Critical Theory – Artist Identity

by Dave Holmander-Bradford

June 2017

Everyone has influence which affects their outlook and orientation about the world in which they live. These become formative consideration how we develop as a person but are particularly acute for the artist who would reveal the subtleties in their work. This paper is about the identity of that underlying inhibition in which the artist is uniquely opportune to expose. As a case in point we will look at an artwork toward the end of this discussion, but first set in-part a case for individual identity.

Why should we care about Identity?

Identity could be defined in a narrow constrict of singular personhood. I know I am a person because I self-exist, I feel, I can smell and eat, talk and hear. But seeing our reflection in a mirror or leaving evidence behind in space once we leave it isn’t what this conversation is about.

The true to self-contemporary artists concern with identity is more comprehensive when speaking to multiple considerations. Their work may self-identify with social changes and injustice directly or inversely. By direct we mean those reflection embedded with a specific value which conveys a personal passion. Inversely, i.e.: “the well-observed inverse relationship between disability and social contact” i The notion of “social utility” is almost for certain anything which artist find offensive and affront to creative works and voice to the consciousness of modern, civil and freely open society. “Social utility is a service, or characteristic, that benefits most of the population of any given society. For example, a service which benefits about 80 or 90% of the population at the cost of the other 10-20% considered as a social utility. In short, minimum cost but maximum benefits by a service for the society is a social utility.” ii

So, it is here at this intersecting of identities in a work of art we perceive and express ourselves. Factors and conditions of sex, ethnicity, eco/social placement and physicality likewise will define our identity. In these conditions, the artist may speak the loudest for the least.

Sociologists have identified five different approaches to specific types of identity.iii They include individual, social, collective, multiple, and stigmatized. It is therefore not too difficult connecting these cognitive functions to the larger issues in which contemporary society faces considering current economic, social and political disparity. Jeff Chang talks at length on the changing identity of American life beginning in 1963 through present day in his award-winning book Who We Be. The very essence of the civil rights movement to our current state of affairs’ have centered around different cultures and our identity. About multiculturalism, he cites Richard Bernstein, “considerable confusion about who exactly we are, how worthy we are, and whether we have things in common”. Chang continues with Paul Beatty’s reference to “homosexual right, radical feminism, and environmental extremism. And he closed with a story, likely apocryphal, set in the ashes of the Los Angeles riots, whose endless televised stream of images of fire and chaos seemed to evoke antebellum nightmares of some vast colored people’s vengeance” iv (p121) At the core of this discussion then is as an artist we do not come as a blank slate or empty pail. Each one a conditioned frame of reference which at its source is not original to self but a formation from the individual origin. Conversely, equally true each artist will have decided for a personal identity based upon some systems of values either by adoption thereof or by a rejection of the status-quo. It will be important for the artist has come to grasp this understanding in which they identify for the betterment of their medium, but also to manifest a clearer articulation of the voice by which they chose to speak.

I didn’t know that. Off course not, no one ever told you. (false foundations)

For a moment, let’s pose the question in relation to how it is we find ourselves at this juncture, and present social conflict. Could we say that if there is a problem in societal identity (culture wars) the fix must ultimately address the source/origin from where it systemically came?

There is little disagreement on what the acute issues are cited by Pat Buchanan who “captured the spirit of the growing backlash … decried the across board assault on … Anglo-American heritage. He said the combined forces of open immigration and multiculturalism constitute a mortal threat to the American Civilization.” (p119) However, counter Buchanan perspective which finds great populous with certain demographics it is not reflective of a growing majority of the American citizens who find the new multiculturalism uniquely American and core to a maturing of national identity.

Beginning with the civil rights movement, and continuing with Feminism, Gay rights, and gender issue, immigration, disabled persons, etc. the list might seem endless. These social injustices have been largely litigated with broad public discourses. Unfortunately, most approached to resolving them are bandage solutions because it is almost impossible to correct them without addressing the underpinning issues upon which Western Civilization was constructed.

A closes point of clarity and refinement might be construed by Adrian Piper Article the Triple Negation of Colored Women Artist. Although she is specifically addressing a matter concerning black women artist, issues she raises have a much broader implication. She contends, “American society (keep in mind it is built upon the foundation of Western Civilization) is now imposing a Euro-ethnic, Christian, heterosexual male ethos on all of us to maintain a uniquely American identity against the incursion of other, … similarly, the art world is reasserting a Euro-ethnic, heterosexual male aesthetic on all of us to resist the incursion of gays, colored, and practitioners of outlaw sexuality into the inner sanctum”. v Her terminology is slightly dated but her focus point targets to the core of the issue. The inherent male dominance of all Western society. Some have called this the male gaze. It’s the prism how persons condition in the west view the world.

In this context, we need them to ask what will it take to correct this misconception? How did we get this way?

