The Walls Between Us

One of our greatest problems or challenges are the very walls that divide us.  Numerous barriers, obstacles, stumbling blocks, prison bars, dividers and fences exist around us and between us.  Sometimes, a wall can contain a door or a window.  If not, things can get difficult.

One wall, is the sense that most people are just insanely busy.  We struggle to make ends meet, to get by.  If we have “day jobs” we consider ourselves lucky.  Yet they take up so much time.  This includes the time getting there and back home again.  Often, there’s “unpaid overtime” related to the work you take home with you.  Then, some people actually need to work two or more jobs.  Then, there are the poor and the homeless.  Being “down on your luck” is a serious full-time job, in and of itself.

Added to this, is the time spent living your life with your loved ones.   We socialize and communicate.  We live, love, play and dream.  Then, many of us do all of this and have “second careers” as artists as well.  It’s a labor of love, yet it’s also a struggle and a fight.

There are other walls which have little or nothing to do with the constricts of time or the tension between time and life.

There are walls of space, of distances.  It’s tricky being friends with people you’ve never met.

There are walls of otherness.  Sometimes, it’s just a sense of separation due to the other’s difference.  This can be overcome, overlooked or transcended.  Then too, consciously and/or unconsciously, there’s bias, prejudice, distrust and suspicion.

I’m sure there are other angles, ideas, takes and connections that I won’t get into here.  I could write a book.

This all plays out in the quality of our daily lives.  Yet,  there are two special areas that I especially care about.

First, these walls make it difficult for people to get together and change the world, to remake life into something kinder and more intelligent.  We try to leap over the walls, to find doors and windows or to break the walls down, flat.  The occupy movement is an encouraging sign.  We need to get things really moving locally, nationally and globally.  Stakes are high!

Second, these walls isolate artists.  They make our lives and our creative lives all the more difficult.  We live through dualities and opposites.  Artists can be high or low, popular or unpopular and famous or obscure.  This too is a barrier.  Why shouldn’t I, or you (if you’re a true, dedicated artist) be on equal footing with a “celebrity” actor, singer or musician?  There is class difference in the arts.  This often has little or nothing to do with quality or the degree of hard work or the intensity of the dedication and determination.

Sometimes, I feel of we could have some dialogue and discussion, it would be to both our benefit.  If I respect someone’s work, and feel sure they’d likely respect mine, I see them as a peer.  The idea of having  “our betters” or “bowing down before stars and superstars” needs to be questioned, to be examined.

Then, various disciplines are often separated, as if in cliques.  Musicians, painters, sculptors, poets, performers, dancers, singers, directors, writers, visual artists, puppeteers, and yes, all of you: communicate, connect, encourage and support each other, take down the walls or find doors through them.  Occupy art!!

Join the Tribe of Artists!

Artists are a unique group. We should be unified and together as such, but that rarely seems to be happening.

We’re distracted by life and the world. Other, more obvious signifiers and “ethnic groups” seem to take precedence.

The popular artists have big money behind them, as often as not. With cinema, you need to have a lot of money. With pop music, you may get $$$$ behind you, get backing, by chance or by being lucky enough to “grab the brass ring.”  Quality and talent may count, or not.

Most  “unpopular” aka struggling artists are way too busy creating, working day jobs and living our lives.   It’s hard to find time to connect with and interact with our fellow art workers.

For years, I’ve tried to agitate for solidarity.  We try to push and prod toward connection.

All true artists are one!  (or) All true artists are as one!

Once we’re together (or more so than now, at least) we can reach out to the popular artists.  The “stars” and “success stories” aren’t always doing great work.  Some of it is mediocre at best.  Yet they do create some amazing work.

Much high-profile popular art is collaborative.  Look at the long list of credits after watching a hit movie.  Records and songs may require an orchestra, back up singers or session musicians.  Are these often unpopular artists in support of popular artists?

Some music is made by one person.  Authors can get published and have a best seller.  Yet it’s harder to be “a hit” all by yourself.

