This summer while I was in Greece I re-read one of my favorite books, Mount Analogue by Rene Daumal. Mount Analogue is an unfinished novel of 4 and one half chapters, that details a group of people who are on a journey to visit a mountain that connects earth to heaven. Lets not dwell to much on the idea of connecting heaven (whatever that might be) because there is no religion (dogmatic religion) in the book to speak of, there is however the idea of some kind of spirituality that is connected to the present.

The image of the mountain is cast in numerous cultures and Duamal uses this to a great advantage, gently coaxing different approaches of the symbolic significance of the mountain, while expanding the culture and classism of the mountain and the villages that surround the mountain.

One of the great themes of the book is the idea that to move forward, you must also have moved back. This idea of give and take is handled quietly and graciously, it is to me the idea that allows the book to reach its loftier approach.

As for it's relationship to art? I think the book could also resonate as an allegory of studio practice, not so much as a guidebook per se, but as a meditation on process and artists working.

Labels: books, thoughts

The above quote is from the novel High Rise, by JG Ballard. 20 years (maybe more) I was introduced to the writings of JG Ballard, to say it changed the way I see certain things is an understatement. Ballard is best known for his groundbreaking work of fiction called Crash. Followed by his memoir of his childhood called Empire of the Sun. However for me, High Rise is the work that speaks to the new, or should I say future, urban experience.

I was jogged back into thinking hard about JGB last week when the New York Times Magazine ran a fashion spread (sample image above) in which the models were adorned in great clothes but also great medical equipment. This spread immediately triggered me to think about Crash. A few years ago Crash was made into a movie with a reasonable degree of success, however it is the themes of Crash that carry the greatest weight; The sexualization of the car crash, the fetishization of damage, and finally the objectification of the scar on the human body as sexual device. This is clearly not dinner table conversation to be sure.

Funny enough the paper this weekend had a short article (New York Times - Arts and Leisure) about Richard Prince's recent work about/using the automobile. Clearly JGB and Prince are using the automobile as a device that speaks of an everyday experience although, clearly Ballard's view is far from everyday - however I can see parts of society moving in a curious direction.

Why am I writing about Ballard in my "artblog"? I think it is because usually I look at art and think about the experience, then when I discuss the art, most often I discuss its "Meta", rarely it's experience. (meta is a prefix used in order to indicate a concept which is an abstraction from another concept, used to complete or add to the latter) I find that the writings of JG Ballard, have adjusted the focus of the lens that I view, and ultimately discuss art with.

Where to start?
The three most groundbreaking books are: Crash, High Rise and, Concrete Island. You might find one of them in a better bookstores, or you might try this internet shopping all the kids are talking about.

There are some videos on YouTube as well.

Labels: 70's, books, Richard Prince

From the Press Release - "The second annual fair of contemporary art books, art catalogues, artists' books, art periodicals, and 'zines offered for sale by over 120 international publishers, booksellers, and antiquarian dealers."

I love art books and I love books as art. This is really the best of both worlds as far as art/books/book arts go, and it's free to get in. Thats a great price. If I were in NYC that weekend, I would be there. So should you.

The Website

Labels: art bargins, Art Books, books, New York

And here I am talking about Jack Kerouac's "On The Road". The scroll of course is the roll of paper that the first draft of "Road" was written on. You probably know the legend - here is the shorthand - three weeks, not a lot of sleep, coffee, probably drugs (most likely amphetamine of some sort). This was really an attack on the whole writing process. No "pages" just writing in a pure and thoughtless approach.

On The Road: The Original Scroll, has been published by Viking. It is different than the edited versions in the way that all early drafts are - I expect most drafts are a little bit more precious - proper spacing, serious proofreading, paragraph indention's or at least paragraph breaks. This is not to be found here. What is found is a autobiography that uses real names, and seems for the most part less aware of the writer even though the writer is also the narrator and main subject. Also the Jazz that Kerouac had so deeply in him is evident - I would not call this musical or even lyrical - but it gets close at points.

When push comes to shove - the standard things about "Road" become less evident and the larger issues of the book (in my opinion) start to shine. Forget about the restless generation stuff - the issue that comes to the forefront to me is really simple and clear. It starts to become a living document on how to live. I like the idea of "Road" as a living document.

Postnote:
With Kerouac dead a large number of artists have continued the legacy of "Road" beyond writing, here are a few:
Robert Frank, Dwight Yoakum, Bob Dylan, Gary Winnogrand, Charles Gatewood, Paul Westerburg, Robert Rauschenberg, Ed Kienholz, and hundreds of others.

HERE DOWN ON DARK EARTH
Before we all go to heaven

VISIONS OF AMERICA
All that hitchhikin
All that railroadin
All that comin back to America


Photo from Emdot - found on Flickr, used without permission.

Labels: books

In 1991, David Wojnarowicz and Sylvère Lotringer met in the East Village to conduct a dialogue on Wojnarowicz's work. DW was already in the last stages of AIDS, and saw his dialogue with Lotringer as a chance to be clear about his aspirations and political views. Later SL reached out to DW's collaborators and friends - Julia Scher, Richard Kern, Kiki Smith, Nan Goldin, and others. The untold story that emerges here is the collaborative work of artists. It comes down to the fact in DW's case that he was a great synthesizer of ideas and images as well as a great artist.

for more information please visit semiotext(e)

Labels: 80's, books, East Village