Posts Tagged “collected-writings”

Human Life

What has caused humanity to be so successful? Why, it is not the exploitation of resources, the treatment of our surroundings as a room full of tools? Whereas we have reserved certain elements of our environment for reverence, for the most part, we have treated our environment, and fellow creatures, both human and nonhuman, as a means towards an end. Our religious philosophies have created a reverence for certain aspects of existence, however, in this time and place, such reverence is more of a tradition, or even, a delusion, since it is rarely respected in “the everyday world”.

It is my ever-growing belief, (if I may borrow from Judeo-Christian theology) that far from being a species favored and created by God, it would almost seem that humans were created by the Devil, to thwart God’s majesty. For, wherever humans go, destruction and death follow. The ancient creatures of the Ice Age, are extinct, and it makes sense to assume that it was by over hunting. (That in itself is revealing, that we can assume over hunting as a cause of extinction). Of course, science would like to find some other cause, to deflect the guilt that suggests human-causation. As well, of all the other hominid species, we are the only one left. There is the suggestion of wars in our ancient past, a possilbility that the Neanderthals were killed off by Homo sapiens sapiens, (I even harbour the pet theory that our stories of ogres and trolls are nothing more than a diluted form of oral history of interactions with the Neanderthals and the other species of our common hominid past) and then the centuries, no, millennia, of empire building and life that was “nasty, brutish, and short”. It seems easy to see Humans as fundamentally evil creatures, due to a defect of consciousness, or perhaps due to our ability to rationalize any absurdity.

The Nazis were able to rationalize the murder of the Jews by thinking of them as vermin. There is the famous example the Auschitz commandant’s wife who had a lampshade made of the tattooed skin of one of the victims. How is this any different from a fur coat? Isn’t it harder today to see life, especially human life, in terms of Reverence and the Sacred? Is it not true that what we object to is not the killing of a human being, rather, we object to the killing of the human form. If a life form is a quadruped, its life is meaningless, and its death is given meaning by the use we, as bipeds, will put it too. We deny the emotions and intelligence of animals, while we assume that any animal of the human form has the potential for a meaningful life. Some of us oppose abortions and capital punishment, while treating our children to Macdonald’s hamburgers. Evidence for the intelligence of animals is treated with skepticism, while the intelligence of humans is always seen as a given. If you could measure the IQ of a an cow, and it was found to be the equivalent of that of a 12 year old human, would we still be so comfortable wearing it’s skin or eating it’s muscle, or would we suddenly allow for the consumption of children? Of course, we all know the answer. We continue to spoil our kids and deny that animals have consciousness. There would be some other group brought in, funded by the meat industry or the government, who would search through the procedure of measurement with a fine toothcomb in order to disprove the result. The animal must remain a tool for our use. We must continue to eat and experiment on the flesh of those who do not share our form.

How can we not witness the bulldozers and the pits, the carcasses of “livestock” in Europe, massacred for having sores on their mouths and feet, burned and buried en masse, and not think of those black and white films from the liberated concentration camps? Why is one seen with shame and horror and the other, these films of burning cattle, are seen only as unfortunate? What I am saying is that it is as wrong to murder cows for having blisters as it is to murder humans for being jewish. And the fact that no one cares, that the PETA folk aren’t in the news and in the streets raising hell and chastising us for our complancey, is revealing of the human character, to dismiss the value of life as irrelevant. They have said repeatedly, that the “foot and mouth disease” is not contagious to humans, and that the animals are murdered as a trade measure, since being sick, they cannot put on weight as easily, and their market value declines.

In little under a month, protestors will gather in Quebec City to protest the Free Trade of the Americas proposition. One of their fundamental claims is that market values ignore human values. Is this horror in Europe not an example? We kill them because their market value has become worthless. And when we think of one of the most famous example of the despicable genre of Holocaust film, Schindler’s List, how was it that the Jews were saved? By being a cheap form of human capital. By using Jews in his factory, Schindler was able to cut costs and – most importantly for the film and for his place in history – keep them alive. One of the early scenes in the film shows the Jews exchanging market information – where to find a shirt and what not. Here is an abominable message, tres au courant for our age. That the value of a human life is only concurrent with what they can create for a market. That whole monstrous concept of “human capital” is the only measure of a life’s value.

In another Speilberg film, Saving Private Ryan, there was a revealing line, to the effect that “this fella better find the cure for cancer or something…”. At the end of the movie, we learn that no, he didn’t find the cure for cancer, he apparently led an average life, had a wife and kids and grandkids, and he asks with tears, was their sacrifice worth it? Of course his wife answers yes, and his proud kids and grandkids hug him, and the American flag flies proudly, but sadly, bleached out into transparency to evoke that emotional semiotic. In God they trust. Life has value in and of itself. Of course, such lesson is learned only after watching male bodies blown to pieces for two hours. Human life, we are taught through these media messages, is only valuable in terms of “human capital”, and that killing is fine, as long as you are not killing animals that are shaped in the human form, but even that’s okay if they are wearing the wrong uniform and live in the wrong country.