The gulf between the successful and the less successful can be quite extreme.  It’s crazy, down here in the trenches.  The struggle can be confusing and intense, yet we hang in there.

How to unite all creative people?  How to increase dialogue and solidarity?  How to have art face and respond to trouble in the world?  Occupy Art?  Yes!

Jacques Karamanoukian (on art and life), take one

Drawing by Jacques Karamanoukian (on a paper napkin)

First of a Series

My good friend Jacques Karamanoukian died ten years ago in May 2002.  He was just 62.

We have some interviews with him on tape.  This time though, I’m just going from memory.  He was an artist, an “art dealer” and a writer.  Also, he was a unique man.  Many of us are one of a kind, but some more so than others!

He had a great sense of humor yet he could also be testy or teasing.  He didn’t “suffer fools” very well.

Responding to “the news” or to art or “art politics” he’d often give in to passionate invective.  He could cuss a bit, if need be.  One of his favorites was “The Idiots!  The Idiots!!”  (recited with great fervor and passion).

One of my favorite stories he’d tell, was regarding the “misguided labors of art.”  This entails the many artists who spend countless hours bringing their idea (or ideas) to fruition.  They struggle and work for days or weeks on just one piece.  This can be a good thing.  Yet, in far too many cases, it’s all for naught.

As Jacques would say, they have an idea, then they labor intently to bring it to visibility.  The problem is that this is all too often a bad idea, even an extremely bad idea!  No amount of labor, skill or talent can save a work whose basic conception is faulty!  At best, we can hope for such work to be interesting curiosities or funny jokes.  I often think of this, when out in museums, galleries and so on.

Not everyone has an infallible “bullshit detector.”  Yet, we need to develop the best one that we can.  It’s important to be able to go through your work and tell which pieces are more successful, which ones are less so and which are somewhere in the middle.  If you can be honest and true in judging your own work, you can do a better job responding to other people’s work.

We had similar tastes in art.  We both found plenty to like in Surrealism, Abstract Expressionism, Art Brut, COBRA, Outsider Art and others who “pushed the envelope.”

We were no great fans of color field or “textural paintings.”  In museums, we’d see all white or all black canvases.  It’s an example of the “emperor’s new clothes” syndrome in the art critic.  I can see little value in most of that work.  I think Jacques saw even less.

I try to be generous and diplomatic in my opinions, but I have to draw the line somewhere.

Once, we ran across a cluster of these in some museum.

“That’s a good start!”  Jacques said.

“Yes, I wish I could take that home and finish it.”  I responded.

“Yes, it could use some improvement.” answered J.K.

Thus we’d make fun of paintings worth thousands of dollars and fantasize about using them as blank canvases.  I suppose that I could always draw on a print (or  color photo copy) of some of these masterpieces!

Occupy Art: Various Information and Views

This is a collection of sites and pages dealing with the Occupy Art movement.  It’s a good sort of follow-up to my recent post/manifesto, which explored my perspectives on the cultural side of the Occupy movement.

http://occupyart.org/

http://www.occupyartbasel.com/

Very interesting, yes, some of the roots:

http://www.collectorsweekly.com/articles/blueprint-for-the-occupy-movement/

Art is being used to publicize or promote the occupy movement.  This is a sort of “sidelight” for some of us.  It plays its part, as “propaganda” or advertising.  This is all well and good.

Yet it usually does little to address the problems facing artists in the world, etc.  Art is more than just a facade.:

http://www.cnn.com/2011/11/01/opinion/elam-occupy-art/index.html

http://www.washingtonpost.com/lifestyle/style/assessing-the-art-of-the-occupy-movement/2011/12/05/gIQAFHgoXO_story.html

Art, commenting on or depicting the Occupy movement:

http://www.visualnews.com/2011/11/07/occupy-art-protesters-captured-on-newsprint/

http://twitter.com/occupyartworld

http://www.angelfire.com/movies/oc/tirades/artent.html

http://www.artnet.com/magazineus/reviews/pollack/accra-shepp-photographs-occupy-wall-street-1-30-12.asp

Various Other Groups:

http://interoccupy.org/

http://www.occupywithart.com/

Occupy Criticism, Occupy Spring:

http://brooklynrail.org/2012/03/art/occupy-criticism-occupy-spring

Is this serious or a parody or what:

http://hyperallergic.com/47975/sebastian-errazuriz-occupy-chairs/

Man, oh manifestos:

http://www.arterritory.com/en/texts/articles/795-the_return_of_art_manifestos/

Coming soon, my take on art galleries/museums and the “Occupy Museums” movement.  I might write on something else first though.

