Art – random thoughts.

Art, like money, is what we think it is. That’s why money is, apparently, the only measure of art. If it’s free, it’s not art. Or so it seems.

Painters were once prized as picture makers. Cameras have devalued the craft of making pictures by hand. That has shifted the focus to making pictures worth looking at. Composition now matters in ways it did not matter before. Hence abstract art, which is pure composition. Impressionism, which refuses to provide the optical illusion of reality. Expressionism, which claims to show emotions and meanings directly. Pop art, which detaches the image from its context. And so on.

Even photographers now attempt to do something other than make a naïve representation of reality. The subjects are staged, disparate objects are brought together in front of the camera, the photographer moves around to get the best angle of view, digital technologies enable manipulation well beyond the capabilities of the darkroom. 

Old and new image-making technologies are attempts at exploring and redefining picture-making in order to make images worth looking at.

All the while, the ease of making images has discouraged looking. Too many images – very few worth a 2nd look – how do we know that worth? By their nagging presence in memory? By the content? By the palette? The composition?

Any or all of these will make an image stick. The unpredictable part is individual preference or taste. And that perhaps even more elusive entity, meaning. All images signify, but what they signify depends on how the viewer decodes what they see. That includes the image maker, whose perception of meaning is no better or more valid than any other. The image maker’s intention cannot overcome the inherent ambiguities in the image. This inability to determine the significance of the work is common to all forms and modes of expression. Including this one, which is certain to be misunderstood, to be interpreted in ways I do not intend and cannot prevent. This lack of control explains the futility of censorship.

A collage (2015)

 

Trickster tricks make for a good life

 

    Tomson Highway. Laughing With the Trickster (CBC Massey Lectures, 2022) I learned that what I had learned about First Nations cultures was woefully incomplete. Read this book. It will educate you, and entertain you. Highway shows what he means when he says that Indigenous people laugh a lot. Life’s a blast, even when it isn’t. The Trickster deludes us, but also makes life interesting. The Creator made us for enjoyment.
     Threaded throughout this hugely exuberant romp through life is the dark narrative of the clash of Indigenous and Settler cultures. We Settlers have a lot to learn. A brighter thread, told mostly through Highway’s life story, is that Indigenous peoples are adaptable. Their cultures thrive because they have been able and willing to adapt. They don’t try to preserve their way of life, but to live it. And if that includes telling their stories in Settler languages, well, that’s life. And if that adaptation causes Settlers to adapt, too, well, that’s even better life.
     Highway ends with a brief account of his brother’s death. Rene told him, “Don’t mourn me, be joyful”. The last sentence of the book is, “ I have no time for tears; I’m too busy being joyful.”
     Read this book. ****
Footnote: Another essential book is Thomas King’s The Inconvenient Indian.

Collage

 Marker and collage on tea-stained tissue 2023

Pictures and words: A Walk With Me (Frostic, 1958)

    Gwen Frostic. A Walk With Me. (1958) Frostic was a Michigan artist and author, best known for her linocut prints. She set up a successful printing business, selling her prints and greeting cards, stationery and gift items based on her artwork. See more on Wikipedia.
     This book is an example of her work. Printed on deckle-edge paper in earth colours, it’s a mix of text and pictures. I like the images, Frostic has an excellent eye for shape, texture and composition. The images of leaves, landscapes, animals, etc are not only accurate but evocative. Her art is semi-abstract but accurate depiction of natural beauty.
     The texts are not up to the standard of the picturers. She uses a lot of ellipses... to make the reader pause... and take thought... and perhaps... recreate Frostic’s experience... of walking among trees... and shrubs... and flowers... noticing the little things... like mushrooms... and frogs... thus achieving insights... into the mystery... and spiritual meaning... of the natural world.
     An interesting book. Beautifully printed, it’s an example of the book as art or craft object. **

Footnote: This copy was given "With all good wishes to our "Other Bishop - in the north country - Faithfully, Anna May Johns, Midland Mich."