Every undergraduate should remember taking History of Civilization as part of their core curricula. They will have learned that the three pillars of Western Civilization are, the Greek City/States, the Roman Empire, and the advancement of Christianity. These three formed the triad upon which American society stands. From the Greeks, we get our democratic ideology, the Romans individual citizenship, and unity through brute strength, and from Christianity our authoritative moral underpinning. “To the Graeco-Roman world, Rome was the Eternal City.” The apex of this moment in time might be characterized when Rome was dub “The City of God” 410 A.D.(C.E.) “it was St. Augustine who, in the wake of the Visigoths capture of Rome devised the phrase to represent the rise of a new Christian society … that the community of the Most-High would endure through the greatest city on earth had fallen.” vii (p121)

What if one of these three has not been represented correctly? What if the paradigms of Christian morality are not representational of true Christianity. It is my contention that the male ethos to which Piper addresses is a possibility the results of the moral imperative being prejudicial and inconsistency with the Biblical narrative. And, if this is so the process of correction must be at its core origin. Therefore, we need to deviate momentarily and look at the biblical account and decide for ourselves if the Christian morality and the male’s promenades have been faithfully transmitted to contemporary society. The process and understanding may give a stronger argument for those who are endeavoring to correct any imbalance in today social structures.

Whether you agree with the biblical account of the origin of species it is irrelevant to this discussion. In a discussion on Christian dogma Christian Theology, by Millard Erickson a renowned conservative contemporary Protestant theologian he writes in the subsection The Universality of Humanity, referenced Both Sexes I provide the following redacted account.

“Women have at times been regarded as, at best, second-class members … While to some extent the Old Testament (Christian “Holy Bible” and “The Torah” for Jewish persons) did not overturn this situation (the interpretation of the sacred writings has been by mortal human being, thus here a miss guided understanding became a perpetual ideological paradigm) from the beginning there were indications that in God’s sight women have equal status. These indications increased as time went on and the special revelation moved to progressively higher levels.

Already in the creation account, we find an indication of the women’s status … Genesis 1:26-27 … (the) emphasis, seemingly to ensure our understanding that women possess the image of God, just as does the man. … Karl Barth and Paul Jewett contend that we have triadic parallelism …

A second noteworthy feature … Genesis 2:18 … (some have implied) she is a helper to him as if this term implies some sort of inferiority or at least subordination of the women to man. … The expression helpmeet, used in some older versions, actually translates two Hebrew words nֲֲeged, means corresponding to or equal to … The word

rendered help “ezer” is used by God in several places … This would suggest … not inferior in essence … Rather, the helper is to be thought of a co-worker. …

Donald Shaner has summarized well Jesus relationship to women: It is striking that Jesus did not treat women as women but as (a) person. He took them seriously, asked them questions, encouraged their potential, and lifted them up to the dignity they deserved. “ viii (pp 563 – 566)

In an analysis of Erickson writings, I am suggesting the current conception of the male-dominated society linked to the bedrock of Western Civilization and at its origin is not to be found in core Christian teaching if we are to be true to the narrative. We must ponder with what the difficulty it is to move forward. An ardent feminist may never accept anything less than an all-out assault on religion of any sort; however, within this backdrop, an artist might find and enlarged a social hypothesis from which to address age-old issues of injustice, racism, and discrimination etc. An identity must find ways to address the inconsistency of arguments set forth by the status-quo while quilling the Euro-ethnic mainstream as Piper has expressed.

Where do we go from here?

To thwart the agency of the American imposition previously noted Piper now set forth a threefold outline as a path forward specifically as it related to the CWA; but, we may also extrude a broader inference to the populist at large and contextualizes it intentionality applicable to artists in general. She cites, “a CWA who expresses political anger or protest political injustice in her work may be depicted as hostel or aggressive.” Equally true, “a CWA

who deals with gender and sexuality in her work may be represented as seductive or manipulative”. The broader application here being what is arbitrated toward CWA artist is often implicated of all artist who does not conform to the given ethos of any period which proves the point. “When the art itself stymies the imposition of such stereotypes, the Euro-ethnic viewer is confronted with a choice … which will naturally require a concerted effort of discernment otherwise the variant will return to the comfort of Euro-ethnic stereo-type” thus rejecting the work as reprehensible. ix (p241

The great fear here is while all women (and all disenfranchised people groups) have made great gains across a broad spectrum of society there is ever present those forces which would reverse this course. The compendium she offers could serve a guide to keep the focus on the necessity to be ever vigilant all the while acquiesces that in some fashion women have of necessity engage in the zero-sum game of the Euro-ethnic art tradition.

In addressing head-on mainstream self-perpetuation, she offers the following perspective specific to the CWA. “First, this work has no halcyon past to mourn. Instead, it offers an alternative art progression that narrates a history of prejudice, repression, and exclusion, and looks, not backward, but forward to a more optimistic future. … competing for the truth. Second, it refutes the disingenuous Euro-ethnic postmodern claim that there is no objective truth … (or) testimony of the truth about prejudice, repression, and exclusion. Third, it belies the Euro-ethnic postmodern stance that claims the impossibility of innovation, by presenting artifacts that are, in fact, innovative relative to Euro-ethnic tradition – innovative not only in range and use of media they deploy but also in social culture and aesthetic content they introduce.”x (245 – 246)

What do we see

David Salle author of How to See might be an appropriate entry point. In his introduction he says, “Art is more than a sum of cultural signs: It is a language both direct and associative, and has a grammar and syntax like any other human communication.” xi So, when we look at the work of William de Kooning xii What is it that we are looking to see, learn, know, understand?

