Feeds:
Posts
Comments

Posts Tagged ‘Uncategorized’

Years ago, when we were buying Northwest Coast limited edition prints, our main criteria was often whether our budget could stretch to buying one. That is still a consideration, since although we have more spare cash than we did then, we are still far from wealthy. Besides, I’m born of Depression-era parents, so getting value for my money is as reflexive as breathing to me. But, the limited budget aside, I am starting to articulate my philosophy for buying art.

To begin with, I will buy nothing that I don’t like. I am not buying for an investment, even if it is at the back of my mind that in four or five decades I might be glad to be able to sell a few pieces so that I can buy the necessities of life. I am buying to bring a new strain of enjoyment into my daily life, something that can catch my straying glance or surprise me with its line or color or concept when I rediscover it in passing. I suppose you could say that I am more of an aficionado than a collector.

Second, I am not much interested in safe art that does what I have seen before. Some people want safe art as a kind of wallpaper, and there is no shortage of artists to provide it. But I want art that challenges or provokes me in some way. For example, one mask by Norman Tait has long eyelashes of hair that cover the eyes, giving a disturbing sense of blindness, or, perhaps more accurately, the sense of someone peering out from behind the illusion of blindness. The mask unsettles me, to say the least. If I can ever afford the mask, I’ll probably buy it, just so I can wrestle with why it makes me uneasy – and I’m guessing that understanding my reaction will take years. I’m fascinated with the surrealism of Ron Telek’s sculptures for much the same reason.

These two principles lead naturally to a third: I will not buy a piece simply because of the artist’s reputation. For one thing, buying work by artists like Robert Davidson or Susan Point, as talented as they are, is like buying Sony hardware – you are paying a premium for the name (or perhaps I should say brand).

More importantly, buying for the name means that you are letting someone else do your thinking for you, that you are becoming a consumer. Seduced by the name, you could just as easily buy a good piece as a bad, and third rate art by a first rate artist is still third rate. I consider art the antithesis of consumerism, so I refuse to hunt for art by brand.

That’s not to say that I reject buying anything by well-established artists. Currently, I have my eye on half a dozen well-known artists whose work intrigues me enough that I might buy one of their pieces if I find the right one. But I would rather wait for that right piece than buy something that pleases me less – even if I never find that right piece.

As a corollary to that third principle, I would rather find small masterpieces by lesser known artists than buy a piece from someone with an existing reputation. In the same way that I would rather discover a small, ethnic cafe with superlative food than eat at the latest trendy restaurant, I would rather find a largely unknown carver with superb finishing details or a quirky piece outside what a famous artist is known for than buy something safe and famous.

It’s not that I want a bargain, because I could just as easily wind up overpaying as finding a strong investment. Rather, half the fun of strolling the galleries for me is to find the unusual and go beyond the commonplace. Northwest Coast is an especially appropriate field for this habit, because it is full of newcomers, all determined to make their names – and many of them are succeeding. The discovery of such artists and their works is one of the pleasures of appreciating it.

Looking back, I’m afraid that these principles sound hopelessly unaesthetic, to say nothing of overly-suspicious and in the worst middle-class traditions. Tell you what, though: I bet that they give me more pleasure than buying from the exhibit book does for a dozen wealthier connoisseurs.

Read Full Post »

As part of my recently renewed interest in Northwest coast art, I’ve been making the rounds of the local galleries, trying to get a sense of their specialties and whether I want to deal with them. This afternoon, I made the rounds of the Gastown galleries, which are conveniently within a few blocks of each other.

Here are my impressions – partly for my own sake, but also for anyone else who might be interested in Northwest Coast art. I say nothing about the galleries’ Inuit collections, which I am even less qualified to judge:

  • Hill’s Native Art: Coming from the Skytrain, this was the first gallery I came to, and also the one I spent the least time in. It’s basically a high-end tourist shop, and so crowded that the main impression I took away was of art as a commodity. You could probably find some reasonably decent work if you searched, but, you would have to make an effort. Hill’s has a number of two or three meter high totem poles, but if you’re willing to spend over ten thousand, you would be better off spending a little more and buying one from a name artist elsewhere.
  • Spirit Wrestler Gallery: With over two decades of experience and a number of well-regarded shows and books behind it, Spirit Wrestler is at the opposite extreme from Hill’s, appealing to the serious collector with money to invest in art. Its selection of artists is small, but carefully chosen, and it has a varied selection of work from top artists such as Robert Davidson, Norman Tait, and Susan Point. Currently, it has more Tlingit work than any other gallery that I’ve seen, and a small but select collection of bracelets. The gallery also sells (but does not always display) pieces that have just come upon the market again, so a serious collector might want to keep in touch to hear what is available. The gallery also contains a few Maori works, which should interest many people who have a passion for Northwest Coast art, since the two cultures have a lot of similarities. It’s perhaps the premier gallery in the field in Vancouver, and deservedly so.
  • Inuit Gallery of Vancouver: This gallery has no more than a fifth of its space devoted to Northwest Coast art. It does not carry jewelry, but does include a collection of Northwest Coast masks and prints, as well as some other forms of carving mostly from the Nuu-chah-nulth and Salish nations. Although the selection of artists is comparatively small, you can find some interesting pieces without searching hard.
  • Coastal Peoples Gallery: In many ways, Coastal Peoples is the most interesting of the galleries in Vancouver. In both its Yaletown and Gastown locations, it carries everything from high-end tourist pieces to work that will appeal to museums and connoisseurs. To make things even more interesting, Coastal Peoples has by far the broadest range of artists of the four galleries mentioned here, with up-and-coming artists as well as established ones represented. The newer artists are especially interesting if you have any understanding of what you are buying, because their work is reasonably priced and some of it will undoubtedly rise rapidly in value. The jewelry on display is especially fine, especially in gold, and so is the sculpture, including everything from desktop pieces to bentwood boxes and three meter poles. The sheer variety at Coastal People’s is amazing, and is one of the reasons why the gallery is my current favorite.

There are, of course, other galleries that carry Northwest Coast art outside of Gastown in Vancouver. But they will be a subject for another day.

Read Full Post »

Why are mainstream journalists so threatened by blogging? The question is starting to nag me, because the response is so widespread – and based, I believe, on some key misunderstandings.

The strongest recent expression of mainstream journalists’ discomfort is from Christie Blatchford of The Globe and Mail. A few weeks ago, she used her report from the Olympic Games as an attack on blogging. Blogging, she says, is “the unofficial end to journalism as I know it.” Claiming that she is not complaining just because she is a Luddite, she says that she objects to blogging because she only has so many stories in her, and she doesn’t want to fritter them away. More importantly, she feels that blogging will diminish the craft of journalism, because blog entries and reader comments open up an unfiltered conversation.

I have a certain amount of sympathy for Blatchford’s view. Frankly, I find many people who are famous for blogging a pretentious waste of time. However, the term “blogging” covers so many different types of writing – everything from a teenager’s angst-ridden diary of her love life to columns by both semi-professional and professional journalists – that I can’t accept her catch-all condemnation. So far as I can see, when Blatchford talks about blogging, she is referring to any sort of writing published online.

In other words, when she says it’s not just because she’s a Luddite, I have the feeling that, yes, it is because she is a Luddite. She sounds worried that the ability to write something publishable is debased by the Internet, but, mostly, what I hear in her complaints is the cry of the middle-aged, bemoaning the fact that the world has changed.

Mostly, I find her fears groundless. Yes, online-publication – whether you call the result a blog, a column, or an article – is now open to everyone. However, the ability to write a piece that someone will pay to publish remains the dividing line between the professional and the amateur. Expertise – to say nothing of the ability to make deadlines — still matters, and, so far as I can see, always will.

The fact is, writing remains writing, regardless of the medium. The ability to choose worthwhile topics, to research and express them, are not diminished by the Internet. They are still rare skills that people respect and will pay for accordingly. If anything, suck skills stand out all the more in the new tidal waves of illiterate and self-indulgent prose.

As the old signature tag used to say, it was once thought that an infinite number of monkeys on an infinite number of typewriters would eventually write the complete works of Shakespeare. Now, thanks to the Internet, we know that isn’t true.

Admittedly, the ease with which readers respond online does create a new relationship with writers. And this relation is scary, and takes some getting used to, because readers assume an absolute egalitariansm with the writer, and do not automatically respect the writer. A professional online writer has to learn the give and take of such a relationship, and learn when – and when not to – take its demands seriously.

Much more so that the traditional print journalist, the online writer has to develop careful filters for reader commentary, knowing that much of it is worthless and that conflicting opinions often cancel each other out, yet remaining open to the small percentage of valid criticism. They have to learn not to take abuse seriously, nor praise either. Online writers also need to budget their time, to ensure that they do not lose too much time in endless debates with readers (my personal rule is to respond no more than twice to any except in exceptional circumstances).

But, if all the increased commentary gets irksome at times, online writers can at least take comfort in the fact that people are reading. They may be misunderstanding, taking thoughts out of context, and using your ideas as a starting point for their own rants, but they are reading. And, in the case of online publications, the audience can consist of millions rather than the tens of thousands for traditional journalists – figures that any writer is sure to appreciate.

I am equally dubious about Blatchford’s concern about running out of stories. Journalists don’t concoct stories out of pure imagination; they respond to the events on their beat. In my experience, the problem is not finding a topic, but deciding which one most deserves coverage or is most interesting to you or your readers. And deadlines, I find, are a marvelous antidote for writer’s block. Would Blatchford, I wonder, have the same concern about the number of columns she has left in her?

