Monday, November 14, 2011
I’ve been tapping various sources to try to learn why – aside from its formal attributes - ancient art is so enticing.
The least interesting vein of information has been my high school art history textbook. There, writers make up a narrative to fit their own idea about what art is. And it seems that for them, art is about the artist and his supreme will. For example, with regard to a figurine from 2100 BC (like this one above), it reads, “The sculptor [worked the hard stone] with consummate skill, making an opportunity out of difficulty.” But the concept of skill and of opportunity, and also of sculptor, is entirely modern. These were societies that didn’t make images consciously, as an esthetic or cultural exercise, but because they were powerful, because they served a purpose.
And I’m not really interested in what that purpose was; who the king was, what he wanted, what was happening around him. I’m not interested in specifics. I like generalities. That’s why I find Joseph Campbell’s conversations with Bill Moyers about myth more interesting. For the former, myths are the ground of humanness throughout the ages. Because, when you boil it down, when you generalize, there aren’t that many themes to develop. So, ancient art might be interesting to me in part because I see a humanness boiled down. Guy praying for direction. Guy walking with animals. Guy who had a weird dream.
Sunday, November 6, 2011
It’s so hard to know if what you’re making is a piece of crap. Worse, if it’s bullshit. I think you know deep down when you’re fooling yourself, when it’s just pretension. I hope so. Anyhoo.
The Billy Childish opening at Lehman Maupin LES was vitalizing. He talked, read a few poems and also sang a few songs. Lots of anger in the writing, but it’s so much his own that’s it’s not a turn-off. It seems that his anger is directly linked to the high personal standards he has for himself and the world around him. It’s probably fair to say he’s an idealist. Aren’t all artists?
The paintings aren’t angry. They’re bucolic, energetic, loose. I almost liked most, but really loved this volcano here. I feel good in its palette, its image, and also its freedom.
As he related, he was able to let loose in painting once his personal life was no longer in such turmoil. I can understand that entirely. I can’t really think of an example where personal mess and artistic burgeoning co-exist, despite the myth that torment is the stuff of meaningful art. I think you are stable and free.