ungloom (y)our heart balloon with this chewy amalgam of semiotic bubblegum

November 5, 2012 4:15 pm

"I find no catharsis…This is not a psychological enterprise for me, it is a calling. And anyone who knows a calling, it is a terrible, terrible thing. Because it is something you did not choose…It’s not some vainglorious shit, it’s what it is. It’s pretty mundane, to have a calling. You gotta get up every day and fucking do bullshit. So whether it’s transcendent or it’s kind of this oh-woe-is-me crap, the end of it is it’s the daily grind. But certainly what I find is that I happen to be very good at something that I find incredibly difficult. And I think that there are plenty of artists out there, who are incredibly good at shit they find very difficult. And if you don’t have any compassion for yourself, because most of the artists that we have now are artists who are very good at something they find very easy. What we need are more of these artists who find what they do very difficult—because it’s the process of that compassion or forgiving yourself that is difficult that creates some of the most glorious art, you know? But you write very little. I’m super slow. So it’s more like the daily grind, and the constant reminder that it’s okay. I mean I wake up every day and it’s like it is okay, that at this thing which I am good at, I’m very terrible at. How do you deal with your fear, your blockages, the way you resist yourself, in the process of creating art, how do you deal with it?

I have one limited experience from one subjectivity, so I can not pretend that anything I say about this is in any way authoritative.You know when anyone talks about art, it’s simply a heuristic, something that you bounce off of and perhaps it can produce learning, perhaps it doesn’t. My sense of it has been from my own experience, again very very tiny, very particular. My sense of it has always been that what defines an artist’s success, is not their training and their persistence, both necessary.Training and persistence, both necessary. But what defines an artist’s success is usually their compassion. And compassion starts at home. Most of us hobble ourself in our art because we have such limited compassion and it’s no accident, we live in a society that teaches us no compassion. And so we have no compassion for ourselves. And therefore every time we try to do something, first we take a bat, smash ourselves in the face, and then say sing. Or write. Or dance. In fact, I always think, develop your compassion, and your art follows. And it’s a very difficult struggle. It’s a very difficult struggle; I think that a lot of the professionalization of arts wants to render this myth that training and persistence are enough but the truth of it is, a person who forgives themselves with no training, will outwrite the greatest writer on earth. To forgive yourself for your limitations, to forgive yourself for your fragility, to forgive yourself for your mistakes, I mean, we’re not taught that. I wasn’t taught that—I come from a military family. A military, Dominican, fucking family. My father was a full out, card-carrying member of the Trujilato. You know? No I’m like, to the left of super progressive, but my dad was a straight-up fascist. And that’s just the way it is, it happens. And there was no forgiveness in a military family, you know? For me, it’s the endless struggle, because it’s like alcoholism, you don’t suddenly become compassionate to yourself, you do it every day. There is no achieving it. There’s no achieving it, you just struggle every day. I still remember in my family, again, this was good for one day, and terrible for another way—in my family, we never had that American thing, you know that American thing where nobody’s to blame. You know, my students, I love my students to death, I really do, I love my students to death but I don’t speak the language of excuse. So I always have to sit there and be like, ‘Oh wait, they’re trying to tell me an excuse!’ Cause I don’t even know, I don’t even know what the fuck it is. I was like ‘Oh shit! This is an excuse, dude!’ ‘Cause in my family, there was none of that. If a bottle fell, the closest person next to it would be like ‘I did that, I am responsible for that.’ And that was it. Which is a fucking terrible way to grow up. Because sometimes shit happens and there’s nobody to blame. And sometimes, the first reaction shouldn’t be blame, it should be forgiveness. And I think whether you lived in a more explicit version of that Dominican culture like my father or a less explicit, most of us live in that regime, a regime of no-forgiveness.”

September 3, 2012 2:25 pm

htmlflowers:

voiceworks published two of my drawings in their latest issue. the drawings are from when i had a dream i was walking throught a forest singing popular rn’b songs to myself. it’s supposed to be like a two page comic cause you see the persyn before they enter the forest and then as they are leaving the forest.

VOICEWORKS

#89

Winter

2012

August 22, 2012 7:54 pm
Elias Garcia Martinez’s Ecce Homo (left) and the “restoration”
“BBC Europe correspondent Christian Fraser says the delicate brush strokes of Elias Garcia Martinez have been buried under a haphazard splattering of paint.
The once-dignified portrait now resembles a crayon sketch of a very hairy monkey in an ill-fitting tunic, he says.”
LOLOLOL

Elias Garcia Martinez’s Ecce Homo (left) and the “restoration”

BBC Europe correspondent Christian Fraser says the delicate brush strokes of Elias Garcia Martinez have been buried under a haphazard splattering of paint.

The once-dignified portrait now resembles a crayon sketch of a very hairy monkey in an ill-fitting tunic, he says.”

LOLOLOL

July 30, 2012 5:46 pm
"The art world is the biggest joke going. It’s a rest home for the overprivileged, the pretentious, and the weak. And modern art is a disgrace – never have so many people used so much stuff and taken so long to say so little. Still, the plus side is it’s probably the easiest business in the world to walk into with no talent and make a few bucks."

