A mad junky in the name of art (Part 1 of 2)

Should being an “artist” automatically excuse for immorality and capriciousness?

The joystick of attitude
When someone is established in a path of spiritual awareness, in faith, he realizes his essence and uses every daily doing as a lift to spiritual enhancement, to personal growth, to the aspiration to all that which is noble, pure and luminous. It’s a question of attitude and attitude is an expression of the freedom of choise which God gave us, Humans.

A deep and intense spiritual awareness to the existential suffering of oneself and of mankind is a gift, but awareness which is not accompanied with equilibrium of the mind begets fear which might result in hatred, rather than a balanced and aware mind which begets love and faith.

Art can also be created out of love and faith and it will be as deep, impressive, creative and colorful as art emerging from the darkness of the artist’s psyche. Again, it’s a question of choise and once you do believe that God indeed contains everything – including the devil – because everything is within the boundaries of His Creation and His Providence governs all with absolute and infinite awareness, than the logical outcome of that realization, is that art which is lofted by the creative forces of the mind can soar much higher and further than art which stems from the rotten roots of the destructive forces of the mind.

Asceticism
Those artists who choose to create art out of self-hatred and conflict do so on their own, but by no means because it is necessarily the way of nature. Perhaps they choose to believe that if and when they will stop suffering they will also stop being unique. Perhaps it is the rooted belief that being miserable is being deep and that happy people are superficial and stupid. But that depends on where from this happiness flows, and of course when I say happiness, I mean true and profound blissful joy and not that unaware vapid hypocritical charade posed by most of them “happy” people.

Now, the happiness of sensual pleasures may indeed be superficial and stupid, but nevertheless it is an expression of the human nature just as much as stubbornly uncompromising and haughtily pretentious debatement concerning ‘deep’ philosophical issues. At the ultimate level of reality, enjoying a good steak like a beast isn’t more superficial than embittering your life with asceticism and self torture, as did certain artists of the past, since it does not indicate spiritual greatness but rather the greatness of the ego and it’s arrogance and the illusion that shields them and then turns them into a distorted and dangerous belief, that it is indeed for a higher cause – Art – nonsense.

Happiness
But there is true joy, what which we call ‘Happiness’ – that which derives from the knowledge that in any situation and at all times there is something unfathomably bigger than us, which is aware of us into our entire depths, which knows the purpose of our existence and tries to guide us through a universal scene of illusions and misery which he created for us.

From within those short moments of the happiness of faith and the experience of the radiance of truth, art is born which is not the outcome of misery and indecisive conflict, but rather one that, for a start, expresses all those objectively and impartially. Perhaps at a later stage an art emerges that is all of the nature of radiance, happiness and faith – art which is the embodiment of the divine, the exalted and the complete.

Attraction of similarities
As an incidental remark to the above and as a side effect of the suffering human, the frequencies we generate draw to us those people who generate the same frequencies. A magnet will not be pulled to or by glass or wood but only to iron. It is the law of nature. A man – an artist, a cook, a teacher, a driver or a cashier – who generates frequencies of self destruction draws to himself other people of the same frequency.

Someone who, in the name of art and out of deep soul affinity for art, generates frequencies of self destruction, will attract ‘artists’ or those with ‘the soul of an artist’, who ruin the lives of themselves and of those who surround them, without any aware striving towards the origins of all phenomenon and the real solution to their personal despair. This is also a law of nature.

And that is all I had to say about that. Thank God for the wisdom, the insight, the pride, the journey and the conflict.

Created by findigart On 04/16/09 At 08:09 AM

Flounder Lee is a photography professor at the Herron School of Art & Design at Indiana University/Purdue University in Indianapolis, Indiana. I met him there after I did a presentation about my first book, “Art In King Size Beds: A Collector’s Journal.” I thought that he would make an interesting interview subject. I think you’ll agree. By the way, the attached photograph is a shot of him being interviewed in Serbia for his recent one man show there called, “ReMove”. After reading out chat, check out his website at www.photoflounder.com

MICHAEL: Hey Flounder. Thanks for agreeing to chat. First, let’s start with the question that I’m sure you’ve be asked a million times. Flounder is an unusual, yet very cool name. Is there a story behind it?