In his work Door to the River, (1960) what probes the mind. Let’s state the obvious first. Its genre is abstract, and its style is abstract expressionism. It is an oil painting in which the artist has employed impasto. I frankly am quite fond of it and for obvious reasons is why it’s the point of discussion though in many ways I am more interested in de Kooning as a person.

Of himself, he says, “I’m not interested in ‘abstracting’ or taking things out or reducing painting to design, form, line, and color. I paint this way because I can keep putting more things in it – drama, anger,

William de Kooning, Door to the River, 1960

pain, love, a figure, a horse, my ideas about space. Through your eyes, it again becomes an emotion or idea.”

“Heavily influenced by the Cubism of Picasso, de Kooning became a master at ambiguously blending figure and ground in his pictures while dismembering, re-assembling and distorting his figures in the process.” xiii

The work in question here is not obviously controversial or is it, yet we must ask place ourselves in the work to understand the work. What does he mean, door to the river? Where is the river? Is the river a noun? If so, is it beyond the door or is it running through the door? Are we in a river town and through this door we go to the river as opposed to another door which might go to the road. It’s abstract so we are to allow our mind to wander. Or are we viewing this from a Euro-ethnic perspective trying to press this work (maybe all his work) into our stereotype box which we have been precondition do? De Kooning’s work doesn’t want to fit into our nice little-compartmentalized box. It must be bad, so we should shun it just like the work of CWA.

We have viewed this work in the context of ekphrasis which is to say the image causes us to view the work as a rhetorical activity of an adjectival nature, It is a graphic, and dramatic piece of art. But perhaps for the viewer in the 21st century, it is not enough information provided yet his use of impasto, could it be some hint or carryover from his sculpture inspirations?

We should consider a more formal analysis based on the visual structures. The work has balance points and coherence of color palate. He used a large brush and leaves an impasto surface texture. This quality is an enabler for reflexive light. Compositionally, he has followed the conventions of good painting. Point is met with a counterpoint. Volumes and contours are declared boldly. The sight line evidence but not obtuse. His process conveys good perception with the visual intent.

I see this work as not just the door to the river but the door to opportunity. Where did the river come from and where does the river go? Perhaps the viewer is being enlisted to journey on the river to some distant place. Or perhaps passage through the door is an escape from something amenable. What we see here in the work is that contemplation will require a decision.

Herein then is identity, the work an artist reflects is the expression of self through abstraction, but for art to be real there requires a viewer to engage and become part of that identity, thus we see ourselves.

Work cited

I http://www.oxforddictionaries.com/us/

ii https://quora.com/what-is-social-utility

iii http://sociologytwyham.com/2012/06/25/different-types-of-identity/

iv Chang, Jeff. Who We Be, The Colorization of America, New York: St. Martin’s Press, 2014, Print

v Piper, Adrian, The Triple Negation of Colored Women Artist, Chapter 28 pp 239 – 246 Manchester: NHIA MVF803 Seminar 3 noted supplied by the instructor. June 2017

vi The male gaze is a concept coined by feminist film critic Laura Mulvey. It refers to the way visual arts are structured around a masculine viewer.

https://en.wikipedia.org/wiki/Male_gaze

vii Wallbank, Walter T., Alastair M. Taylor, and Nels M. Bailkey, Civilization, past & present, Fourth Edition, Glenview: Scott, Foresman and Company, 1975, Print

viii Erickson, Millard J., Christian Theology, Second Edition, Grand Rapids: Baker Books, 1983, Print

ix Piper, Adrian, The Triple Negation of Colored Women Artist, Chapter 28, Manchester: NHIA MVF803 Seminar 3 noted supplied by the instructor. June 2017

x Piper, Adrian, The Triple Negation of Colored Women Artist, Chapter 28, Manchester: NHIA MVF803 Seminar 3 noted supplied by the instructor. June 2017

xi Salle, David, How to See, New York: W. W. Norton, 2016, Print

xii William de Kooning was a Dutch-American abstract expressionist artist who was born in Rotterdam, Netherlands and moved to New York in 1927

Landscape Theory-

How and What we Paint

Paper Number Three

June 5, 2017

by

Dave Holmander

The third and final paper about Landscape Theory as it relates to my specific body of work focusing on rail/trails. It will consider the medium of painting and the utility of its applicable use to create an encompassing virtual illusion stratified intensity. Additionally, in a more sublime way will consider the relevance of place and how artist specifically are involving in that process through suggestion.

While this paper is addresses specifics, which focuses on landscape I am not suggesting that it is comprehensive or all-encompassing. Given space and time I have tried primarily to discuss this subject only in the context as it may relate to my own body of work.