Churchill, the Artist

 David Coombs. Churchill: His Paintings (1966) After looking through this book for the third or fourth time, I think that Churchill is an underrated artist. Unlike professional art makers, he could indulge his avocation without worrying whether his work would sell, whether it made some kind of currently fashionable statement, or whether he could aspire to becoming an Important Artist. So he experimented with colour and style, and painted what he liked to look at or thought was worth memorialising.
     He had a good eye for colour, preferring a palette of subdued complementary colours lit up a few bright spots. He liked architectural shapes, and tended to abstract natural objects into blocks and streaks of colour. His most successful paintings are impressionist. Better:   The paintings I like best are impressionist emulations of Turner and Monet.
     The book is a curiosity. A catalogue raisonne, with almost complete data on dates, owners, and whereabouts, and an introduction by David Coombs. Poor man, he knows he’s dealing with the leisure time output of a Great Man, and so had a to strike a nice balance between respect for a serious amateur’s work and professional art criticism (he was at the time writing for The Connoisseur). Churchill’s work is better than amateurish, but most of it lacks the sense of the professional’s idiosyncratic unique vision.
     I like Churchill’s pictures. The printing is better than average for its time. **½

Christopher Smart Loves His Cat Jeoffry

 Martin Leman. Christopher Smart: My Cat Jeoffry (1992) One of the pleasures of a course in 18th century literature was discovering Christopher Smart’s poem about his cat Jeoffry. It’s a hymn, listing all the ways in which Jeoffry shows us the glory and love of the Creator. Smart rejoices in his cat, and anyone who likes cats will share his joy. But Smart’s poem celebrates any and all of God’s creatures, and the joy of loving connection between us. Martin Leman has made a lovely little book illustrating the poem. Recommended. ****

One of many links to the poem: https://interestingliterature.com/2020/08/christopher-smart-my-cat-jeoffry-analysis/

Simplicissimus: German Satire from the 1920s and 30s

 

Stanley Appelbaum. Simplicissimus. 180 Satirical Drawings... (1975). The satirical weekly Simplicissimus was published from 1896 to 1944, but its years as Nazi propaganda rag from 1933 on were a sad comedown from its heyday as one of the most thoroughly moral weeklies. It attacked everything and anything that its editors found objectionable. The hypocrite, the poseur, the indifferent capitalist, the militarist, the fashionable people and faddish ideas of the day, all these and more were mocked in its pages. Some drawings were gentle jokes, others savage attacks. The quality of the art ranges from pretty good illustration to astonishingly evocative art. Some, like those by Käthe Kollwitz, merely represent reality. Others use conventional imagery to signal the social types and classes on display. Most artists have mastered the expressive line that can show us anything from rage to languor.

Dover Publications commissioned this selection of drawings. Appelbaum wrote a potted history of the magazine for it, as well as brief bios of the artists. The cover illustration’s caption reads, “Why do we [men] need suits when the women wear almost nothing?”

Out of print, but worth a search. ****

Mixed media on paper 2021-12

 

 

 Mixed media on paper [© W. Kirchmeir] Water colour and collage over laser print.

Why art?

 

 Why Art?

I came across this quote of Jack Chambers after I’d written everything following it. I think Chambers is right: the desire to share one’s delight in the world is fundamental. I think that we make art for the same reason we do science: We want to make sense of the world. We want to perceive meaning. With both science and art we attempt to organise our experience into shapes that feel orderly and significant, which is a pompous way of saying we want to account for the unaccountable fact that we perceive beauty and truth. Keats equates beauty with truth. That’s also what mathematicians claim. Anyone who makes or performs any kind of art knows that it’s true. All art on this page made by me.

“The artist may hope to redeem man’s reality by showing him the world as it looks when it is loved.” (Jack Chambers, ca. 1978)

Why art? Many years ago, I took a course in the philosophy of art, and that was one of many questions that it didn’t answer. Psychology and anthropology note that the making of art is species-specific, and that it figures in everything from attracting a mate to shaping religious ritual to asserting social status. Does that mean that art has only such utilitarian functions, or is there something more to it?

Another question was the value of expertise. Does it or does it not increase one’s pleasure? Is there such a thing as educated taste? After all, how do you differentiate the pleasure derived from educated taste from that of untutored delight? As the man-in-the-street is supposed to have said, “I don’t know anything about art, but I know what I like.” And why should the taste of the person knowledgeable in the history of some art determine what’s worth looking at or reading or listening to? Isn’t educated taste just someone else’s taste that for some reason one deems superior to one’s own? Besides, educated taste looks suspiciously like the taste of people who can pay more for art than you can afford. What do rarity and price have to do with the value of art? Isn’t a lot of great art simply that which the privileged classes patronise?

