Art, the Offender?

DSC_0446 (2)

Does art find harmonies that soothe?  Do the harmonies suggest an underlying and reassuring order?  All is well?

Does art destroy smug tranquility?  Does the destruction open up new ways of seeing, hearing, living?  Or does it merely wipe away preconceptions without building a scaffold for new structures?

I read that James Joyce came across a few intelligible passages as he edited Finnegan’s Wake.  A reader might just be able to connect some dots.  Joyce immediately reworked the offending phrases until they seamlessly blended in with the seething babble of the rest of the book.

Picasso broke forms, twisted shapes, rendered the world in ways that surprised him.  Yet he missed having a set of rules by which he could judge the value of his work.  He realized that Cubism had undermined tradition, and that he couldn’t retrace his steps to regain the comfort of working in an enclosed system.

I used to use color as a weapon.  Reds and greens clashed and tore at each other.  Hot colors shouted at dull.  I wanted to wake everyone up to make them feel what I felt.  Now I know that they already did, that my emotions weren’t unique.  And now I like a little harmony as my days grow harder to manage and the world seems alien to me.

I sometimes visited the Museum of Modern Art in New York when I lived in Pennsylvania.  The lower floors started with James Ensor, and as I progressed upward I saw a progression of movements.  Fauvism jumped to Cubism skipped to Dadaism and Surrealism.  The tangled energy of Ab-Ex ran down and became supplanted by Pop Art and increasingly arid Minimalism.  The eighties section focused mostly on installation art.  Eccentricity seemed to be the only recognizable goal.  I fled around a corner into a quiet room with dimmer lights, sat on a bench and sighed.  A Monet water lily painting hung before me, and I felt like a thirsty traveler sipping cool water at an oasis.

DSC_0448 (2)

Advertisements

Abstraction: Poetic Interpretations of Memory

 

This slideshow requires JavaScript.

 

Here’s a slide show of recent paintings and a drawing. These were made this year and represent a huge departure from my narrative painting series. Abstraction allows me to make poetic interpretations of emotions and experiences, and the process is more absorbing and satisfying than working realistically.

Technique: I’ve been layering images associated with specific events. Memories of a weekend vacation, a quilt on a bed, bass fishing with my father, recovering from surgery, dealing with a friendship gone bad, and an adolescent dream are the sources. I let the colors and shapes develop into rhythmic patterns and create contrasts between flat shapes and volumetric forms.

I intentionally leave hints of the original subject matter. I’ve never been a purist, never wanted to edit compositions into pristine arrangements of a few precious forms. I’d prefer, if I had the cash, to own abstract work by Paul Klee, Stuart Davis, Georges Braque, Arshille Gorky, Patrick Henry Bruce, August Macke, and Marsden Hartley. (They  included autobiographical images, symbols and references to nature in their compositions.)  I’d pass up the pure abstraction, minimalist, and conceptual artwork of Brice Marden, Robert Mangold, Robert Ryman, and Ellsworth Kelly.  (They boiled things down to sterile nothingness.)

 

 

 

Ohio Man and Vincent Van Gogh

The art department at the University of Delaware had a poster pinned on the office door: a reproduction of a Vincent Van Gogh self-portrait.  The painting showed the artist puffing a pipe while wearing a bandage over the torn stub of the ear he had recently severed.  Vincent looks haunted, like a man who has begun to realize that his life has just shifted permanently sideways.

van gogh

One day I saw Professor Bob standing in front of the poster.  He grabbed his scarf, wrapped it around his head, mimicked the act of smoking a pipe, and hunkered down.  He sucked in his cheeks and looked mournfully up at us.  Professors Larry and Steve shouted and laughed, and I asked, “What’s so funny?”

Larry told me that a grad candidate had brought along his wife on his interview.  She was a hair dresser who most likely had never attended college.  She had seen Bob standing near the door earlier in the day, pointed to the poster and asked Bob if the painting was a portrait of him.

I met the candidate later in the day and discovered that he was a small town boy from Ohio.  He spoke simply about his work, and I asked him what projects he had planned for grad school.  He told me that he painted portraits of anyone willing to model for him.  He didn’t have any rationale for his selection process and didn’t wish to explore an underlying theme while developing his work.

I liked the man, but knew that the professors would reject him if he didn’t come into his afternoon slide show with a plan of action.  I knew that the profs wanted to see a conceptual model.  He might explore issues surrounding homelessness by painting street people.  He might survey modes of masculinity by contrasting football players to poets, blue collar locals to high-toned academics.  He could investigate the shifting standards of feminine beauty by painting women who fit the definitions of attractiveness in different times and cultures.  Example:  a Rubenesque woman contrasted with an emaciated Twiggy-like model.

But the man from Ohio gave me a blank look when I tried to coax him into picking a more complex project.  He simply wanted to paint people and had never given much thought to issues inherent in the field of portraiture.  I’m sure that he’d never heard of “The Male Gaze’, and didn’t understand that a person’s clothing, posture and expression revealed clues about their social status and group history.