Painting Matters:

“Painters today have a wide array of image sources from which to paint.” When it comes to subject matter how does an artist determine what it is that he or she paints. It would be difficult in any case to pursue a lasting endeavor in any art form if there were no intrinsic and personal quality employed all the while presenting contemporary relevancy. For the painter, specificity I might suggest that subject matter is of paramount importance without such aesthetic quality and obvious conceptual intentionality will suffer. In other words, a good composition does not just happen but is intentionally planned.

In considering painting as an art form it has parallels to which may be found in a variety of artistic expressions. For a moment, consider the evolution of music, as Jan Swafford has noted in Language of the Spirit.

“Wherever and whenever we find people, we find music. Likely an integral part of human life from the beginning, music has left its traces in instruments and in art dating back to the dawning of our species … All the arts have a primeval connection to magic and mystery … Animals painted on the walls of caves … Instruments and songs and painting and poetry and dance probably evolved together … linked to a mystery, the uncanny”. (p3)

The earliest known cave painting date more than 35,000 years ago. It was a mixture of dirt, charcoal, spit and animal fat. The canvas was nothing more than a rock wall. In more recent times came the alchemist to our present-day convention and luxury of purchasing prepared pigment. More specific to this discussion now is the actuality of the paint and painting referenced to landscape.

African-Musicians-1939-by-Samuel-Haile. -Copyright-estate-of-the-artist-and-York-Museums-Trust

However, before moving on it is noteworthy to simply mention that quite frequently many museum exhibition will often have an installation with an accompanying sound track to height the viewing experience or may be an integral part of the work.

How it is that we paint:

There are two general concern to be addressed relative to painting in this discussion. Firstly, is the continued dialogue about the current utility of painting as a valued medium of expression in the 21st century. Secondly more specific to my work is the contextual aggregated process in application and apparent visual surface quality.

As an artist who paints there is one recurring and dishearten theme that will not go away. Previously mentioned in paper number two photography released painting from the bond of historical preservation with pictorial moments thus free to explore new areas of visual expression.

In Painting, edited by Terry R. Myers virtually the entire introduction is spent reviewing in a convoluted fashion the “painting is dead” movement articulated first by Eugene Delacroix journal May 15th, 1824 or more specifically “the end of painting” assessment surmised and conjectured by Douglas Crimp. Myers reviews several features and suggest a resolution.

“Painting since the end of the nineteenth century is inextricable from the … story of the perpetual cycle of its death and rebirths in the face of photography, conceptual art, installation, digital imaging technologies, the world-wide web, or plan lack of interest,” (12) Myers continues citing other voices with a suggested rerouting. “Crimp’s provocative essay on The End of Painting and … David Joselit’s comparably timely observations on present condition in Painting Besides Itself (2009) … painting has always belonged to the networks of distribution and exhibitions.” (13) With this result one must ask why is it given that so many an artist turn to painting as a chosen medium in which to create? Perhaps the answer must be one of personal choice but perhaps the intuitiveness of the artist is more insightful than the critic or curator. Myers does however, provided to positive thrust to the future. “My hope is that the … necessarily paradoxical state of contemporary painting alongside the expansion of its material and philosophical conditions – and, less definable but crucially, the continuation of everything about which still not … said”. (19)

To simplify Myers and the lethargic discussion he proposes I suggest a more metaphorical summary. Painting is cyclical not necessarily in it economy but in nuances’. Put another way it’s the gift that keeps on giving if not to the purveyor certainly to the artist.

An artist who paints does so not by accident:

If you are an artist who paints you know the feeling and the texture of paint, the smoothness of the pigment between your fingers, the smell of the oils and cleaners, you become one with your work, you feel your work, you apply paint with great detail and emotion. You love what it is that you do and it never becomes boring or laborious. To borrow a simile from bicycle racing, when you stop loving it stop racing. The same could be said about painting.

While I do wish to speak directly about the spreading of the pigment. I believe it’s uses and application are critical to conceptual landscape achieving a lasting and continual life-cycle. However, the overarching intentionality for any progressive art work must as Myers has suggested considering complex material infusion, pigment being only one these. A recent example can be found in my own work Cardiff by the Sea principally a study. Here incorporated an insertion of found object by way of a piece of copper film used to create the road way. Another unique example was in the MFA graduation (January 2017 NHIA) project of James Obrien with the insertion of electric lights with variable intensity signifying the moons luminous brightness throughout the evening hours. Also, repeated here again “philosophical conditions – and, less definable but crucially, the continuation of everything about which still not … said”. It is in this context wherein the artists will be able to address and answer questions of “how do you wish to locate … new paintings in terms of a theoretical backdrop” while creating a contemporary viewing experience. We should not conclude here without referencing the use of music or other audio as an enhancement tool.

Cardiff by the Sea

We should be cautious of those who say painting is dead; however, always cognate that there are those critics but ever determined to prove otherwise understanding that artistic specificity in panting is ever a continuum of the recreative process finding new voice, form, and audience.

