Speaking at the British Consulate in Kendall Square, last week,  Morgan Stanley Chief Market Strategist David Kelly predicted slow (3%) growth for the US economy in 2012–unless  there are no major disruptions  like  last year’s  Arab Spring, the European Debt Crisis,  the Tsunami in Japan or  what he termed a “home grown” crisis like the one created when Congress allowed this country to hover on the brink of default rather than raise the debt ceiling.

While the deficit is cause for concern, he said, a default would have thrown the nation into a true “great depression.” In diminishing its debt,  the US should proceed slowly. Both tax and entitlement reforms are needed, he said, and moving bit by bit can lead to a balanced budget within 7 years (?) whereas trying to change everything all at once could lead to disaster.

Despite the crises of  2011,   he pointed out, the Standard and Poor’s Index ended up  just .003 percent lower than it had been  at the year’s start. The coming year will  be one of uncertainty, but “the US economy can grow through that, ” he said.

According to Kelly,   factors in several areas will  likely lead to growth:

Housing:
-The  current very low level of housing starts, low inventories and  rising rents will lead to greater demand for homes, especially as consumer finances continue to improve.

-With mortgage rates at 3.8 percent, consumers are refinancing their homes, which means that consumers now have 14% disposable income, compared with 11% in 2007.

-This is the most affordable housing market “ever. ” Mortgage payments now account for  just 10 percent of average household income–which means that people have more money to spend elsewhere.

Automobile:  

-The age of the average vehicle in the US has risen from 9.8 several years ago to ten years;  as cars break  down, sales will go up.

Capital Spending
-Companies have held back on capital spending; as confidence rises,  spending will increase.%.

The key to it all, he emphasized, is confidence that the economy will improve.  Still, he said, he wished that  Ben Bernacke and the Federal Reserve Bank would take the year off “to work on their golf game” instead of telling people that interest rates will remain low for the next few years–which encourages people to put off spending.  What is more, he said,  keeping interest rates low will discourage banks from lending–because they do not want to be locked in to low rates for thirty years, when they know that rates are likely to rise a few years from now.

A link to Morgan Stanley’s  Guide to the Markets for Q1 2012     is available at

https://www.jpmorganfunds.com/cm/Satellite?pagename=jpmfVanityWrapper&UserFriendlyURL=insidemarket_browsetheguide

—Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group, a strategic PR firm specializing in integrated marketing communications, thought leadership,  media relations and social media for companies in health, science, technology and energy, worldwide. 

 Local AFL-CIO Insulators, Tin Kinockers and Pipefitters from Cambridge Local  use a large inflatable rat to make clear how they feel about the use of non-union, non-Cambridge workers by PH Mechanical for work currently underway at 302 Third Street in Kendall Square.  “They don’t conform to community standards; they are unlicensed, and they have no apprentice program,” said one union member who declined to give his name. He said he expects that Cambridge City Council will be discussing the issue at its next meeting, possibly this evening.

Photos C. Anita M. HarrisInsulators, Tin Knocker, & Pipefitters Local AFL-CIO unions protest use of non-union workers at 302 3rd St.

—Anita M. Harris

Anita Harris is a writer in Cambridge, MA.  New Cambridge Observer is a publication of the Harris Communications Group,  a marketing and public relations firm based in Kendall Square, Cambridge.

It’s not that often that I leave an art exhibit with a new way of  seeing the world, but that’s what happened after I visited the ICA’s dance/draw exhibit, last weekend.

As described in an ICA press release, the show, ” organized by  ICA Chief Curator Helen Molesworth,  traces the journey of the line from changes in drawing in the 1960s to its explosion off the page and into three-dimensional space—ultimately finding itself in the realm of dance.  It  features  some 100 works—including video, photography, drawings and sculptural objects and  live performances.”

Based on the ICA Website’s  rather  formal description ( “In both dance and drawing, the line, as an independent means of expression, was liberated from the historical ideal of perfect form, to become a  mobile, open-ended element used to explore history, memory, and the expressive potential of the body”)   I thought the show would  dry and difficult–which is why I managed to avoid seeing it until just before the exhibit closes- on January 16.  And am I sorry!  Because what I found was a  refreshing new way of experiencing both dance and drawing–as well as objects and movement in the real world–that I’d like to go back to again and again.

