Tuesday, March 3, 2009

March 2009 - Visual Arts Featured Content - Part 2 of 2

Why Are You Making Something? Part 2 of 2

By Nathan Sapio

It should be clear by now that at the heart of the question, “Why are you making something?”, lies an inquest that seeks to find Value. Investing time and effort in the production of something (like a piece of art) certainly necessitates that some expectation of reward or compensation exist for such an act.

Should the expected Value of a piece of art be based in what you can have and hold, what you can see and own, then the nature of such an item is purely physical. The answer to the proposed question in this case is, “For remuneration ($$$$$).” For those that prize art for what they can place in their homes (or in the homes of others, as the case may be), art is purely a luxury object. The most rational thing to do, in the case of those that create art as a business and/or career choice, is to stop making objects like paintings or sculpture (which people are able to talk themselves out of buying) and become furniture designers or architects. You’ll make beautiful, high dollar objects that people need. Or – you can just become a graphic designer.

Additionally, many expect to find Value in the “self-expression” found in art. Value based in “self-expression” can take several forms: one may produce art because they want others to know what they think, one could also produce art in order to make it known how “unique” or “different” they can be, or an observer could like a piece of art simply because they know (or know of, rather) the artist. Regardless of the specific situation, if the answer to the proposed question is, “In order to express myself”, the Value of such art can be found somewhere between one of two things: 1) at best, providing a therapeutic function for the maker, or 2) at worst, satisfying an artist’s underlying self-absorption. There is an inherent selfishness to both, which means that such Value is merely subjective. That type of Value carries no weight, and varies from person to person. It follows that all art based on such Value is equal; one piece of art cannot be called better than any other, for such art are all as equally “self-expressive” by definition. If you’re not also getting emolument ($$$$$) for your what you are producing, it would seem rather difficult for a rational person currently working in such a vein to find any reason to continue producing art indefinitely.

If it’s unlikely that numismatic compensation ($$$$$) or purely internal gratification are able to provide a sound source of Value, is there a satisfactory answer to the question, “Why are you making something”? As it happens, I think that there is no one specific answer. However, I maintain that all valid answers have a common, underlying element: a valid answer understands that there is inherent cultural and intellectual value in art. In the purest sense, artistic motivations that have substance and are sustainable are founded on the search for truth.

Put simply, good art has an element of truth to it. This statement doesn’t have to have theistic or philosophical overtones, though it can be well understood in that sense; truth that is absolute and encompassing is inherently vast and cannot be grasped as a whole by rationality and logical propositions. Since truth is then inexpressible (by language, at least), art becomes well suited to undertake propositions of truth, since art has the ability to be non-rational, fluid, and poetic.

In a very practical sense though, a Value relationship can be seen between art and truth. The Value of a work of art is directly related to how many other people also recognize its worth. All things being equal, if two works of art have an equal amount of exposure to the public, the piece that the most people are attracted to is the best. As critic Dave Hickey puts it, “The works of art that deliver the most stuff to the most people and serve the most complex constituencies for the longest time are the very best ones. Period.” What else can run between a diverse collection of individuals and bypass identity and personal bias to form a collective unity? Sounds suspiciously like something called truth…

Why would a person make something? If instead of a product or personal statement, a person decides to make art, a well-founded answer will have something to do with exploring or expressing something in a way that results in an experience or object that provides a little more meaning than what one started with.



Sunday, February 22, 2009

March 2009 Submissions


Re-memorie Investigation.

2009,

Sam Sullivan.

Digital Print, Sharpie, Tracing Paper, Tape, 16 x 20.

March 2009 Submissions



Untitled.

2009,

Quinn Hagood.

Graphite on Paper.

March 2009 - Visual Arts Featured Content - Part 1 of 2

Why Are You Making Something? Part 1 of 2

By Nathan Sapio

In a few months, another academic year will end, and many students in the art department will begin working on final projects. A voyeuristic walk around any art class in progress will often and easily arouse the question, “What are you making?” Believe it or not, that is hardly the most pertinent question to ask. Before any more time is spent in artistic creation, I think it is appropriate to ask the question, “Why are you making something at all?”

Many will reply, “I’m in an art class, I am being made to.” Though honest, this response lacks a certain sustainable attitude.

Maybe the question should be rephrased, “Why choose to be involved with art?” The essential question, however, still boils down to: why, of all things, spend innumerable hours making something that, for all intents and purposes, has no immediate or direct benefit or value to anybody else in existence.

The fact is that, indeed, art has no such value or significance. Only the most traditional and historical art (jewelry, pottery, architecture, even pre-Modern painting and sculpture to some extent) has any function: any way to directly benefit from it. The essence of such function, though, remains tied to decoration. So it remains, as of yet, that art is something ancillary and unnecessary.

