Wednesday, October 24, 2018

Ugly Aesthetic

October 24

    I am thinking about ugly. The "ugly aesthetic" came up when learning about Kathe Kollowitz.  She included the images of the less fortunate at a time when it was not fashionable.

     Beauty is historically a signifier of truth, virtue, and the sublime. Ugly suggests evil, unrest, bad character, and deformity.  Kathe Kollowitz's Unemployed (1925) a wood-cut print, depicts the faces of the impoverished- the gaunt faces and sagging skin.  Kollowitz shows their ugliness as a call to action, as it inspires pity and represents injustice.




      Ugly makes you want to turn away, but it also fascinates.  Grotesque is a related term which  has a psychological suggestion.  Its as if the ugliness has somehow traversed the barrier of your flesh, and is burrowing inside of you, imitating a reflection of your bloody mushy insides.  I would argue that what constitutes ugly or grotesque, is shared by all humans, and it is only the way we respond to it that varies from culture to culture.

      The human standard for ugly seems to be different between the animate and the inanimate. For instance, humans pan-culturally appreciate texture in clothing and art.  Polk dots and stripes. When those qualities, however, appear on human flesh such as in the case of an aging face, the liverspots and creases that accompany us into our twilight years, mark the cessation of youthful beauty.  Asymmetry is beautiful in design but works terrible for a person's face.





Felcan update:

Found someone to help me with rubber mold.  Trying to make it uglier.

Sill haven't been able to get Spring out of the mold, but should have that done by tomorrow.  Fingers crossed.

Found plaque for taxidermied head.

Started My Mother was a Dancer.






Sunday, October 21, 2018

Matthew Barney/Dream Logic

 October 21



"Objects and narrative acting together"..I remember going to see the Cremaster Exhibition at the Guggenheim, and  being floored by the artistry involved with the "props", although that is clearly not the right word.  The peices ranged from blue Astroturf to plastics and resins in drip formations, these items relating to each other with a sort of "dream logic", as was described by another onlooker. 


Barney's epic Cremaster Cycle (1994-2002) was a project consisting of five feature-length films that explore processes of creation.  Barney's vision encompasses a wide variety of media, including video and performance. His influences include Jack Smith, Norman Mailer, and Bruce Nauman.

I share with Barney the compulsion to eradicate gender, or even identity as a human.  A character that is not a being. 

So what does that make it, a prop?  I am talking in current work about the felcan traverses a world of animate and inanimate representations.  Through this, systems of presence can be devised.  There appears to be a tendency to pair the non-being character in a world that is not our own.  Then there are artists who created monsters, demons, fictitious characters, used animals, ....never personification of animals until recent times.  Makes me think about how Disney characters are as much like humans as they could possibly be before becoming human. 

All of this speaks enticingly to that dream logic.  The trick is to humanize it.   (Thank you, Archie)



Felcan update:


completed Spring this weekend, despite many obstacles. Pic Forthcoming...

Wednesday, October 17, 2018

The Mechanicals




Rube Goldberg.



 Arthur Ganson
artichoke petal



The Seemen



Survival Research Lab (Kal Spelltich.)

T.H.E.R.M. West Oakland Artist Collective





Talmudic Format

I am posting a message and response between myself and a prof.  I find this all to be very useful ...
information....First my message, and his response. 


Hello!  I just want to mention that it occurred to me today how fortunate my art generation is to have your art generation to inform us.  As I think I may have mentioned to you, my dear friend/mentor, Susan Josepher, alumni of Brooklyn College, was on hand to explain the so-called "importance" of Abstract Expressionism during my art pubescence. "You just had to be there'" she said.  And now I get it!  Its the zeitgeist.  

When I was asking, "Whats next?" It was more a philosophical question than an art question.  Does not art reflect the spirit of the times?  I am wondering from your perspective, what this may be, and more broadly, I am trying to conceptualize what it actually is. 

Post Modern philosophy is very interesting.  To the extent of my knowledge, there is a huge emphasis on the "meta".  Vice Versa.  Irony.  The snake eating its tail.  We live in a time when art shapes our existence as much as our existence generates art. 



RESPONSE:


Thanks for the feedback. Feel free to share this note with your colleagues if you like.  