How should paint look:

It is the paint which make painting possible without such we could create no visual image. The paint is more critical to the work than the canvas. You can literally paint on anything but you must have paint. The question how is it that you apply? What is that which you want to accomplish with paint? These beg to visually and a kind of ascetics. How you lay the pigment on the object matters and create reflective qualities, penetrations of depth and surface variation. We might include value discernment but that not the focus here.

How paint should appear on one hand is obvious a point of subjectivity and personal taste. It is however, not limited in this context. In conceptual art with respect to landscape either representational or abstraction or some variant form therein I contend it is very important and any given artist should approach their work with the greatest of care and intentionality. It is in the surface texture of paint which has been indiscriminately layered to create landscape the artist may find their greatest strength second only to composition and conceptualize of idea. (composition and conceptuality should be view as two complimentary features in contemporary landscape)

In a conversation between Gerhard Richter and Benjamin H. D. Buchloh, again from Painting, edit by Myers, to Richter, Buchloh ask, “What about the objectification of the process of painting itself? You paint your big pictures not with artist brush but with decorator brush: isn’t this all part of atomization and objectivization of the painting process, along with permutation and ‘chance’, color relations and compositional organization?” (p58)

Richter answers no to the question, Buchloh was suggesting a disconnect between artist intentionality and objectivity and the instrument. In this case, the brush was that disconnect. To the contrary, the brush or palate knife, roller, etc. become an extension of the artist. The size of the brush is a factor of utility to the scale of the work and its brush stroke effective visually is still determined by the artist.

Brush stroke, use of pallet knife or in the case of some very large works wherein Richer uses a screen print emulsion spreader it might appear simple enough. But how should we factor in the work of Sol-LeWitt’s wall paintings? It is simpler than we might realize. In the case of Sol-LeWitt his brush is his pencil, his diagram, his specific measurements, his instructions thus his commission to a collaboration of other artist. As part of Mass MoCa’s permanent collection an entire exhibition is given to Sol-LeWitt. Upon close examination, it is evidence that the paint which was applied to the wall by a collaboration of artists was taped off, and either rolled or more likely applied by spraying. It shows hard lines and district ridging build at the edge but a very smooth mirror like surface area. The intuitiveness of the artist is evident because the intentionality of Sol-LeWitt was purposeful that other artists would finish the final image.

Isometric, Sol-Lewitt 2002

It is in the artist domain to determine how their work must be seen.

In consider my own body of work on Rail/Trail the very nature of the subject matter is rooted in landscape. This has posed several questions because of the base composition. How do you take something which is historically a common place image and create a contemporized conceptual viewing experience which address present day cultural and social issues?

There are three specific area which might be addressed. Two reference the composition and the other it’s visual impact. So, it is David Salle proposes,” What is this thing about art that speaks to us? How to account for the feeling for the recognition we have for art, almost as if the work were waiting for us, anticipation our engagement with its deeper music?” (6)

Regarding the composition, if we intend to create contemporary landscape conceptual art then we must dismiss any notion of grandiose serine overviews etc. The landscape (backdrop) is quite secondary to the composition. It is a frame wherein the subject (idea) rest. It is the conveyance of the idea how it speaks to the cultural, political and social currents of a specific place. The scape itself should have a very narrow focus else one risk it become the focal point. However, the strength of the idea will be lost unless there is a strong visual impact. This is where the painter greatest strength will be shown.

Returning to the application of paint and its use in my rail/trail project. It is in the paint where we may show emotion and energy. While landscape inherently will be painting a site-specific place the artist should never feel compelled to represent it as it exists.

My current body of work incorporated very heavy layered up brush stroke, dabbing with the pallet knife, scoring with handle, variant mediums and solvent mixture. Also, the field of vision and perception of depth contrast against bold and distinct color. I have strived for heighten reflective light contrasting ridges and valleys and a strong intensity at the vanishing point. I have taken total liberty with place; whereas, actual place was a beginning place but my work isn’t about that specific place. It’s about what the viewer see and how they perceive the work. I want them to gaze into the depth of the work and imagine what’s beyond what cannot be seen. If they are a cyclist they will immediately identify with the bicycle and gaze forward imaging the ride they are about to embark on.

Gerhard Ricter

The artist drives the paint:

Painting is not dead, we look at Gerhard Richter painting about. It’s the paint and painting which makes his work. It is how the artist handles paint which will distinguish great art. Once again, Salley, “One way to look at painting – and I use that word as shorthand for visual art in general – is to notice as you take its measure what it is you find yourself thinking about, which may differ from what you imagine you’re supposed to be thinking about.” He is suggestion that visual art is as much about what is seen, but also what the image evokes for both artist and viewer. Thus, our seeing is with the eyes but also the mind and it is the paint in is onset which will drive this point.

How do we know if our art is successful? I think Salle has touched on it. If our art makes people stop, ponder and think. Painting optically with passion will help convey the artist intention very effectively.

