Balloon inflation, Cappadocia


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Anatolian Balloons took a group of us on a tour of the valley via hot air balloon.  It was really an incredible experience to see the caves and mountains of Cappadocia from the air.  It was the most comfortable air trip I have ever experienced, including the landing.  Afterwards, we got flying certificates and the men from the company gave us a toast with champagne or juice.  The video is the crew inflating be balloons while we are waiting for a ride.  
P.S.  After admiring the shirts of the crew, one of them gave me the shirt he was wearing.

Dust in the Wind....



Here I am in the lobby of the Perissia Hotel in the Cappadocia Region of Turkey where the lounge entertainment is a young Turkish Man singing with an acoustic guitar.  He just finished a version of Kansas's classic and a significant number of the multinational crowd joined in with him - some in earnest and some in what I can only guess is high school reverie.  It's great to know that culture travels.  All of the culture, 70's anthem rock included.

I was in Ankara yesterday, on a group tour.  The first place we went was Anitkabirthe mausoleum to Ataturk, the man responsible for what Modern Turkey is.  (His image is in every place we go, humble or extravagant.)  It is an incredible place, over 200 acres dedicated to a single man.  (I just want you to know, that the guitarist is going into the Eagles HOTEL CALIFORNIA right now, completely without irony.)  It is a masterpiece of modernism, elegant, simple, severe and challenging.  It is said that a modern man should have a modern monument.  He got it all right.  The wall carvings of workers are clearly influenced by Soviet posters and the ornament is elaborate on the inside but is completely subordinate to the rectangle.  It is more a temple than a palace and like most temples you want to kneel the minute you come in.
I have noticed this a lot in Turkey and I am very glad that my friend Daniel Bozhkov recommended this country when I was writing the grant to the ART MATTERS Foundation.  The country is very focused on the future in a way I have not experienced.  The tropes of Modernism are all over the place here.  The gridded streets, the apartment buildings in the International Style, the obsession with technology all abound.  But these ideas are never really assimiliated.  For example, you will see a house that looks like something Le Corbusier himself built, but there will be the stuff of life all over the building completely destroying the Modernism form.  Satellite dishes, laundry rigging, abandoned furniture. barbecue grilles and rugs of every hue become the ornament of these buildings.  It is as if what is inside of the elegant box, the evidence of human activity, is forcing itself out of the architecture.  Even the signs for businesses add a garish vitality to the boxes on which they rest.  The failure of the modern ideal is all over the place.
That is not to say that it is not beautiful.  Quite the contrary.  Plus the people are lovely and very kind and thrilled to hear about Boston.  (To hear a Turk try to say "Parking the car in Harvard yard is really an amazing thing.)  They are very proud of their country and its achievements and really believe in the future, in things getting better, in the promise of Modern living.  This synthesis of modern austerity and Turkish ornamentalism has bred some amazing visual moments.
After Ankara we drove to Cappadocia, important for its connection to early Christian communities.  St. Paul began his missionary work here and legends of him abound.  Seeing all of the rock churches and catacombs where Christian his from their Ottoman and Roman oppressors was sublime.  You can see evidence of the very end of the Byzantine kingdom and the birth of the Turkish nation in Anatolia.  It is all over the travertine stone and the volcanic fields of wind and water shaped tufa that create a landscape out of Jules Verne.
Turkish turquoise, frescos from the Byzantine era, natural and man-made architecture side-by-side, oppression and salvation, catacombs and carpets and souvenirs everywhere.  It has been uncanny.  I feel at home and completely out of the world.  It's incredible.

Sometimes, there's God, so quickly....

Blanche DuBois certainly knew what she was talking about.

First of all let me say if you are staying at a hotel in the Notting Hill section of London, DO NOT LEAVE ON A SATURDAY MORNING!  The world and its wife comes to an open air market on that day.  Antiques dealers and pretend antiques dealers and people selling t-shirts that say "Don't Panic! I'm Islamic" are all over the place.  Walking down the street was tough. Walking down the street with luggage was a nightmare.  The next time I will stay over Saturday.  Then I can enjoy being a part of that press of humanity.
So I arrived in Istanbul a little bit ago.  It is a little after midnight.  I am exhausted and I think I got taken at the airport by a taxi company.  I was offered a ride and then told it was going to cost 100YTL for the service (this is about $80).  I let is slide because I was so tired.
I have to be up at 5 to fly to Ankara to begin my tour.  But even with the exhaustion nothing can compare to seeing Hagia Sofia and the Blue Mosque at night glittering in the hard cool air.