I have never seen a great work of art that is primarily ironic.  Not Goya's royal portraits or any of Warhol's work... and Hogarth is (a) not great and (b) more moralistic than ironic.  

If examined even cursorily it is OBVIOUS that great art, from any culture, is HUMANIST and presented with and by AFFECTION.   All of these titles and philosophies muddy the waters of what artists actually do and are injected into aesthetic conversations by impotent observers who seek the power of quashing the fluidity that I showed operating in the work of Eva Hesse and setting up a "contextualizing" perimeter over which they claim authorship.  Greenberg and Rosenberg actually fought over whether New York based artists of the 40's-50's should be called "action painters" or "abstract expressionists".  

Aesthetic philosophizing is a pissing contest with all of those puerile motives in tact.  Barney Newman was by no means an "abstract expressionist" nor was Eva Hesse a "minimalist".  The French, offended at New York for taking the temporary spotlight, came up with all these assholes that you are now required to read - 40 to 50 years after their initial pronouncements and are now calcified in the curriculum of universities whose observational capacities are glacially slow to shed any of their safe encrustations.   

Derrida's "Jewish" "talmudic" formatting I sometimes think is a sadly pugilistic response to the iconoclasm, the weakness, the lack of the visual, in Judaism.  Forget the "meta" and the "essentialist" crap.  What I've been showing all semester, and will continue to show, is that what artists do is actually CONTRARY to what the cultural analysts say we do....and they say that after the fact so they can neatly stack their assumptions into a container and neutralize all of the IRRATIONAL and PURELY VISUAL (not verbal) INTELLECTUALISM that happens in the MYSTERY of the art that deeply moves us.  Some people just can't stand a MYSTERY.   They must WIN.  They must kill the MYSTERY - like Penn and Teller - so that we KNOW.  The enduring value of art is that we never know and keep asking, which keeps us ALIVE.

The reason that Louise Bourgeois, Sol Lewitt, Dan Flavin and Carl Andre and Eva Hesse and Smithson the Earthworks guys are interesting and the reason the Donald Judd bores the crap out of me is that Donald Judd was an ART CRITIC and explained his approach, justifying his work with the relief of his finite theories.  The same goes for Ad Reinhardt about whom I couldn't care less.  

Mondrian's paint, when examined up close, looks like cream cheese, which defies all the "purity" of neo-plasiticism......WHY  did he paint THAT  way?  I've never read a critic address the incongruity of his paint handling with his compositions - but he was Jackson Pollock's great champion with Peggy Guggenheim.  Go figure.  

The reason that my oldest friend, Larry Poons, keeps painting in a way that has lost all critical support and whose work is "out of fashion" but still greatly admired by painters is something that the critical dialogue would simply not deal with rather than examine.  

Irony is bullshit.  It is a shield against the courage to be vulnerable and therefore be accessible, to provide the generosity of nutrition, by taking the stance of received information and illustrating it for a timid public that wants emblems of what it is already told to believe.  All the best,

Botched Anatomy/Mark Dion



    In The Postmodern Animal, by Steve Baker, I encountered the concept of "botched taxidermy".  After investigating examples of these and reading about the multidimensional meanings constructed by creating something that does not already exist.  The practice is usually that of those experienced in taxidermy.

    Steve Baker explained in The Postmodern Animal: “A botched taxidermy piece might be defined as referring to the human and to the animal, without itself being either human or animal, and without its being a direct representation of either. It is an attempt to think a new thing…Neither species, nor genus, nor individual, each one is open both to endless interpretation and, more compellingly still, to the refusal of interpretation…They are perhaps things with which to think, rather than themselves being things to be thought about…"


Here is a piece of literature available on the subject.

http://www.johnisaacs.net/press_files/ANTENNAE_7_2008.pdf

Examples of botched taxidermy...they get pretty weird..




It is noteworthy that Mark Dion received honorable mention in Baker's book, and also was a recent guest artist speaker at school.  I was thunderstruck by his fabricated relics, and presentations. 

Installation.  Huh.

Here is the pic of the current felcan prototype.  The answer to all your questions is...yes.

h

Monday, October 15, 2018

Pothole/ Institutional Critique





   Adventures in Not Really Knowing for Sure

  


photo by Bob Szantyr
     Today, I failed to cast a pot hole in plaster.  This was almost going to happen in front of some BFAs, but due to lack of communication, and security heft, it did not happen.  Pick taken by 2nd year student..a very sweet fellow.  

