jewelia (jewelia@erols.com)
Fri, 23 Jul 1999 06:42:42 -0700
negatives?
raw material like crayons, Whoppers, and glue to me--i use 'em to make my
art -- and else, negatives introduce an edge--to consider--and in my mind,
edges are confining things to be expanded-- besides issues of identity and
gender that i think about that apply here, --that's also how you work at
those large problems that "really" can't be solved--you expand or improve
your chances/self by lessening the contraints that confine the
possiblilities--HAVE FAITH-have faith sisters--my media used to be working
geometric problems of many more than 3 dimensions--computers were helpful
but i could crash 'em reel Good & Plenty---so taking a negative for
granted--well, if that's your way--its yours--but you limit yourself when
you do that--me?--i eat my celluloids and the universe is mine!
negatives? if they we-r-r-re it--i wouldn't waste my time and money making
prints--just show negatives--(have a Wintergreen flavored Tic-Tac?) and much
of what i have produced in the last couple of years has been partly to
(choose one: pose alternatives, contest, ridicule, mock, deconstruct--my
personal favorite) the sacredness perceived in the negative--leftover from
pure notions of photography. I didn't do it at APIS--didn't want to be
blamed for some Sugar Daddy elses problem of the heart, but occassionally,
give or take, i've passed one of those sweet things around a audience for
them to gawk at -- you know: "such clarity" --- and then, burned it or
chopped it up on stage to make something from its ashes or scraps--gets 'em
V8 juices flowing everytime--regardless which mod they are! And a second
point i try to make then --when i do this consumption -- is the link between
creation and destruction in art (also in my work --ie: "The Destruction of
Art after Goya and Picasso"--see, its not exactly my idea)
I just wanted to mention also (btw: i do admire the enthusiasm folks have
been displaying--and Judy dear,...KEEP YOUR MITTS OFF BOB--i saw his last
name first!)---i just wanted to mention that the documentary role of
photography, photonotions of realism, have been pretty much been put down to
rest --- its been under attack since the 40's -- was debated then in
Congress -- who killed the New Deal FSA enthusiastically. Better than any
other universal reality, the camera records what's behind it, not in
front--that is, the biases of the photographer--me, well i see no reason to
stop doing it as long as everyone has equal access and opportunity to screw
things up, i mean participate--as if. anyway, later, The Family of Man was
very popular with the religious masses, but not with the criticals....and so
on....the spectacle continues...and The Migrant Mother tells me "she's still
miffed cause she didn't get anything out of that DAMN PHOTO of her except a
whole lot more photographers hanging around her house all the time wantin'
to take her picture,...while that dorthea what's-her-name helped her Sweet
Tart self to a reasonable take." (One version of me, semiotic jewelia, who
only models, corresponds.) anyway, fairly good (somewhat dated) book--with
a couple relevant essays on documentary, including deborah bright's marlboro
man landscape essay--is Richard Bolton's "The Contest of Meaning." The
title at least is compelling and a good thing to keep in mind when The
Family differs--its just a plate pattern.
and RS--susan gets a bit agitated at me when i sing to my Dolly--says its
not what a lady does--especially in front of the boys--(i got in trouble for
showing off my dolly in front of that obscure looking tenty thing at APIS
too--but for a short moment--I was like the conductor of the Santa Fe
Symphony--but you should have heard the tunes groan-in)...anyway, just for
you RS--so the rest of you --NO PEEKING!:
~Well!, @Hel*lo #re:chard. $Yes, @heel+lo <Rich+ard/>.
It^was.so~o~o (n)Ice t'ew(e) sEee yU en San'Ta f'hay.
^A-PIS w=z s(o)O..W(a)(w)ell $$$Riis'hard, " > " wen>t..(so)~ W-ELLe..
RI`Ch~her'd.
~~an n~ICE to sEe yo-eur sal*-TEA..As-syds s/till a-fiz/zing*--
...................................~~a feez^ZIN'*... *ST*&^*TR*0NG!*
(chorusotype)
jewelia Margueritta Cameroon
ps--ok--everyone look:
since the advent of the museum--the role of the collector in art--has
diminished--but collecting itself can be an art form--but just like
photography, doesn't always work out that way, of course...but there is an
interesting sounding exhibit of the work of two collectors goin' on at the
guggenheim...read about it here, if you like...i think this applies to the
discussion goin' on here...
"Surrealism: Two Private Eyes, The Nesuhi Ertegun and Daniel Filipacchi
Collections"
http://www.guggenheim.org/solomon/exhibitions/199906_surre_fst.html
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