FLOUNDER: Hi Michael, I have definitely been asked that question a lot or at least some form of it. I can’t convince some people that my name is not Lee Flounder, especially businesses. I wish that meant I didn’t have to pay my bills! The origins of my name are shrouded in mystery but it came to prominent use in the Secret Snail Society. I should probably leave it at that. I legally changed it to Flounder in 2006. I find it helpful as a promotional tool and a conversation starter.

MICHAEL: Secret Snail Society? I probably already know too much. Moving on … I love your photography, but what I’ve seen isn’t photography in the mainstream sense. It appears that you splice and dice photographs to create totally different compositions. It’s almost like painting with pieces of photographs. Am I correct?

FLOUNDER: I don’t really consider myself a photographer. Maybe a photographic artist or an artist who uses photography. Sometimes I do video, sometimes performance, sculpture, etc. In my teaching I take a similar approach: I am teaching artists, not just photographers. My recent work has definitely been described as abstract painting. I think that some of it looks like Mondrian from a distance. Really what I’m doing lately is making work from a series of preset conditions. I’m taking as much control out of my hands to investigate the way things are instead of the way I want them to be. So if we stick with a painting analogy, it is more like programming a robot to do the painting.

MICHAEL: You just said you are teaching artists, not just photographers. Doesn’t that really get to the heart of the role of contemporary photography? I visit these art fairs and exhibitions where I see great photographs but they don’t necessarily rise to the level of “art” for me. It seems to me that even with preset conditions and lack of control, turning photography into art requires insight, physical manipulation and the introduction of unique elements. Perhaps my ignorance is showing.

FLOUNDER: I think it does get at the heart of it, I don’t think the sort of contemporary photography that I’m making or trying to teach is just photos. It isn’t about how pretty your sunsets are or how good your photoshop skills are, it is about the idea that drives the work. But that said, I think they generally need to be somewhat technically proficient and formally pleasing because we are past the conceptual 1970s. Dave Hickey helped change the notion that beauty is a dirty word in the art world. Work can be engaging and beautiful.

MICHAEL: I had the pleasure of walking with you through your exhibition called, “Own.” It involves old Native American lands, map making and photography.
It’s beautiful, engaging and has a powerful social and moral message. What’s it all about and where did you get the idea?

FLOUNDER: It is always good practice showing someone around a show, so thanks for coming. In the current work, I am mapping treaties between the US government and various American Indian tribes. I have European and Native American ancestry. Most likely it is Choctaw and/or Cherokee, but it is really hard to trace when your family narrative says that they were the ones who hid from the government to avoid moving west and tragedies such as the Trail of Tears. I’ve never been raised with any real awareness of my family’s history, but it fascinates and conflicts me. I have ancestors taking from ancestors. Not really sure how I decided to pursue this now, but I was mapping the borders of Los Angeles when I moved to Indiana and I wanted to keep mapping so this came up somehow. So far, I’ve mapped the treaties in their actual locations in five states. I find the original maps, import them, and follow the borders using GPS. I photograph at one mile intervals at set points in the four directions. This removes as much of my hand as possible from the equation. I want to show what is actually there, not what I want to be there. So if there is a casino or a Wal-Mart a quarter mile down the road and an empty field where my GPS says to shoot, I get the empty field.

MICHAEL: What you’re doing incorporates photography, artistry, anthropology, sociology, politics and travel. It all makes for very heavy subject matter that will inspire some and incite others. Yet art is your venue. I liked the exhibition, but you obviously know that pitching this to collectors or even curators can’t be easy. In short, it’s not “entertaining” and you know how much people want to be entertained … that’s assuming you can even lure them into a gallery. Is this a concern?

