Archive for the Artists Category

Work, of the Type I Dislike

Posted in Art, Art Student Handbook, Artists, Contemorary Art, Criticism, Leisure, Literature, Pop-culture, Social Science, Technique on 7 November, 2010 by endlessslug

The slug found himself a job.  It’s one of those jobs that kills all creativity and time, yet kind of pays the bills.  My new workmates like to remind me (constantly) that “it’s money, right?”

Wrong.

Yes, I get paid, but so what?  My interests are broader and I was getting along while also building two different companies.  I was producing, I was beginning a successful climb towards my own agenda of success and quality workmanship.  But now I must toil at a graveyard-shift shit-pile of a job and make way less than the average employee (as I’m considered a “temp”), and get absolutely no new work accomplished.  I know its difficult for a non-artist/writer to understand sometimes, but artists no matter what the type require time, above all, to complete projects.  In fact, we need time just to think and design a project.  We cannot simply sit down for 30 minutes at a time between meals or social events or work and be expected to pump out masterpieces – or anything at all.  The mundane world sees this as “correct” – that now artists and writers must make themselves a “decent” or “honorable” living because the general public believes very little in what we do for them.  And of course, there are artists and writers out there that have really made a terrible image for the rest of us working little and pissing out terrible work for a high profit return (cf Andy Warhol).  I would encourage the public to see artists as carpenters or other construction laborers, and no different, as much as popular artists, or the “artist you know” would like you to think otherwise.  Artists are craftsmen and women like any other, but our work is often situational and based on life experience, not a directly or obviously functional device like a house or car.  This is also not to take away from the artistic elements of the work that other craftsmen do.  I saw a forklift driver the other night whom I felt was a fine artist of truck loading, for example.  The difference between us is only that I (or any other artist) focus on the artistic/aesthetic and secondly on function; just a reverse of the practical consensus.  I wish we could be paid by the hour to create our structures, our homes, our food, our art, but this cannot be.  I don’t blame the public here, I blame artists in conjunction with a cultural mentality that we must all find some sense of uniqueness to consume and compete with.  A mixture of protestant ethic and capitalism, combined with contemporary reliance on spectacle and immediate gratification.  A competition for the shock, as it were, as a means to qualify for a self-defined (yet with immense lacking of experience) sense of personal hard work in the completion of a sub-standard pile of regurgitated sameness steamers.

You can make something new and important and be paid for it.  Relax.

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The Slug’s Move is Ended… for now

Posted in Artists on 10 August, 2010 by endlessslug

Ok, I’m all moved! Now for the massive unpacking!

bah.

Letters to the Contemporary Age I

Posted in Art, Artists, Contemorary Art, Criticism, Pop-culture, Social Science with tags , , , , , , , , , , , , , , , , on 22 July, 2010 by endlessslug

Dear Post-modernism,

Are we done yet?

Have we not underwhelmed the intellectual world and utterly confused (for no reason) the general public enough to move on?  Can we put you to rest and nail the coffin shut so that no culture in the future will ever stoop to such a low cycle in art?  Early man was not even so bold as to make art entirely for himself.  I’m tired, so tired, of walking into supposedly “high art” galleries and uttering only “what a dick” to each exhibit.  Whatever happened to paintings which somebody wanted to buy because they were aesthetically pleasing to the individual and pleasant to display in public?  What’s so wrong with semi-nude nymphs feeding fountains in my front yard?  Post-modernism, is it still necessary to demonstrate the modern artists’ complete lack of knowledge of anything other than art trend and con-artistry?  When did artists become professional assassins of knowledge and thieves of culture?  When will we return to the days where a painter could talk to his or her ancestors or descendants about everyday things?  I recall a time when I could paint a pear and have it mean nothing else but “pear”; although that pear always said much more than that in complex understanding.  It meant more exhaustively: a pear which is there – a pear which is tangible, edible, tasty, delightful; a pear I want and will always want.  A pear my descendants will want and will say, “what a great pear, I understand that my ancestors enjoyed pears as much as I do.  I enjoy this painting.”  The funny thing is, Post-modernism, is that I hate pears.  But I can paint what it must be like to enjoy such a thing.  I see others eat them all the time.  About 50% of the lunch table in my old high school had pears for lunch every day.  But I explore what I hate about pears that others enjoy – and I paint pears for them.