Banksy
July 4, 2012 4:27 am
"All the art of the past rises up before me, the art of all ages and all civilizations, everything becomes simultaneous, as if space had replaced time. Memories of works of art blend with affective memories, with my work, with my whole life."

Alberto Giacometti
June 24, 2012 5:22 pm April 30, 2012 11:52 am
low-country:

Rene Magritte - Titania (1948)

Regarding both their motifs and their style, the works of Magritte’s Période vache do not constitute a consistent ensemble but rather present themselves as a patchwork of different pseudo-styles borrowing more or less openly from other artists and drawing on the artist’s own earlier works. These elements are transformed into something comic, trivial, or grotesque by being blended with aspects of popular visual culture. With numerous art historical references – like to James Ensor, whose grotesque physiognomies are given another turn of the screw, to Henri Matisse, whose colorful ornaments are degraded to wallpaper-like décor, or to Joan Miró, who, as we know, was not held in high regard by the artist – Magritte ridicules traditional cultural values and aesthetic norms and distances himself from an art scene lusting for innovation. By presenting motifs taken from his own previous pictures in a new manner of painting, he turned into his own caricaturist, as it were. Contrary to his “classical” works, their cool, precise and realistic approach, and the conceptual consideration behind them, the works of Magritte’s Période vache strike us as colorful, two-dimensional, quickly painted, and radiating an astounding directness and spontaneity.

(e-flux)

low-country:

Rene Magritte - Titania (1948)

Regarding both their motifs and their style, the works of Magritte’s Période vache do not constitute a consistent ensemble but rather present themselves as a patchwork of different pseudo-styles borrowing more or less openly from other artists and drawing on the artist’s own earlier works. These elements are transformed into something comic, trivial, or grotesque by being blended with aspects of popular visual culture. With numerous art historical references – like to James Ensor, whose grotesque physiognomies are given another turn of the screw, to Henri Matisse, whose colorful ornaments are degraded to wallpaper-like décor, or to Joan Miró, who, as we know, was not held in high regard by the artist – Magritte ridicules traditional cultural values and aesthetic norms and distances himself from an art scene lusting for innovation. By presenting motifs taken from his own previous pictures in a new manner of painting, he turned into his own caricaturist, as it were. Contrary to his “classical” works, their cool, precise and realistic approach, and the conceptual consideration behind them, the works of Magritte’s Période vache strike us as colorful, two-dimensional, quickly painted, and radiating an astounding directness and spontaneity.

(e-flux)

(via 50watts)

February 6, 2012 12:34 pm

Can’t get enough of Hennessy Youngman

December 29, 2011 3:23 am
CONTEMPORARY ART IS BULLSHIT B

NIGGAS STILL DID ART THOUGH, AND THIS IS WHEN ART CHANGED B CUZ NOW NIGGAS WAS JUST DRAWIN WHATEVER AND CALLIN IT ART. NIGGAS STARTED PAINTING MAD CIRCLES AND SQUARES ON A PAPER AND BEING LIKE “THIS SHIT IS CALLED GUERNICA B” THEN IT WAS A WRAP. NIGGAS STARTED ANALYZING SHIT AND SAYING SHIT LIKE “THIS IS AN IMPORTANT PIECE FOR THIS PERIOD”…CRAZY NIGGAS STARTED DRAWING WILD SHIT AND SOME SMART NIGGAS WERE LIKE “OH SHIT I’M BOUT TO MAKE CRAZY BREAD” AND DREW A SQUARE ON A PAPER AND SOLD THE SHIT TO SOME DICKHEAD WITH A MANSION FOR 50000 DOLLARS. THEN THAT OTHER NIGGA STARTED SPLASHING PAINT ON SHIT AND WAS AN ALCOHOLIC AND NIGGAS MADE A MOVIE ABOUT HIS LIFE STARRING ED HARRIS B!!”

"IMAGINE IF EVERYTHING ELSE WAS LIKE THAT THOUGH? NAHMEAN ON SOME EVERYTHING IN THE REAL WORLD WAS LIKE IN THE "ART WORLD" LIKE IMAGINE IF A NIGGA WENT TO A DELI AND WAS LIKE "YO AHMED LEMME GET A SALAMI AND TURKEY ON A HERO WITH SWISS" AND THE NIGGA GAVE YOU 3 CRACKERS AND A LIGHTER AND WAS LIKE "THIS IS MY INTERPRETATION MY FRIEND"…OR IF A COP PULLED YOU OVER AND FOUND A GUN IN YOUR WHIP AND YOU WAS LIKE "THIS IS PERFORMANCE ART RIGHT NOW OFFICER I’M DOING A PIECE ON HOW SOCIETY’S NORMS ARE CONSTRICTING ME AESTHETICALLY" OR SOME OTHER STUPID SHIT AND THE COP WAS LIKE "WOW THAT’S REALLY FRESH AND INSIGHTFUL, YOU HAVE ANY SHOWS COMING UP?"

FUCK OUTTA HERE WITH THAT SHIT B. DRAW SOMETHING COOL NIGGA. NAHMEAN LIKE MY NIGGA ESPO @ FIRSTANDFIFTEENTH.NET (HOLLA)

#SHOUTOUT TO MY NIGGA HENNESSY YOUNGMAN @THEREALHENNESSY”

December 25, 2011 2:11 am