Starving Artists?

What are we hungry for?  True, some artists are poor and/or scuffling to make ends meet.  Some of us hunger after truth or beauty or love or justice.  Some of us get by on just a few nibbles.  Others have appetites which seem to spread out all over the world.  We could eat everything.  Yet the path of the artist is often a rough, even dangerous one.

So, without being maudlin or self-pitying:

Yes, they’re trying to hold us down or hold us back.

Yes, it’s not easy to make even a meager living as true and passionate artist.

Yes, the serious and committed artists may comprise one of the last “minority groups” who’ve barely begun to fight for their rights.

It’s difficult because we’re seperated, in so many ways.  Maybe hundred of “small ponds” can relate to (or bond with) the lakes, rivers and oceans.  Together, we are stronger and better informed.

Are we held back because some of us are struggling to share “uncomfortable truths?”  Or is this just a coincidence?  Down is not up.  We’re here for the adventure.

If the world at large is often weak from hunger, so are many of its artists.  This can be both figurative or literal.  Either, or both.  There are varieties and degrees of hunger and starvation.

Feed the mind.  Feed the heart.  Try to find ways to feed the physically hungry, whether they’re artists or not.

Then too: Create!  Connect!  Work! Play!  Occupy Art!  Occupy Life!

Occupy Art: A Manifesto, A Statement

I haven’t really found a solid and complex statement or manifesto for the “Occupy Art” movement.  This is my first attempt at doing so.  Any comments, criticisms and other responses are more than welcome.

As we’ll see, I did find a manifesto for the “Occupy Museums” movement.  It’s interesting, yet it only addresses some of our problems.

It make sense that the Occupy Movement would also concern itself with arts and culture.  We too, are casualties of the excesses, criminal actions and cruelties of corporations.  As citizens, we suffer in similar ways as our fellow citizens.  As artists, we also have our own special challenges and difficulties.

Many of us are glad to be involved with the Occupy Movement.  We offer our time and talents in a variety of ways.  We can do art and design for ads or promos for actions and protests.  We can use our visual art and writing to enliven flyers, poster, and petitions.

We hope to spark enthusiasm, to help get more people involved.  All power to the exposé!  More people should be made aware.  Certain realities can be revealed, and then detailed.

Yet art has a greater part to play than the merely decorative.  We have more to offer than bright posters and catchy slogans.   This is central.  To the point:

First,  Art is far more than mere “candy.”  It’s not just a distraction or a time-killer.  Art can wake people up, enliven and surprise as well.  Art can reveal or illuminate truths and insights.  Art can be funny or serious.  Sometimes it can be both at once.  Art can reveal possibilities.  It can give important insights into what it means to be a human being.  This heightened awareness can help lead to change.

Second, This is the future we’ve been waiting for.  When one lives with one foot in the future, the present can seem to be past or even “out of date.”

Passionate communication and perversely defiant optimism may yet become contagious.  Artists are often specialists in imagination.  They can see better days.  Sometimes, they can almost taste them.  One needs to imagine changes and improvements, before one can see them “made real.”  Artists have a part to play here.

Third, The relationship between art and entertainment is often unhealthy and problematic.  Millions of dollars are spent creating “popular culture.”  These movies, television programs and “radio-friendly” songs suck up the lion’s share of the money and public attention.  Sometimes, these can be quite good, even excellent.

