by: Arlene Goldbard on January 3rd, 2014 | Comments Off
I feel my artworks, to a great degree, they are desires that will never be fulfilled. But that doesn’t impact on what we do manage to do. Just as I feel that the great part of the demand for freedom lies in fighting for it, and not just in it being a goal. I feel that the process of striving is where value lies in life. In the process of living our life, whether it’s an artist’s, a theoretician’s or a philosopher’s, we’re doing something very difficult.
The Chinese government took away Ai Weiwei’s passport more than a thousand days ago. Each morning as he begins work in his Beijing studio, the artist places a bunch of fresh flowers in the basket of a bicycle chained outside. The bike belonged to a young German man working in China who was also arrested; upon release, before he returned to Germany, he arranged for it to be given to Ai, who has made it a symbol of freedom. Ai has said the flowers will stop when he gets his passport back.
This morning before I began to work, I listened to a meditation tape.The teacher’s soothing voice instructed the meditator to notice thoughts and feelings with interest but without effort, always returning awareness to “a natural state of ease and contentment.” The underlying idea is that ease and contentment are indeed our natural state, that resistance, discomfort, and anxiety are merely fleeting interruptions. If we can learn to experience them without attachment, we can remain at ease.
by: Arlene Goldbard on December 31st, 2013 | Comments Off
Many think that changes and reforms can take place in a short time. I believe that we always need time to lay the foundations for real, effective change. And this is the time of discernment. Sometimes discernment instead urges us to do precisely what you had at first thought you would do later.
What is worth discerning as 2013 draws to a close? It’s a little nuts to assess the tenor of a year on the day it ends. I get a mental image of a panel of fishes commenting on the nature of water as it rushes past: “Wet,” they say, nodding their silver heads sagely, “definitely wet.”
Still, on the cusp of 2014, I sense a sea-change in what Paulo Freire called our “thematic universe,” that stormy ocean of ideas and events in dialectical interaction that characterizes an epoch.In a thematic universe, no single idea or manifestation predominates. It’s the whole wriggling mass of ideas and their consequences that shape a moment: blind faith in fundamentalist religious dogma and its twin in overconfidence, the convictions that we’re nothing but chemicals and forces and that science will unmask all mysteries; rampant acquisition and exploitation and elective simplicity, living lightly; white supremacy and racial equality. The conjoined pairs that wriggle the most vigorously – including those I’ve mentioned – form the warp and weft of our era. But the tapestry is complex, many-colored, many-textured.
by: Arlene Goldbard on December 23rd, 2013 | Comments Off
Joseph Epstein is a conservative writer, mid-70s, who has spent much of his literary life pissing off readers with liberal or left values. His newest piece in the Wall Street Journal—“The Late, Great American WASP”—is a case in point, worshipping a bygone American WASP-ocracy that supposedly sacrificed the pleasures of mere domination in favor of power-wielding packaged with a sense of responsibility. While Epstein’s literary output has been polished to a smudgeless sheen, it still reeks of brownnosing, reminding me of the Francophone notion I borrowed for today’s title: nostalgie de la boue. Literally this is: nostalgia—homesickness—for the mud. It is meant to indicate an attraction to whatever is low, crude, degraded, to the romance of the wallow in our sensual nature without the trappings of civilization.
Why is Epstein so impelled to glorify a caste that could never include himself? He was born in Chicago, but if his parents weren’t born abroad, surely his grandparents immigrated here. He was brought up in a Jewish-American milieu he described a decade ago in an interview, seemingly completely unaware of his words’ embedded self-disgust:
[N]one of the positive stereotypes of Judaism adhere. We were not kids who had political idealism. Our parents did not talk about Trotsky and Stalin and the Party. I knew no one who took violin lessons. A few kids were forced to take piano and they hated every minute of it. We went to Hebrew school because were instructed to and we were bar mitzvahed. The only culture that was ever mentioned among the Jews of my parent’s generation was musical comedy. And you’d get these guys; these terrific brutes working in the scrap iron business and borax salesmen and they would go and sit there meekly with their wives and listening to Pajama Game. They’d come back and say “Gee we saw it in New York and the cast was better.” But there was no real culture. They were nice men, and I don’t mean to belittle them for not having culture. I’m glad to grow up without culture.
There’s been an art-blogworld swirl lately about need versus want. You can find a summary with links to relevant posts by half a dozen bloggers in this entry in Barry Hessenius’s blog.
In this context, I find the distinction nearly meaningless. Need how? To sustain life, we need air, water, nourishment, sleep, and shelter. To thrive, most of us need caring, connection, pleasure, meaning – the myriad things that account for the difference between mere survival and a life lived fully into our capacities. To keep up with the Joneses, one’s home needs a new car in the driveway or a new coat of paint. The further from survival’s necessities we get, the more we use the word need to signal intense wanting or intense obligation: I really need that pair of shoes; I really need to kiss you right now; I really need to wash my car; I really need to see the dentist. Sometimes want elides into need without noticing. The archetypal experience my young self shared with many other artists jumps an arc from the spark of awakening interest to the strong current of desire-drenched need: I needed to paint, and now I need to write.
by: Arlene Goldbard on November 29th, 2013 | Comments Off
Nato Thompson: I said to you, ‘Rick, what are you going to do? Because now there are all these social practice programs where a lot of white kids are graduating and they’re going to go into communities of color and try to help everybody.’ And then you said, ‘Well, it sounds like they’re finally going to get an education.’