Conceptual Landscape: Earth-Mapping:

Bringing this final paper to a close respective to landscape theory it is worth noting that artists are offering contemporary society an alternative way of seeing landscape. There is a long history of artist in mapping the earth through cartography. Moving forward again regarding my rail/trail at its onset the project in retrospect was much a mapping project as shown from the works from my first residence.

Painting does offer some interesting perspective for today’s artist. For example, in Jasper Johns Map 1961 or William de Kooning, Door to the River 1960

Edward S. Casey on painting the earth, “the postmodern artist is engaged in letting the invisible become visible, bring the obscure into the very light of day, into sheer visibility … The point of painting that receives this inspiration is to re-create a qualitative aspect of the earth in the painting, where it is re-presented as a landscape; however, difficult its recognition may be part of a given scene in the world of perception.” (XV) “As with … artist” such as “Jasper Johns by proceeds … paradox in his painting. The major … case … is sheer fact that he yokes painting and mapping together in one vivid complex work, play one-off against another so that the intrinsic virtues of each are highlighted by ironic contrast with those of other.” (129) It is here at this apex a convergence wherein landscape abstraction of place, social conscience and optics will define balance for the painter and earth mapping such is a way forward for painting. In somewhat a more retrospective way though my work lends itself a closer tie to representation than abstract, it does provide the base qualities of the structures set forth by Casey.

William de Kooning, Door to the River 1960

Work Cited

Casey, Edward S., Earth-Mapping, Artist Reshaping Landscape, Minneapolis: University of Minnesota Press, 2005, Print.

Casey, Edward S., Representing Place, Landscape Painting and Maps, Minneapolis: University of Minnesota Press, 2002, Print.

Myers, Terry R., Painting, Documents of Contemporary Art, Cambridge: The MIT Press, 2011, Print.

Salley, David, 1.2.3. How to See, New York- London: W. W. Norton & Company, 2016, Print.

Swafford, Jan, Language of the Spirit, An Introduction to Classical Music, New York: Basic Books, 2017, Print.

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“Is it still possible to have an avant-garde in America today in a time of post-polemics (Communism Vs. Capitalism), a time in which all artwork is continually co-opted by an advanced economic apparatus that seeks to monetize it ?”(Stopa 2).

In “The Philosophy of Andy Warhol” (From A to B and Back Again) by  Andy Warhol; herein, he begins chapter 10 Atmosphere in typical Warhol memes. “B: I wanted to make a film that showed how sad and lyrical it is for those two old ladies to be living alone in those rooms full of newspapers and cats. A: You shouldn’t make it sad. You should just say, This is how people today are doing things” (Warhol 141).  Thus here is intention to bridge the once what was with the what is par-excellent neo avant-garde of present.

It is not lost without any trepidation that the evolution of art beginning in the mid 19th century to present is a complex mosaic of rhythms and nuances variance the nature of social/political abridgments and competing delineations that contemporary contextual art find itself once again affront greater conflagration verses historical identification. Neo avant-garde face no less challenge than that which is now seeded into referential frame. History and institution will by it’s default nature always critique and attempt to invalidate,  but at this onset let it be said recognized or not avant-garde is always present has been and always will be for as Warhol said, “This is how people do things”.

There are two ways to read a good story. One way is to begin at the beginning and always wonder in great anticipation what will happen next. The other is read the last chapter first and go back to the start to find out how that happen. Both are valid but for our purpose I have chosen to start at the end of which I have already indicated a sense of conclusion.

Hal Foster in referencing The Avant-Garde at the End of the Century concludes that there is a connectedness between all the various period since the onset writing of Marxism and Freud psychoanalysis social/political influence and implications to Duchamp’s Urinal 1917 to avant-garde in the 1910’s and 1920’s collage, assemblage readymade, girding ,monochromatic paintings  and sculpture to an emerging neo avant-garde in the 1950’s and 1960’s likeness in repetitious works attributed to Warhol and others. It is here we see the commingling of devise and the non-autoimmunity of art to the disdain of formalist. However, it is the 1960’s he see this paradigm distinction elusive of the former with it’s Dada but clearly bridging a modernist, structuralism theory and hint division neo-avant-garde I  and more current a present neo-avant-garde II which renders an “epistemological rupture“ (Foster 32).  According to Foster the break with the avant-garde of the earlier part of the century is not total but distinct.

Thus we can understand a rupture inclusive it yielding of an expansion wherein a neo-avant-garde II catapults to the fore.

To the novice who many never have conceived the notion of avant-garde such refines may seem a pointless irony. However, to the more astute the transformative qualities of such understand allow a skilful work of Marx and Freud it’s influence on social/political conventions and the manipulation of medium to serve a more subversive end.

Without distinction “avant-garde”  French for “vanguard” English  commonly used in it transliterated form signifies a broad scope of intentionality with respect to art, culture and society. It is in the expanding limitless boundaries of innovation, creativity, radical intentionality avant-garde finds it place. With no surprise and in this vastly progressive context the avant-garde identified itself with the tensions between Communism and Capitalism.

