographs of people, digital photographs, and scans that are assembled in the computer to create the finished piece. Each image is meant to invite interpretation and story-telling.”

Jeremy Kidd (b. 1962, British), Fictional Realities: Chrysler 2 – Light jet print on Fuji crystal paper. “The artist explores the making of fictional realities, places seen by the camera, which have been composed into personal experiences. Rather than actual observations, these ‘fictional realities’ are romanticized environments analogous to the way the artist choses to interpret his experience.”  Please note, accompanying pictures are correctly placed and the ships appear to be sailing upside-down.

MP & MP Rosado (b. 1971, Spanish) – Ceilings, 2006. Digital print and acrylic on archived paper. “The the works of MP & MP Rosado, the use of double elements makes it evident that they are twins. They work within their own reality, being ‘one mind and two boys’ and play with the viewer, making him doubt what is real.”

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