What’s a classic? Isn’t it just some old work that has found admirers many years or centuries after its first audience has died off? Or maybe it’s just what the sons and daughters of privileged families have read during their expensive university education, and which now functions as a signal of belonging to that class of people.

Besides, aren’t popular literature, painting, theatre and music popular precisely because most people haven’t benefitted from the training in taste and insight their social betters have received?

As you can see, these questions all implicitly assume some answer to the question, Why art?

2021-12-13

 

Judy Martin, textile artist.

OK, this is an excuse to post a photo of Judy Martin, a textile artist who lives on Manitoulin Island. See her latest blog entry here

She describes the inspiration for her work, and posts many, many photos of it. Enjoy!

The photo shows Judy at Four and Friends, Bruce Mines, July 2008.

Kaleidscopes in the 1980s

 

  Cozy Baker. Through the Kaleidoscope... and Beyond (1987) Second, expanded edition of a catalogue of US kaleidoscope makers and vendors in the 1980s. Some history of the toy, including a copy of the inventor’s patent application. Some colour plates, a handful of nicely done black and white drawings, and photos of most of the artisans. The book seems to be a vanity project by Ms Baker. No doubt useful for kaleidoscope fans at the time, and possibly useful for anyone wanting to write a history. Printed on heavy paper in a well-made cloth case. The colour plates are well printed, but do not add as much information as I would like. Not a keeper. **

Accidental Angel (collage, markers, adjusted scan)

 

 I scanned this with maximum Fade correction to brighten the colours, then adjusted gamma etc in the image processor.

LensCulture: photo site worth visiting

I've kept this site bookmarked, always worth a look: LensCulture.

Some examples from different photographers:

 

Conan Doyle's Father

 

Michael Baker. The Doyle Diary (1978) Reproduction of one of Charles Altamont Doyle’s sketchbooks, made while he was at Sunnyside, a lunatic asylum in which he spent most of the last years of his life. He was Arthur Conan Doyle’s father. Arthur in his early reminiscences dealt harshly with his father, who was not the financial success he could perhaps have been. Later, Arthur mellowed, perhaps because both his medical and his personal experience showed him that Charles was a sick man, badly treated. Baker tells the story at length, not easy to do, because there is little documentary evidence of Charles life, and partly because there was a good deal of reticence about the details of his ill health. Baker concludes that Charles suffered from epilepsy made worse by alcoholism. Charles was not a pushy man, he lacked his older brothers’ ambition and energy. Dicky Doyle had a successful career as a cartoonist for Punch, for example. Perhaps alcohol was self-medication for his sense of failure.
     The drawings and text of Charles sketchbook show us a man of gentle feelings and sometimes mischievous humour. He describes himself as a “harmless old gentleman”, which on the evidence he was, He certainly wasn’t a lunatic, even by the vague standards of the time. Long-term care homes existed, but were little more than hotels with some medical services, so the asylum was the only place to tend him when he became unable to care for himself and his family.
     I don’t recall where I found this book, or when. And addition to a collection of Holmesiana, and a document relevant to the study of our treatment of the harmless ones among us. **½

Mermaids greet a Captain Hailborne

A mermaid from a clip-art collection. The picture caption reads "Capt. Hailborne At St. Johns Newfoundland", the details suggest the 1600s, but the mermaid's welcoming gesture is a fantasy.

A Mixed Threesome: Art, Model railroading, Tolkien.

Notebook Magazine (Issue Two, 2007) Issued by a “An Edmonton Art and Writing Collective”. Works are accompanied by answers to a standard interview. The art is generally pretty good, some with a regrettable tendency to shock and annoy, the rest interesting experiments in style and media. The writing is at best average, most of it should have been edited. Much of it assumes that if you have an interesting story to tell, you don’t need to make it interesting.
     I looked up all the contributors online. Most have disappeared from public view, but Timothy Atherton (photos), Heather Millar, Stephanie Jonsson, Bruce Barry are among the few that have continued to make art. Interesting mag, not a keeper. **