A common, almost clichéd, point of view is that the value in art lies in its self-expression. The cold facts of the matter are certainly in conflict with such a view. Where in life is it not the case that what you have to say is unimportant unless it is true for everybody else, or at minimum, anybody else. Clearly, a researcher studying quantum theory does not report how he feels as he observes electrons change states, but when and why they do it, and what other situations such facts are applicable to. Similarly, you may smear a canvas with dark grey paint and call it Your Mood On The Morning Of October 15th, and as powerful as that painting may be, the reason someone (besides your mother) buys it will not be because they have an interest to how you felt that morning.

Ironically, the self-expression answer is not at all an elevating or ennobling answer. It merely concedes the fact that the nature of art is supplementary and gratuitous. Self-expression is a component and symptom of self-actualization (which, if one should remember the thoughts of Mr. Maslow from any introductory psychology course, can only occur after all other survival-oriented needs are met). It is unfortunate that many associate the act of art-making solely with self-expression, because it does not adequately answer the question, “Why are you making something?”- though the distinction must be made that it does answer the question fully. It is regretfully the case that discussion often ends with such an answer, because one can have no reply to the assertion of another’s personal tastes. When another claims, “I like apples”, you can do nothing but accept it.

Though it may be easy enough to make the idea of self-expression sound vaguely fascist, bourgeoisie, or even narcissistic, the important point needs to be made that there is, of course, something significant about art made in earnest and in good faith. It is a very Materialistic (read: matter not money) error to look for value in function and direct benefit, so the answer to the question, “Why are you making something?” must be rooted in something more immaterial.

Regardless, if the answer to the question doesn’t come quickly to you, are you wasting your time in pointless creation?

Saturday, January 24, 2009

New March Issue - Out Monday, Mar. 2, 2009!



New month, new ADMIX! The magazine keeps on growing, it's now double the size, 8.5" x 11"! Check out the new calendars and content for March with this beauty of an issue.
Cover art: Elizabeth. 2009, Ashley Ward. Acrylic and Ink.

February 2009 - Submissions


Untitled
2009
Silver Gelatin Print
Daniel Becker

February 2009 - Visual Arts Featured Content

Faculty Spotlight: Interview with Martin Amorous
by Sarah Wisnoskie

SW: How many faculty shows have you entered? Has there been a shift from the pieces you chose to enter in earlier faculty shows to the piece which you've chosen to enter in this year’s faculty show?

MA: Each University I've taught at has had Faculty Shows and I've always put something in them. One doesn't 'enter' them like one would enter a juried competition. A Faculty Show is really more about Service than Research and everyone gets at least one piece in. It's a way of letting the students know what the professors do. And it's an easy exhibition for any Gallery Committee... no negotiating with outside artists, shipping back and forth, contracts and such. It's an inexpensive show to put on.
Since Thanksgiving break I've completed four paintings and decided to put the smallest one in the show for two reasons: We have a lot of faculty and this saves space AND it fit easily on my wife's car so I didn't have to rent a truck. Besides, if you can only show one piece, then it hardly matters which one as no one will 'get' what your research is anyway. One needs to see several works by an artist to even begin to understand what it is all about. No painting can say it all. Each work by an artist is just a little slice of the big picture. I used to try to show something in each of the mediums I was teaching that year; painting, drawing, watercolor or digital painting and animation, but now that we have grown larger as a department and can only fit one piece in the show I just pick an easy one to transport.

SW: How do you think faculty shows benefit students? How do they benefit faculty?

MA: The main thing that's different from a student seeing a show in a commercial gallery or a museum is that in a faculty show the artists are available and accessible. Students might have a better understanding of the relationship between an artist and their work through knowing the professors that did the work. We get to see a lot of art in life but not so many chances to know the artists. Besides, it's fun to see what the supposed experts do themselves. The benefit to the Faculty is the same... seeing one’s art enriches the understanding of the person and knowing the person enriches the experience of their art. An annual Faculty Show at any institution also keeps some professors making art when otherwise, they might not.

SW: What impact has your employment as a professor had upon your art?

MA: University teaching is really a gift of time. Professors are expected to continue their research and the job is set up to allow for TIME to do that research.In the Visual and Performing Arts one’s art is the research (in most cases). If I wasn't teaching at a University I might be managing a movie theater or working construction and not have the luxury of TIME to explore my enthusiastic questioning of the universe. The money is good too and allows me to acquire most of the resources I need for that exploration. There are some theorists that contend that struggle is necessary for quality art to be made and equate struggle with how much money one has. They'd say that one needs to be poor to make good art but I disagree- THE STRUGGLE can and does take many forms and is different for each person. I think I have the perfect job for what I'm interested in.