The Architect of Dreams

Peter Doig. Peter Doig.  OH MY GOD! Peter Doig. 

The show at Tate Britain was amazing.  I really have a hard time believing that one person has the abilities that Doig has with a brush.  He does things in painting that serve the image and frustrate it at the same time, allowing you the pure joy of looking at a painted surface.  The paintings are beautiful, tactile, haptic, and strange.  At the same time, they have the quality of dreams; that specificity that an image has when you are between being awake and being asleep.  Something concrete collides with something inchoate.  The connection between the two opens up a space of possibility and excitement.  This is beyond some of the silly notions that people have about abstraction and realism.  ALL PAINTING IS ABSTRACT.  What Doig does is work with illusion and substance and surface.  He is really making paintings on the edge of what painting can be.  All of this without compromising a sense of connection to a place, be it Canada or Trinidad.
The other thing I love is his complete irresponsibility in the use of photographs.  Sure he gets ideas from them, but he is perfectly free to invent and redeploy the images as he sees fit.  Too many artists get so caught up in what a photo is that they just end up reproducing a reproduction of reality, as if that is enough of a new conceptual trope to sustain the work (Ever hear of Warhol, Richter?).  Rudolf Stengel's paintings as awesome as they are fall into this trap.  "WOW!  It looks just like a photograph!"  In 2008 is that enough?  Is that even a compliment?
Doig uses photography as drawing material.  He translates the photograph through his hand.  This is part of what makes his work so amazing - his alteration of the source material and commitment to drawing through an idea. The photo is a schema or a plan, not a goal. 
I have to add to all of this that he is quite simply one of the most beautiful men I have ever laid eyes on.  The video they showed at the exhibition reminded me of his soft spoken confidence and seriousness about his practice.  It also showed the sparkle of a jester in his eyes.  It brought back the generosity and openness of his Skowhegan lecture last year.
I hope he keeps painting for a long long time.  As long as this guy is working no one needs to worry about the state of the art.

Why hats are popular in Trafalgar Square


You know, I like animals as much as anybody, probably more.  But I cannot stand pigeons.  It has a lot to do with living through the first part of the AIDS epidemic.  There is this parasite that causes an infection called toxoplasmosis that killed a lot of PWAs in the 80's and 90's.  There is a moment in the AIDS chronicle AND THE BAND PLAYED ON, where a young doctor finds a sheep farmer who has some experience with toxoplasmosis.  You see, this was an illness, carried by pigeons and cats in their excrement, so the young doctor was thrilled to find someone who dealt with it on a regular basis.  He asked the sheep farmer what one does with the sheep who are infected with the parasite.  "We shoot them," he said.  

That is why I don't like pigeons.
But, in Trafalgar Square, in almost every language spoken on the planet (I think they missed Latin and Esperantu), it asks you not to feed the pigeons.  It's pretty clear and posted everywhere. And yet all over the Square there are morons giving food to these carrion animals. I don't really understand it.  Are these people thinking it is all right for me to feed them and no one else?  Do they think they are invisible and no one sees them doing it?  Do they not see the CURTAINS OF PIGEON SHIT COATING THE SQUARE?  Honestly, I don't know what to say about this.  I am glad they found a treatment for toxoplasmosis.
I went to the National Gallery and saw so many things that I had only seen in books.  I came very close to  succumbing to Stendhal Syndrome from looking at too many incredible moments of art.  Carravaggio's Supper at Emmaus, Piero della Francesca's Nativity, Van Eyck's Arnolfini Wedding, Rembrandt's Final Self portrait and Balthazar's Feast, and Leonardo's Virgin of the Rocks.  All of that in one day.  Plus the Vermeers, the Rokeby Venus, Titians, Raphaels, RUBENS!  It was an incredible day.  I started getting back spasms from looking.  There was nothing to prepare me for what it was like to be in the room with these paintings that I had seen only in reproduction.  The copies are NOTHING compared to the real things, man.  It was an exhausting day, but I saw some amazing things.  Seeing some of the Degas made me reconsider him.  To see Rembrandt's change in paint handling over THIRTY YEARS!  I can see why so many people come to London to study.  There are so many masterpieces in the National Gallery.  Painters I love like Parmigianino and Bronzino are in the collection.  I could live in that museum and still not see enough.
Michael took me to his place in Brixton (I know what you've heard and it is a very nice neighborhood) and I watched a bad BBC quiz show and fell asleep for a bit.  We went to Brick Lane for dinner and hanging out.  Part of the toxoplasmosis rant had to do with Michael telling about his partner who died.  So many people are gone and it is hard to get your brain around it at times.  