Rick Lowe: When you think about the field of social practice, I’m kind of in-between. I come out somewhat of the community arts era and now straddling into the social practice side. It was really funny to me today, I was thinking, ‘Man, is social practice gentrifying community arts out?’
This exchange between Rick Lowe, the founder and director of Project Row Houses in Houston and brand-new appointee to the National Council on the Arts (see Third Ward TX, my friend Andrew Garrison’s wonderful 2007 film on this work if you can) and Nato Thompson, Chief Curator of Creative Time, was part of the Creative Time Summit, a much-livestreamed late October 2013 New York conference on “Art, Place & Dislocation in The 21st Century City.”
by: Arlene Goldbard on November 18th, 2013 | Comments Off
(Credit: CC-BY-NC-SA by Creative Commons)
I’m not a sports fan. in fact, I’m so not a sports fan that I can seldom match the team names with the sports they play. But friends have been sharing so many stories and clips about the Richie Incognito-Jonathan Martin affair – racism and bullying in the Miami Dolphins – that I felt compelled to investigate.
For my fellow Martians, here’s the nutshell: Incognito and Martin are two 320-pound football players who work for the Miami Dolphins. Martin is 24, a Stanford graduate, an offensive tackle and African American. He is the child of a corporate lawyer and a professor, with a stellar sports career and a reputation for intelligence. Incognito is 30, a guard, white, from humbler origins, who trails a stream of suspensions and expulsions, mostly for fighting; he turned pro without completing college. In 2009, National Football League players voted Incognito the “dirtiest” player in the league. After obscene and racist text and email messages, countless locker-room incidents, and a dining-hall prank masterminded by Incognito that evidently felt like the last straw, Martin resigned from the Dolphins and headed into a silence he has not yet broken, although he has met with an NFL attorney and reportedly declared his desire to return to football. Incognito has been suspended indefinitely for “conduct detrimental to the team,” and has made many public protestations that he and Martin were friends, that the aforementioned messages and texts were merely business as usual in the NFL.
In the emergent world – the one I call The Republic of Stories – we don’t have to shrink ourselves to the scale of widgets to interact with corporations and institutions, modeling our own ways of being on the machine logic of our inventions. At any moment, we can open the gates of perception and understanding. We can treat each other as whole beings. We can assess and consider the full price of our actions, then act accordingly.
That world already exists; it’s just that the way is sometimes blocked by those so loyal to Datastan’s values that they can’t imagine an alternative. It’s a matter of time before enough people bring the new reality into focus, and I am determined to put my energy on the fulcrum of paradigm shift. It’s amazing how much even a single exercise – allowing a piece of music to enter us fully – can help engage the tipping-point.
In Vancouver recently, I spoke at the Zero Waste Conference, a gathering of scientists, officials, academics, and activists devoted to eliminating waste. I was deeply impressed to encounter Michael Braungart for the first time. His talk was frank and amusing, calling into question many of the aims implicit in zero waste and other action focusing on environmental impact reduction. Braungart’s points sounded obvious once you heard them, generating mind-changing implications. For instance, he compared the goal of “zero emissions” to the reality of a tree, which emits helpful substances into the atmosphere and earth. He questioned sustainability as a value, suggesting that it sets the bar pretty low: “Would you want to answer a question about the quality of your marriage by saying, ‘It’s sustainable’?”
by: Arlene Goldbard on October 10th, 2013 | Comments Off
I’m on my way home from New York.At Bowery Poetry, I gave my first Culture of Possibility workshop, aimed at actualizing the ideas in my new books. As so often happens, everyone resonated with my critique of Datastan, the realm in which human being in all their delightful particularity are asked to adapt to the machinelike linearity of our own creations. Large and small, social systems seem to be designed by and for robots, and often, the choice to evade them seems foreclosed by circumstance. As I say in The Culture of Possibility: to the degree Datastan’s…
…project succeeds, it makes us miserable. Machines have often been a boon to pleasure and freedom: if my home were on fire, I’m certain I’d save my computer, iPod, iPad, and iPhone before anything else. But I want to make use of them, not be controlled by them. If it were a pleasure to be treated like a cog in a machine, people would volunteer for it. Instead, those whose economic circumstances enable them to avoid interacting with public and private bureaucracies, customer service departments, and the type of assessment that allows a number to stand for one’s worth invariably employ a cushy buffer zone of specialists and factotums to insulate themselves from such diminishment. Everyone who can evade Datastan does. That doesn’t stop them from prescribing it for the rest of us, though.
As often happens, life throws up a handy example of whatever has seized one’s attention.
I’m going through one of those bumpy passages on the journey to belonging.I moved a couple of months ago, and while the reason was love and I feel the opposite of regret, the adjustment to a new community is pushing some ancient buttons. As with many children of immigrants, I know what it’s like to feel in it but not of it. By now, the catalog of my own complaints is intensely boring to me: I don’t know how to meet the people who might belong to my own quirky tribe if only I knew who they were; I’m always getting a little lost; the relatively short distance to my old neighborhood and old friends seems much longer now that I’m on the other side of the Richmond-San Rafael Bridge.
I imagine that this too shall pass, and probably pretty quickly. I’ve moved more than 25 times in my life, so I know the dance. I’ve been doing some online research. I even wrote a couple of the messages I tend to generate in such circumstances: e-introductions to fellow artists and activists with whom I have some vague virtual connection (who so far have not replied, but never mind). So I’m not worried, but I am noticing the tenderness that gathers up memories of alienation and stacks them in my forebrain. I am noticing how the little story – the little, highly personal kvetch – connects to the slightly larger and eventually the big stories of our world, adding an extra charge.