dec2006.htm

All writings are now at my blog on Blogspot.

April 8 2007

Edward at almost six months.

February 4 2007

This will become Edward's diary for awhile. He looks more like a Collie everyday.

January 16 2007

I’m still enjoying Edward. And I’m still at my new blog.

Meet Me There, December 27 2006

I am going to try a blog (dialogue) for awhile, like what other writers offer on Blogger. Meet me there. At this point, I am not sure what it will be because a lot of that is up to you. It’s an experiment. You can even be Anonymous (for the most part).

Merry Christmas 2006

His name is Edward.

untitled holiday, 2001

Giving, December 21 2006

In the recent thread at Anonymous Female Artist, several comments revealed that artists in a position to help did not, especially females. I felt the truth of this at one time. It might even still be in play, but I am too busy to think about it.

It is such a highly competitive business, so often divorced from the idealistic dreams you courted about art as a child. No, as it turns out, people often do not get together and powwow opportunities, schemes and plans to get everyone to a new place, a better place. It’s each man (or woman) for himself.

But this thread really brought out the light of day as regards who helps. Most don’t. I do, so I know the difference. Someone suggested I was the ‘mother’ but heck no. Women can (and should) be mentors too. I’d like to think that karma plays a part but I can’t say that it’s true. The jury is still out on that one. That doesn't erase the rush of giving, though the situation calls for a lot less in 2007.

(1983)

narration, December 19 2006

Lou Cabeen told me how she reached the place of fabric and fiber in her work. As she traced the tale, I realized that my own work in photomontage had some similar roots.

Like me, she cherished a formalist aesthetic view. But she also had personal and cultural interests that did not fit within that framework. She said she searched for what felt real and authentic as regards her story and the other stories she wanted to tell. She knew how to paint, but paint as we know it did not fit the story. I understand how there are plenty of realities that paint feels awkward to tell, but I went in anyway.

In fabric Lou found a voice her own and not overused or pre-scripted. Sure, it had a past, but not one made for the white cube and there seemed to be a lot of open territory. I guess I must have felt the same way about montage in some way, even though I did not analyze it so clearly throughout the years. For me, it wasn’t so much about the white cube but nonetheless an art for me, a private narrative. You can tell stories in montage, even if they are about paint (see above).

Lou Cabeen, December 18 2006

Man oh man. Or maybe I should say woman oh woman, for I am interviewing Lou Cabeen today and I am psyched.

No pussyfooting around with this artist, I am praying. She was on the panel at PNCA about the exhibition (which she was in) New Embroidery: It’s Not Your Grandma’s Doily. I know she gave a lecture too at Reed but I was unable to attend. From what I heard and saw, I know she is gonna be good.

Beau Catching Issue, 1983

observation, December 16 2006

Last week I read in the comments on Edna’s blog that the NY Times reviewed only one-person exhibitions by men in their Art in Review section. I checked it out as these kinds of facts interest me.

Why? People can tell me there is no problem but facts tell me otherwise, tell me that I am not so crazy after all and give me something to decipher. Feelings and basic frustration isn’t all that easy to decipher but facts, those are different. Maybe I cannot say that they will shape my life across three thousand miles, but they color a general landscape; it’s undeniable.

So I checked out this current Friday issue of the Times Art in Review and shit, there it was again. Once again the only time women artists were even named was in lists, in reference to group shows. Male name after male name after male name, but no one has a misogynist agenda. It means nothing, right? - It was important for me to see this because it puts into context other things I am looking at. It’s not just a weird phenomenon in my local sphere.

Rush, December 15 2006

Back to back joyous occasions: a puppy rush out in the country, coupled with an outage of electricity we were more than prepared for.

We took a ride into the country to see some new Collie puppies of the highest order. One is coming to our house next week! It is a gift, a reward for having weathered what has been and also what will come.

While I loved the young ones, I was just as interested in the old matriarch of the estate. This grandmother is 13 years old and has a face that knows many things. There is something about the intelligent face of a Collie that I have always loved.

Last night as the lights went out, I fully embraced an occasion to not be able to watch TV or work on a computer. We lit at least 20 candles, built a fire from pitch-perfect old wood, enjoyed wine and pasta and classical music from an old radio.

Baby, December 13 2006

I had a fun time interviewing Baby Smith; in fact as much fun as when I interviewed Eunice Parsons.

I pair those two because they are both collage artists and they have even met and hang out in a holy shrine of the found (that would be Eunice’s studio). Chambers showed them both with Paul Fujita, another to work in assemblage - but as I stated in the interview, looking at Paul’s and Baby’s work within one exhibition reveals the vastness of possibilities when it comes to collage. Paul packs it in to the maximum, while Baby pares down from the fat of the land.

And there is something almost, well, ‘fatty’ about her work. Can’t quite put my finger on it – is the golden hue, the general patina which embraces every piece? After I heard her explanation of how she walks, observing the strewn bits of waste, seeing them age and weather, deciding on just the right time to make the kill/ rebirth/ rebuild – she did actually seem like a hunter/ wanderer/ gatherer. I had an image of her as Nico on the cover of Desert Shore, which I realize is much romanticized and nothing like walking in LA must be.

Her exhibition might be one of the best documented, as she had a webcam going. Left Coast Ramblings posted some fun pics, as did her own journal.

The Girl behind the Desk, December 11 2006

Some of my favorite bloggers are not posting a blog anymore. I think I know why. You can question why you are doing it, especially if you no longer see yourself there.