There's no place like LONDON....


Well, now I know why Sweeney Todd cut so many throats....

I'm kidding.  Really, I am loving London.  First off, I have never been here.  There are over 300 million people in England and I think I rode on the Underground with all of them today.  I was not prepared for the sheer press of people that you can get caught in here.  Everyone is on their way some where and I have heard so many different languages spoken it boggled my mind.  I had a great moment when a couple of people wanted to interview me about my feelings on the National Health Service.  I had to tell them I was not British, so my opinion didn't really count.  I guess I look British.
I know this blog is about Istanbul and believe me I am very nervous and excited to go.  But since it is a long trip and I have the time, I thought I would spend a few days in London coming and going.  First because some of the greatest art in the world is here and also because my greatest friend is here, Michael Mullen.
I want to say something about the way the English speak and what it does to you.  First off, they are convinced that they speak the right way (it is called "English") so when you are over here and you are speaking it, you are saying everything wrong.  Think of the way you say "Worcester," or "Holyoke."  Now the way you feel about people outside of Massachusetts pronouncing those words incorrectly is they way the English feel about you and the entire language.  You can't compete with it, so you have to start pronouncing things the way they do.  This accounts for what people think is Madonna being affected with a fake British accent.  If she doesn't talk that way, no one here will understand her.  They look at you like you are a freak if you don't talk like them.  It really forces you to assimilate.
(Note: The above does not allow ANYONE in the Americas to say things like "Happy Christmas."  Now THAT is an affectation.  It is positively sick making and should be stopped. )
We went to Tate Modern today and saw the permanent collection and an amazing Juan Muñoz retrospective.  I can only imagine the work he still had in him when he died.  It was a haunting and beautiful show.  We just missed the Doris Salcedo installation in the Turbine Hall.  Tate Modern really is an incredible building.  It was an old powerstation that got repurposed into the most incredible museum.  We also went to the National Portrait Gallery (Sir Thomas Lawrence... so GOOD!  Who knew?) and tomorrow we are going to Tate Britain to see the amazing Peter Doig's exhibition.  

Being away...

A lot of things come to light when you are away from home.  Don't get me wrong.  I am not saying "I am on vacation and things are GREAT!"  I am talking about discovering something about how I am based on being in a different place, a different location, a different light.  I am making different paintings because the light of Savannah is different than that of Boston or of Central Maine.  That sort of goes without saying.  What I am getting at is this trip to Savannah has put some things in plain view.  Things I try hard not to think about.

First of all, I am a very solitary person and it has never really bothered me until I came here.  For the first time in a very long time, I am aware of how very lonely I am and how unconnected I feel at times.  I have no family to share this experience with, there is no one to call at home, there is no one to check on me and no one for me to check one.  In some ways, it gives me a tremendous amount of freedom, but in other ways it leads to feeling very unmoored.  It becomes clear when I see something or experience something and I want to share it with someone I know and who knows me.
I have friends.  That is not the issue and I share my experiences and feelings and adventures with them.  It goes deeper than that.  My Mother remembered a time before I could remember.  She saw me through many different ways of being and to be able to share this experience (and the emergence of a career after a lot of hard work) would be something.  It would make her very proud and happy and I would have the satisfaction of watching her investment in me pay off.  If I was married, I am sure my husband would feel the same way.  If I had children, they would be proud of their dad.  My friends are happy for me and I know that they love me.  I don't like to think about this at all, but I miss having a family.  It took leaving Massachusetts to realize what I don't have and I don't really have that sort of group of relatives that are in your corner.  Other people have their own families.  Mine is damaged, fractured, explosive and wounded.  I cannot expect that kind of support from them.  
When I was in High School we had to read a book by Chaim Potok called My Name is Asher Lev.  It is a story about an Hasidic Jew who becomes a painter on the cutting edge of contemporary art.  In the book, Asher has to reconcile his faith, his family, and his responsibility to his art work.  On the one side is his father, and on the other is Jacob Kahn, his teacher.  Asher talks about the loneliness that is living the life of an artist.  I sort of understand this now.  
The loneliness of the artist is not an abstract thing.  It really is the condition of making art.  The solitude that I require to make work is not something I would (or could) give up.  What a tremendous gift it is to have this time and this place to make the work.  I am a very fortunate man.  In the heart of all this, though, I am faced with the way I have structured my life to make my work.  I would not change the decisions I've made (to be single, to be childless, to teach, to commit to artmaking as a central fact of my life)  for anything because I truly love this life. However, being here reinforces how much of my life I have done alone.  