I changed the subject when I saw that my efforts were pointless.  I asked him how he liked Delaware.  I remembered the difficulty I had in adjusting to East Coast culture after moving to Wilmington from Dayton, Ohio.  I had been unprepared for the rudeness, the social preening, the thin-skinned hostility.  Ohio Man jumped on the topic and told me a story about a waitress in a Delaware diner who yelled at him when he asked for more coffee.  He said, “I was polite and nice as pie, but she’d like to have torn my head off over a refill.  I told my wife, ‘Things sure are different here.'”

His paintings looked good to me at the slide show.  The proportions were accurate and the draftsmanship sure, and the flesh tones shimmered clear and fine.  His brushwork was lively, and the paint thick and juicy.  The guy had talent.  But he blew it when he started to talk.  He pointed to a portrait of an old man and said, “This is my Grandpa.  I showed it to him when I finished it, and he said nothing.  I worried that he thought it was no good.  But he smiled to show me that he liked it and that he was proud, and that smile meant more to me than anything anyone has ever said about my work.”

Ohio Man waited for the profs to say something pleasant in response, but Larry stared at the floor, Bob smirked, and Steve glared at the candidate.  Ohio Man looked flustered but continued as before.  He delivered heartwarming stories about subjects in forthcoming slides.  Aunt Mattie suffered from diabetes, but that didn’t stop her from making decorations for the grade school Christmas tree.  Uncle Jim sold shoes in a shop downtown, and he always remembered a repeat customer’s name.  Cousin Jean planned to join the Navy after she graduated from high school because she loved her country and wanted to see the world.

I spoke with the professors after Ohio Man packed up his slides and joined his wife in the hall.  I expected more jokes, but the three men had grown solemn.  They couldn’t believe that an artist who had made that much progress had failed to develop one critical line of thinking.  The profs couldn’t find a hint of ironic detachment in the paintings, not a scrap of socio-political thrust in his attitude toward his subjects.  The man was simply a painting machine.  He’d offer nothing but greeting card homilies in critiques, and would do little to challenge his fellow students.

Bob, Steve and Larry rejected Ohio Man and sent him back home.  I  sometimes thought of him when I passed the office and saw the Van Gogh poster.  I hoped that he’d found a refuge among people who liked him and his work and valued his innocence.

Radical Responsibility

Jean stood in front of me to block my exit from her dining room.  I had rented a room in her house during my second year of grad school.  She said, “You told me that you’d call once you got to Pennsylvania.  You didn’t.”  I had just moved out after graduating from the University of Delaware to rejoin my wife in State College.  But I had to return one last time to Newark, Delaware to clean up loose ends.  Meeting Jean was one of them.

Jean demanded an apology.  I didn’t remember promising a phone call, but my former landlord and part time art mentor was damn sure I had.  I came up with a few excuses invented on the fly, and gave her a lukewarm apology.

She didn’t buy my routine.  She gave me the following instructions instead:  “When you’re wrong don’t explain and explain and try to weasel your way out.  Just say you’re sorry!”

I took what she said with a grain of salt as she had never once acknowledged any wrong doing on her part in the two years I’d known her.  She’d accused me of misdeeds I hadn’t committed, and had vented her spleen (at my expense) on a several occasions.  She hated men as a matter of principle, and the best compliment she gave me was, “You’re not a man.  You’re a person.”

But she never weaseled, justified, or blamed anybody else for her actions.  She claimed them…

I’ve recently been reading about the Stoics, a group of Greek and Roman philosophers and statesmen, who believed in responsibility.  They stated that there are few things that we can fully control beyond the choices we make minute by minute.  They suggest that a person can become virtuous by owning the results of their thoughts and actions. Good individuals can elect, in the face of uncertainty and malevolence, to do what they consider to be right.  They don’t blame circumstances or the influence of other people for their mistakes.

Psychological research tells us that unconscious impulses, biological drives, and social mores direct our behavior.  In some ways, our personalities are products of heredity and cultural indoctrination.  Our personal history, family traits, and worldly influences can be blamed for our misdeeds.

But we give up a lot of power if we take the escape route of passing blame.  We cede control over our lives when we center responsibility outside ourselves.  How can we grow into our best selves if we are nothing but puppets and victims of fate?

It’s easier to live as if we are puppets, of course, and being weak can be addictive.  A familiar form of melancholy settles in when we accept the lowly and defeated state of our existence. But isn’t this a shadow life?

The only form of fulfillment we can gain is by taking responsibility for ourselves, by striving to see ourselves clearly and to make changes.  Life takes on a new sense of purpose when we look at our circumstances as sources of challenges, challenges that teach us to be better persons.

 

 

 

Night into Morning

I fall asleep in front of the living room TV around twelve, and wake up around two or three.  Wide awake, I make the habitual mistake of booting my computer.  I check my e-mail, look for messages on Facebook, watch comic routines on YouTube.  I fall back to sleep with my laptop at my side as I lay in bed, and I feel a bit of shame when I wake up with a dark screen beside my pillow, the battery sapped.  And I wonder what played on and on while I drifted off and dreamt odd dreams.

I usually wake up between 7:30 and 8, eventually stumble to the kitchen, search for a semblance of life at the bottom of a coffee cup as I share breakfast with Judy.  The day doesn’t truly begin until sometime after nine when my grogginess finally evaporates like fog in bright sunshine.