Saying this, however, I imagine that many will ask about those humans who are not of the form, the deformed and disabled. What I mean by human form is what is self-evident. We never confuse a member of our species with any other. We know what the template is. The fact that we describe some people as deformed or disabled reveals our acknowledgement of a template. And this template is what I am referring to. This template we are taught, is sacred, or at least, is illegal to mess with. The fact that our genetic research threatens that taboo, is a cause for “ethical” concern. This ethical concern could quite easily be maneuvered around – one way is to rationalize the human in terms of the animal. It is amazing to me that such a thing as ethics still exists within the context of the discourse, that there is even such a field as bioethics, given the ease at which we justify the moral violations which are narrated for us everyday on television and in popular songs.

One of the easiest ways to get around these ethical concerns is to throw in the concept of art. This always raises the amoral shield that is the freedom of expression. Let us express ourselves through genetic manipulation, stem cell research, abortions and capital punishment. I will draw upon my education at an art school, point to the wall where the document which says I graduated with a Bachelor of Fine arts degree, and say, I am artist because this is so. Will any body challenge me? Will anybody say, “graduating from an art school doesn’t automatically make you an artist”? Will anybody say, “what makes you an artist is seeing the world is a different, enlightening way, than others”? No. I will go unchallenged, pointing to the paper, and use the authority that I supposedly have, to arrange for an execution as a means of expression. I could perhaps rely on the tradition of the readymade, and sign my name to the acts that Texas seems to love so much. Art critics will compare my work with the prints of Warhol, and judge me accordingly. But, under the freedom of expression, my murders will be constitutionally guaranteed.

Imagine. Such an act has already been imagined and described by David Bowie. In is 1995 album Outside, he published a short story describing a detective’s investigation of a millennial murder of an adolescent girl and the task of determining whether or not it was art. In his story, he brings up examples from post war art practices which incorporate violence, the most revealing, (and perhaps the most famous), being the Viennese Actionists. In 1966, Herman Nitch killed a sheep, crucified it, and rolled around in its organs. This was supposed to be an expression of some sort. But the questions that Bowie’s story raised, and which I have pondered ever since first reading that story in 1997, was, what is the difference between a sheep and a human? Why is it that the killing of this sheep goes unpunished by the law, whereas such an act, as described by Bowie, performed on human, would not only by prosecuted, but would most likely be the most famous murder case in the world? Growing up in a rural area, I remember witnessing my friend’s father “getting rid” of the family cat with his revolver, and years later, while I was hunting in the forest, finding the skeletal remains, poking through a plastic bag, of a dog which had been similarly disposed of. Here I was, with a shotgun in my hands, engaging in an activity of sanctioned murder, finding the body of a victim that had no rights to medicare or an old age home, but was simply “disposed” of.

And I have to admit that I am no saint. My shoes are made of a cow’s skin. I eat meat. And no one is going to persecute me for it. Of course, I am open to the accusation of being a hypocrite. Yes, that’s true. Here I am, rationalizing that it is wrong to live this way, to eat meat knowing full well it is a form of murder, to watch the bodies of cows and sheep burning in the English country side, and yet, feeling as guiltless as anyone else. And in that, I am a fully contemporary human being well brought up and indoctrinated into the values of my society. In acknowledging the wrongs, while being complacent, to view those who eliminate animal products from their lifestyles and diets as some kind of “fringe” group, I am as monstrous and despicable as everybody else, and yet, I can see no great change coming to humanity anytime soon. As piece of human capital, as employees, to rebel against this fundamental societal philosophy would destroy our market value, and then perhaps, we might end up burning in piles on the countryside.

Plagiarism or Appropriation?

This is in relation to this year’s Turner Prize:

——————————————

From: timothy comeau
To: arts_online@scotsman.com
Subject: Plagiarism or Appropriation?
Date: Thursday 30 November 2000 6:02 PM

Plagiarism or Appropriation? I smirk at this case, because I see it from both sides of the argument. One the one hand, it appears to be flagrant plagiarism. One could not reproduce a text changing a few words here, and the punctuation, and make a claim to be original.

But Duchamp brought in the readymade. In *choosing* an object, he exercised artistic decision making – the process being defined as such: 1. I’m an artist, that is, I have been trained to see the world in a special way, I have “heightened aesthetic sensibility”. 2.I see a shovel, I think, wow, that looks pretty cool, we don’t have anything like over in France 3. I think the art world is too stuffy, all those boring glossy paintings, I’ll exhibit this in a gallery 4.I’ll give it an ironic, humorous title, “In advance of the broken arm”.