Wall work


My studio here at SCAD has a wall that is about 22 feet long.  It is great inside the studio and I have plenty of room to work.  The wall on the outside of the studio is blank, painted with the ubiquitous gloss white paint that I guess art schools everywhere use.  I am confronted by this wall (what I guess Melville would call the "whiteness of the whale") each time I go into my studio.  I felt like it was confronting me to do something with it.  In his essay "Whitescapes" in his book, Chromophobia, the artist David Batchelor talks about a kind of whiteness that is accusatory.  This has been on my mind as I pass this wall.

I've decided to use this wall as a site for drawing.
I am going to make some drawing installations on this wall, short-term projects of a week or so. My goal here is to expand my practice to include works that are specific to a location and have a limited means of execution.  I also want them to have as their main focus the formal essentials of two dimensional art.  I am not interested in making sculpture, but rather I am interested in the consequence of a mark on a surface, the evidence of the tool being used, and the duration of a mark in relation to a body.
Miwon Kwon's lecture on Felix Gonzales-Torres has really stayed with me.  Specifically the way Felix's work comes into being based on the certificates of authenticity and how the transmission of the certificate allows for the manifestation of the work.  Since these wall drawings are specific to the wall outside of my studio, it might be necessary to document them in writing in addition to photographing them.  I am not certain if these drawings can be done anywhere, but if someone wants me to recreate one how do I do it? Can I make the flexibility of location a part of the work?  Do I have to be there to install it?  All of those questions that Dr. Kwon posed in her lecture interest me a great deal.  

New Work...

I have been thinking a lot and drawing a lot this past few days.  The thing that has occupied me for a while has been this idea of ecstasy.  Bernini addresses it in his sculpture of St. Theresa, but I have been wondering about it in my own work.

At this stage of my life, I am barely a Christian.  I do have a long personal history as a Catholic so I do have access to ideas and models of trasformation, the miraculous and so forth.  I can call to mind many stories of the lives of the saints, for example.  But in my practice these have not been helpful in determining aesthetic frameworks for this project. 
I remember seeing a movie when I was a kid about the Rapture.  Essentially, this kid and his mom had a fight and she sent him to the store.  While he is there, the Rapture happens, when the faithful are taken bodily from the earth.  There is a terrifying, slow motion bottle of milk falling and smashing on the floor.  The holder had been "raptured" and there was only a pile of clothes where she had stood.  The kid rushes home and finds a pile of clothes in the kitchen where his mom used to be. Needless to say, this scared the shit out of me.  
I have been thinking a lot about that while in Savannah.  The possibility of being taken away in religious ecstasy.  Can that happen now?  What does it look like?  And really, since I am gay and an abomination in a cosmology that contains the Rapture, I know I will be "left behind." Who gets to go?  Who has to stay?  And since the sinners create the opportunities for the saints, is there a way that I am helping the faithful get to Heaven?  What sort of service can I provide for the faithful?  Similar to the service gay men provided to people of faith like Ted Haggard. (FYI if you see the movie Jesus Camp, there is a scene of Pastor Ted exhorting the children to hate gays.  It's edifying.)
As I keep making these drawings it is becoming clearer to me. 

Texts


For those of you interested, here are the texts I am using for my Visiting Artist Seminar Classes.  Many of them can be found in the MassArt Library, and also the articles are available on the JSTOR database.