New February Issue- out Monday, Feb. 2, 2009!

ADMIX has a new format! Through the support of SHSU's Program Council, the magazine will now be printed on quality glossy paper and with color. Get the latest on-campus arts news, issues, events, and student work. Available on Monday, February 2, 2009!

Wednesday, November 12, 2008

"A Tidier Junky" by Taryn Spencer - Complete Essay

Hesitating, I walk back and forth wondering how I would explain what I was doing in an oversized T-shirt that barely touched the back of my thighs. Underneath I am nude. No panties or bra. The wind blows faintly and I’m not concerned of the possibility of the fall’s wind blowing enough to lift the shirt, exposing my stick thin legs. I need another lie. Some excuse of how I had gotten here. To this point.
Last week, in tears, I told him I had been robbed. I told him, they snatched me into the backseat before I approached the other side of a busy street, where others like myself stood, awaiting a numbed moment. My tears were authentic. He believed me. I wasn’t beaten or deprived of any beauty of life, that assured one he was living. He simply told me to wash up, and get back out there.
Now I was afraid that he would catch me here, and the worst would happen. In reality, the worst had arrived with a vendetta. I was paranoid. Every car that drove past me was familiar. I had seen these pedestrians at least once or twice, and avoided eye contact. I doubt they noticed me. It was New York City. I ducked inside of the vacant building I had been prancing in front of, in hopes of seeing my new found friends. I wanted to get high.
Some minutes, or maybe hours ago, I had done the honors of buying the stuff. Three hundred dollars. Wasted. All I had to show from my earnings was what I felt between my thighs. A swollen vagina. I had planned on spending one hundred of that to take a cab back to the track, with the rest of the whores, but instead I bought some dope. In those blurs of seconds it was worth it, at least I thought so, but now, I was certain it wasn’t.
I rethought the situation and blamed my boyfriend. Bastard. I didn’t know he was a crack head until I came home after working at the Dollar Store, a few blocks past Lexington. He didn’t look like one. The day I came home from work, after the store was robbed, me at gun point, I caught him in our living room. Getting high. I excused him, as I had been prone to do with everything else in my life. I was like my mother in this sense. I thought if I gave it a try, I would understand him better. It would bring us closer.
I walked a mighty ways to scope out a local drug dealer. He thought I was attractive, and thought I was hitting on him, but when I told him what I was looking for, his face crinkled. For a second I thought, I had scoped out the wrong guy, or even worst, an undercover cop. I can’t get the way he looked at me to leave my mind. It haunts me still. He gave me the stuff for free along with his cell phone number. When I finally deserted the scene, I had never felt so low. I felt defeated. Once and for all.
On the way home, I was paranoid than I had ever been before. I thought every pedestrian on the block knew I had bought a crack rock. A rock. A ten dollar crack rock. The burden was heavy in my bra. It weighed my down, so that I walked slumped over a tad bit, wishing to be unnoticeable until I got back home. I wasn’t worried about my boyfriend fishing out my nervousness. He had been out job hunting, so he said, to get things for our baby. The neighbors tended to her. They only asked for twenty dollars to look after her.
I crept back into my apartment like I was easing into a jeweler’s domain, about to snatch all I would be able to get away with in a matter of seconds, and locked the door. All three locks. I took the dope out of my bra, sat it on the table, and looked at it. The dimmed light, hanging from our ceiling, gave it a dull look. It looked harmless. I took it out of the bag, to get a better look. I rubbed it between my index finger and thumb, like some archeologist that had just discovered a new species in the bird family. I smelled it. Odorless. I felt an unexplainable connection.
I thought about all the horrible things it could possibly do to me. Then I thought about what life in general could do to me. Both of these concepts bumped heads somewhere to even out. Dope was slowly beginning not to seem like a bad thing to smoke.
Zombie-like, I walked to the kitchen, looked in the kitchen and found myself being excited at the presence of a pipe. I picked it up, carefully, as if it were china, in my mother’s home, and examined it, as I had done the crack rock. When I slid it into the pipe- I knew I would meet that moment- head on. I was about to smoke crack. Crack. I thought about my problems, perhaps as an excuse to go through with it.
I needed winter clothes. My rent was past due. We needed a phone, and were barely getting by. I put the pipe up to my lips and closed my eyes, as if I were about to receive the first kiss of my life. The kind young girls giggle about to their friends after it’s done. My hand blindly found the lighter that had already been prepared for this moment. It had been sitting on the table for two days now. I flicked it, and exhaled the fumes heavily.