However, Blatchford has been a professional journalist much longer than I have, so I can’t completely discount the possibility that I won’t have the same concern when I have her experience.

Apparently, I am on the other side of the digital divided from Blatchford, even though I am probably not that far from her age. My own journalistic career is almost entirely online, except for a handful of print articles each year, and the conditions that Blatchford seems to fear are simply normal working conditions to me. But it seems to me that the worries of Blatchford and other traditional journalists are nothing more than a fear of change, and mostly groundless. Change happens, but most of it is far less revolutionary than the claims of its supporters.

Read Full Post »

“Keeping the old game alive” is the name of a chapter in Gwynne Dyer’s book War. In the chapter, Dyer discusses those who, in this age of mass destruction, are responsible for old-fashioned military interests like the infantry. I’m not sure whether Dyer intended the title to be sarcastic, but for me it has always suggested that the effort was futile and irrelevant, and that those involved in it were in denial of this fact. However, that is the implication that I’ve meant as I’ve started to apply the phrase to all sorts of other situations.

For example: Traditional newspapers are concerned that the Internet has overtaken them and eroded their reader bases. However, instead of analyzing their practices or considering how they might make themselves more appealing to readers, many journalists and newspaper managers take refuge in pride. They may not be as quick off the mark as online journalists, they say, but they provide deeper, more thoughtful analysis. They are better trained than online journalists, and somehow more legitimate.
Behind the scenes, they may be frantically trying to imitate online news (something they can never altogether manage to do), but the image they present to the world is that of the respected Fifth Estate, the spiritual heirs of Ed Murrow or Joseph Addison. In other words, they have retreated part way into fantasy, pretending that nothing has changed since the heyday of the newspaper and they are still leading figures, keeping the old game alive by being in strenuous denial.

Similarly, voter apathy seems at an all-time high in Canada. Participation in elections has plummeted to 55% or less, where it was 20-30% higher less than two decades ago. Even a new party such as the Greens is unable to interest many people, even among the young, who are the most disaffected. Other parties remain within a few percentage points of where they were at the last election, apparently because nobody is following political events closely enough to react – or, perhaps, because people consider all politicians from any party to be interchangeably corrupt.

A sane reaction to this situation would be to change the way you do politics. Some forthrightness, a principled stand, maybe a cause or two might all work wonders, assuming they were genuine and consistent.

But instead, all the Canadian parties prefer to keep the old game alive, attacking each with ritual savagery in Parliament and accusing each other of chicanery as if they still have the support of the electorate. Politics becomes a formal ritual, in much the same way that a verbal war with people swearing and shouting at each other in the House of Commons becomes officially recorded as “Some Honorable Members: Oh, oh!” And, in this case, the more artificial that elected politicians’ behavior becomes, the more disenchanted the public becomes, and the fewer people are watching the government and opposition to help to keep the corruption down.

Really, keeping the old game alive is a form of double-think – the holding of two contrary ideas at the same time. On some level, those who keep the old game alive are very aware that the importance of what they are doing is decreasing. They may even discuss the problem and suggest solutions for it. But, at the same time, their behavior is a denial that any such problem exists.

That, no doubt, is why they often sound so hysterical as they play the old game. The contradiction in their attitudes is easy to detect, and they have to insist that nothing has changed in order to go on at all.

It all seems a lot of effort to me compared to looking for solutions. Yet I suppose that, in some ways, keeping the old game alive is more comforting, contradictions and all, than seeing the world for what it is – especially if you’re middle-aged and realizing that the standards that existed when you were in your twenties no longer apply.

Read Full Post »

A banner, I’ve found, is hard to hang by itself. Several weeks after buying the Bill Reid raven banner that is one of my daily delights, I limped back to the Bill Reid Gallery to buy the wolf banner in the same series.

Since an injury had delayed me picking it up, I had been tormenting myself with visions of collectors discovering the banners and snapping them up, but, happily my fears were unrealized. Had I wall enough and cash, I could also have bought the frog, Mouse Woman, Dogfish Woman, and Beaver banners that were my alternate choices.

However, I am pleased to have the wolf banner, because it is one of the most playful in the set of 13 banners. As Reid himself points out in the text of All the Gallant Beasts and Monsters, the book from which the banner designs were taken, wolves must have been a fantasy figure in traditional Haida culture, since they are not found on the islands. He suggests they must have been semi-mythical, the epitome of ferocity and hunger, with their teeth always sunk in somebody’s belly.

It is this fantasy figure that Reid presents on the banner. The wolf’s twisted posture and the arrangement of the feet suggest that it stalking low to the ground. The head, which is as large as the body is dominated by the teeth, which are three-quarters the length of the head, with outsized nostrils and ears giving it a look of ferocity, especially with all these elements being red. The waving tail, also as large as the body, also helps to suggest intent, furious motion.