FLOUNDER: I make work that is important to me. Quite often it will be important to others too. I sometimes make work that is more fun or entertaining but that is not generally one of my primary goals, except maybe when I’m doing performance art. I honestly haven’t had many encounters with collectors at this stage in my career, but I’ve shown this work a few times already. A curator of a show in Europe liked it enough that she invited me to come make more work there for the show. I’ve also used this as a platform for teaching others about this history, including my own family. Even still, the patterns of images that emerge from my work can be enjoyed without knowing the history of what the work is about at all.

MICHAEL: Flounder, this brings up what I think is a great question. When you’ve busted your butt to make your art meaningful and true, isn’t it a little irritating to have people look at it and say, “I like the colors!” or “Will it match my sofa?” I’ve even heard artists reduce the work of other artists to simple whims. You’ve done all of this work and they’ve missed the entire point.

FLOUNDER: Artists aren’t the only source of meaning for their art, so art is going to mean different things to everyone. How’s the saying go? “You can’t please everyone.” Well, things are going to be pleasing to people for their own reasons. I want some people to get my work but know not everyone will. I really dislike a LOT of art, I don’t get it, but know other people do. I don’t think this is an issue really. I’ve always thought that colors and matching and such are just levels to the work. Maybe levels that I don’t care about, or even care to know about, but levels none the less. My wife isn’t an artist and she is definitely more concerned about artwork fitting in with our other decorations than I am, she doesn’t understand how I don’t really worry about color schemes and the like.

MICHAEL: Many of the artists I know are totally “consumed” by art. Many, if not most artists consider art synonymous with who they are as individuals. Does this describe you?

FLOUNDER: Yes, I think it does and I’m sure my wife would agree. She has a hard time grasping that my work does not really have any sort of set hours. I can just be playing online but it is usually at least tangentially related to my art. I’ll either be looking for blogs to submit, looking up new artists or shows, reading about mapping or science. I never know where my new ideas are going to come from so I keep constantly looking. But even all that said, I still take plenty of time to do other stuff if I can find it. I love to camp, hike, cook, and garden (although I rarely do most of these activities without a camera).

MICHAEL: You said earlier that you dislike a LOT of art and that you don’t get it. Do you think this is more of a reflection of your personal taste or the artists’ failure to communicate effectively? When people read my writing, I find it somewhat upsetting that they missed my point. They don’t have to agree, but they do have to get the point, otherwise we’re not really communicating.

FLOUNDER: I think sometimes it is a combination of both of those things and also the fact that some art really doesn’t carry a lot beyond its surface. Art means a lot of different things to people and sometimes it is purely a visual exercise. Of course this is the art that I generally don’t like and it rarely receives any sort of critical praise, but still might be popular with many people who think the best a painting can do is look like a photo and the best a photo can do is look like a painting. Ha! I like art that gives you something on multiple levels, it has the surface stuff that you can appreciate, but it has a depth to it that allows you to explore. Writing is sometimes similar, just because something is funny or exciting, doesn’t mean it doesn’t have depth of meaning. I’m currently reading a couple of books about geography and history. One is textbook type writing and I can barely stay interested even though I love the subject. The other is narrative style and I hate to stop reading it to do anything else, but I still feel like I’m learning a lot about the subject.

MICHAEL: When it comes to art, what do you think you’ll be doing 20 years from now?

FLOUNDER: Well I’m really hoping that they come out with Dream Recorder by then because I think my dreams are really where it’s at. Otherwise some sort of digital media and installations probably. But honestly who knows, 20 years ago I was 10, playing on a playground wanting to be a rocket scientist. That desire got me to 19 when I left the University of Alabama’s aerospace engineering program to take a year off and move to Florida where I got my degree in photography.