One pal had a long running blog, tracing her life in New York and then in Seattle. Mind it wasn’t just her life – in fact, it appeared that some people got upset when she wrote about that. She was supposed to write about other people, in particular their exhibitions.

I suppose the gist is that we need more views on art – since there is so much of it – and that we don’t need the personal. I completely disagree. Reportage and review/ message mode can be a waste from those who have something more unique to offer. It’s the personal and internal which interests me and no, I don’t have to agree with them. Just give me some personality.

To really spill your guts takes guts to spill. For awhile there I was getting about one new email a week from someone upset that I had opinion, a life and dared to breathe a word about them. What was so odd is how almost all of these emails ended very similarly: But you help a lot of people and you should keep up the good work.

I was like WTF until I realized that servitude was that thing they were so comfortable with. It’s like a mission to sustain life in that old model. My friend calls it “The Girl behind the Desk” and she should know, because she too spent a lot of time there. She even left her town where she was known as That Girl and swore she would never find herself behind a desk again.

It worked. People wrote about her art and actually saw her as an artist. And nothing had really changed: same art, same girl. But different role.

Regina Hackett is creating an interesting blog because she gives the tales she could not give in regular ‘reportage,’ but they are ones essential to what she does – her take on curators, critics, artists and what her job means to her. She gives a story in a way not defensive, not apologetic about her needs (like her desire for a pulse). The more she puts herself in the picture, the better it is.

ongoing saga, December 6 2006

There is now a bit of a stir at Anonymous Female Artist about a New York Times article. Basically it covers a recent Yale graduate who at 25 is getting a career launch from Jeffrey Deitch.

It seems to me that the real aim of the article is to demonstrate how a fresh face/talent is tapped and groomed via the Chelsea gallery and art fair system. It could have almost been about anyone. Edna was wondering what merited attention, as neither the work nor the words did it for her. As I looked at the writing, it occurred to me that maybe it was an attempt to restart history, when articles and artists jointly produced movements - not unlike a large color spread in Life magazine on a young Frank Stella, who made an art a bit antagonistic, with his: “What you see is what you see.” But is this the next Frank Stella?

Like I said, this is more about a system than an artist and even less about the art. But I have to say I loved the rampage of commentators at Edna's which became, just like the article, less and less about an artist or art and more about a system. 67 comments in less than a day tells you it's the tip of an iceberg....

Back again, December 6 2006

The archives at KPSU for Artstar are back up. Everything is by date and so here is a reminder of who all was on as of late. All of these interviews are now available. Thank you KPSU.

Carolyn Cole on October 2^nd, Alice Wheeler on October 9^th, the broadcast at the Affair at the Jupiter hotel on October 16^th, Stephen Hayes on October 23^rd, New Embroidery: It's Not your Grandma's Doily on October 30^th, the panel on Gender Bias on the 13^th of November, Cynthia Mosser on the 20^th, Paul Arensmeyer on the 27^th and just lately, Sean Healy on December 4^th.

December 5 2006

Awhile back Anna L. Conti announced that she would create an online archive of portraits of artists. I was able to contribute a couple of pieces which are now a part of this archive. Thank you Anna!

Propeller, 1994

December 5 2006

Lately the archives for Artstar at KPSU have been down and hopefully will be back up soon. I am sorry for all the inconvenience.

Interesting life, December 4 2006

Scott Wayne Indiana posted on his site that he would like to do many art projects at once, which conflicted with the sage advice of most people. His depression upon hearing this sage advice is something I well understand.

Not that long ago I wanted to talk to someone about showing my photomontages in some more front-burner way and their idea was that I should only be known for one kind of art ‘… for at least the first ten years.’ Such a narrow but well-minded focus is coming, well, a little too late.

It hits me sometimes when I do Artstar Radio. Some of the artstars have been so focused that before 30 they are renowned for a certain style, a certain medium and it’s a brand. It is not just their art which is so focused, but their life view.

This did not happen to me. It was always my goal to live the ‘interesting life’ and while it may provide fodder for memorable yarns and art, it does not create this absolution for the serious ‘career’ required by some art world minds. Like SWI, I was interested in many different animals and I did not want to see them all from one perspective.

Robert Henri had it down when he said that great art was the trace of your being, what you left behind while living a life. I will always invest in that, but it can be hard when people don’t believe you or believe in you, because you have not paid the same narrow set of dues that the system demands.

the financial times, 2004

Another kind of diary, December 3 2006

Because of the upcoming Paper Chase at Guestroom, I have had an opportunity to look at my past via paper. It has been a lot of fun in a way the trace of painting is not.

First reason might be the longer history. My first one person show was called Photomontage Etc., but I think the reason I have the emotional attachment to the collages is because they deal in those photographic images which all have personal meaning.

As with any art, the viewer completes the piece and so I don’t feel a big need to explain a work. But most of the bits and pieces which make a collage have separate stories of their own. Sometimes you look at a particular image a very long time. And in the case with the old work, I see things I would never do now and am glad that I had that experience and was that person. They really do function like a narrative diary in that way.

Love Prayer, December 1 2006

Early next year there will be a show at Guestroom called Paper Chase, curated by Jenny Strayer. I am going to contribute a few pieces, which is exciting for me because I rarely show my photomontage. The piece above is from 1993.

More recent entries: November 2006