The most traditional element in the banner is the head, and even there, the design elements are designed to suggest a roundness of form – a kind of nod to realism. By contrast, only the back hip-joints in the body are classically designed. The length of the body, the feet are almost sketch-like in comparison, consisting of red ribs and black fur. As with the raven banner, in which the body is almost neglected in comparison to the body and the wings, in this banner Reid is focusing on the key aspects of the figure. Even the claws are not emphasized in any way, perhaps because it is the wolf’s hunger that he is most interested in.

All Northwest coast art has the habit of distorting figures to the surface, whether that surface is a ring, a box, or a spindle. Designing for the printed page or banner, Reid has no need to warp the design, but he does so anyway. His wolf twists asymmetrically, leaving much of the left side of the space blank – a suggestion, perhaps, that the wolf is stalking and trying to make itself less visible. One rear foot is stretched out behind suggesting that the wolf is moving low to the ground. At the front, though, the figure is so twisted that one foot is unseen, hidden by the head. Overall, the contortion of the wolf suggests a cat more than any canine – a reminder that this is a fantasy, but one whose blurring of natural categories adds to the menace.

Unlike the raven, the wolf banner has little sign of naturalism. With its modernly asymmetrical posture and the use of red to emphasize the wolvish elements, this is an animal that has been designed rather than observed. You sense right away that this wolf is the sort you have nightmares about. It’s a second cousin to the one in “Peter and the Wolf” and Tolkien’s wargs, the kind you imagine chasing sleds across the frozen Russian steppes in the hopes of snapping up a passenger.

At the same time, the depiction is so exaggerated that there is a kind of black humor to this wolf. From both the design and his remarks, I suspect Reid enjoyed both the menace and the humor. The result is an ambiguous design that is both these things at once.

Head Closeup

Read Full Post »

I don’t come from a musical family. One of my parents admits to being stone deaf, and the other never developed much musical taste beyond the musicals and popular songs of the Fifties and their latter day equivalents. As a result, most of what I know about music I’ve learned through trial and error on my own. And, as might be expected in a writer, my tastes show a strong preference for music that includes poetic and intelligent lyrics.

I certainly never learned much about music at school. In elementary school, the teacher was a semi-professional musician whom those with musical training adored. Unfortunately for me, he had no interest in teaching those of us who didn’t already have a musical background. Given a trombone to play because that was what my brother had used, I was put into the band class with no understanding of what I was supposed to do, and no one who was interested in showing me.

Predictably, I suffered as only a proud child can suffer. Bad enough that a solo passage for trombone in “More” was given to a friend who played the French horn because I was incapable of it, but, by the end of my penal servitude in band the teacher wouldn’t even bother to see if I was in tune. That I was good academically and athletically, and that these humiliations were very public, with an audience that included several girls on whom I had crushes only made the experience harder to endure.

But I’ve always been a whistler and a singer, and somehow I started discovering some musical tastes on my own. I started with Simon and Garfunkel, attracted by Paul Simon’s songwriting, and soon branched out into Bob Dylan, whose cryptic lyrics made my tastes an oddity in my neighborhood and generation.

Stumbling blindly and still not really knowing what a flat or a sharp was (since no one had ever bothered to show me), I kept on in the same vein, discovering singers like Roy Bailey, Leon Rosselson, Maddy Prior, Stan Rogers, and June Tabor, all of whom were either song-writers themselves or at least selected intelligent material. I didn’t completely neglect acoustic music, but the music that I’ve kept coming back to all my life has generally had strong lyrics.

Needless to say, it was definitely not Top 40. But Vancouver is full of small concert venues for those who have come to listen rather than mingle, and, at times, the greater part of my social life has been going out to concerts.

Neither was my taste classical. To this day, my knowledge of classical music is made up mostly of enthusiasms. I know enough that I can tell Chopin from Beethoven or Mozart, but my favorites are a haphazard lot: Vivaldi, a lot of romantics or eccentrics like Sibelius or Grieg, some Wagner overtures, and even Scriabin, whose complexities are intriguing even to my erratically trained ear.

My blue and jazz knowledge ditto, although it’s been broadening recently. As for opera – well, English isn’t the language of operas, is it? If there are words, I am half-maddened by not being able to understand them. And a little light opera like Gilbert and Sullivan goes a long way, rather like reading too many P.G. Wodehouses in succession; you start longing for something of substance.

Still, I’m not complaining – much. Considering my unpromising musical education, I’m surprised that I have any musical interest at all. The best use I found for my trombone was using its case as a sled after school, and, unsurprisingly, I used the transfer to high school as an excuse to drop band.

