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

Posted in Quotations | Tagged , , , | Leave a comment

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

Posted in Anthology | Tagged , , | Leave a comment

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

Posted in Quotations | Tagged , , | Leave a comment

‘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

Posted in Quotations | Tagged , , , | Leave a comment

‘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

Posted in Anthology | Tagged , , | Leave a comment

‘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

Posted in Commentary, Quotations | Tagged , , | Leave a comment

‘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

Posted in Commentary, Quotations | Tagged , , , , , , | Leave a comment

Le Coeur A Ses Raisons Que la Raison Ne Connaît Point

(Continued from https://ethicaldative.com/2021/09/10/heres-conflict-it-had-to-come/ )

He was an oddity in the Rhipidistian peerage: a patrician who chafed under the yoke of privilege and pose. Siddhartha Huff knew in his bones that he was a left-handed entity in a right-handed body. Sidd was a political animal from even before he realized it. The honor he held as Shootist for the Posse of Matrons awakened him instinctually. It brought him edgewise to the very crotch of Isthmian pow. Each year’s Heritage Ball whose dais pose he captured caused the earth to move for the desultory flaneur that Sidd had become.

Sidd believed he had the puckish gumption to transition to a Mamasutra if he dealt his cards right. He was prepared to play the long game. On one hand it would give him a shot at achieving Posse rank, the ne plus ultra of pow in the duchy. On another, it afforded respite from his partisan dysphoria and the maunderings of bilgeweed vapers in the clubby opprobrium dens of Mar-a-Gogo.

A sense of urgency to act on his thrust was gripping Sidd. He intuited an approaching climax to the figment in which he figured, to be followed by the sad satiety of dénouement. Coiled plot momentum propelled him to ride the crest of the moment to whatever desertified barrens it stranded him on. This mess started with a yacht wreck and would surely end just as badly, but end it must, he theorized.

(c) 2021 JMN — EthicalDative. All rights reserved

Posted in Anthology | Tagged , , | Leave a comment

“I’m Trying to Overwhelm the Museum,” He Said

Adam Pendleton with “Untitled (We Are Not),” 2021, silkscreen ink on canvas, at the Museum of Modern Art… Credit…Lelanie Foster for The New York Times.

[Adam] Pendleton, 37, is best known as a painter of abstract canvases in a distinctive black-and-white style that challenge how we read language. Made using spray-paint, brush and silk-screen processes, they incorporate photocopied text, words unmoored from context, letters scrambled and repeated.

“Untitled (Hey Mama Hey),” 2021, silkscreen ink on Mylar sheet… Credit… Adam Pendleton.

… Adrienne Edwards, the director of curatorial affairs at the Whitney Museum… called his work a “lush Conceptualism”… But the work is never easy. Pendleton claims for his art the privilege — the necessity — that the French Caribbean scholar Édouard Glissant called the right to opacity: to not be legible, to not have to explain oneself.

Pendleton constructing his 60-foot-tall installation, “Who Is Queen?” in MoMA’s atrium… Credit… Lelanie Foster for The New York Times.

“I’m fine with being misunderstood,” he said. “You can see it in my work — these fields of stuttering language. It’s a refusal, but it’s an invitation at the same time.”

Pendleton’s newest series of paintings at MoMA is “Untitled (They Will Love Us, All of Us Queens),” 2021… Credit…Adam Pendleton.

[The exhibition] “Who Is Queen?” is prompted by a challenge to the personal identity of the artist, who is Black and gay — the expression “you’re such a queen,” once tossed at him in a way that got under his skin… Perhaps characteristically, rather than dwell on the microaggression, Pendleton made it the prompt for his broad inquiry into how easily the social urge to categorize takes root and constrains hard-won freedoms. “… I think that’s what draws us to art; at its best it’s other [My emphasis — JMN], it’s outside of those fixed and finite spaces.”

(Siddhartha Mitter, “Adam Pendleton Is Rethinking the Museum,” NYTimes, 9-11-21)

(c) 2021 JMN — EthicalDative. All rights reserved

Posted in Quotations | Tagged , , , , , , , , | Leave a comment

Here’s Conflict. It Had To Come

(Continued from https://ethicaldative.com/2021/09/06/rubber-of-aspire-meets-highway-of-dream/)

His mansion sprawled in the sunny uplands; his larder bulged with premium ancillary protein; the flower of lab produce was carted daily to his kitchens; his chef staff conjured shakshukas and bibimbaps for him at the drop of a hat; his thés dansants were legendary among the Four Hundred; he stroked a mean putt on the Mar-a-Go-Golf pastures; he rubbed classy elbows at The Gentleman’s Club.

What more could Siddhartha Huff want that wasn’t proffered in spades by accident of birth? The answer was pow. Sidd craved it in the worst way. He and his Rhipidistian cronies had all the pose in the world, but they lacked pow. The terms of the co-griftership handed down by the Better Monday Agreement — the magna carta of Isthmia — were crystal: pose to the Rhips, pow to the Mamas, fifty-fifty skim divvy, nominy dominy amen.

The Montmorencys’ clench on the precedency had relieved Rhips of the burden of figurehead choice. They had capitalized on lack of purpose to play, eat, drink, bet and hang at Mar-a-Gogo. The obesity thing crept up on them. When they realized they had a problem, it dawned that the Mamasutras held all the patents on SlenderTech ™. Siddhartha Huff was the sole one of their number to perceive how this would alter the delicate balance of greed in the land.

(c) 2021 JMN — EthicalDative. All rights reserved

Posted in Anthology | Tagged , , | 1 Comment