R529 Final Analysis: Due Date: December 1010, 2008
Write a Response to the following Questions
Your total response should be approx. 3 pages:
Analyze the advantages and disadvantages of working collaboratively in terms of your own work.
No matter how cleverly you think you can mask your most guilty and
shameful reactive social projections in the public sphere, everybody
is down when they get a bad review, get rejected from a show, miss the
prize or get bumped from the guest list. Oh sure, certain civic
responsibilities demand that you muster up some social graces and
exude a humble and sympathetic posture in the spirit of supporting
your community and being "above" countless numbers of infantile
grudges, meaningless defeats and hollow feuds, but you are not fooling
anyone.
We know.
We know it hurts.
We know it burns to be under-
-estimated-appreciated-bred-classed-cool-
-dogged-represented-played-stated-done
and under-
-dressed-emphasized-whelmed-exposed-sold
finaced-mined-payed-rated-weighted
You can smile and look understanding when you're really undesired,
undetermined and undone, but we know that smile is just another hole
that you didn't punch in the wall.
What we don't know is what you really feel beyond all the petty
role-play. We don't know who you are beyond the drill of being good,
but not too-good-to-include-me. If you can talk the talk you are
tolerated. If you can talk the talk and seem genuine, you are trusted
and maybe even somebody will remember your name or possibly help you
carry something heavy. But we still see mostly a shadow of the
turmoil that led you to this vocation of lunatics.
Normal people don't make art. Art defies the definition of normal.
That may be all it does. So when you look around the gallery or
studio or academy don't think for one second that all is well in the
bone helmets of your fellow peers. They have problems. They have
issues. Not to say that all problems are detrimentally bad or that
all issues are functionally detrimental, but they are not customarily
polished for public consumption.
Collaboration is the primal scream therapy of the art world. It tells
all your secrets. It reads your diary and then passes it on. It
unties the string that holds that mask to your ill-defined face. The
mask that constantly looks out on the world through half-mooned,
smiling eyes. The mask that reflects all your lies back into your
mouth like warm black light. That mask is a psychic levee formed by a
deluge of mental sediment in order to hold back the next flood. It's
flesh colored make-up on a clown.
Some people don't like to have that mask off. Some people like the
leash-and-collar comfort of being pawned to circumstance. Reticence
and composure are heavy tools that you can't just strap to your face
and forget about.
Collaboration is alternately defined as: The betrayal of others by
working with an enemy, especially an occupying force. I believe some
people see themselves as that enemy: The Ultimate Occupier. The
intellectual strength of force is moral not physical. Morality is the
energy that fuels collaboration. Without morality the whole process
will slowly grind itself to a stop. Collaboration, like morality,
teaches a lesson in moral behavior. It defines the pack and your
placement in or out of it.
You can't bare-knuckle-art-fight with kid gloves on. You can't lie
without your mask and feel like the lie has been sold. If you don't
wonder who you are outside your head collaboration may not work for
you. If you don't care to explore the frontier where the border
patrol of your ego sits and picnics on its lunch break then go back to
your studio, lock the door behind you and let your drama prove sincere
in the comfort of your own head.
Write out your own working defintion of a theme.
Theme:
Theme as a word should be thought of as a plural (maybe even a proper collective plural for ideas, as in, "I just had a theme of great ideas"):
Theme are the semantic notes in the visual melody of your work (keep them in tune or the
crowd will throw things at you).
Theme are never perfectly balanced, but the over-all ratio should at least be complimentary.
Theme are not mother, pick up after yourself.
Theme are like Jesus in that story about the disappearing footsteps in the sand and
actually forgetting that someone picked you up and carried you.
Theme are like plants. You can never really figure out how long they will live and sometimes, for no reason, they just die despite your loving attention.
Your total response should be approx. 3 pages:
Analyze the advantages and disadvantages of working collaboratively in terms of your own work.
No matter how cleverly you think you can mask your most guilty and
shameful reactive social projections in the public sphere, everybody
is down when they get a bad review, get rejected from a show, miss the
prize or get bumped from the guest list. Oh sure, certain civic
responsibilities demand that you muster up some social graces and
exude a humble and sympathetic posture in the spirit of supporting
your community and being "above" countless numbers of infantile
grudges, meaningless defeats and hollow feuds, but you are not fooling
anyone.
We know.
We know it hurts.
We know it burns to be under-
-estimated-appreciated-bred-classed-cool-
-dogged-represented-played-stated-done
and under-
-dressed-emphasized-whelmed-exposed-sold
finaced-mined-payed-rated-weighted
You can smile and look understanding when you're really undesired,
undetermined and undone, but we know that smile is just another hole
that you didn't punch in the wall.
What we don't know is what you really feel beyond all the petty
role-play. We don't know who you are beyond the drill of being good,
but not too-good-to-include-me. If you can talk the talk you are
tolerated. If you can talk the talk and seem genuine, you are trusted
and maybe even somebody will remember your name or possibly help you
carry something heavy. But we still see mostly a shadow of the
turmoil that led you to this vocation of lunatics.
Normal people don't make art. Art defies the definition of normal.
That may be all it does. So when you look around the gallery or
studio or academy don't think for one second that all is well in the
bone helmets of your fellow peers. They have problems. They have
issues. Not to say that all problems are detrimentally bad or that
all issues are functionally detrimental, but they are not customarily
polished for public consumption.
Collaboration is the primal scream therapy of the art world. It tells
all your secrets. It reads your diary and then passes it on. It
unties the string that holds that mask to your ill-defined face. The
mask that constantly looks out on the world through half-mooned,
smiling eyes. The mask that reflects all your lies back into your
mouth like warm black light. That mask is a psychic levee formed by a
deluge of mental sediment in order to hold back the next flood. It's
flesh colored make-up on a clown.
Some people don't like to have that mask off. Some people like the
leash-and-collar comfort of being pawned to circumstance. Reticence
and composure are heavy tools that you can't just strap to your face
and forget about.
Collaboration is alternately defined as: The betrayal of others by
working with an enemy, especially an occupying force. I believe some
people see themselves as that enemy: The Ultimate Occupier. The
intellectual strength of force is moral not physical. Morality is the
energy that fuels collaboration. Without morality the whole process
will slowly grind itself to a stop. Collaboration, like morality,
teaches a lesson in moral behavior. It defines the pack and your
placement in or out of it.
You can't bare-knuckle-art-fight with kid gloves on. You can't lie
without your mask and feel like the lie has been sold. If you don't
wonder who you are outside your head collaboration may not work for
you. If you don't care to explore the frontier where the border
patrol of your ego sits and picnics on its lunch break then go back to
your studio, lock the door behind you and let your drama prove sincere
in the comfort of your own head.
Write out your own working defintion of a theme.
Theme:
Theme as a word should be thought of as a plural (maybe even a proper collective plural for ideas, as in, "I just had a theme of great ideas"):
Theme are the semantic notes in the visual melody of your work (keep them in tune or the
crowd will throw things at you).
Theme are never perfectly balanced, but the over-all ratio should at least be complimentary.
Theme are not mother, pick up after yourself.
Theme are like Jesus in that story about the disappearing footsteps in the sand and
actually forgetting that someone picked you up and carried you.
Theme are like plants. You can never really figure out how long they will live and sometimes, for no reason, they just die despite your loving attention.
posted by Matthew Pazzol at 10:54 AM
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