Little piles of asphalt


   Also,  I learned about "institutional art"   Joseph Beuys is the heavy hitter in this genre, among others.  It usually involves art institutions, but in broader sense, couldn't anything institutional-feeling be criticized?  Am I allowed to make these sorts of leaps?  
   


Monday, October 8, 2018

"Final" artist statement/Introducing the felcan






Artist Statement
   
            Thank you in advance for taking the time to read this; your close attention means a lot to me.

My work explores the intersection of experimentation and discovery, and the mechanics of choice.  We live in a time and place where most seems known. Beyond the realm of science or language lurks that which cannot be known by either, but is palpable nonetheless. These mysteries reveal themselves through the dialogue between living things and their environments. Using scientific discovery as a metaphor for the experience of discovery in general,  the work explores the hidden messages within and without, and the decisions that ensue.


In this series, I am telling you a story.  While some stories are told through books or word-of-mouth, this one is told through a serialized body consisting of disparate works that are like panels in a dimensional graphic novel. These are called ‘episodes’ and are not meant to follow a strict sequence.  The pieces represent a variety of media, from dot matrix to 12 ton shackles. Language and meaning range from Sumerian to maledicta, and implied to abandoned.

Working in this way enables me to invent scenarios and encounters with which I can experiment freely and remain open to the next discovery.    I am thinking about how a being is influenced by its surroundings and also with meaning making. It is my hope, that a viewer who reads and looks carefully will be rewarded.  Part of my process is to incorporate observations of the work by others. In this way, the work is very much a collaboration between me and my environment, which accounts for the presence of found materials and objects.


Thank you



Prologue

The Felcan


         There once  lived a greedy scientist who thought he would get rich if he bred the world's cutest dog with the world's cutest cat.  He set about to do this, and it became his life's work. The research and experimentation involved with this undertaking was nothing short of ungodly. After failed attempts resulting in litters of half-baked fetuses that were ugly even for fetuses, the female became pregnant again with a promising new litter of specimens. Sonograms and amniocenteses were all showing fully developed healthy offspring with all the probable signs of affectionate loyal dispositions and delicate little features that would surely be irresistable to pet-lovers. At the time of these experiments, the scientist became very ill, and shortly before passing, he left in his will the company which owned the patent on this exciting new hybrid, to his only son.

       The son cared little for the wealth or the headaches involved with running the company, but figured he would hold onto it until the arrival of the litter, for no particular reason. Excitement buzzed throughout the the halls of the research facility, and the staff twittered through their routines- performing tests, recording data, and attending to the needs of the super-pregnant female.

       When the female finally came to term, based on digital imaging, a litter of seven was expected. However once her uterus had spasmodically heaved forth its contents, not seven, but one—one lumpen specimen was to be seen! Had it consumed its womb-mates? The researchers peered at the creature, glistening with fluids, and before they could get around to checking its vital signs, they examined it closely for signs of cuteness. The thing was hardly symmetrical. It was more hairless than one would expect either a puppy or a kit. The hair, not being completely absent, but occurred sporadically in thin tufts. But it was alive! And healthy! And they called it the felcan.


     The research staff struggled to reconcile their climactic anticipation with the abortive outcome, and went back to work on cloning aliens. The son estranged himself from the company, but he brought the felcan home. He went about his business, and the felcan stayed out of his way, mostly lingering idly under the couch and surviving only by dint of a complete absence of will.


    The son and the girlfriend came to know the felcan's deficiencies. It cannot hear. Its incipient ear canal closed over like a wound shortly after birth. The felcan makes no utterance, but the it can see well. Like many creatures who suffered from a dimness of one faculty, its others strove to compensate. The felcan's heinously mismatched and seemingly vacuous eyes were uncannily adept at taking in the world around it. They processed the raw data of vision through the gloriously scrambled matrix of its optic nerve. You see, the felcan did not eat its siblings. They had died in utero, and the remaining felcan had absorbed the uber-nutrients from their remains, which has been known to happen.  This is how it became a biological marvel, capable of astral projection, time travel, and incredibly, the felcan is indestructible and has no telemeres on its nerve endings, so it does not age.


