‘Know Your Place,’ Said the Boot to the Sock

(Continued from https://ethicaldative.com/2021/10/03/claw-hammer/)

Claw Hammer studied a handful of prehistoric photographs preserved in the Museum of Ancient Technology. “Why do barbs ape-grin in the pografs?”

Siddhartha Huff processed the uppity punk’s patois for a moment. “Where did you learn about apes?” he said, more to himself than to Claw. “Apes did not grin. Maybe that’s why they’re extinct,” he retorted aimlessly. “Well, barbs did, and they are, too,” parried Claw.

The allusion to barbarians — the dead races — startled Sidd. The Pandemiad, the ancient chronicle of the horrors that had decimated bipedalism, was heavily redacted by the governor. Unvarnished history would only stoke restiveness in the lumpenproletariat. Isthmia’s origin story was garlanded evangelically with doughty ranchers and perky frontier wives conjured from the epistemic hubris pulpits of the Alamocracy.

Sidd learned belatedly that Claw Hammer was a black bean — i.e., surreptitious member — of a ding gang roaming the warrens that styled itself the Freeholies. The low-born pack of fact freaks scavenged scraps of truth from the steaming silicon dumps and pieced them into haphazard realities in their noisome gaming dens.

Sidd enjoined Claw Hammer from further contact with the Freeholies. “Whore don’t gotta love it, just gotta do it,” he thundered in dingo over Claw’s protestations. Dressed down in his own dialect, the ding burst into tears and returned a sneer of acquiescence. The matter was (it seemed) closed.

(c) 2021 JMN — EthicalDative. All rights reserved

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‘A Gloriously Unsatisfied Painter’

Sarah Cain, “My favorite season is the fall of the patriarchy,” at the National Gallery of Art in Washington, D.C. Credit… Rob Shelley.

Brobdingnagian ocular hubbub. Colossus of hue and scream. Tympanic boom. These phrases leapt to mind — of course they did! — as I eyed Sarah Cain’s work. Confession though: Cain owns me for rejecting the term “murals” in favor of “wall paintings.” Call an abattoir a slaughter house is the principle I chase.

Installation view, “Opener 33: Sarah Cain—Enter the Center,” at the Tang Teaching Museum and Art Gallery at Skidmore College, through Jan. 2. Credit…Arthur Evans.

Cain’s paintings trouble received ideas of what serious art looks like. Almost everything about them — their speed, their brashness, their noodling compositions, their splashes and spray-painted scribbles, their tacky accouterments, their sense of absurdity — seems to undermine the gravitas that large-scale painting traditionally projects.

“Falling For You” (2021), acrylic, oil pastel, bra, beads and thread on canvas at Broadway Gallery. Credit…Sarah Cain and Broadway.

“She’s a gloriously unsatisfied painter,” says Ian Berry, director of the Tang and curator of Cain’s exhibition there.

(Jonathan Griffin, “With Big, Bold Art, Sarah Cain Redefines Seriousness in Painting,” NYTimes, 9-30-21)

(c) 2021 JMN — EthicalDative. All rights reserved

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Claw Hammer

(Continued from https://ethicaldative.com/2021/09/28/ballin-the-jack/)

When Siddhartha Huff’s adopted ding learned he was suspended from the organ donor pool, the saucy rogue promptly gave himself a name: Claw Hammer. Sidd put Claw Hammer on a regimen of slenderizing drugs and commenced tutoring the tatterdemalion for the role he would play. The game was on.

Sidd adjudged the grubby urchin capable of fitting into the intricate mauve jumpsuit with ochre piping he reserved for apex state occasions. The trick would be training the nugatory lump to affect a strut passably intrinsic to the garb. The swagger and mince at a duchy ball were ecstasy grade. A ding-born guttersnipe raised in a cookie-cutter flat with tatty curtains was dismally unsuited by birth and breeding to walk importantly.

Sidd’s ruse, however, required only that he pass Claw Hammer off as himself for a strategic interval. The task was to enable the uncouth hobbledehoy to impersonate a personage for the few moments it took to point and shoot the antique “camera” at the posed Posse of Matrons. It would be challenging, but it was paramount to Sidd’s journey to free the Mamasutra in herself from his Rhipidistian chains.

(c) 2021 JMN — EthicalDative. All rights reserved

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Sean Scully: ‘Backs and Fronts’

Untitled (Seated Figure), 1967 (Credit: Sean Scully).

“Here’s another thing that I don’t agree with,” Scully says to me – the last comment he makes in our conversations for On the Line – “and that’s when Picasso said that art is war. Art is not war. War is war. Art is the enemy of war. Art is love.”