And when did you shift from being about French Socialistic ideas about power relationships and into this self-righteous, selfish disaster all about yourself entirely?  “I, I, I, I, I, Me, Me, Me, Me, Me” – Shut up already, Post-modernism!  We ought to want our descendants to understand something about our times, sure, but in general, not specifically about “my time” as a human in this age.  We are part of a great lineage, a chain of kinship like everyone else.  All artists ought to spend time among non-western villagers.  Make things with them.  Learn how to make art for people, but not community art – this is for idiots (i.e., muralists).   Community art is lifeless and limited, like a tourist photograph, and is among the worst kind of you, Post-modernism.

So, are we done? Can we move on? Can we make distinctions between Modernism, Structuralism, Post-Structuralism, Post-Modernism, and Post-Post-Modernism?  Do we need a new “-ism” to describe this contemporary black hole of shock and self-centered-ness?  Can we paint beautiful things again and not gross, disgusting shock-value trash?  How is shock a power relationship? Because it affects people of all socio-economic and cultural levels? Sure, but you did not have to waste 50 years of fine art and artists on telling us this when it could have been simply written down in an article on a shelf, instead.

Sincerely,

Endless Slug

Busy Bees and “Art Students, Please!”

Posted in Art, Artists, Studio Work, Technique with tags , , , , , , , , , , , , , , on 14 April, 2010 by endlessslug

Hi all, the Slug has been pretty busy as of late running some business-end things and working on some new projects so I haven’t been able to write as much as I had intended.  I have a few saved posts ready for rainy days but I don’t believe the time is quite right…

With that said, I’ll leave this post short but I will add a sort of teaser of things to come:

Top 10 Things Art Students Should ALWAYS Refrain (that mean’s “do not do this” kiddies) From Painting:

1 – Aliens.  No one cares man.

2 – Pot leaves.  It’s just advertising.

3 – Any other drug references.  If it’s a cry for help, go elsewhere.  If not, stop using and experience the world a bit and see if you still want to paint this.

4 – Crosses, thorn-crowns, crucifixions.  Do you work for your church?  Even great historical painters ALL hated painting this stuff.

5 – Black female jesus.  This isn’t profound, it’s stupid.  Why not paint actual religious females with your g/f’s image in them? Oh wait, there aren’t any. What?

6 – Girlfriends.  Note, I do not say boyfriends – why? cause who paints that?

7 – Erotic art.  Why? because for students, it’s just porn and nobody ever tells them otherwise.  Skills first people.

8 – Famous people.  We’ve seen it. Stop.

9 – Animal portraits.  Seriously get the fuck out of the house.

10 – Your friend’s band promo.  [facial expression of ‘geh?’]

We’ll add an addendum list…

Top 10 Ways in which Art Students Should Stop Working (e.g., the technique guide):

1 – Never bring anime into an art studio.  We’ll kill you.

2 – Stop using ‘graphitti’.  To artists this translates to: “ignorant fuck who thinks themselves better than 40000 years of art history.” Cave paintings are better than gra-shitty art any day.

3 – Cray-pas.  What, are you 7?

4 – Painting with ‘non-traditional’ tools such as leaves, stems, twigs…  it’s all about the process right? No.  It really isn’t.  How unnatural is a sable brush?

5 – Stop sticking things to canvases.  It really looks like shit.

6 – Stop sewing into canvas.  Make a quilt, don’t paint.

7 – Don’t use hemp canvas.  Hemp is useless for anything, don’t believe the hype, listen to your painter ancestors who have tried it numerous times with no useful results.

8 – Don’t let your canvas peek through your paint for that ‘painted’ look.  It’s a painting, ass.

9 – Quit “expressing” all over the place.  I certainly don’t want to clean that up.

10 – Quit using perishables.  Potatoes strung up over a piano?  Dude, “Fuck” and “Off”.

-Endless Slug

Quit Painting Other People’s Art

Posted in Art, Artists, Contemorary Art, Criticism, Gallery Talk, Literature, Studio Work, Technique with tags , , , , , , , , , , , , , , on 16 March, 2010 by endlessslug

Here’s an issue I see frequently in the world of art today from the lowly student, to the returning retiree, to the professional: Re-creating a work of art into the artist’s medium resulting in a lifeless copy of something once beautiful and meaningful.

Do you know what I’m referring to? Have you seen/created works like this?

I’ll contain this discussion to my fellow painters:

O BITTER MUSE!

