I like having Brian Eno and Peter Schmidt's Oblique Strategy cards in the studio. Basically, each card is printed with a prompt, an aphorism or a single word. Pulling a card from the deck is intended to suggest an angle of attack or to introduce a random, contingent notion to help work through any creative block.Read More
Everyone has different ideas about the impact of fashion on the arts and especially music. Naturally, performers are always trying to bring a unique look to their stage presence that authenticates the sounds they play and the words they sing (if there are words). I find that these considerations of fashion and clothing should also extend to the recording studio. When money is on the line, (metaphorically as well as literally speaking) I want the clothes I am wearing to help shape, not undercut, they way I perform. This is probably a throwback to my church-going days when we are all expected to dress up in our best clothes. This was part show of respect, part display and fashion parade.Read More
In January, I began a new canvas, Florbeza. It's based on a collage I finished in 2008. Yep, sometimes ideas take a long time to incubate. The challenge so far has been to keep enough variation and inventiveness within a restricted palette of yellow ochre, cadmium yellow, naples yello, burnt sienna, cadmium red and cobalt blue. I learned a lot from using these colors to create the effect of gold in a previous work called Heart of Gold.Read More
For better or worse, the term "wabi-sabi" has entered the mainstream design and marketing discourse as a stand-in for the "real". It has come to signify the imperfect, the asymmetrical, the natural and the hand-made. The thinking goes that clients respond positively to the real because it is not false, and that by leveraging the real with wabi-sabi-type images and layouts, brands can make authentic connections with their clients while enabling them to sell more products and services. But what is wabi-sabi exactly and what does it mean? More importantly, who or what makes wabi-sabi? Does this medieval Japanese term help us think through contemporary design problems? Or is it just another historicized style thrown up by our continual need to recycle the past?Read More
THE GATES OF HECK GOES TO HELL
performed at Art SD 2014, November 8, 2014. With Perry Vasquez, Aaron McFarland and Skyler Mic.
by Perry Vasquez
Aaron McFarland and I first set our sights on bringing The Gates of Heck to Art San Diego back on April 30th of this year. (The Gates of Heck is a schlock-rock opera I wrote inspired by Dante’s Inferno and Aaron has been with me for every performance, providing eye-popping video mixes that greatly add to the nuance and fun of the show). On that day we arrived at the Balboa Park Activity Center to meet Ann Berchtold who organizes the Art Fair and who invited us to perform at the big VIP Party. We wanted to check out the space and see if it offered any possibilities as a venue for performance.Read More
SAN DIEGO - From October 12 through November 14th, people driving south on I-5 at the Sycamore St. exit half a mile from the border will be able to see the Keep on Crossin' design displayed on a massively huge billboard. Access to the billboard is thanks to a collaboration between Ann Berchtold and her Open Walls Project as well as billboard operators CBS Outdoor Americas Inc.Read More
"Men build too many walls and not enough bridges."
BERLIN – Curator Elisa Ganivet's Borders-Bridges exhibition marks the 25th anniversary of the fall of the Berlin Wall. In her curatorial statement she writes her purpose is to "explore the wall as a symbol of the division between worlds and emphasizes the ruptures and stitches related to the contemporary migratory processes." The project I was invited to show, Keep on Crossin', is focused on US/Mexico border relations. In some ways Berlin is the ideal context for this project since the Berlin Wall has become a symbol of how political conflicts lead to rigid and inflexible borders of all kinds and how ultimately, those borders come down when enough bridges are built to cross them. For me personally, the experience of the Wall, and how artists responded to it, became a model for my own thinking about border art. In 1984, I met the West German author Peter Schneider whose novella, The Wall Jumper, is about a West Berlin man's fixation with the it. With humor and insight Schneider explores the stark differences between East and West through an examination of the main character Kabe's contradictory compulsion to jump the wrong way from West to East Berlin. Nineteen years later when I created the image of R. Carumba for the Keep on Crossin' logo the pose was borrowed from Robert Crumb's Mr. Natural, but its animating spirit was constituted with pure Schneiderian zeitgeist.Read More
How does an artist's work fulfill their hopes, desires, and fears about politics? This is an interesting question because to make art work in itself is already to be in a zone of dystopian or utopian impulses. Perfection and imperfection colliding with moments of clarity and confusion. In asserting control over the canvas, the score, the sculptural material or the performative gesture, we are moving from the potential to the actual. Many things obstruct the way. And while many artists are open to and even invite external factors to intervene the creative process, others try and keep it as hermetically sealed as possible. For me, this issue of control is inherently political.Read More
Several months ago I received a request from Elisa Ganivet to join my network via Linkedin. She explained she was working on her Phd in philosophy and that her interest was in political borders and how their impact was reflected in contemporary art. So we connected and I forgot all about it until a few weeks ago she contacted me again, this time with an invitation to show Keep on Crossin' as a part of her exhibition which now had a name, Borders-Bridges, and a venue, Neu West Berlin.Read More
This new painting is titled X-Ray Vision (24" x 36"). I'm continuing to explore dense compositions of smaller images collected under the contours of a larger form. X-Ray Vision is an amalgam of images of cowboys and indians cribbed from American mass culture, including television, comics and movies. The seed for this painting was actually planted many years ago in 2008 when my brother gave me a copy of Ward Churchill's book Fantasies of the Master Race. It's fine collection of essays - each performing a deft post-mortem on various media stereotypes of Native Americans. Reading through the book you are struck by how brutally expedient Hollywood can be when it comes to mythologizing American history. It seems there wasn't an Indian alive who couldn't be reduced to a ridiculous caricature with only the slightest connection to reality. Churchill invites the reader to imagine the European counterpart; a Frenchman wearing Bavarian clothing, speaking with pidgin Spanish, living in a tree house and using a gondola to travel over water. The absurdities pile up faster then bodies at a massacre.