Mostly, I don’t think about my musical mis-education. But, when I do, I start to get angry, not just at remembered humiliation, but at how unnecessary my lack of musical direction was, and how easily it could have been corrected by a competent teacher. I know I have a reasonable if limited singing voice, because I’ve used it at parties with no one fleeing. Yet when I think how close I came to eliminating music altogether from my life, I’m still full of resentments.

Read Full Post »

Since I bought the Bill Reid banner last week, I’ve been thinking a lot about living with art. I pass the banner several dozen times a day, and, at just under two by one meters with a powerful design, it constantly catches the eye.

My first conclusion about living with art is that it’s not a possessive thing – at least, not for me. I don’t gleefully exclaim to myself “Mine!” when I see it, or even the more proper, “Ours!” Nor do I think that I’ve made a good investment, or how much the banner might increase in value over the years, because I have absolutely no intention of selling it.

So far as I can tell, I would get the same pleasure if I was undertaking an extended stay in a hotel room that included the banner, or if it was simply on loan. It’s being around a work of art that is important to me, not who owns it.

My chief reaction is a feeling of being privileged to see the banner every day. Having my aesthetic appreciation stirred several times a day is an intense feeling. It relaxes me and leaves me content in a way that very few other things do. Great art (by which I mean art that is skillfully done and more than just giving people what they think they want, not simply art made by someone that consensus classifies as a great artist) has a purity of intent that contrasts strongly with the everyday world. Like learning, it’s above the petty corruptions and compromises that we usually just accept without questioning. It has a sustaining quality that arbitrary, constant-changing fashion can never have. Its excellence is the best of us, and I am quickly becoming convinced that we are better for living with such art. Or, at least, I am.

Another benefit of living with art is that you get a chance to see how an artist works. When you see art in a gallery or in a book, you rarely have time to pinpoint why you react the way you do. But when you see a piece every day, you start to appreciate it in much greater detail.

For instance, after a week of living with the banner, I now understand that Reid was a meticulous planner, and that his designs not only frequently have a geometric pattern in them (such as triangles whose corners consist of similar shapes or a certain number of objects such as feathers), but also are constantly playing symmetry against asymmetry – a contrast that seems utterly fitting for an artist who is at once working in a tradition and with modern concepts of design. For years, I’ve been spell-bound by Bill Reid’s work, but until now I never noticed these characteristics of his work.

Of course, I don’t claim that one piece teaches me everything about his work, or that I have discovered everything about this particular work – especially not in seven days. But I know more about his work than I did, and now I understand more about his style and his design sense, as well as that of other artists in the same tradition. By living with the piece, I know a little more than I have previously done, and I look forward to learning more.

Living with art, I’ve decided, is one of the great civilized pleasures of the world, like an unexpectedly fine beer or wine or discovering a superb restaurant. It’s also a pleasure that I’ve mostly overlooked for a number of years and that I plan to pursue from now on as much as a limited budget allows.

Read Full Post »

Today, I was interviewing someone who stated that any company or free software needed a leader who was passionate about the work.

The idea was that, being a leader, they could quickly make the decisions necessary for the smooth running of the company, and that, being passionate about the work, they would make desirable decisions – or, at the very least, spare their subordinates the problem of making no decision at all, which the interviewee saw as often worse than making a wrong decision.

Given what I know of the interviewee, I wasn’t surprised to hear this belief expressed. All the same, I was amused that, shortly before the interview, I had read a new release announcing that a former employer, who also believed in being a passionate leader (perhaps he reads the same books on management as the interviewee) had just sold 95% of his company after five years of trying to make it consistently profitable. And if that is not a sign of bad leadership, what is?

As the interviewee expounded his theory, I couldn’t help thinking that you can passionately make the wrong decision at least as often as the right one. If anything, if you push logic aside in favor of inspiration, you’re probably more inclined to make wrong decisions.

Also, although I kept silent – interviews not being about me, I strongly believe – I couldn’t help thinking that, nine times out of ten, when people talk about leadership, they are viewing themselves as the leaders in question. What other people might think of the arrangement they are expounding hardly enters into their consideration. The assumption always seems to be that non-leaders will automatically follow.

I suppose that some people might exist who want a leader to make decisions for them. Or, at least, if they do exist, such people might explain neo-conservatism. But, I’ve never met them. The most apathetic and most obedient alike always seem jaded or cynical about their situation, if you can get them talking in a place where they feel safe.

For the most part, I suspect that people are not looking for a leader so much as a sense that their input into a decision matters. Nothing can be more irritating to someone with specialized knowledge than to find that their experience has been ignored in the decision-making.