Yet much of this expensive material is boring, ill-conceived, pretentious, derivative, watered-down or idiotic.  A copy of a copy of a copy of a copy will lose quality.  Some of this seems truly unwatchable and unlistenable.

Meanwhile, thousands of artists create amazing, top quality work only to spend their lives struggling.  Many are at the feast, while others seem to get by on gardening or table scraps.   Big entertainment takes a lot from art and gives little back.  It seems to be an exploitive relationship.  The corporations do play a big part in this.

Yet maybe successful individual entertainers could do more to support artists as well?  Sure, some of them might buy our paintings or books.  Yet real financial support and moral support is more involved and complex.  What will it take to improve this situation?

Fourth, The relationship between artists and the “art establishment” is often unhealthy and problematic.  It often seems to be a case of “artists in the trenches” versus “well off, well-heeled” art game experts.  There’s often a sort of love-hate relationship between artists and museums, galleries and the press.  Sometimes, art in galleries and museums reminds me of the animals locked up in zoos.  Yet it is a way for people to see your artwork.

What can be done to improve this situation?  Some museums have programs to support and encourage artists in their area.  This seems to be rare though.  Many grassroots galleries are aware of this and try to be supportive and progressive.  Some writing and coverage of art is also excellent.  It’s good when any attention is paid at all.  Yet some dare to hope for something more.

I need to investigate the “Occupy Museums” movement further.  I’m heartened that they’re at least talking about this section of our issues.  I’ve included a link to their statement from last Autumn below.

Again, maybe individual artists can do more to support artists as well.  Those few who are wildly successful could do more to offer financial and moral support to their fellows.  If we’re true to ourselves and work hard to do the best work that we can, then, really, we’re all part of  the same tribe.

Fifth, The dance of community and connection will continue.  We need to network and navigate.  We need to get together.  This includes painters, poets, dancers, sculptors, actors/actresses, film makers, musicians, singers, directors, choreographers, creative writers, puppeteers, photographers and artists of all stripes.

If the successful artists and entertainers can’t understand or support us, then we’ll play without them.  The same goes for museums, galleries and the media.

Keep working.  Don’t give up the fight.  Be aware and beware.  Resist commodification.  Not all art is a “product.”  Talk to each other.  Take to the streets.  Create amazing and strong work, even if it goes against the odds or against the stream.  Down with the mediocre.  Renaissance now!

Maurice Greenia, Jr.   February 25, 2012

I’ve written dozens of arts statements and manifestos since 1977.  I’m a poet and visual artist.  I’m also a puppeteer and am in two musical groups.  Thus I have interests in both the fine arts and entertainment.  Here’s more information on myself, Maurice Greenia, Jr.  aka Maugre:

http://research.udmercy.edu/find/special_collections/digital/greenia/bio.php

My main archival website and links to my blogs:

http://research.udmercy.edu/find/special_collections/digital/greenia/

This is the statement from “Occupy Museums.”  I think that it was written by Noah Fischer.  The protest event took place on my birthday!  I’ll write more on this movement in the future:

http://paddyjohnson.tumblr.com/post/11652516894/occupy-museums-speaking-out-in-front-of-the-cannons

They haven’t posted anything on here in a while.  I keep checking it though:

http://occupyart.org/

Scroll over the upper left hand corner for information on this site:

http://occupydesign.org/

Hooray for comics and cartoons:

http://occupycomics.com/

These are mainly lists of signatures in support of  the Occupy Movement:

http://occupywriters.com/

http://www.occupyfilmmakers.com/

http://www.occupymusicians.com/

Thank you to Surrealism, Detroit, New York City, my family and friends, the Guerrilla Girls and all those who fight for true art and culture.

Preoccupations, Wall Street and Otherwise

This is just to say that I’m totally friendly toward and in solidarity with the “Occupy Movement.”  I think it’s great.  I only hope that it gets somewhere.

I got down to the Occupy Detroit camp in Grand Circus Park.  Eventually, they struck the tents and moved from away there.  I try to monitor what they’ve been doing since.