Last night I retreated to my room at quarter to twelve after listening to Stephen Colbert’s monologue, and discovered a dog under my cover sheet when I sat on the bed to take off my pants.  Sedgewick had sneaked away early and found shelter for the night. Shakespeare followed me from the living room, jumped onto the bed and settled on the lower left.  I turned off the light and lay on a two foot wide strip of mattress with Sedgewick folded against my spine.  Shakespeare eventually lodged in the crook of my knees, which made rolling over difficult.

At four in the morning my neighbor, Joe, had his latest blow out with a roommate.  (These quarterly festivities are held, inevitably, in the carport fifteen feet away from my window.)  Roommate accused Joe of damaging his truck.  Joe protested his innocence.  Roommate said, “I thought we was brothers.  But now you’re lying to me.  You’re gonna pay for my truck!”  Threats and accusations followed, a heavy motor rumbled to life, and roommate drove away.  He returned a few minutes later, however, and the argument resumed at higher decibels.  No one mentioned a gun or threatened to use one, and I didn’t hear punches landing.  I decided to let it go.  I only call the cops now when a threat of death and permanent damage seem imminent.

Sedgewick stirred at seven and woke me up.  I heard Judy open her door and walk into the hall.  The dogs stayed put, however, and didn’t chase her to the bathroom.  I took a blanket and threw it over their heads to tease them, but they accepted the covering as a gift, settled beneath and fell back to sleep.  I woke them up when I finished morning ablutions, and led them to the back door.  I yawned and batted away mosquitos as the two sniffed, peed, and convened over signs of cat, armadillo, and raccoon incursions.  The clouds hung low and gray, and we didn’t linger long.

I made scrambled eggs for Judy and me, and let Sedgewick mooch a thin shaving of cheese.  We had a good conversation, I washed dishes, and then I took the two dogs for a long walk.  I deposited their droppings under the Cassia bush in the front yard, washed my hands and retreated to my studio.  I listened to a chapter of “A Gentleman In Moscow” as I worked on a painting entitled, “Dog Days”.

DSC_0361 (2)

At 10:30 I browned some chicken in a pan and began to prepare lunch. We ate at 11:30, and the morning ended.

 

 

Art Country

I recently watched a beer commercial during a break in a hockey game.  It showed a horse running down country roads, streets in small towns, children raising the Stars and Stripes, a firehouse, men shaking hands.  It ended with a father and son standing on a porch.  The sun had begun to set, and one handed a beer to the other.  They smiled reluctantly as if too shy to fully acknowledge the love they felt for each other.  They sipped their beer and looked out over their land.  The horse ran by…

I thought that it might be interesting to see if a sales formula leaning hard on nostalgia, patriotism, and old fashioned hokum could be applied to another American product.  I tried Painting, and failed of course.  But failure can be funny:

 

This is the story of paintings made in the heart of America, in a community where a gallery contract is a bond for the artist (but not so much for the dealer). 

thomas hart benton reaping

Thomas Hart Benton

These are the paintings made for those who took on the challenge of defeating ennui, who found an opportunity to defray the tax costs of inherited wealth, who forged a new hope for a cleverly invested future.

 

jack levine woman fan Jack Levine

 

These paintings were made for a generation willing to sip wine, speculate over risky masters (the ones who stubbornly outlive their most valuable periods), to remember a time when it was easier to choose a bankable artist from amongst the desperate, paint-spattered rabble.

 

Daumier

 

This is a story bigger than painting…This is the story of ART COUNTRY.

 

Roy De ForestRoy DeForest

Walk Through An Art Show

DSC_0333DSC_0332DSC_0331

I saw my show, “Happy Paintings for Well-Adjusted People”, for the first time last Thursday.  My wife and daughter came to the opening that night, and I mostly interacted with faculty, a man named Tony, and two high school art teachers who happened to be on campus at the time.  I gave a lecture about my work to the folks listed above and a class forced to attend.  But the somewhat listless students listened and didn’t lapse into smart phone drifts of attention too often.  I got a few questions at the end that helped me to explain things a bit further.

DSC_0330DSC_0329DSC_0328

Judy helped me to refine my speech, and we agreed that the underlying theme in a lot of my work is humor.  So I opened and closed my presentation with jokes.  One featured hump back whales, and the other told a story about swimming lessons involving trips to the middle of Lake Erie, a tough father, and being tied up in a bag.

My work was treated with respect, and the reception felt warm and friendly.  I recommend Daytona State College and the curator, Viktoryia McGrath, to any artist interested in exhibiting their work in a college setting.

DSC_0327DSC_0326DSC_0325

 

DSC_0324DSC_0323DSC_0322

My daughter, Annie, spent the weekend with us and brought along Shakespeare and Sedgewick, her two dogs. She left early Easter Sunday afternoon, and Judy and I both felt a bit sad now that the flurry of activity had ended and the house was a lot quieter. We decided that we will be moving next door to a child once they settle down in a permanent location.

Now I’m looking forward to making new paintings under less stressful conditions, finishing out my semester, and starting summer projects.