MICHAEL: Sounds like the sky is your limit. Thanks for chatting Flounder. Don’t forget to check out Flounder’s website at www.photoflounder.com

MICHAEL CORBIN IS AN AVID ART COLLECTOR AND AUTHOR OF THE AWARD-WINNING BOOK, “THE ART OF EVERYDAY JOE: A COLLECTOR’S JOURNAL.” CHECK IT OUT AT WWW.ARTMAESTROGALLERY.COM

Created by Michael Corbin On 04/06/09 At 10:59 AM

Arthur Danto first gave the notion of the “artworld” a philosophical definition: the artworld provides the theories of art which all members of the artworld tacitly assume in order for there to be objects considered as art (see “The Artworld,” Journal of Philosophy (1964)).

For many of us, entering the artworld remains a distant dream. If only there were only a way to sneak our work into a museum. Bansky has accomplished such feats on several occasions by clandestinely hanging his paintings in the Moma and Louvre, only to have them removed by museum staff (albeit days later).

I had the idea to create a Trojan-Horse that I could ride into the artworld. What better than a picture frame, a tableau vivant through which to view the artworld and at the same time be displayed, thereby changing my role from observerto observed. I encapsulated myself within the border of a frame and attempted to create a micronation as a satellite of the artworld.

The piece was performed on the threshold of the RISD museum as a guerrilla installation, and followed these specifications:

An 8′ x 5′ frame is constructed using abandoned railroad ties. Several 1″ eyehooks line the interior perimeter of the frame. Luggage straps are attached to the eyehooks, forming a meshwork within the frame. An immobile person is suspended within this meshwork. The person is not to touch the frame, but is to remain suspended by the straps for the duration of the piece.

I hung suspended within the frame for over six hours. The temperature was below freezing. A plate of cheese and crackers was placed before the frame and museum goers frequently deviated from the typical route and exited the museum to see “ArtWorld”. Many people were hesitant about taking crackers for fear that they would be disrupting the art in some way. People took photos and constantly tried to communicate with the silent, almost catatonic man. It seemed that any confusion about the object was clarified upon witnessing the museum tag I had placed before the object.

Later, a museum administrator came out to see what the object was. She said she didn’t know what it was until that moment, then she said “Now I’m sure… it’s art.” Afterwards I asked Professor Danto if this made me art, but he replied, “You were not art, but, your humanity made it art – to the eyes of a museum administrator!”

Once declared art, the second phase of ArtWorld went into effect. I wanted to inflate the value of the object by making it change hands as much as possible. The frame was sold on eBay with the stipulation that the buyer of ArtWorld must resell the object (even for a $1 profit) within one month of purchase. Compliance entitled the buyer to a rebate from the previous owner equal to the purchase price. This allows each owner to profit while raising the price of the object and lengthening the amount of names on the bill of sale. The object currently belongs to a gentleman in Geneva and I am awaiting an update on its future home. Eventually I would like to buy the ArtWorld back and issue shares in it to all previous owners so they may share ownership and profit equally for their participation in the ArtWorld.

Bio:

Bezdomny (A.K.A. Jeffrey Andreoni) is a full time ¼ÉÕɫɉÉ-ÐV. He began his artistic career in Rome where he was designing banners and campaign flyers for both right and left wing political parties at the same time. When his tangled flag of deception came unfurled, he was left designing posters for the Arcigay (GLBT) of Rome, which is also the point at which he made his first performance art piece, “Family Gay.”

Shortly thereafter he founded the Bezdomny Collective together with other artist/activists in Rome. Around this time he also created his trademark bilingual immigrant superhero cartoon series, Exxxtraman. Jeffrey studied at Moscow State University, La Sapienza University of Rome, and The University of Rhode Island. He has exhibited his photography, film, graphics, and poetry (written in Italian or English) both in Europe and the United States. His work has been featured on CNN, and seen by the Pentagon.

Currently he is producing a series of performance pieces concerned with police states and neuropsychology. He is also in the process of founding the world’s first Nation Of Art. Jeffrey spends his time equally between the US and Europe, though his whereabouts at any given moment are largely unknown.

