Be intent on action,
Not on the fruits of action;
Avoid attraction to the fruits
And attachment to inaction!
Perform actions, firm in discipline,
Be impartial to failure and success—-
This equanimity is called discipline.
Me asomé a la ventana y en lugar de jardín hallé la noche
enteramente constelada de nieve
La nieve hace tangible el silencio y es el desplome de la
luz y se apaga
La nieve no quiere decir nada: Es sólo una pregunta que
deja caer millones de signos de interrogación sobre el
Poema Noche Y Nieve
José Emilio Pacheco
On: Chinese mushrooms, cigarettes, and philosophy
Where: Allen St. & Hester St. - Chinatown .
Who: This lady
A peculiar conversation or everyday thoughts.
Do you remember that bird? It was a huge bird,perched on a far off antenna.
What is education? Who needs it? What is it? Why is todays model insufficient and counterintuitive to what the world needs? Where are our skills and observations? Our reverence to LIFE and mother-earth?
An interplay of we are what we eat and we are what we do. Sensitivity to sound, scenery, people… emotion and spirituality. Perhaps only jargon but one must have a vision, live with your passions. If you lose them you’ll lose yourself. Envision what your life will be , what you want it to be. Prepare to work and live by it. There is nothing wrong to starting a draft on your life manifesto, the architectural design, or budget plan to your life. Just keep thinking.
On museum and institutions.
Yesterday was the last day that Christopher Wool was on exhibit at the Guggenheim. Originally from Chi-town, his works will make an homage exhibit at the Art Institute in March. Friends out there, get ready for bold, flat, translucent layers, patterns, of monochrome abstractions.
Wool has been working out of New York since the 1980s, the show is a retrospective of his career up to date. Starting with his bold stencil-lettering, patterns, prints, photographs to his use of photoshopped manipulations in prints. There is a variety of material and mediums, what keeps me wondering back to the work is his process.
I wish I would have posted this earlier in the exhibit but once again, I am too self-conscious to place my voice among every other “art writing”, that waves into the internet after a recent opening. So here I present my closing statement.
The Guggenheim is an interior that commands its displays and Wool’s paintings were on the edge of tension with the space. As I walked down the rotunda, the images and movement blended resulting in a dizzy spell. Wool’s use of pattern and printing technique create large work table canvases, what look like spills and mistakes compose a balanced print. On the other hand it could be that mistakes are a lack of technique but no, I refuse my own cynicism; after all it’s contemporary art. Mistakes are but process, human hand and conscious decision that create movement. The layers of screenprint over and over so that they create an earthquake effect. The deliberate placement of pattern large and speckled appear as layers that indicate a depth within the flat canvas. At points I want to peel of one layer to reveal the underneath only to find myself entangled with more layers.
In the work Untitled (2000), well, most works lack a title. Let me describe the work made with enamel and silkscreen ink on rice paper… also on the label. Let me try again. A large print, about 4’x6’, from the top right a black ink-spill like form is prominent. The stain drips down —- around it there’s a pattern. A floral and organic wallpaperesque print layer surrounds the black blotch. Stepping closer into the frame, the layer is visible over the black spot so that the black pattern is on black. Black on Black.
I will not make an AC/DC reference. The tone variance in layers adds dimensionality, there is a sense of quality in the sensitivity of the print and tension with the black spot. Again and again layers of detail draw my around and through layers.
Wool’s bold letterpress statements are some of the well known, these made me laugh.
The stronger the infection, the better is the art as art, speaking now apart from its subject matter, i.e., not considering the quality of the feelings it transmits. And the degree of the infectiousness of art depends on three conditions:
1. On the greater or lesser individuality of the feeling transmitted;
2. On the greater or lesser clearness with which the feeling is transmitted;
3. On the sincerity of the artist, i.e., on the greater or lesser force with which the artist himself feels the emotion he transmits.
The more individual the feeling transmitted the more strongly does it act on the receiver; the more individual the state of soul into which he is transferred, the more pleasure does the receiver obtain, and therefore the more readily and strongly does he join in it.