It is important to note Foster post-polemic rhetoric which my current tendency is to agree specific to neo-avant-garde 1 of the 1950’s and 60’s in which he focuses “no rules governs of these devises:”  (collage and assemblage, readymade, grid, monochrome painting and sculpture) “no one instance is strictly revisionist, radical, or compulsive. … I will focus on returns that aspire to a critical consciousness of both artist conventions and historical conditions. (Foster 1)  He continues with his montage while citing works of Michel Foucault What is an Author 1969 about Marx and Freud itself referencing the writing’s of Louis Althusser and Lacan. To suggest “after years of existentialist reading based on Marx … this is the scientific Marx of an epistemological rupture that has changed politics and philosophy forever” (Foster 2). This is of paramount important distinction to comprehend and must not be lost in the fogginess of ideological/political/socialism. Whereas, psychoanalysis has meant how after following years of adaptation to Marx problem of adaptation and alienation. Lacan’s linguistic reading dynamically challenges the conventions “ to the language  of our unconscious, not the humanist Freud of ego psychologies dominant at the time” (2).

It is Althusser who defines a lost break within Marx while Lacan purports latent connection derived of Freud who’s “analysis of the dream as a process of condensation  and displacement, a rebus metaphor and metonymy” (2) The linguistic dissection implied an implosion of strata but to the contrary the emergence and application (rebirth) of such is a process when contextualized to the avant-garde.

Structuralism relative to culture must be understood in it’s relationship to the larger overarching systems of human condition. Thus, literary structuralism implies a corollary equivalent process applicable to all medium, thought, and intentionality specific to the post modern contemporary conceptual art from which we may deduce the primary work of the post-avant-garde (II) is to destroy every convention of formalism and all prior encumbrances.

Avant-garde of any period is limited to its historical perspective. As with neo-avant-garde I and its formidable reputations by nature of the prior historical perspective of which it became an enlargement of the prior dissecting specific whilst employing new devices. Thus the threading a needle of ideological intentionality from Marx to Duchamp to Pollock and Warhol to the recently part David Hamilton 1933–2016 (Art Net) it is a continuum of strategy contingency forever connecting the past with the present neo-avant-garde II current innovation. Whereas avant-garde of any period is always governed by the devices of historical limitation, enlarged by currents of information, and technological advancements constrained my social/political/economic moray of the present.

What are the hypothetical implication for an American avant-garde, is there avant-garde  present or is it possible to imagine one? In laying down such a premise might we first examine Foster with regards to the historical and then theoretical where he references “two returns in the late 1950’s and 1960’s (as opposed to the New York School version of formalism) that might qualify as radical in the sense sketched above. The readymade of Duchampian dada and contingent structures of Russian constructivism. In perspective “structures …  that reflect both inwardly on material , form … space…” (Foster 4) etc. and “what relationship between moments of appearance and reappearance do they pose?“ (4). Thus, “are postwar moment passive repetitions of prewar moments, or does neo-avant-garde act on the historical avant-garde in way we can only now appreciate?”(4)  It is only in the present, which I suggest to the affirmative are we able to fully  understand his analysis.

Of the historical he suggest returning to Dadaist readymade and constructivist structures. However, these may be distinctly different specifically regarding aesthetics and political intention he draws a direct linkage because each source “bourgeon principle of autonomous art and expressive art” (4) Thus, this offered North American artist of the neo-avant-garde I an alternative to the more compelling modernist movement still favoring a formalistic singular medium. It is however, the vast majority of artist of the period cling largely attached to modernistic model dominant still embellished in formalist structure of the past as so noted by “Clement Greenberg and Michel Fried” (4) .

Much was centered on “intrinsic autonomy … pledged to ideals of significant form and pure optimality” (4) yet it is the very nature of neo-avant-garde 1 challenge these conventions.

It is in the theoretical wherein advancement pure neo-avant-garde 1 set a stage from which neo-avant-garde 2 will be realized of the present. Russian constructivism one example given to its radical social/political nature base in a revolutionary society conjugates the materialist nature of art repositioning from mundane space-time etc, to social awareness and self attentiveness. We should identify this friction as a continuum ever present in any avant-garde cognate of it’s historical character and attack on institutions and museum. Pre-war and post-war avant-garde influence is inseparable and set the parameter for a clearly American avant-garde of which is earnestly intent to distinguish it own self-identity. Much could be said on the complex and various influences from Burger’s three stage development rooted in Marxism connection of object and understand to the intentionality of greater study in theory process developed throughout neo-avant-garde 1 within the advent of master of fine art degrees.

Looking beyond this to our current condition neo-avant-garde 2 what is the current condition of American art in general versa it’s diversity and economic considerations.

In evaluating the present condition one cannot ignore the very question why we make art and to what is it purposes. Sadly, but true, while many young artist see creating art for the noblest reasons economic fact to sustain a practicable viability often impact decision and career direction. One such outlook from a blogger suggest the following bleak compendium in an article title: The Future of Art in America.