Art Curren. Kitbashing HO Model Railroad Structures (1988). Kitbashing??? The art of using the parts of kits as raw material, rearranging them, cutting and splicing them, and of course painting them and adding new signage, in order to create a structure that better fits the layout design. Curren was a master at doing this. Some of his creations are fairly obvious variations on the basic kit, e.g., Maple Street, five houses made from the same farmhouse kit. Others are new designs, e.g., the Perry Shibble Fruit & Produce Co-op, which began life as a small brewery. That name shows his skill at creating groaners, too, but by the mid-80s punning names were already becoming unfashionable.
     Curren writes well, tossing in the odd warning of possible mishaps, and ‘fessing up to changes he made when he realised his original concept didn’t work out. As inspiration this book is excellent. As a set of project instructions it’s pretty good, too, as most of the kits are still available, most in new packages. Cheap plastic kits will be with us for a long time, and for the modeller willing to ignore instructions, mess with a perfectly good kit, and practice painting and weathering skills, they will continue to provide raw materials for unique buildings better suited to a layout theme than the originals..
     Out of print, but recommended if you can find a copy. ****

     J. R .R. Tolkien. Smith of Wootton Major (1967; 2nd edition 1975) Illustrated by Pauline Baynes, a distant connection through an aunt. That’s why I bought the book, a very handsome object, beautifully printed on heavy paper. The story itself feels like an experiment in folktale, with its chronicle-like stringing together of events, minimally sketched characters, and matter-of-fact assumption of magic and Faery as realities.
     At a feast of the Great Cake a boy swallows a Faerie star, which not only gives him a talent for singing, but grants him access to Faery, which he visits regularly. The cook’s Prentice is implicated in all the major events, guiding the human actors into making the choices that are best for them, and for Faerie too.
     I enjoyed reading the book. The black and white drawings are well done, but lower the production values of the book-as-object. Apparently, the publishers didn’t think it worth the cost of commissioning colour. No doubt a collector’s item for the Tolkien fan. It merits its own entry in Wikipedia. ***

Fantastic Sculptures: Sergio Bustamente

Alejandro de la Vega et al. El Mundo de Sergio Bustamente (1989) A beautifully printed teaser-catalogue of a book, showing several of Bustamente’s eerily menacing fantasies, beautifully photographed, presented as advertisements. A lion with a human face, for example. We saw several of his pieces in a high-end shop in Matamoros, the kind that caters to tourists with money. The few works small enough to fit into a suitcase cost more than we were willing to spend, so we bought this book as a souvenir. I now think it was a wise choice: these are pieces that I would tire of quickly. There is more novelty than insight in them. They are more decorative than revelatory.
     Bustamente repeatedly riffs on the same motifs: animals with human faces, sun and moon with disturbingly realistic human faces, surreal combinations of figures, unconventional colour, detached body parts arranged in a 3-D composition, and so on. His sculptures are all meticulously crafted. Search for him online, and study the Images the search tosses up. He’s obviously successful; the text in this book is printed in five languages. ** for the art, *** for the book.

Escher Pops Up

Anon. The Pop-Up Book of M. C. Escher (1991). Eight of Escher’s more familiar drawings converted into pop-ups, with varying success. A curio, worth a look or two, and no doubt appealing to serious Escher fans. Brief comments about each image help the casual reader make sense of Escher’s work. I don’t know why I bought it, and can’t recall when. Probably at a yard sale. Not a keeper. **

Design in the 1960s

Alan Fletcher, Colin Forbes, Bob Gill. Graphic Design: Visual Comparisons (1963) One of a series published by Reinhold Studio Vista, pleasant to look at, useful for anyone interested in design, and collectively a good documentation of 1960s design theory and practice. The designs have worn well: the 60s have cast a long shadow, perhaps because designers explored the technical boundaries of their craft.
     Here, we see mostly advertising and related messaging in print. Notions of suitability and decorum gave way to the realisation that the design of messages succeeded when it drew attention and conveyed much meaning with the least possible means. The digital revolution has merely made it easier to do what these people did by hand. As with photography, reducing the craft skill for mastering the medium has shifted the focus to content and context. McLuhan claimed that the medium is the message. Contemplating how technology has made messaging easier, I’d say that the medium determines the message.
     I’ve looked through this book several times in the 40-odd years I’ve owned it, and each time I’ve seen things I did not notice before. But mostly, it’s reminded me, once again, that the world we inhabit is designed. The environment shapes us. The designers both make and are made by the environment they design. ***