When I was in art school, I wanted to produce cinematic picture books, but because I was in a small town at the edge of the ocean, and because I was only a poor art student, the only way I could get access to certain pictures was to borrow them. I took photographs from the TV, from movies etc, in order to get photographs that would have been impossible for me to get otherwise. For example, I could never schedule a photo shoot with Albert Einstein, since he’s been dead for forty-five years.

I would present these books to my studio group, and I asked my studio advisor about this act of appropriation. He pointed out that there are thousands of images in a film, and to choose one or two is an artistic act in line with the history of the readymade. (One should ask, why did I the creator of this piece choose these images when I had thousands of frames to choose from)?

I also argued, that we live in a landscape dominated by created images. There was a time in the past when an image was expensive to produce, and this kept the presence of media down, but in this day and age, the cost of producing media is inconsequential. I argued that representing images from the media is similar to painting a landscape. Does God own the copyright to that view? Do all the Sunday painters of the past who have also painted that area have a say? We think nothing of looking at paintings of landscape, we think it’s interesting for example, to compare the photographs of Atget from 100 years ago to photographs taken from the same vantage point today, in order to see the changes that a century brings.

Since there seems to be an image wherever you look today, whether it be golden arches or blank faced models or sci-fi book covers, it seems almost impossible to represent contemporary reality without including what some would consider a copyright violation.

In the case of Glen Brown, its unfortunate that he wasn’t more upfront about the source, that it wasn’t clear from the beginning that this painting was his remix of that 70s song.

TIMOTHY COMEAU
Toronto, Canada

An Email to Janna Popoff | Review of Douglas Gordon show at the Power Plant

An email to Janna, Fri. 22 September 2000 at 11.24 pm

Now I’m back from my little trip.

I need a new notebook…and for notebooks I only buy Clairefontaine notebooks. I have been getting them at a place on Queen St west, but I am not happy with the selection they offer, despite my attempts to get them to order me what I want. Now the first store that I ever found a Clairfontaine notebook at was the University of Toronto bookstore and this was in 1993. So I decided that this time I would try the U of T.

Walking along College St, there are all of these students, with backpacks and youth, and I thought O I miss Academia! Rumpled old white bearded professors and leaves blowing on sidewalks…and I realized that is what I miss so much about Halifax, its the fact that Hali is a university town, and you are surrounded by this atmosphere. So, needless to say, that walk along College St was big time refreshing. The U of T did not have what I was looking for, their selection is even more disappointing then the place on Queen. So it was down to Queen after all, to get the book that has to do….

And then the opening. Tonight they were not serving Keiths. I had to settle with some Belgian import called Selma or something like that. At these events I always expect to see someone I know, because there is supposed to be all of these Nascaders up here, but I have never seen them yet. But there are familiar faces in the crowd, people who go to all of these events that I go to, there’s this one guy, he’s really tall and skinny and wears a jean jacket. He has thick sideburns and glasses…and the other regular is this girl that I find alluring because she’s so anti bourgeois. This evening, like the last time I saw her in June, she was wearing gray. I tried to memorize her features so that I could draw her picture later and write odes to her and stuff, because I probably wont see her again until the next opening in December. And this all stems from the fact that she asked me if I was sitting alone at this movie – Cremaster 2– that I went to see in March, my first Toronto art event, and I said yes and she asked if I could move over because her group was 3, and I said sure…but she had all these interesting things about her so now she’s a character in my mental world and pops up in my writings.

But she only showed up about ten minutes before I left. I had made a phone call to my friend Nick in Ottawa. Yes I too have a friend named Nick who is central to my travel plans. Perhaps we all have nicks in our lives, but I hear that girls have allot on their legs, wink wink, and so I am going to buy a ticket tomorrow to go up to Ottawa on the third of October, and I’ll be there until the seventh, which is a Friday. I hope that it’ll rule.

The art itself was much too resonant…it hums with its grandiosity, and because of this, the presence of middle aged wankers dressed in black only makes it seem cheap. But the middle aged wankers, that’s our future, and they always seem to be well off financially, and you know they must be more than tolerable to listen to considering they’re there, so I don’t hate them for being beautiful even though I think they’re losers for not having enough originality to wear something other than fucking black….

A large room, a large screen. A conductor, close up. We see his hands moving through space. We catch occasional glimpses of his face. The orchestration…cinematic music. In the corner, Hitchcock’s Vertigo is playing. It is right on the floor, projected into the corner. The image must be about 2.5 feet by 1 foot….but that’s a really rough estimate. Anyway, its small, compared to the screen hanging in the middle of the room where the conductor is. There is this synchronization see, the conductor is conducting the background music that corresponds to Vertigo playing in the corner, in silence. I think the artist DG said last night that it isn’t THE score for the film, but nevertheless, they interact with each other.