Created by Jeffrey Andreoni On 01/15/09 At 10:25 AM

LIFE is teaming up with Google to create a massive online database of more than 10 million photos from the 1750s through to today. It is a work in progress but there is already an impressive collection of photographs online now.

“For 70 years, LIFE has been about one thing, and that’s the power of photography to tell a story,” says Andy Blau, LIFE’s President. “LIFE will now reach a broader audience and engage them online with the incredible depth and breadth of the LIFE Photo Archive from serious world events, to Hollywood celebrities to whimsical photographs.” Time Inc. EVP, John Squires adds: “We’re delighted Google recognized the rich value of our photo archive and worked with us to bring it to millions of consumers. Consistent with the launch of the TIME Archive, PEOPLE Archive and the SI Vault, this initiative continues our efforts to build valuable new revenue opportunities from our rich heritage.”

The LIFE photography archive is hosted here by Google. There’s an excellent collection of Pablo Picasso pictures here. The Google Image Search is free for personal and research purposes. Copyright and ownership of all images will remain with Time Inc.
>> Photography News

Those with a blog or website should be interested in the discussion over at Art Fag City where the estate of Helmut Newton has sent Paddy Johnson a cease and desist letter. She posted a nude Naomi Campbell photo by the fashion/erotic photographer Helmut Newton when she mentioned a Naomi Campbell retrospective at the upcoming Art Basel Miami in 08.

I don’t believe that the Internet should be a lawless free for all, but what kind of business threatens legal action for receiving free publicity?! The image used is a low resolution jpg file that has zero commercial value and was used to promote an upcoming event, so I’m still trying to figure out how the estate of Helmut Newton has a problem with it.

The law firm and Helmut Newton estate are either really smart or complete idiots. Perhaps they realise that bloggers have big mouths and they will gain much more publicity by creating a controversy in the blogosphere. Or maybe they just don’t get the Internet. Either way, I won’t be mentioning any Helmut Newton exhibitions or auctions anytime soon.

Read the cease and desist letter and the ongoing discussion here.
>> Photography News

The controversial Australian photographer Bill Henson is making news again down under. Earlier in the year he had his Roslyn Oxley9 exhibition in Sydney raided by police with several nude photos being seized (and later returned). Henson was labelled everything from a pornographer to a paedophile and even prompted the Australian prime minister to call the photos revolting.

Henson now has the school teacher Sue Knight in trouble after she allowed the photographer to search for models at the St Kilda Park Primary School when she was the principal of the Melbourne school.

Here’s some more from the Canberra Times.. “Parents of children at the primary school where photographer Bill Henson scouted the playground for models have supported the artist and the principal’s decision to allow him into the school. St Kilda Park Primary School council president David Myer said the school backed former principal Sue Knight who escorted Mr Henson around the school last year.”

I must confess that if I had an 11 year old daughter at school, I wouldn’t like a middle aged man scouting the school for possible nude photos. The matter is still being investigated but it seems that the media is making the incident sound much scarier than it actually was.

Bill Henson remained silent during his controversial Sydney exhibition earlier in the year, but has spoken to the Age’s David Marr about the latest media frenzy/witch hunt. Here’s some Bill Henson quotes from the interview..

“Sometimes it’s a friend, or the kids of a friend, or a friend of a friend. Sometimes it can be a friend of a relative. Sometimes you are walking down the street or you are in a restaurant and you see someone. There is this face. All you can do is give them a card and say: ‘Look, just Google me, and I’d be very interested in photographing your daughter or son.’ “
Bill Henson

“I went in there (the Melbourne school) just wandered around while everyone was having their lunch. I saw this boy, and I saw a girl too actually, and I thought they would be great and the principal said, ‘Fine, I will give the parents a ring and let you know.’ So the ball is always in their court. The girl’s parents went, ‘Oh no, we don’t think it’s for us’ and the boy’s parents said, ‘Yes, sure.’ So … that is how I started working with him.”
Bill Henson

>> Bill Henson Nude Teen Controversy, Controversies, Photography News