     Although the felcan had an amphibious way of standing about inertly, it possessed no lizard brain whatsoever. No fight. No flight. The felcan simply responded to pretty much anything simply by observation. The only thing that kept it alive, was good fortune, and random safety precautions that were meant for other living things. The felcan was not dumb, in fact, it was quite intelligent. It was just not capable of responding to stimuli in a way that made sense to others.

    Once, well, several times, the felcan died. During one such seizure, an ambitious erstwhile lab attendant was able to download imagery directly from the felcan's brain, and recreate a semblance of these images, but the results were fractious and cryptic, their descriptions defying technology. It turned out that the felcan was sometimes able to remove its own gaze to outside its corpus, and observe itself...observing.

   As science observes the felcan, it strives to co-opt that property that allows the felcan to detach its spirit from its meatbag body; an endeavor that is likely futile.  








Transition

October 9....

    I started today in the bowels of LIRR just north of Grand Central.  Twenty-two flights of stairs down, and then up again at the end of the day.   Its dark, dusty, and cavernous.   The guys are great, and hopefully the company will keep me in spite of the unusual schedule.  Just a few weeks ago, I was nesting in the Observation deck at Hudson Yards, 1200 feet in the air, eagerly awaiting a change.  Fortunately, I  had a chance to say so-long to Johnny P.  Actually, I said, "see you down the road", because that is what we say to each other.  What a treasure of a human being. I will miss his wisdom and his warmth.

    Its odd processing these changes.  I work side by side with someone, day after day for more than two years, and then "poof".  In my Journey to Wakanda class, we learned about the Toureg, nomandic African tribes who customarily cover themselves in protective layers of indigo and in the shade of a tent from evil spirits during times of transition.  This resonates greatly with me, as this transitional time has left me vulnerable to strange feelings.

I had to get my hustle on to renew some licenses.  I took the suspended scaffold refresher class. I was so glad to see Gene M, who will always be the person who introduced me to 580 at the Freedom tower 7 years ago.  Johnny Rock is retiring, and I was thrilled to get some time catching up a little.  My gratitude to 580 is immense, as I would not be able to do what I am doing now without it.

Hudson yards was a wild ride, fraught with challenge.  I have to say, I had a great time. 

Sunday, October 7, 2018

First Critique/Sarah Sze/Lee Bontecou



     Our first critique was on Tuesday.  I left work on Monday, stopped home for a few hours to do what I needed to do, then went to school with the intention of starting in the evening and working all through the night, which I did.  Having twenty four hour access is a windfall; it plugs me into my favorite thing--being able to haunt places. I have always taken pleasure in being someplace that is not my dwelling, where I have somehow been granted access , even if it was granted to me by myself, where I am (mostly) alone, and where I feel like I am haunting the place like a ghost at all hours of night.  The campus becomes more lovely to me with every passing day, but it is at night, when the ground flowers are softly backlit , and the grass and buildings are so beautifully maintained, the asphalt walkways have no cracks, and its quiet quiet quiet...

      I worked all night and completed these pieces. When I showed Susan J.  the Yellow Building, she said it was too literal, so I de-literalized it.  I began and mostly completed this piece, called....I worked in a collaging frenzy until it was time for class.  I didn't even brush my teeth or put on makeup.  It felt wonderful, and when my classmates started coming in before class to their own studios, I was genuinely glad to see them.  I had done enough work, that even if the critiques went bad, it was not for lack of trying.

     Professor Eto was first.  We spend a half hour on everyone, and it was thrilling to see what people had been working on.  All good work.  I was last, and the first thing Eto said was, "this seems like it should be an installation."  My memory always becomes a blur when it involves public speaking, but I spoke a lot about what I had made, and Eto responded,   "it seems like you are not doing what you want to be doing".   Mike S. said, I bet that pile of metal under the table means more to you than any of these drawings.  I told them both that they were right.  I knew it was not a negation of the value of the work I'd made at all. 