REQUIRED TEXTS
James Elkins WHAT PAINTING IS
Mira Schor WET: On Painting, Feminism and Art Culture
David Batchelor CHROMOPHOBIA


REQUIRED ESSAYS
W.E.B. DuBois "Of Our Spiritual Strivings"  from THE SOULS OF BLACK FOLK
Cornell West "The New Cultural Politics of Difference" from OUT THERE: Marginalization and Contemporary Cultures
Walter Benjamin THE WORK OF ART IN THE AGE OF MECHANICAL REPRODUCTION
Susan Buck-Morss AESTHETICS AND ANAESTHETICS: Benjamin's Artwork Essay Reconsidered
Sol LeWitt SENTENCES ON CONCEPTUAL ART & PARAGRAPHS ON CONCEPTUAL ART
RECOMMENDED
Gerhard Richter ATLAS
Charlotte Mullins PAINTING PEOPLE: Figure Painting Today
Kristine Stiles and Peter Selz THEORIES AND DOCUMENTS OF CONTEMPORARY ART
Agnes Martin WRITINGS
VITAMIN P: New Perspectives in Painting
VITAMIN D: New Perspectives in Drawing

Meeting people....



I've met a lot of people this week. I really think I may have met too many people. I am really exhausted.

The first week of classes is over and it was really great. I have 2 fine cohorts of students and they are really excited about getting to work. The rosters and working with the Registrar has been difficult, but I am hoping the sailing is a lot smoother here on out.

The high point of the week, besides the teaching, setting up my studio, and meeting Hung Liu, an amazing artist from China, was the Visiting Artist Lecture from Steven Yazzie. I met Steven at the Skowhegan School of Painting and Sculpture when he was a Participant in 2006. The work he created there became a large scale, multi-media project called Drawing and Driving. He showed this work and all it its various permutations and also showed work he is making with a collaborative of artists called Postcommodity. It was a really far reaching presentation and he talked very generously about his practice and how he allows his work to grow out of itself. He is a very exciting artist to keep an eye on.

After Steven's lecture, we went to dinner at a restaurant called local11ten, where all the the food on the menu was locally grown. It made me think of Sarah Beth, she would have loved to see a fine dining establishment that was committed to the local environment and area growers. Plus the food was amazing. Steven, and I got to talk and I also got to speak at length with the amazing Hung Liu. Her show is at SCAD right now and there was a very large speaking event for her the same night as Steven's. I wish that I could have heard her speak as well. Since she grew up in Communist China and I grew up in a leftist family, we had a great time singing old party songs and talking about Paul Robeson. Her exhibition at SCAD is called Memorial Grounds. You can see images of her work at her website.

We also had a sort of pep rally/faculty meeting this morning for the entire faculty. SCAD is essentially staffed by adjuncts at the Savannah campus, so this means that there are a huge number of people teaching here, just like MassArt. At this all faculty meeting, we had a speaker named Peggy Maki, an Education Consultant and Assessment Editor who talked to us about how to assess students and how to figure out how they are doing in class. I have to tell you, I was so glad that I knew about the Studio Habits of Mind because everything this woman was saying was an affront to what I know about making and teaching art. She was so focused on rhetoric and rubrics that she lost sight of what and how one learns in the making. It was so results oriented that she never saw what artists learn from error or mistakes. Lastly, it was so concerned with metric evaluation that it did not move the student from problem solving to problem creating. You can bet that as soon as the presentation was over, I gave her my card with the name of Lois's book on the back. I have to order another copy of the book from Amazon. I gave my copy away.

Settling in...


Thomas Jefferson is quoted as saying "One should avoid talking overmuch about the weather." I tend to agree. I have to say though that my arrival in Savannah was the coldest day of the year here. It was cute to see all the people bundled up in their parkas and scarves on a 39 degree day. I walked around in a sweater and jeans and just laughed my head off.

I don't know what you have heard, but Savannah is a breathtakingly beautiful place. The apocryphal story is that Sherman was so overcome with the city's beauty that he decided not to burn it. The truth is that by the time Sherman got to Savannah, there was no reason to destroy it. That - plus an aggressive restoration movement - accounts for the richness of architecture here.

There is a gothic sensibility to the place that fuels rumors that it is haunted. I don't believe in ghosts, but I do believe in the sheer weight of history and this place really has it. I walked by the Savannah Cotton Exchange building and noticed that there were plaques everywhere about what person had done what where. There was even a plaque commemorating the invention of the cotton gin. But there was no plaque indicating that Africans and African-Americans were sold as chattels on that spot. Now there is a river walk, bars and restaurants, little shops and all that kind of stuff in the area, but if you look, you can see the brick staging areas where auctions were held for everything from pecan pralines to people.

The longer I stay here the more these incongruities will be revealed. I am hoping that they are influencing what I am doing here, just as I hope I have some lasting affect on the people I meet and teach.