Scully’s seated figure (above) is helpful to me in my own process of trying to interpret face and figure. In the spirit of taking issue with orotund pronouncements that could mean anything, I go one further than Mr. Scully: Art is not love. Art is art.

Here’s the painting that “changed the course of art.”

Backs and Fronts, 1981 (Credit: Sean Scully)

(Kelly Grovier, “Backs and Fronts: The painting that changed the course of art,” bbc.com, 9-28-21)

(c) 2021 JMN — EthicalDative. All rights reserved

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Ballin’ the Jack

(Continued from https://ethicaldative.com/2021/09/21/its-not-over-until-its-celebrated/)

On the runways of the Hall of Fenestration slenderness was next to godliness. The frescos of the Gilt Tabernacle of Mar-a-Gogo depict Museolini, god of the catwalk, being draped in sumptuous crinolines by wingèd benitos whose sheer tights are ruched down the sides. The symbolism is blatant: The fashionist autocracy of Isthmia dispensed influency according to the dictates of dress, reserving outsized wattage for the cream of its waistcoat-and-bustier warriors.

Siddhartha Huff cut a dashing figure even by blueblood standards. His flounced lapels and flair for ironic arm candy had caught the eye of Astrid-bint-Wanda when he was a débutant. The honor he now held as Shootist for the dais pose at the Posse balls was a mark of favor from the doyenne of the Mamasutras. For a rake on the make in the vestibules of sway, the seasonal rites of self-osculation by the duchy glitterati were to die for.

It worked in Sidd’s favor that the mother of all Posse balls, the Lunation Gala, would be non-virtual. Face to face, the lords and lordesses would be at pains to match their avatars and selfie filters; full costume and heavy makeup were therefore de rigueur.

It had not escaped Sidd’s notice that the ragamuffin he had plucked from harvest on the organ farm generally matched his own features and stature. This ostensibly casual yet curiously pointed observation may tip the alert cryptoreader as to where Sidd’s shocking plan was headed.

(c) 2021 JMN — EthicalDative. All rights reserved

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Remedios Varo (1908 – 1963)

“Armonía (Autorretrato Sugerente)”/“Harmony (Suggestive Self-Portrait)” 1956. Credit… Remedios Varo, Artists Rights Society (ARS), New York/VEGAP, Madrid, New York; Sotheby’s, via Associated Press.

Her father, Rodrigo Varo y Zejalvo, a hydraulic engineer, taught her mechanical drawing and encouraged her interest in art and science… Varo was interested in proportion and scale, as her father had been, and she would draft preliminary sketches carefully. It sometimes took her months to complete a single small painting.

“Microcosmos (Determinismo),” 1959.Credit…Remedios Varo, Artists Rights Society (ARS), New York/VEGAP, Madrid, New York; Sotheby’s, via Associated Press.

Varo participated in consciousness-raising workshops based on the teachings of Gurdjieff… Workshop participants might concentrate for six straight hours on an inanimate object, like a wooden chair, focusing on the life that had existed within the object… The wood in the chair, for example, had come from a tree, and the tree had once been alive.

(Julia Bozzone, “Overlooked No More: Remedios Varo, Spanish Painter of Magic, Mysticism and Science,” NYTimes, 9-24-21)

(c) 2021 JMN — EthicalDative. All rights reserved

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‘Jasper Johns: Divide and Conquer’ — Review by Holland Cotter

Flags, maps and numbers were among the artist’s earliest repeating motifs. In “Map” (1961), the artist blurs the boundaries of states and strikes a line through the name South Carolina. Credit…Jasper Johns/VAGA at Artists Rights Society (ARS), New York; Charlie Rubin for The New York Times.

And basically, I’ll stay with the impression I had, as I walked through the shows in Philadelphia and New York, that I was perusing a rigorous but passionate personal diary, a six-decade record of work, need, love, anger, renewal, sweat, fear, and resolve. It’s being recorded by an artist who, particularly over the past quarter century, has, in his art, consistently mapped the psychological terrain of aging, and who, in his present work, takes the position of a deer standing in the path of oncoming headlights — distant at first, coming closer, almost here — and holds his ground and stares them down.

(Holland Cotter, “Jasper Johns: Divide and Conquer,” NYTimes, 9-23-21)

(c) 2021 JMN — EthicalDative. All rights reserved

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‘It’s Not Over Until It’s Celebrated’*

(Continued from https://ethicaldative.com/2021/09/15/le-coeur-a-ses-raisons-que-la-raison-ne-connait-point/)

*From the charter of the Rhipidistian Society.

