There are two things I encountered in the last 36 hours that have led me to believe that I am not doing enough with my life and my art (those are intrinsically tied so I really mean my life).
Andrew Forsthoefel, “I’ve been travelin’, travelin’…(harmonica).” Bo Diddley (not shown), Pascagoula, Mississippi (image via)
Andrew Forsthoefel's story on This American Life is one. Traveling is what I love most and there's nothing greater than the road trip. I have spent extensive time making artwork while traveling but with the exception of a couple instances, I cannot say that what I made was meaningful to anyone else other than myself. There is so much to appreciate about this: Forsthoefel's fear of the unknown and reconciling this through two simple acts - walking and listening, his eventual success eleven months later, his reception from his family and those that he met along the road once reaching the Pacific Ocean, and what that he learned along the way specifically in relationship to age (and ultimately death).
The long version, Walking Across America: Advice for a Young Man, is well worth the listen.
Ai WeiWei, Dropping a Han Dynasty Urn, 1995/2009 (image via)
Yesterday, I ventured to the Indianapolis Art Museum to see Ai WeiWei: According to What? It is billed as a retrospective (though it feels incomplete). Needless to say, it is the biggest exhibition to come to Indianapolis since I have moved to the Crossroads of America and it was well worth the visit (despite my unwillingness to set foot into the museum due to its recent problems).
Why did Dropping a Han Dynasty Urn affect me more than any other work? It operates in the same sphere as this - it's a big old "fuck you" to the institution, the government, the culture - yet it is more subtle. It is also about taking a chance and not revering the past. If there is regret in WeiWei's triptych, it is not shown here. Three succinct images - a document of an action (was it ever repeated?) - that I can learn from in many respects.
*** *** ***
Barry Lopez's Apologia is an essay that I am reminded of more than any other read in the last decade. Every time I see road kill (which is too often), I think of Lopez stopping to bury dead animals for one year during his drives across the country. It's not this particular action that I am drawn to but the dedication.
Maybe that is what this blog post is about... the search for a meaningful experience to dedicate oneself to. Digging in a little deeper and finding a way to transform that action into a form that someone else can relate to as much as I was affected by the three works above... my challenge for the summer, the year, the rest of my life.
Showing posts with label Ai WeiWei. Show all posts
Showing posts with label Ai WeiWei. Show all posts
Wednesday, May 22, 2013
Monday, January 2, 2012
Continuing to Reflect Upon Felines

Tim Walker, Pastel Cats, 2000

Andy Warhol, Cat, 1976

Jacques Henri Lartique, My Cat Zizi, 1904

Edward Steichen, Nude with Cat, 1903

Wanda Wulz, Cat and I, 1932

James van der Zee, Smart Cat, 1931

James van der Zee, Jean-Michel Basquiat and Cat, 1982

Alas & Piggott, Natalia and Cat, 2006

Ai WeiWei with Cat

Eliot Dudik, Marietta and Jim, Wimbee Creek Road

Olya Ivanova, Vova and His Cat

Beth Hoeckel, Cat Stevens
Don't miss this link via Amelia and Drew.
Wednesday, April 6, 2011
Ai WeiWei & the Interjecting Presence
Ai WeiWei, Study of Perspective - San Marco, 1995-2003
As one of many people thinking about the disappearance of Ai WeiWei lately and threatening to boycott anything Chinese (see below), it's due time to post these images of photographers interjecting their presence in front of the viewfinder.
In Study of Perspective, WeiWei traveled to national monuments – from the Basilica di San Marco in Venice, to the White House in Washington, D.C., to Beijing’s Tiananmen Square. He then shoots his own arm extended in front of the camera lens as he gives each site the finger. It's not about measurement and scale as so many artists have explored in the past (Ken Josephson below) but of a critique of politics, nationalism, and culture.
Ken Josephson, Wyoming, 1971
Nick Waplington, From Other Edens, 1994
Nick Waplington, Detail from Other Edens, 1994
Lee Friedlander, 1997
It's also curious to note that the photographers above are intrinsically tied to travel - occupying/exploring/claiming the landscape behind them.
Tuesday, February 15, 2011
A Small Sign of Spring and I'm Dreaming of Bicycles...
The warm weather is coming (though it may only be a glimpse). I keep dreaming of riding my bicycle as soon as the ice pack melts.

YMCA, Astoria, Oregon, c. 2007

August Sander, Westerwald, 1926-27

Bill Brandt, Coal Searcher Going Home to Jarrow, 1937

Henri Cartier-Bresson, Plazza della Signoria, 1933

William Eggleston, Memphis, 1980

Claes Oldenberg, Buried Bicycle, 1990

Romuald Hazoumè, La Roulotte, 2004

Olafur Eliasson, Your New Bicycle, Urania, 2010

Ai WeiWei, Forever, 2003

YMCA, Astoria, Oregon, c. 2007

August Sander, Westerwald, 1926-27

Bill Brandt, Coal Searcher Going Home to Jarrow, 1937

Henri Cartier-Bresson, Plazza della Signoria, 1933

William Eggleston, Memphis, 1980

Claes Oldenberg, Buried Bicycle, 1990

Romuald Hazoumè, La Roulotte, 2004

Olafur Eliasson, Your New Bicycle, Urania, 2010

Ai WeiWei, Forever, 2003
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