24 Hour Psycho. A smaller screen this time. Silence….large still photographs, immaculate black and white. The type of black and white cinematography that makes colour obsolete. Hovering above the ground, on the hanging screen, shuddering through their stunted animation. It is great to see a two hour movie slowed down to this extant, so that each frame is visible, so that it becomes a progression of still photographs rather than a movie house sequence. And there is no sound…which I love, I hate sound in film, I mean its obviously necessary but sometimes it’s just redundant and annoying and unnecessary. Did you see the video I made for my video class? Did you ever see the video Ed and I made? Both are silent.

Needless to say, I’m a sucker for this artist already, when I learn that his films are silent.

The beauty is the installation entitled, Through the Looking Glass. You turn a corner. Large black bare room. Concrete floor, no light, a mirror. You see a light in the corner, you glimpse a larger video projection. You walk toward it, seeing your self in the mirror that covers the entire wall.

The other room then. Deniro in Taxi Driver. “You talking to me? You talking to me? I dont see anyone else standing here….fucker….faster than you.”

But the thing is, on the wall to the left, the sequence is playing, on the wall to the right the same thing, only the image is reversed so that one is the mirror image of the other, and the sound is off by a fraction of a second, so the dialogue echoes around the room. The luscious beauty of half a wall covered by a video projection….you talking to me…the two Deniros squaring off. The army jacket, the shelf behind his shoulder displaying 1970s plastic food clutter. Over and over again, this sequence, which the wall card says is 71 minutes long.

I wandered through each room three times, well no four times. I wandered had a beer wandered had another beer. Half looking for someone I might know. But no…

And on the way home I was listening to the radio, Ideas, and this time its dialogue from a conference on the current internationalization of culture and art. One voice says how art is trivialized in the contemporary, it is commodified and become another something we consume and then forget. And I cant help but think of the stuff I have just seen, and the fact that it is wow but it isn’t sticking, and I have to write it all out like this in order to see for myself if I remember anything of it, if it meant anything to me….and you see the crowds there drinking and chatting and you know no one really cares about the art, I mean its all just novelty, that it, its just an excuse to get together and talk and get drunk and get interviewed. I cant help but think that our mental habit for consuming and forgetting, satiating ourselves briefly and then tossing it over the shoulder like the medieval dinner party caricatures, that it defines our art and that it is an historicism, and that in the future this will all seem incomprehensible, because future people will not be defined by consumption. And with me, art that last centuries rather than decades is where its at, I really like feeling that I’m part of an historical moment, and I like art that has that staying power around it. So I don’t know, overall, I mean the whole thing is so au courant that I don’t know if it was awesome….but it was definitely a decent Friday night out, a lot better than watching the latest Hollywood disaster. (You see consumption entering into my thinking…) They have re-released the Exorcist you know. With 11 more minutes of footage that was “too scary to see the first time around”. Perhaps I will go see that one day in the next few weeks. Maybe when I’m in Ottawa.

Later

Timothy

Interview

Why did you paint the timeline?
I had found this website, artandculture.com, and there amongst the
other flashy graphics was a timeline. Under each artist’s name, there
was this timeline and two lines: lived and worked. I thought it was one
of the best graphics describing that information that I had ever seen.
Everything, its coloring and the font, made it very elegant.

I was also at the time reading a book called A Short History of the
Future
, by W. Warren Wagar. This was a book that in a way I had
wanted to read for ten years. It had originally been published in 1989,
but I only fond it in the winter of 2000. I have always been interested
in the future as it has been depicted in the media. While growing up I
regularly became a fan of whatever TV show had some basis in the
future, which usually revolved around the year 2000.

Anyway, here was this book, presenting possible future scenarios for
the next two hundred years. I wanted to make a graphic displaying this
information, and that line on the artandculture site “showed me how” as
it were. So I drew it up one night on the computer. Aliens was on TV.

Here I was, one future scenario on TV to my left, the ones in the book
in my head, and then the Timeline on the screen in front of me. So
simple, the centuries that we are dealing with, that some of us will live
through. It’s quite possible that many of us born in the late 20th Century
will die in the 22nd Century. That’s what they keep telling us anyway.
So here was the field in which our being would play out.

And I also liked the fact that the Timeline, as a painting, had a lifespan
in terms of centuries. That it would exist for all of these years that it
depicts. That at the time of its creation, we can only fill in the details up
to the year 2000. But each block represents a decade, in which major
news stories occur. In the 90s there was the Oklahoma city bombing,
which I always think about, since it sort of came out of nowhere and
splashed itself across the mindscape of the time. And then there were
all the high school massacres. These weren’t predictable occurrences
based on trends at the time – no one could have forecast that in 1989.
But now, we say, they could happen again. Wager’s book is about
following contemporary trends to their logical conclusions. But time is
fluid, that ‘s one thing that keeps getting taught in time travel stories:
hat nothing is set in stone except the past, and even that can become
malleable through deconstruction. What fascinates me is what will we
fill those blocks with, those things that we can’t imagine happening
today.