I felt a smile sneak across my face, but I didn’t know if it was really there or not. I felt a twinge between my thighs, and I had a sudden urge to touch myself, the way a man would touch me. I was numb. Nothing mattered. My body was afloat. My heart raced, at full speed, it felt. After a couple of seconds, it all disappeared.
“I just smoked crack,” I said to my self. Or maybe aloud. I was embarrassed. Paranoid. I thought the cops would kick the door down, ramshack our place, and throw me behind bars. For life. I calmed myself down with happier thoughts- My parents, my parents would be there to rescue me if anything happened. They would be there. Besides, I’m their only child.
I come from a good family. My father, a pastor, at the Church of Chirst. Mommy- a fifth grade English teacher. Me- rebellious and confused of why they wanted so hard for me to excel. Mommy attempted to teach me grammar, and it only made her frustrated. Daddy thought reading Psalms would make a better individual. He had forgotten I wasn’t a good reader. It took me five years and six summers just to get a high school diploma. I barely made it through.
The summer I graduated, I filled out tons of job applications. That’s when I landed a job at the dollar store. My boyfriend came in one Sunday. He was in a hurry. All he winded up buying was batteries and two cans of coke. He said he had left his wallet in the car, and paid me with coins. I believed it. I believed everything he said, until he told me his uncle was a big time pimp around the way. He seemed excited by the idea.
The idea emerged into reality on a night I worked over time. My boyfriend had bought me us a little car. When I saw the headlights after walking through those doors, the first thing I thought was, “he’s on time.” But it wasn’t our little bucket we called a car. It was a Rolls Royce. The driver claimed to have been his uncle. It was all legit. It was real, and the uncle, who I’ll just call uncle, couldn’t believe a girl like me was dating his “wreckless nephew.” He had a cruel way of bringing my own life to my attention. Uncle said, “baby you’re beautiful enough to get any man you want. Hell, I wouldn’t mind taking care of you.”
In the car, I looked out the window- at the corporate world, wondering if there was a place for me out there. Too tight. But then I saw something else. I had seen it many times before, but now it felt as if it was sitting righting next to me: Ladies, beautiful ladies prancing down the street with men three times their age. A week ago I would have thought it was gross. Tonight it was rather interesting. They didn’t bother in body. I watched in awe, not caring that Uncle was watching me. They were laughing. Smiling. Not a care in the world.
“I’m not like that,” I said, yanking my head away from the scene.
He pressed. “But you can, you have what I like to call…potential.” After saying this, he laid out facts (containing me) like poker cards- face down. With my constant rejects, he decided he liked me. I had doubts about him until he started paying rent. Buying me things. Like those beautiful women had. Buying the baby things. As if he had helped me make it. I got lazy at work. Uncle was spoiling me, I figured what was the point of work. I smoked most of my money up, and enjoyed the rest of the spending on whatever Classic decided to buy.
I thought everything was fine. That was until he busted me smoking dope. In front of the baby. He left, and afterwards did the unthinkable. He called CPS, and she was taken away. I was taken to jail. Uncle had taken over my life. He bailed me out around six a.m. The first thing I wanted to do was get high. He dropped me off on a car. Told me to make the money up, or he would have me killed by sundown.
Desperate, after he left the scene. Afraid. I flagged a Spanish man down. His face was blurry. Maybe he didn’t have a face. He didn’t take me to the dope house, after I had sucked his penis. He tried to have sex with me. I fought him off, remembering something I had seen a woman on television do. I poked him in the eye and grabbed his penis like it had been my own life. Then I let it go. I jumped out of the car at a light. Barefooted. I walked briskly, fishing out dope men here and there, forgetting about Uncle. Forgetting about my baby. Forgetting about everything. I couldn’t have been happier to see my raggedy building. That’s all I wanted to do. I just had to see that something in my life was still standing from. The idea made me happy. It made me want to get high, but when I turned around to go back into the streets, I was greeted by a fist. My boyfriend’s physique flashed before my eyes- right before I hit the pavement. I could feel my body being lifted up. I hadn’t a clue of where I was being carried off to. The unknown almost felt peaceful. When I woke up, I saw my parents. They had the baby. The only thing Mommy said was, “Please come home.” I closed my eyes wishing that she could have said that to me months ago.

Tuesday, November 11, 2008

World Jumpers Teaser - Caleb Jackson



Okay, so I know now that the magazine previewed a Ninja Monkey cartoon, but it was a flash file that just wouldn't convert to a bloggable video, so I made a last minute decision to post this teaser for a television pilot which may or may not ever get finished. In my defense, it is the better demonstration of my 2D animation abilities.