One section of the exhibit shows how artists used body parts and objects rather than traditional drawing implements to make art. For example,  Janine Antoni used her eyelashes and mascara to make patterns on canvas;  Trisha Brown’s superimposed  tracings of her feet show motion in themselves; John Cage drew with plants and seaweed; David Hammons bounced a basketball covered with dirt onto a white background,  and Mona Hatou, below, drew with her own hair dipped in hair dye.   Photos and the works themselves document the artmaking processes–which often  involved dance-like  movement. 1.

In another room, a section called “The Line in Space” includes works in which  thread, string, or wire were used to form line–off of paper or canvas.  Of this group, I especially liked the mesmorizing simplicity of  Fred Sandback’s “Untitled Sculptural Study”   hung  in space.

If I recall correctly, a thread red  acryllic yarn hung up and down from ceiling to floor to the left, blue from the wall to the red thread, and yellow parallel on the floor–forming a three-dimensional representation of a Mondrian-like grid.

I also got a new perspective on  charcoal drawing  when I encountered Cornelia Parker’s  Hanging Fire (Suspected Arson)  sculpture, which is part of the ICA’s permanent collection. Composed of chunks of charcoal hung from the ceiling on wire mesh, in this new context, the piece becomes a charcoal drawing– in space.

A third section, “Dancing,” explores challenges to traditional modern dance as dance performances were moved off the stage into  the “real world”  of streets, mountains, the subway and such.  “Babette Mangolte’s photographs and films of Judson dancers Trisha Brown and Lucinda Childs show us the dancing body, in its entirety, rigorously defining itself as a line in space…. Juan Capistran’s break dancing in a museum (below) “similarly engages dance to defy protocols of normative behavior. “2.

Finally, in the section “Drawing,”  younger artists demonstrate “how movement, performance, and drawing are ineluctably mixed… ” . 3. For example, Tseng Kwong Chi photographs  Bill T. Jones Body Painting with Keith Haring; Fiona Banner copies  life-drawing manuals, in which the figure often appears to be in flight; Silke Otto Knapp  traces photographic images of dancers  onto luminous silver-painted canvases, and  Helena Almeida has herself photographed while she is drawing.                                                         4.  

I loved these and  many other works in the exhibit–and can’t do justice to them all.   But my favorite was a video in which dancer William Forsythe explains and shows  how he as a dancer moves– over, under and around electronically superimposed lines and shapes –forming new lines, shapes and volume.    5.

The day after seeing the show, I could not help but notice  lines, shapes and volume in relation to individuals’ movement everywhere in my life.

Draw/Dance will be at the ICA through January 16, 2012, with major support  fromThe Andy Warhol Foundation for the Visual Arts, Ronald and Ronni Casty, the HBB Foundation, and Jacqueline Bernat and Adam Hetnarski.

Credits:

1.Janine Antoni (Bahamian, born 1964)
Loving Care, 1992-96
Color video, sound; 35:50 minutes
Performance on January 7, 1996, MATRIX
Gallery, Wadsworth Atheneum Museum of Art,
Hartford, CT
Courtesy of the artist and Luhring Augustine,
New York

2.Helena Almeida (Portuguese, born 1934)
O Atelier/The Studio, 1983
Black-and-white photograph
67 3/8 x 48 7/8 in.
Framed: 69 ¼ x 50 ¾ in.
Exhibition copy, courtesy of the artist

3.Juan Capistran (Mexican, born 1976)
The Breaks, 2000
Inkjet print
40 x 40 in.
Collection of the New Museum of Contemporary
Art, New York, The Altoids Curiously Strong
Collection, Gift of Altoids
4.Tseng Kwong Chi (Chinese, 1950-1990)
Bill T. Jones Body Painting with Keith Haring,
1983
Gelatin silver selenium-toned photograph
20 x 16 in.
Muna Tseng Dance Projects / Estate of Tseng
Kwong Chi and Courtesy of Paul Kasmin Galler

5.William Forsythe (American, born 1949)
Lectures from Improvisation Technologies, 2011
Color video, sound; 9:54 min.
The Forsythe Company and ZKM, Karlsruhe,
2011

–Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group, a public relations firm located in Cambridge, MA.  Harris, its founder and president, also blogs there.