Is your book not selling? Make it about Batman. Having a hard time getting people to go and seeyour band? Make every song about Scooby-Doo. Need extra cash for painting supplies? Paintsomething where you have Mario and Luigi driving KITT, from Knight Rider, off a cliff as anhomage to Thelma and Louise. The more popular references you have the better your art becomes!Art often reflects the society in which it was created and what better reflects our society than anendless mash-up of popular culture? Nothing.

The best way to make it as an artist is to combine two popular characters into one thoughtless andlazy abomination that the public will go wild over. As we are now a nation of perpetual children,you can literally convince other adults that your nerd core rap about DuckTales is high art worthpaying for. Art that appeals to the artist or offers some sort of introspection is a financial non-starter, but inject some nostalgia and you’ve got yourself a sale. If you’re asking yourself why, it’s because every lonely thirty-two year old with a soul-crushing job will shell out twenty bucks for something that reminds them of a time when they still had an imagination. (You Monsters are People)

One need not consider a single blogger’s negative opinion as a comprehensive summary and analysis of the current North American art scene. But it does speak rightly or wrongly to a prevailing attitude which many in the general populous subscribe. What is known in to current market environment are the following observations. First, that for most artists irrespective weather subscribing to a formalist tradition or contemporary conceptual or one of a thousand other variations the old model of distribution through a host of galleries and local showing it is an outdated solo endeavor. Artist business models must include a constant engagement in personal website, social media and plethora technological outlet from bogging to artist webs where there work is banked in addition to professional net working and the usual artist association. So it must be for the active artist self-promotion as Euripides said, “Leave no stone unturned”(Euripides)

A second consideration is Kitsch which is mass-produced economical art using popular or cultural icons. The term coined in the 19th century with aesthetics that favors a sentimentality. Critics consider it to be largely melodramatic.

However, it has never held broad critical review but has found wide appeal to the public because of its contemporaneous  pop-culture style, sometimes-comical subject matter and often social/political messaging.

A third and final consideration is the advent of  major commercial art fairs and conventions which draw national and international attention. Such venues offer both expose to audience, collectors and buyer of major works often created purely and intentional without thoughtfulness, intentionality or individuality for such. In addressing the question posed for this discussion, “advanced economic apparatus, system and monetary gain the sole intent purpose of art. Is that the goal of artist today..?” (Stopa)  Sadly, in many way for some it is, however, this may speak to a deeper issue what make an artist. That is not the purpose of this talk but could be good fodder for future consideration.

So it is in finality of the current conversation we should ask neo-avant-garde two present be define and so identify on the how so?  It is from here I should launch a compendium and possible suggestion perhaps not previously considered but to do so we obviously look beyond all currently acceptable conventions. Where as neo-avant-garde one in the 1950’s and 1960 has ultimately demanded an institutional reform of art museums in particular was necessitated to under go transformation of its historical model in making “ (Foster 17) new space of critical play and prompted new models of institutional analysis. … “It was previously repressed but now freed from it’s past. Thus for Burger’s point the role of the avant-garde is to destroy the institution of autonomous in order to connect with the real of life and art. It is of the present condition I content that there can be no autonomy if neo-avant-garde is to survive. The avant-garde or neo-avant-garde can only survive in and atmosphere of collaboration of artist production and  reception.

Given the present economy we heed to look closely for it is in the collaboration of other artist one might only come to both recognize and comprehend avant-garde.  In an article written by Ian Wallace in which he cites Lian Gillick  “The question is how to categorize art today in a way that will exceed the contemporary. The inclusiveness of the contemporary is under attack, as this very inclusiveness has helped suppress a critique of what art is and more importantly what comes next. We know what comes next as things stand—more contemporary art … Contemporary art is a useless and counterproductive term, because it pretends that the way something avant-garde looks has to be dependent on the way something avant-garde looked five years ago—after all, if everything is “contemporary” then nothing is. Artists need to try to do things that are really, really different and new“ (Wallace). With example on the cutting edge. Cake and food consumable art has been overlooked as legitimate art form. Such innovation bring into new form styles and variations etc. reasoning why it is so. Installations (specially public) and multi mix media will expand in addition to the expanding roll of digital and technology related art. Specifically as aesthetics continues on a path of deskilling found object sculpture and new medium such as light gradation will find new horizons.

 

ArtNet  http://www.artnet.com/artists/david-hamilton/  2016 web.

Euripides, “Leave no stone unturned.” – ThinkExist.com

thinkexist.com/quotation/leave_no_stone_unturned/346160.html

Foster, Hal, The Return of the Real. Cambridge: The MIT Press, Forth printing. 2001. Print.

Stopa, Jason, MFV802: Graduate Seminar II. Syllabus, New Hampshire Institute of Art, 2016. Print.

Wallace, Ian, Art Space.com, Lian Gillick,  2014.

http://www.artspace.com/magazine/news_events/trend_report/the_new_manifestos-52304

Warhol, Andy, The Philosophy of Andy Warhol. Orlando: Harcourt, 1975. Print.

You Monsters Are People., Blog at WordPress.com. ,The Future of Art In America, 2015,  (Specific author unknown)

The Future Of Art In America