And during that time, while we are busy creating crazy and memorable
history, that painting will be there, witnessing them, its oil paint
continually solidifying and gelling. Perhaps cracks will appear on its
surface. Its not immune to the effects of time, even though its place
within it is as a witness.

Why did you paint the postcard?

Initially it was because it looked so luscious that I wanted to put it into
paint. It cried out for the buttery texture of oil paint. But the thin is that
it too has been a witness. When I first found these postcards in the
store, I began to look for everyday images of the past. It was interesting
to see ones that had been sent by soldiers during the world wars. As
such, they were historical documents that were being ignored because
they were so common. But I grew up anticipating the future. I grew up
surrounded by old things, and knew that as I got older, their status as
historical objects rose.

The postcards are rich little semiotic fragments. The handwriting, the
imagery, they are documents of a time that was once common, but is
now gone. Yet these things survive. I have one that is really sweet…a
young girl wrote to her father and asked him to send her toothbrush.
But you know, this is a hog bristle toothbrush, and what they called
toothpaste none of us would recognize. Perhaps this girl is still alive,
she’d be in her 90s now. I’, more inclined to think that she’s dead, one
of the reasons her old postcards would end up in a used bookstore. But
the thought is that she lived out her life, gotten married and had
children – all the things that we are familiar with from award winning
novels. And here is a fragment from one of that story’s earliest chapters,
when the book was new and crisp.

Correspondence with Blake Gopnik

To: Blake Gopnik
From: “Timothy Comeau” at Internet
Subject: please consider the following
Date: 3/22/2000 8:32 PM

Dear Mr. Gopnik,

I hope that you are not to busy so that you can take time to read my letter. I wrote the following excerpt as part of a letter to a friend of mine in BC, last night. After reading your article this morning, I thought this is something I’d like to submit for your consideration. (I am a recent NSCAD graduate and attended the presentation you gave there last spring).

I remember an article you wrote in December 1998 after you visited Art Metropole, and the theme of consumerism entering the realm of art appeared again in this morning’s article. It is for this reason that I would like your thoughts regarding this excerpt.

In the letter I basically expressed how buying certain art supplies, for computer based art, seems like an extravagance, because graphics software is so expensive:

*** “….I’ve never been competitive because basically I’m a sore loser and I decided early to avoid competition to avoid disappointment and frustration.
Unfortunately I did not realize how competitive life is in general. I’ve also been reflecting how I’ve patted myself on the back and called myself noble for certain qualities – which were no more than coping strategies. Now that I have employment and a descent wage, I feel greed and the consumerist impulse to define myself through acquisitions blossoming. Because now I have the means. To desire things when you are art-student poor is self-torture, but now…

and I don’t like this, but I wonder why should I deny myself things? How come everybody else gets to waste money on junk, and what I want is stuff that I actually feel I need, tools for my art practice.

Perhaps this questioning about buying art supplies is due to my uncertain commitment to being an artist. The art world system seems so wasteful and set for a toppling, so set for a fundamental paradigm shift, that I don’t want to begin swimming only to have to pool drained when I’m in the middle.

This feeling perhaps is a reflection of our changing times. There is an ad that I pass on my way to work that says basically, “just when i was ready to make the next move in my career, the industry has changed”.

And art seems so faddish and cultish and so much about identifying cliches and either associating yourself with them or moving away from them (either way the cliche is the center and source of your action, and we should link the word cliche with the word style) that it seems like certain death to get serious about art. I see so many of our colleagues out there and to me they’re like the Salon painters of 100 years ago. Which makes me think who is going to be the 21st Century’s Duchamp and exhibit a pisser? Does the 21st Century even have room for another art movement? Does art have a future?

I really would like to do webdesign. I’m thinking of taking a course. But the web seems faddish too. Sure, its here to stay, but right now its hot hot hot. How boring will it become? Like network television? But the remedy for boring network TV is the art video. So where are the art websites? I ask this rhetorically because such things are supposed to exist. How about this for an advant-garde site: you go to the url and your system crashes. Is that the equivalent of a pisser? Which to me raises two questions: are computer viruses the most eloquent form of computer art? And, to put a wall between you and your tool, is that what art does? Any thoughts?”

***
I would appreciate any feedback you might have.

Sincerely, Timothy Comeau
———————————————
From: bgopnik@globeandmail.ca
To: tcomeau45@hotmail.com

Subject: Re: please consider the following
Date: Thu, 23 Mar 2000 11:14:19 -0500

Thanks for your note.

Just one thought: DO we have to buy in to the basically Romantic, avant-gardist view of the artist-as-rebel. I’m afraid that artists are inevitably closer to shoemakers or other craftspeople than to revolutionaries, and that we all might want to accept that, and go back to an older, Medieval view of the artist as purveyor of sensory and intellectual pleasures — since I think that probably is the inevitable reality.

