Way back during my turbulent twenties – about the time Nancy Reagan was tossing out Rosalynn’s White House china, and Mount St Helens was tossing its summit into low earth orbit – I had a friend.
We’re going to call this friend “Carl” – mainly because that’s his name, and when I try to use pseudonyms I lose track of who’s who from one paragraph to the next. Carl was a director of theatrical productions, and possessed a wealth of interesting – if occasionally impenetrable – epigrams with which he informed and edified his actors. In the course of a friendship that lasted many years (and continues to this day, thanks to the internet) I managed to retain two important and enduring lessons from Carl’s store of wisdom: A) that cultural sophistication is something you evolve over time, not something you can pick up by watching a lot of public television, and B) that “mood” spelled backwards is “doom”.
I don’t like country music. The yodeling vocals, the whining guitars, the relentlessly predictable lyrics about faithless babes, abusive bubbas, pickup trucks, disreputable nightspots in the middle of nowhere … An hour of this, and a visitor from another planet would marvel that everything south of the Mason-Dixon line had not long since slid off into the Gulf of Mexico, crushed into slurry under the weight of all that drama and all those tears.
“Wait just a gosh-darned minute!” I hear someone shouting from the back row. “Yes, a lot of country music is like that, but it’s not all the same. You’re being unfair.”
During my survey of the art news this week I happened upon a provocative headline from the Daily Beast: “Why Artist Gerhard Richter Destroys His Own Art” . The title of the article is a bit misleading: the writer asks the question but she does not actually attempt to answer it; instead she merely elaborates on the fact that Mr Richter has destroyed a considerable number of his own paintings over the years. She did, however, get me thinking about artists and their emotional relationship to the products of their craft — because I, too, often feel the desire to haul a big load of my artwork out into the yard and set it on fire.
For much of my childhood (up through, I believe, about 1970) all of my family’s television viewing was on an RCA portable of late 1950s vintage, a clunky plastic thing with an extensible antenna on top and a wood-grain panel on the front decorated with dials and knobs that read “On/Off”, “VHF”, “UHF”, and “Fine Tune”. Inside the unit’s scorched yellowy-beige backside brooded a clutch of humming, glowing vacuum tubes, and its strangely convex twelve-inch screen delivered the Kennedy funeral and I Love Lucy reruns alike in a palette consisting entirely of gentle, hazy grays.
The death of writer and television personality Robert Hughes in 2012 was an event that did not exactly shake western civilization to its roots. His television shows “The Shock of the New” (1980) and “American Visions” (1997) had brought him some fame in the rarefied air of the BBC/PBS universe, but despite a long and wide-ranging career – he penned an overview of the early European colonization of his native Australia, he contributed to an array of newspapers and magazines, and he even hosted (for one week, before being replaced by Hugh Downs) the ABC television news magazine “20/20” – to most people outside the art world he was almost unknown at the time of his death.
With or without fame, in his views on art Robert Hughes was passionate, pompous, often obnoxious, but he was also unfailingly erudite and articulate, and he left us more aware and better-informed than he found us.
At the Crystal Bridges Museum of American Art, our local temple of culture, an odious sculpture from the generally delightful Claes Oldenburg was replaced over the holidays by a delightful sculpture from the generally odious Jeff Koons.
Oldenburg, a icon of the sixties and seventies, has always been champion of a kind of oversized, over-the-top whimsy, taking such commonplace items as badminton birdies and clothespins and blowing them up to the size of Atlas rockets: the piece at Crystal Bridges, “Alphabet/Good Humor”, is a giant popsicle composed of letters of the alphabet melting together like fatty entrails, all painted a horribly suggestive band-aid beige.
Some time back I wrote a journal post here in which I bemoaned the fact that a couple of pieces of artwork that I had just completed seemed to be falling flat with my usual public. In retrospect, I realize that I may have sounded petulant, and perhaps even just a tiny bit snobbish.
I just completed a piece of artwork that is both a departure and a return to basics for me. It’s essentially a drawing, scribbles of glue and black ink in layers, each layer painted over with off-white gesso and sanded, then elaborated with textural passages in black ink and red, sepia, and brown watercolor, accented by areas covered in pure white acrylic.
I’ve recently undertaken a couple of pieces of artwork that involved human faces. In both cases, the style of the piece was such that I had a lot of leeway — I wasn’t looking for some sort of photorealistic presentation, I just needed a female face. The only requirement was that the face be beautiful, and that the look not obviously belong to a particular time or place.