I remember one long, hot summer when I was working on a design and writing project with a company. Whenever we held meetings, the CEO would arrive forty minutes late. He would then spend the next twenty minutes vetoing all the decisions the rest of us had made before his arrival – so far as I can see, simply because he felt like asserting his authority. Those of us who were consultants soon got into the habit of being late ourselves, and of not talking about anything to do with the project until the CEO arrived.

Needless to say, we were fuming, partly about the waste of time, but partly because our suggestions, which we believed were in the best interest of the company, were being ignored.

Very likely, we were sometimes wrong n our decisions, but, given our experience, we were almost certainly right more often than the CEO, who had no relevant expertise in the project – only a passion to have things his own way.

Such experiences explain why, whenever someone talks about visionary leadership, I start getting very apprehensive (at least when I have to endure it; when I don’t, I just shake my head). Somehow, business in the twenty-first century has got hold of the idea that leadership is some sort of natural trait or at least something that is an end in itself.

The idea reminds me of people who believe that a writer simply needs to know how to write, and has no need for expertise on their subject – in both cases, the odds of poor performance increase to near certainty, probably because so much time is spent disguising ignorance and inability.

Personally, I think leadership is simpler than that. These days, I tend to avoid situations where leadership arise, having decided that I have no particular wish to lead, and that I most definitely do not want to led.

However, in the past, leadership roles continually came my way – probably due the wrong-headed belief that if you are skilled in one area, you are somehow fit to lead. When I could not avoid such roles, however, I quickly learned that they were not about me, or making me feel good.

To me, leadership decisions were simply a matter of problem solving: I gathered what information I could in the time allotted, consulting people when I needed to, made a decision, then moved on to the next matter needing my attention. But, then, I’ve never thought that any leadership that wasn’t hands-on was worth a damn, anyway.

To this day, I have no idea how effective a leader I was. Nor am I likely to find out now. But it seems to me that there is far less to the role than those who aspire to it like to pretend.

Passion? Vision? So far as I am concerned, passion is for martyrs, and visions are for saints. I’ve always been aware that I wasn’t so exalted, and that I had a job to do.

Read Full Post »

For many people, Bill Reid is the epitome of Northwest Coast art. The reputation is both deserved, given the quality and variety of his work and unfair, given the number of artists in the same tradition who are equally worthy of acclaim. But regardless of how you view his reputation, Reid has a strong claim to being the major Canadian artist of the late twentieth century, with one of his pieces both on display at the Canadian embassy in Washington, D. C. and on the back of the Canadian twenty dollar bill. And, like any admirer of Northwest art, for a long time, I’ve lusted to have one of his works but been unable to afford one – until now.

Even then, I only did so by getting into an area that the collectors haven’t discovered yet. I bought a canvas raven banner whose design is an expansion of the illustrations that Reid did for All the Gallant Beasts and Monsters, which was published in 1991. The banner was part of one of two complete sets of banners from the personal collection of Martine Reid, his widow, and was sold through the recently-opened Bill Reid Gallery in downtown Vancouver, so its provenance is unquestionable. In fact, I’ve left my email address with the gallery so that Martine Reid can give me more details about the banner.

The last stages of Reid’s development as an artist could be called his post-Haida era, in which Reid, while obviously basing his work on tradition, began incorporating more modern or personal elements into his work. The banner fits very clearly into this period.

While the ovoids and wings feathers are in the Northwest tradition, the torso, the foot at the bottom of the tail and head feathers are something else entirely. Similarly, while the twisting of the entire figure as though it is turning away from the viewer seems in keeping with the distortion of figures to fit a particular shape in classic works, Reid handles the distortion with high imagination, inverting shapes on one wing on the other, and presenting some shapes in full on one wing, but only hinting at them in another. It is as though Reid is inventing a new form of perspective that comes from neither Northwest nor modern art, although obviously drawing on both.

Raven Banner

Reid’s design is equally playful when it comes to symmetry, seeming to abandon it at first glance, but really playing some complex games with it. The body of the raven is defined by the triangle formed by the ovoids on the wings and at the base of the tail, an unusual shape in traditional art. At first, too, the body seems asymmetrical, with the left wing showing three flight feathers and the right wing four – but then you notice that the right wing’s four feathers matches the four toes on the foot and the neck feathers, and forms another triangle whose angles are an inversion of the first triangle.

Then, in contrast to this complexity, there’s the simplicity of the head, with its economical lines and the heavy beak that suggests both the classic depictions of the raven and their actual appearance.

Head Closeup

It’s a complex work, and one that could only come after decades of development, with clean lines that stand out all the more because the design is black on white.

I don’t know if I got a bargain or overpaid, or whether the purchase will prove a good investment. The price was acceptable to me, and, since I bought the work because I admired it, I don’t care if its value increases over time. But the work shows all the mastery of Reid’s last period, and I admire it hugely.