Yrs, Blake Gopnik

———————————————

Subject: No subject given
Author: “Timothy Comeau”
Date: 3/23/2000 11:30 PM

Thank you for taking the time to respond. Regarding your comments: I entirely agree. Yet it seems simple to say in the forum of internet correspondence, yet when I am interacting with my artist peers and gallery going, it doesn’t seem that I am browsing shoes. To stretch that metaphor, I inevitably end up examining the stitching. If everybody is employing a standard stitch, isn’t the craftsman who uses a new design going against the flow, and thus acting revolutionary?

I find your response intriguing in many ways. I am especially intrigued by the notion of the return to a medievalist view. I mean, there’s the talk of the collapse of the nation state and the rise of the neo-city state to replace it, and what seems to be a decline in standards of education, leaving a large, tasteless populace (do you agree, or is this a crutched form of snobish thinking which seems to be the refuge of all the Bach lovers that have to listen to Nsync being piped in from somewhere?) contrasted by a minority of educated and “cultured” elites, and the rise of footnotes (by this I mean that the act of sourcing everything reminds me of the mediaeval scholastics who always assumed that some ancient source was a reliable authority).

This is partially why I am approaching you with these thoughts, given that as art critic for a national newspaper, I respect your “authority” on these matters. Art for me isn’t a matter of a weekend’s entertainment, but is an important social indicator, a status report on the state of society. Which is why I am so frustrated that art in the public sphere, and within the community, seems dominated by the cliches of the artist founded in the 19thCentury, like you pointed out. No we don’t have to buy into the view, but in my experience many people are wearing that uniform (which Katy Seigel described as “worker drag” in an article on Mathew Barney’s work, in last summer’s Artforum) (there you go, footnotes).

What do you think of that Mike Kelly and MacCarthy show? Doesn’t that show rely on artist as rebel a little? I mean the whole shock art thing as being the presentation of an enlightened view brought forth by artists who are critics of a culture dominated by sugarcoated elements, and thus acting revolutionary? To me it seems a little infantile, in an educated sort of way. I imagine your review will be appearing soon, so I’ll wait and see.

One question that I’d love to have you answer is: Given that I imagine the typical art experience in 2000 to be spending a few hours in a gallery, or browsing through monographs of artist’s work, what would the typical art experience be in 2100, considering that you believe that artist will be by then, “purveying sensory and intellectual pleasures,” as craftsmen?

I suppose you’ll tell me that my job as an artist is to figure that out.

Anyway, I hope this hasn’t been a bother for you, I’d like to know what you think.

Sincerly Timothy Comeau.

———————————————
From: bgopnik@globeandmail.ca
To:
Subject: Re: No subject given
Date: Fri, 24 Mar 2000 11:38:10 -0500

Thanks for yours, Timothy. Afraid I don’t have time to digest its length and depth right now — deadlines call — but hope to take a closer read soon.

Blake Gopnik

Performance Art in Winter

On Monday, 11 January 1999, I fell out of my chair in Temporal Arts Class as a performance. No one believed that I did this on purpose. I repeated the act in February, and still, no one believed it was intentional, or that it was performance art.

The Book of Marks

This note was taped to the front of The Book of Marks for the Ardeches show:

The Book of Marks [In Progress]
(A poem of data)
This book could be seen as four different things:
1. As a manifestation of an insane obsession;
2. As absurd text;
3. As a book written by aliens with alien text and alien design, or
4. As a book symbolic of the human Quest for Knowledge. This book contains information in sectors, each swiggle and doodle symbolic of “what we know”. Nature is chaos – a backdrop without definition. The grid with all it’s regularity and simplicity is the product of the human mind, and is imposed upon nature in the form of classification. Through our science of classification we create a sense of order out of nature, against its blank white (a mixture of all the colours) backdrop. The book is a linear time based medium, encapsulating a beginning, a middle, and an end. Thus, every drawn in square could symbolize something we know and every blank square could symbolize something we have yet to learn.
Notice how the beginning of the book is full.
Notice how the end of the book is empty.
Notice the holes.
Notice that the book is in progress.

Ardeches at Anna Leonowens Gallery, 15-20 Feb 1999

Ardeches

The phrase ‘information overload,’ has become cliché. What we are dealing with is a new type of mysticism, a technological mysticism. The diagram thus becomes a very important symbol. It is a religious aesthetic, a way of offering mystical understanding of data. The data is so abstract, yet so vitally important, so tangible and yet ephemeral that is has obtained the aura of a god. The diagram thus becomes a way to approach this god. This a result of the triumph of positivism, manifested through the scientific-method, which has led to so much information being produced that a mystical understanding, instead of becoming quaint, primitive, and obsolete is actually required in order to see how the parts become whole.

I have been interested in how parts become whole, how meaning is carried by lines in the form of text and drawing in general, and the subsequent, relationship between Meaning vs. Meaninglessness. I am enthralled by the construction of completely absurd things. This is because of a loss of faith in old god-forms, and recognition of our existence that is made meaningful through action. Our existence seems absurd, but we do exist.