The end of lunation 247.457627-12 matched about twenty douzains of the Old Reckoning. No one was quite sure how to label the new chronology, but it felt like more than a routine vibration in the cesium of Isthmia’s atomic clocks. The house of Huff Pugh Fuchs was entering an indeterminate decade of the Uncommon Era. That was what counted. Time kept passing successfully, and the duchy under the current Montmorency — number XIV — was stoked to celebrate itself.

The hallmark moment marked persistence: first, that of the Montmorencys in sitting their dynasty’s impotent throne; first, that of the Mamasutras in perpetuating efficient privilege; first, that of Isthmia Inc. in wresting perpetuity from the scoured barrens of a dead hemisphere; last, that of the ding warrens whose organs fed the transplant mills in the mansion district.

Normally, the prospects for a donor on an organ farm biding his date with Texas cologne when a recipient surfaced would have been humdrum. The donor about to be mentioned, however, was no ordinary ding. You recall the “Adopt a Ding” promotion mentioned several figments ago? Siddhartha Huff had duly chosen a random ding to coddle symbolically like the rest of his peers.

But rather than relinquish the juvenile to whatever his fate portended when the promo period expired, Sidd elected to stealthily groom his adoptee for a shocking purpose, one referenced glancingly heretofore, to be snatched from the shadows of allusion hereinafter. The upcoming Heritage Ball, designated the “Lunation Gala,” would prove to be more climactic than even this writer had supposed.

(c) 2021 JMN — EthicalDative. All rights reserved

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‘Marquetry Remains Her Focus’

Alison Elizabeth Taylor, “Night at the PS,” 2020. The artist calls her work a “marquetry hybrid.” Credit… Alison Elizabeth Taylor and James Cohan.

In the past, Alison Elizabeth Taylor’s extraordinary wood-marquetry paintings have seemed interesting primarily for their bravura craft. Working from photographs, mostly her own, and using laser cutting (mainly), Taylor fashioned small pieces of various wood veneers into puzzle-like pieces fit together to form detailed images… After tentatively broaching color in her 2017 show at this gallery, Taylor has taken the plunge into a full palette — intense, jewel-like hues that tend to steal the show.

This work evokes for me the Robin Hoody woodlands cherished in the English Midlands.

Alison Elizabeth Taylor, “Meet You There,” 2021… Credit… Alison Elizabeth Taylor and James Cohan.

It’s great to see Taylor expanding her art, but marquetry remains her focus. The show’s largest work, “Meet You There,” takes us into familiar territory but with a new intimacy, showing us up close a dizzying extravagance of wood grains, mostly unpainted, in a forest of spindly trees and branches. Only the pink sky of a fading sunset is painted.

Roberta Smith, “A New Level of Ambition in Art by 3 Women — Alison Elizabeth Taylor: Future Promise,” NYTimes, 9-16-21)

(c) 2021 JMN — EthicalDative. All rights reserved

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‘No path to heaven / except through this dirt’

My title is from the poem by Philip Metres, “Never Describe the Sky as Azure,” in Poetry, September 2021.

A Reservation Over the Fist

Resisting the repressive Texas governocracy is of the essence. Are fisting poses ginned up for camera bytes effective for that?

Organizing and training specialist with Planned Parenthood Texas Votes Barbie H. leads a chant during the “Bans Off Our Bodies” protest at the Texas Capitol in Austin, Texas on September 1, 2021. Credit… Montinique Monroe for The New York Times. [Photo from Maureen Dowd, “Drowning Our Future in the Past,” NYTimes, 9-4-21]

Where Poetry Is Dangerous

… In cracking down on free expression, the authorities have muzzled the region’s poets, practitioners of a centuries-long tradition.

(Sameer Yasir, “As Kashmir Crackdown Endures, Poets Stifle Their Verses,” NYTimes, 9-4-21)
“We are not allowed to breathe until and unless we breathe as per the rules and the wishes of the government,” said Zabirah, a Kashmiri poet who uses only one name. Credit… Showkat Nanda for The New York Times.

The Eyes of Texas Are Upon You

… A website set up to facilitate enforcement of [Texas “heartbeat bill”] SB 8… invited users to upload “evidence” that SB 8 was being violated, while guaranteeing users’ anonymity…

(Jon Michaels and David Noll, “We Are Becoming a Nation of Vigilantes,” NYTimes, 9-4-21)
Shannon Stapleton/Reuters.

(c) 2021 JMN — EthicalDative. All rights reserved

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