It’s already influencing the “political discourse” in ways.  The “one percent” have gone too far.  Fair is fair and cruel is cruel.  The blinders, created by extreme wealth, can wreak havoc like a movie monster.  Then too, some of them know full well what they’re doing.

The instances of blatant criminality should not go unspoken of and unpunished.  Even those who aren’t strictly “anti-capitalist” should still be against wholesale thievery.  Some believe that they’re too rich and powerful to be punished.  If they are caught, they often get a “slap on the wrist” or a “warning.”  If you or I did something equivalent, we’d get it a lot worse.

It’s wonderful that so many are becoming more aware, speaking out and acting up.  I love it, that it’s taking hold around this country and around the world.  Something must be done.  Now’s the time!

In part two, I’ll go into certain cultural ramifications.  What role should we artists play in all this?  What’s to do?

http://www.occupytogether.org/

http://occupywallst.org/

http://www.occupy-detroit.us/

http://www.adbusters.org/campaigns/occupywallstreet

http://en.wikipedia.org/wiki/Occupy_Wall_Street

A Collaborative Painting Made at the Zeitgeist Gallery

This is a collaboration from Detroit’s Zeitgeist Gallery.  I think it’s from Visual Jam Sessions Number 6 (in 2007).  We’d started an annual interactive art-making festival in 2002.  No solo work was allowed.  It had to be at least two people.  Some paintings had five or more artists working on the same painting.  This is rarely done in a gallery setting.  Collaborative work is more common in doing street art, and in doing music and cinema, of course.

There were paintings and works on paper.  Most of the work was done “on site.”    Some was done “away” (at various homes and studios) and brought in later.  I think some of these are still visible “up high” on the face of the former gallery.  Now it’s the “5E Gallery.”

The piece was started by Jack Johnson.  He brought in a series of smaller canvases, which were fitted together to make one big canvas.  I believe that Robert Hyde also worked on it some.  Most of the work was done by Diana Alva and I.  The thin lined black outlinings are mine.

We thought that it was a successful interactive piece.  It’s now in the hands of a collector, who’d been a friend and supporter of the Zeitgeist.

Primary Substances/ Malcolm de Chazal

May 16, 1999: the magical forces of primary substances…(air, water, vegetation, earth) and flesh/spirit-heart or soul…(then too) cloth/canvas, the repository, the blank, exalted canvas (a sweet target for paint)…wood/paper (to carve, paint or draw on)…glass, a fascination with glass, all freshly blown and intact, or in shards…then too plastic, odd bits or fragments of plastic, also “plastic sense” via paint (either oils or acrylics or watercolors)…metal, tied to the earth, whether twisted, fresh or rusted.  I don’t take these for granted!

Also from May 1999 “Death: When they lock you up and throw away the key?”

I’ve been re-reading Malcolm de Chazal’s Plastic Sense, an amazing book.  It’s my first time reading it aloud though, speaking it.  He’s an inspiration and I sense a kindred spirit as well.  De Chazal is also loved by Surrealists and other seekers after true poetic language (or leaps of thought).  Here’s a few of the better things I found around the internet:

http://www.malcolmdechazal.info/

http://en.wikipedia.org/wiki/Malcolm_de_Chazal

http://www.maurinet.com/about_mauritius/literature

http://www.brainyquote.com/quotes/authors/m/malcolm_de_chazal.html

I didn’t know that Plastic Sense is back in Print again, cool.

http://www.greeninteger.com/book.cfm?-Malcolm-de-Chazal-Sens-Plastique-&BookID=216

 

The Critic, take one

Sheer visual inventiveness (passe) Developement of a detailed wild vision, which may be surreal (outmoded) Glorying in the “over-active imagination” (archaic) Art which is full of the most amazing surprises (historic) Art full of subtle things, making the viewer, the audience work, making them think and feel (bizarre) Emotional, intense work, warm, even hot (how uncool) Art to change life, change the world, wake people up (how very modern!)

the critic/ July 9, 2001 (written in the inside front cover of a sketchbook)