Ardeches references the psychological source of art and religion. The title is meant to suggest a metaphor for this contemporary art show in a chamber which is accessed through a hall and a descent down steps, by alluding to the 30 000 year old Chauvet cave, found in 1994 in the Ardeche region of France. Its cave paintings are the world’s oldest known art. There, the painted animals represent the gods of the day. Here, the painted celebrities and diagrams represent the gods of today. The books contrast the television, both mediums of communicating information that have transformed human consciousness.

We recognize that we build structures around the experience of awe. The mind is an anti-entropy machine. It takes a chaotic environment and begins by assigning patterns, at first loose, which possibly become more fixed. The mind is limited by its patterns, that is, its beliefs. It forms an architecture Ð a worldview, based upon initial patterns, which become more and more embedded and fixed with the weight of the new structures above. If these initial patterns are unstable and are revealed to be such by the additional conceptions, then they will be replaced. A cycle occurs and a worldview, a sense of self, and a conception (an idea), is formed.

“Contrary to what we might believe, the experience of ghosts is not tied to a bygone historical period, like the landscape of Scottish manors, ect.., but on the contrary, is accentuated, accelerated by modern technologies like film, television, the telephone. These technologies inhabit, as it were, a phantom structure…When the very first perception of an image is linked to a structure of reproduction, then we are dealing with the realm of phantoms.” -Jacques Derrida: The Ghost Dance. An interview with Jacques Derrida by Mark Lewis and Andreas Payne, trans. Jean-Luc Svoboda, in: Mark Wigely: The Architecture of Deconstruction: Derrida’s Haunt, Cambridge Mass 1993, p.163.

“The walls of caves were our first screens, a reality virtual as any we’ve derived. The printed page was our first automated medium, replication guaranteed, word without end. Now the word, the printed word, is an interface of quite astonishing depth and complexity – so complex that whole years of training are required before an operator can access anything like the full bandwith of any written language. (Skilled readers, accessing text, alter their inner states at will. This is why dictators still seek to control presses.)” -William Gibson 11/01/96, Forward for Ray Gun, Out of Control, 1997.

Fractured thinking on a medium that fractures thinking

Today, the art object must compete with television. The medium of television, a reflection of the film, has elevated dialogue to an art form, much more than a play. The conceptual art object developed in the 1960s, the decade when TV began to come into its own, a decade after the medium became popular and widely available, the conceptual art object which embodies the conversation.

Turning on the television is allowing the conservation into your room, you get to overhear the stream, let the flood in. The audience members become an eavesdropper, an overhearer, an angel. (Television reverses the hierarchy of the divine – the audience become like angles knowing everything. The fan is like God who knows EVERYTHING that has been published and broadcast, but the fan is ignorant of their Being).

The art object must be independent but contain ideas. They are stimulants for conversation and personal growth. The art object embodies this because you will stare for hours at the television set, but not a painting. Paintings will only become part of the décor. People are watching TV, ignoring their art work.

Doodles

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Found within the opening pages of the February 1998 WorkbookThe beginnings of my manifesto, what I am doing, what my themes are.I. Doodles
You could say it began with Jerusalem, the drawing I did in 1994 and exhibited at Saint Mary’s. I could say that I was subconsciously aware of the stick figure as being a legitimate art technique, but being subconscious, it was bellow the surface. I was interested in learning to draw like Picasso – I didn’t pursue stick figures then.

I purchased Radiohead’s The Bends in October of that year. It had been released the previous spring. It contained stick figure scrawls of Stanley Donwood and Thom York. I looked with interest at first, but saw only “doodles” and left it. I did not then see it as art.

In December 1996 I was channel surfing and stopped briefly at the New Music, when they were interviewing k.d. lang. She picked up Basquiat Drawings (1990) and said how much she liked a particular drawing, ‘Plaid Plaid Plaid’ and commented that this explained lyrics to her. A few weeks later Dad surprised me by bringing this book home, which he found for $3.99.

This book inspired me as set me trying to incorporate text and imagery. That was in January 1997.

In June 1997, Radiohead released Ok Computer. Again there was the drawings of Stanley Donwood. I admired the design but again, thought little of it.

Then that September, I was walking through the halls of NSCAD when some signage drawn up by Tullis Rose caught my eye. My immediate thought was of OK Computer. Here were the sketches! Here was the same concept. This made me think that there was something more to these mere doodles.

Later, the same month, Randy Laybourne exhibited a collection of his drawings. Some where done spontaneously and shared that doodle quality.

In November, early November, this all coalesced and I collected Tullis’ ads where I could still find them. I copied out the drawings from the Radiohead CD booklets. Jessica Jones, who was a fellow student in Interim Painting, left some sketches laying around, on black paper done with chalk. The stick figures – I asked her for it but she wouldn’t part with them.