The only trouble is, I’ve hung it in our hallway, and the rest of the hallway cries out for a matching banner. So, I suspect this won’t be the only Reid banner I’ll be buying this year. But if I can get one that intrigues me as much as this one, I’ll be extremely well satisfied.

Read Full Post »

(This is an article that originally appeared on the IT Manager’s site. Since the site has shut down, I’m reprinting the article here to give it a more permanent home)

Books about management techniques rarely mention how to lead computer programmers. The few that do sooner or later reach for a cliché and compare the effort to herding cats — J. Hank Rainwater, for instance, uses the phrase as his title. Partly, the comparison reflects how much the topic is outside the corporate mainstream. However, the comparison also reflects the conflicting nature of the job. The typical IT department represents a separate culture within a company, and a successful manager must both understand that culture and stand between it and the rest of the company, trying to explain each to the other.

I’ve seen dozens of managers — including me — approach this conflict, each with varying degrees of success. My observations here summarize what I believe are the basic facts that managers needs to know to manage programmers. They apply to any programmers, but especially those involved in free and open source software (FOSS), many of whom develop typical programmer attitudes to an extreme. Although some of the points seem obvious to those familiar with programmers, let me assure you: To outsiders, if their mistakes are any indication, the points still need to be emphasized.

You’re in a meritocracy. Prove yourself.

Management gurus usually focus on the characteristics of natural leaders and how you can imitate them. They give ambitious managers heroic images of themselves as samurai warriors, Antarctic explorers, or Henry V. However, neither the discussion nor the image is much use when you manage geeks, because developers, regardless of whether they are involved with FOSS or not, are more concerned with results than any real or artificially generated charisma. Before you can even start to lead a group of geeks effectively, you have to prove yourself to them — either by showing your competence in their area of expertise or by demonstrating that you have useful expertise that they lack. To become truly effective, you need to go further and prove that your expertise helps the group and everyone in it towards their goals, and that you have at least a high-level understanding of what everyone else is doing.

Until you prove yourself, you can expect to be tested, even if you’re a former programmer yourself. The probing can be aggravating, but the good news is that, if you prove yourself, you can quickly become accepted. At one company where I worked, the CTO had an impressive programming background, but it was some years in his past. The developers questioned his decisions constantly, right up to the time that he started delivering tough but accurate critiques of their code. The questioning stopped overnight.

Just because you’re in charge doesn’t mean you’re better

Watch how people spend their free time with family and friends, and you’ll soon notice a preference for informal structures. Given anything resembling a choice, people choose not to be in formal hierarchies, especially if they’re near the bottom of it. A hierarchy may be efficient, but, by being its local representative, you automatically become the focus of resentment.

This natural anarchism is stronger in developers than in most people. If you think for a moment, a meritocracy implies a constant shifting of status that depends on who has done what recently. Add this political instability to a widespread feeling of being different and misunderstood, and the resentment of leaders becomes stronger still. Moreover, in FOSS, where status is still one of the main coins with which programmers are paid for their efforts, these attitudes may be taken to a further extreme.

Neither being in a position of authority nor being older — as managers often are — is going to command automatic respect in the IT department. You might assume that your position reflects some superior qualities such as intelligence or ambition, but the development team probably doesn’t. Management consultant Tim Bryce insists that most programmers are no smarter than anyone else in a company, but that’s not what they believe.

Rather than relying on any natural or structural authority, IT managers need to see themselves as coordinators or problem solvers, working within the culture of their department whenever possible rather than against it. Nobody has ever shown the causality, but there’s probably a connection between the fact the era in which the corporate hierarchy has flattened corresponds to the rise of the IT industry. Because of the economic important of the computer industry, its values are spreading through the rest of the business world.

What motivates you doesn’t motivate your staff

A few management books, such as Beverly L. Kaye and Sharon Jordan-Evans’ Love ‘Em or Lose ‘Em
emphasize that one management style doesn’t fit everybody. However, many gurus and the managers who listen to them continue to assume that what motivates them — promotion, money, perks — also motivates programmers. For those unfamiliar with programmers’ culture, the process of realizing they are wrong can be disconcerting.

“Leading programmers is different from leading most employees,” career expert Tag Goulet says. “At one of my previous jobs at a startup, I was the vice-president of production, and led a team of three programmers. One of the guys posted Dilbert cartoons by his desk that poked fun at Dilbert’s pointy-haired boss and were quite possibly references to me. I’d never seen cartoons like that in more corporate workplaces. Instead, everyone was always careful to have political decor that implied that they were all team players.” In fact, such cartoons, like the popular Demotivator posters that satirize inspirational corporate art, are often the first indicators that many programmers are skeptical, even dismissive of the values that many managers take for granted.

