From: Christopher Lovenguth (zantzant@hotmail.com)
Date: 08/19/02-03:04:06 PM Z
Thanks for the edit Judy! I often get lost in my own thoughts... but hey, if
I could communicate with words why the heck would I even try to make art! If
I had great verbal communication skills, it would be much easier to write a
novel...instead I struggle with these $%#$ daguerreotypes!
This discussion about art always seems to go nowhere because there is
nowhere to go and this is the conundrum. All of us toil in our own personal
hells and passions for dominance over this form of communication called art.
Additionally many outside forces are putting pressure on this communication
device we use. There are social legitimacy issues like academic disciplines,
social acceptability, funding, etc. that put pressure on how we make our
work. Also, some artist are so worried about being authentic and validated,
they pressure themselves in to studying intensely the ideologies behind what
they are doing compared to what is currently hot in "the scene". Really, if
making art were just for making art, this debate would never be happening!
Instead some of us toil and toil over validation for what we do. And when
the answers don't fit our position, we fight with every tooth, nail and
paintbrush. Of course it is easy to counter this argument with saying
something like "art has no boundaries, no rules, etc.". The problem is you
have to have boundaries and an understanding of their makeup before you can
move past them. At the same time raw inspiration and total naivety of these
boundaries is also beneficial but limited to the genius and prodigies. And
this is the riddle: we all want to be that wacko up in the attic making
massive amounts of raw talented phenomenal creations and turn out hundreds
of pieces that set the world on fire. In reality, everyone on this list
knows too much to do that, so now we have to work within conceptual
parameters for legitimacy. If not, it’s just phony or refurbished
inspirations.
>From: Judy Seigel <jseigel@panix.com>
>Reply-To: alt-photo-process-l@sask.usask.ca
>To: alt-photo-process-l@sask.usask.ca
>Subject: Re: What Postmodernism Means, etc.,etc.,etc.
>Date: Mon, 19 Aug 2002 15:06:43 -0400 (EDT)
>
>
>
>On Mon, 19 Aug 2002, Christopher Lovenguth wrote:
> > .... To bring up the f64 group as support of "art as object"
> > argument is invalid because the context of when the images were made
>needs
> > to be considered. At that time this group of people were fighting
>against
> > the blur..... When you take
> > their images out of period by duplicating their work today and apply
> > contemporary thought to them, they do not hold up. This is because it
>has
> > been done. When work like this is now made it is in the ream of craft
>and
> > training. Artists have always looked back on past periods of art for
> > training and inspiration, not replication.
>
>
>Well Christopher, since we're doing group crit, I take the liberty of
>saying that you wrote & wrote and then you got to a really important
>point, and instead of taking out all the hems and haws beforehand, you
>left them in, to bury your point. So I do the edit for you, don't mention
>it.
>
>This summary is perfect, says it all. Thank you.
>
> > It is fine to do work for work sake. Just like it is OK to go out and
>play
> > touch football with you friends on the weekend and emulate pro football
> > greats. Just don't to walk in an arena and expect to be let on a NFL
>team
> > because you play every weekend, know how to throw the ball and have seen
>the
> > pros do it on TV.
>
>This analogy is only fair, because pro football (I'm given to understand,
>having never seen it myself) is still a current sport. It goes on every
>freaking Sunday (or whenever) and if you're good enough you can still be a
>star and make big bucks. Nobody seems to say, uh, pro football has been
>DONE -- though of course they should.
>
>cheers,
>
>Judy
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