     Then I had my crit with Archie.  Again I was last.  I was late because I had run off campus to buy a cigarette and junkfood.  It was raining hard and the sun was down.   The elevator too the 5th floor was slow, and stood there in the blindingly white hallway waiting for clunky thing to come.  When I got to my studio, there was Archie.  He was going through everything, my sketches, my portfolios.  "Where are you from?" he asked.  He keyed into my issues with place.  The white background.  The lack of horizon line.  The facility I have with placing figures and objects in space.  He said my compositions were reminiscent of those who had been disenfranchised.   Then he went on a bit about women and how THEY have always been marginalized.   I kept my mouth shut, but silently revolted.  Our conversation was about "place" and he told me to give this some thought, and he left.

Bushwick open Studios


I was fortunately dislodged from my apartment by art gang to go to Bushwick open studios this Saturday.  What a great couple of hours.  I am so lucky to have my friend, Eleanor, who although not an artist herself, is a relentless appreciator of the arts, and a tireless sender of emails about local events.  Here are some highlights: 

Nick Greenwald—Walls covered with intricate graphite drawings. Human charactaes with bulging eyes and forced perspective. Complex intricate compositions with the details in the background so detailed and minute, I had to wonder how he accomplished it. But the real treat was further in the back...tiles of venetian plaster coated in many layers of graphite and polished to a high sheen...some burnished with wax, so that they shone with a mesmerizing steely luster. He was generous with descriptions of his process and answered all our many questions. Figures the best artist of the day is the one that has no website.


Dwightcassin.com --Before going into Dwight's studio, we discussed the etiquette involved with walking into an artists private space and what the interaction should be like. I felt a little guilty about treating the last few like galleries.  The artists are right there and part of the experience is to interact with them.  Dwight's work features wooden biomorphic assemblages embellished with “pin nails”. We loved their colorful playfulness, and the four of us sat and chatted with him for a bit. 

Another artist, Hunter Renolds, makes art about living through the aids epidemic in the 80s. Although postcards fanned out on a table showed him in his early years, a handsome, young, and brazenly wearing a tutu on the steps of the nyc public library . He said Giuliani made nudity legal for the day, knowing the gays would be doing it anyway, and didn't want to be bothered with policing them. The man in front of us, however, had a  disfigured face. His nose appeared to have completely come off and had been reattached as a twisted  band of flesh that was fastened to his forehead. You could see openings in his face where it had come unattached. We barely noticed though, because we were enjoying his banter and his encaustic art, which was of special interest to us since we had just taken the encaustic workshop for my birthday. 


@heajungpaints

@heajungpaints


Friday, October 5, 2018

Encaustic Birthday party.

      What a suprise this was!! My birthday is Labor Day weekend, so usually most of the world is out of town, and this year was no different.  Raya asked me to keep a day late in the month open, and to bring two images that I would want to work with, and to meet her at the Bed Bath and Beyond in Sunset Park. What the ...?

     When I arrived, she brought me up to the top of the stairs and through a vast network of service corridors, prompting me to ask if this was "the beyond section"...can't take credit...I stole that from Family Guy.  When we finally arrived at the destination, there was the gang, with food laid out, and all the materials we would need to learn how to make encaustic paintings.  I have been working with microcrystalline for years, but never knew the proper methods.  We used real beeswax, and our teacher showed us all kinds of techniques.

      The best part though was this.

       When Raya, Dorothy, Stacey, and I went to Cuba last New Years, I gave Raya a bra I had purchased which I thought was too uncomfortable. She eventually decided she didn't like it either, so she gave it back. So of course I snuck it into her luggage when we went our separate ways.  Months later, the bra wound up in my coat pocket after some event.  The next time I went to her apartment, I used her bathroom and stuffed it deep between her towels, thinking it would be years before she found it.  Well, the bra showed up in one of my bags not too long after.  Then, we were at a dinner party, and I had packaged the bra in a gift bag, and when I dropped her off near her place in Park Slope, I had my passenger pass the bag to her as an afterthought when she had one foot out of the car, and she wouldn't accept it so we threw it at her. Totally clumsy, but off my hands none the less.

      Among the food items at the encaustic party was a big weird-looking cake piled a little too high with strawberries.  As I cut the cake after blowing out my candles, I was hearing a clinking sound as the knife hit something in the center.  "Thats just the custard." Raya said.  Didn't make any sense, but I kept cutting.  After the cake was divvied out, an upside down glass, the "custard" in the center turned out to be holding...guess what....She got me good, but I am already plotting a spectacular return strategy.