The trouble is, managers usually have backgrounds in business or marketing, and are outgoing people who prefer to work with others. By contrast, most programmers are the academics of the business world, inwardly focused and preferring to work with inanimate objects. If they’re FOSS-oriented, they may also have a strong streak of anti-corporate sentiment. While they won’t turn down money, for them job satisfaction is more likely to lie in greater challenges or responsibilities, and, especially for those involved in FOSS, credit for their efforts.

Impromptu bowling in the hall may motivate your sales force and marketers, but, chances are that programmers will only feel like they’re being spirited away into a nightmare of frivolity. A weekly pizza night or an evening at a night club to celebrate the successful completion of a project might be satisfying to a human resources team, but your programmers will either resist being dragged away from their projects or, if they’ve just come off a coding spree, resent losing time they could spend with their families. Instead of being events to anticipate, such efforts are more apt to be seen as annoying obligations.

Instead of trying to make such by-the-book motivators work for programmers, think about you can implement the intrinsic awards that actually mean something to them. Reward those who meet their deadlines with greater autonomy in a project, or by giving them the chance to become project leaders or to telecommute so long as they meet their responsibilities. Let FOSS participants have time to work on free projects once they’ve met their deadlines; even if the projects have no immediate use to the company, they may become useful later, and, meanwhile, your sponsorship gives the company a good reputation among potential future employees.

Credit is the most important motivators, especially for FOSS participants, but don’t forget the cultural differences. Most developers are only going to be embarrassed by being singled out for praise or an employee-of-the-month award at a meeting. Instead, let people know that you’ve noticed their efforts and given them credit elsewhere in the company.

Learn when to keep hands-off

Shortly after I became a product manager, I discovered a major bug in a commercial product that was just at the plant and ready to be assembled. Put in charge of disaster recovery, I asked the team to assemble every hour so I could report to the company officers on the state of their efforts. After the disaster had passed, I found that I had left resentment in my wake. Not only did the programmers dislike meetings, but, by keeping such a close eye on events, I was questioning their competence and taking responsibility away from them. The emergency was real, but I was hampering their efforts to resolve it, not helping.

This kind of situation can’t always be avoided, but experienced managers will give all members of a programming teams as much autonomy as they have proven themselves capable of using responsibly. Partly, that means mediating between programmers and the demands of executives, but it also means only making an appearance among the cubicles when absolutely necessary. Instead of calling everyone together, I would have done better to send email requests or appoint a programmer to provide status checks. Better yet, I could have asked the team for a firm deadline and not interrupted anyone until that deadline while explaining to the company officers that the solution was being worked on — which was all they wanted to know anyway.

Minimize meetings

For managers, meetings are times when work gets done. For programmers, however, attending a meeting usually means time away from their work. Sometimes, especially at the start of a project or at a crisis, a meeting is unavoidable, but managers need to accept that programmers are likely to resent meetings and become more impatient with every minute that passes in the board room. The fewer and shorter the meetings, the more easily the developers will accept them.

Beware of fads in programming languages

Every couple of years, programmers become excited by a new programming language such as Java, .NET and Mono, or Ruby. Inevitably, whenever a project begins, some of your team will argue strenuously that it needs to be done in the latest fashionable language. Sometimes, this argument may be justified, but it is more likely to represent intellectual curiosity than sound design practice.

Almost always, the argument is a recipe for chaos. At one company where I worked, so many different languages were represented in its product suite that individual modules only communicated with difficulty. Several attempts to rewrite the suite in a single language only added to the complexity because they were never completed, and legacy support remained an issue. This trap is easier to avoid if you have a programming background yourself, but any manager should be wary of adding another language to the stack.

Learn when corporate values have to take precedence over geek values

Not being interested in business, many developers tend to ignore necessities like deadlines. Many become skilled at dodging them. The problem isn’t that most developers can’t be trusted to work responsibly by themselves, so much as the fact that they can be almost guaranteed to tinker as much as the schedule allows. In such cases, for all that successful management of geeks means understanding their culture, it also means recognizing when moving to achieve corporate goals are more important. At times, understanding needs to take second place to necessity, even at the cost of resentment. Skilled managers minimize conflicts with their staff, but they also recognize that some conflicts are unavoidable.

Conclusion

Managing programmers — especially FOSS ones — is an extreme version of the balancing act that any manager must do. On the one hand, managers need to understand the culture of their departments and how to work within them. On the other hand, they also need to act as intermediaries between that culture and the rest of the company. Combining these goals means adjusting your concept of management to the department. Sometimes, it means interpreting programmers to non-programmers,or shielding programmers from the misunderstanding of executives in order to achieve corporate goals. At other times, it means awakening programmers to the larger goals of the company. It’s a precarious balance, but knowing what to expect as you go into the position can leave you with more time to handle the challenges that arise without being distracted by cleaning up your mistakes or a lack of cooperation from your team.

Read Full Post »

« Newer Posts - Older Posts »