I sat out to understand the doodle. I began drawing doodles. And my tag in October which began as simple graffiti, but struck me for being so self-contained. (Five year old draw like that – every man is an artist -who drew this at age 5? Because I was drawing it at age 22).

Melinda gave us an assignment, to paint outdoors. She gave us a list of artists we might want to refer too. Basqiuat came up. I asked he why he was on the list. She said because he was a good urban artist, how he had responded to his city.

I bought two drawings from Randy. I doodled like crazy, trying to understand, and to find that which I liked in other’s in my own. Now, I see connections between Basquiat and Donwood, the other night finally recognizing the symbol from Henry Dreyfuss’ Symbol Sourcebook. Basquiat used some symbols from this book and so did Donwood.

  • Every man an artist – Life as art as being an organizer, a way of creating order in Postmodern fragmentation and disorder.
  • The importance of influencing others since we are all accumulations.

The appeal of the doodle is represented in the primacy nature of it – it’s simplicity, spontaneity, and what the Beats codified as “first thought best thought” . My own experience has show me that first thought best thought creates art that is inspired and caries that mark. There is no fear of the contrived. However, not all first thoughts are golden, and first thoughts often reside amongst the cultural cliches. First thought with awareness then.

And of course, the fact that anybody can do it.

II. Everyone an artist
Apparently it was Joseph Beuys who came up with that phrasing. But the idea isn’t that new or original. In 1966’s Creative Writer, a series of talks given on CBC’s radio program Ideas, the Canadian poet Earl Birney said:

“Some psychologists say, and I agree with them, that creativity is the sense of the drive to find new things, explore, discover, is basic to the human animal. I think all children who aren’t born into absolute idiocy are artistically creative. With a favorable kind of environment and education, most of them, I suspect, grow up retaining some creative powers as men and women. But there’s a strong urge to conform, to become dependent on others, to accept instruction, guidance, doctrine, to stop really thinking, or even feeling, for one’s self. Artists are people who resist this conforming pressure, at least with part of their energies.”

This is what Joseph Beuys refereed to – this basic factor is creativity, that we all create constantly. Beuys put it this way:Thinking Forms – how we mould our thoughts or Spoken Forms – how we shape our thoughts into words or Social Sculpture – how we live: Sculpture as an evolutionary process; everyone an Artist. Thorsten Scheer, on the website http://www.fh-furtwangen.de/~schoenfe/ep/ep963.html expands on this.

“Beuys’ plastic theory is not about plastic/sculpture in the traditional sense. It’s about form. In Beuys’ opinion, the central question of art is the question for the most suitable form. This means that _everything_ is a question of art, because _everything_ has to have a certain form: politics, communication, TV sets, words, e-mails… All you can imagine. But the question for the most suitable form does usually not occur until one has to work with real material. However, at first, there is a thought, an idea. The process to create a sculpture therefore emerges right the moment you get an idea. Ideas have to be shaped, constructed, put into form, just like material works. […] Living on this planet, in a society, _everything_ you do, every idea you have, all the stuff you create, every conversation you have (sending mail to Athena, too) shifts the state of the environment, creates form – therefore is sculpture..! You are responsible – no way out.

So take your life as a work of art with regard to society – the Social Sculpture.” This idea, that we are constantly responsible for everything we do, and that all acts are creative and thus artistic acts, is the beginning of my thoughts on art as an almost religious experience, capable of providing unity to life.

Everyone an artist though – I do not want to see every citizen of the world have a one man show. I believe that every human is a creative creature, as Earle Birney wrote. However, we are not all artists. Some of us are businessmen. Some of us are tradesmen. We are all born with different talents and interests. Artists are born. If you feel yourself to be athlete, then you are. This basic fact that we are all born different assures us that artists will have a place and that their gifts have a place. However, the nature of art changes and the nature of the artist changes. The nature of art must change and is changing.

In this new world I do not know what place the gallery has. This gallery, is a graveyard of ideas, a museum of trends, a sanctuary for ivory tower pansies.

III. Art Itself
Art itself – what is art? Art is the product of the artist. It is the by-product of the creative act. The creative act is an exploration, an attempt to understand. The creative act in the artist arises out of the need to understand something. Some idea ignites curiosity, desire, obsession. You want to wrap your brain around something. To od this, you reach out, explore a medium. Thought goes from ephemeral interior winds to physical manipulations of materials. The art object thus becomes a record of physic energies – a record and report by the artist. It is a hard copy of thought not in the usual word form, but in the form of shapes.

So this is what art is. Art is also that which enriches your experience, it is life affirming, it is beautiful. Much historical thought has gone into trying to define two things – God and Art. What is hard to define in both perhaps is the concept of beauty. It is beauty which is so subjective and which confuses the idea of what art is. Art as the totality of experience. The role of the artist is to affirm life. To show people what they are capable of.

Jerusalemdw_2.jpgdw_4.jpgdw_5.jpgdw_6.jpgPlaidLaybourneDrawn at age 5