The most common form of copy-painting folks often come across is people who paint from photographs.  Yes, yes, I know, many painters and especially illustrators use photographs frequently as reference in the construction of an image.  A reference.  Say it with me now, “R E F E R E N C E”. A painter knows how to draw the image already, the photo helps in the small details when a painter feels they need to recall more specific information.  Far too often, we see students and especially pseudo-professionals create a work entirely from a photograph.  A trained eye quickly picks up that photos have been used.  Why should we not do this? The work ends up lifeless – only a copy.  Some artists can make some aspect of these works interesting: Watercolorists can sometimes create interesting effects in color application and transparencies, drawers can create different effects in line weights and contrasts, and the painter can shift a whole mood in addition to the previous two effects.  But these changes are often pedantic and cannot detract from the image as a photo.  We can always tell the photo-painting because of the inclusion of excessive details revealed by looking at a pictoral reference, which are different from the movement details we find with live or imagined objects.  The photo is a static instance of an event and completely unsuitable for a painting.  Photo-paintings also lean towards the development of bad habits: restrictive drawing space, restrictive palette, attempts at color which result in drab local color arrangements, and lack of experience in drawing live models/scenes.  As painters, we must, at all cost, SEE (with our personal eyes) what a subject looks like – how it moves – how light plays off edges and curves, how lines appear and disappear, how color plays in the shadows, and so on.  A photo cannot reproduce this; neither does video.

A couple of simple rules:

Stop and change your idea immediately if you plan on painting any of the following:

1) Family photos

2) “Found” photos

3) Pet Photos

4) Cellphone Pix

5) Website caps

6) Cropped areas of a photo in an attempt to do something “different”

7) Paintings of famous photographs or paintings of work you did in your photo class that you got that A- on.

8 ) Anything your friends say you should paint.

Because:

A) These are all terrible ideas and have been done by every wannabe post-mod contemporary shit student artist for the last 10+ years.

B) It will result in a terrible painting that no one wants to see.

C) They are boring.

D) They are artistic Plagiarism!

Artistic Plagiarism

Sometime in the last 30 years, some idiot decided it was “OK” to “express yourself” in any way you feel as long as you are being yourself. You, you, you, you, me, me, me, me, blah.  Once upon a time, a favorite old art professor told me, “paint from a photo and you’re committing plagiarism.”  The shitbag art students in the class with me argued with this guy for weeks about that statement.  Partly, he said it so these kids would say something and begin to argue to make them academic artists, but he was also correct.  The photo itself is already a record of an event and it’s own aesthetic creation.  It might be more historical document than art, and the ‘artist’ might decide to elevate the work to some sort of western notion of fine art, but the work is already done – why paint that?  Just frame it and put it on the wall.  When you paint it, you’ve just copied someone else’s work – maybe even your own.  To him, and to me, it’s no different than taking words from a published document and using them as if you said them yourself.  And like the trained literature/composition instructor, the trained artist can tell right away when the work is a photo-painting, thus knowing it was plagiarized.  I believe a little part of that intuition exists in all viewers of the work which somewhat universally makes the work uninteresting – except to the Sunday-painter whose mind was just blown: “Wow! I can paint my dog too! and I have the perfect picture of him in a little pink sweater I knitted”.  Thanks photo-painter for shitting up the art world one person more.

So, in conclusion:

I> Don’t paint from photos or any other copy-reference; draw from life

II> If you do paint from photos, DO SOMETHING WITH YOUR PAINTING that the photo does not or can not.  If you constantly strive to improve upon the photo and instead work more from life, one day magic will happen… you will no longer need it.

*** ADDENDUM ***

That was quick – I got bombarded with private and semi-public arguments within minutes of this post.  On one hand, it’s good to see people are reading me, on the other, I wish people would argue less, listen, and learn.

I should clarify, however: Artists of all forms know that human minds are repositories of experiences and knowledge manipulated by intuition and abstract forethought resulting in limitless creativity, thanks to Noam Chomsky and linguistic anthropologists everywhere, boo to modern philosophers and psychologists.  My argument about ‘not’ painting other people’s work is a plea for artists to construct their own work – which they can certainly do.  We all learn some painting from copying masters and other artists, this is normal behavior, but copy-learning must be tempered with real painting as well and eventually, the student moves away from the copies to become their own master.

My argument is for those artists in galleries downtown, right now, who dare put a photo-painting on a wall.  The “why” about this problem might be fleeting for most non-artists though.  The major problem with photo-paintings is that they are terrible paintings, lacking energy, lacking style, lacking composition, idea, complexity – name it, and these paintings do not have it.  The best one can achieve is small variations of technique – but who cares? The average viewer doesn’t give a shit, they want to see a nice painting, not a dentist’s office visit.  It reminds me about times when I’d go see movies with film student friends.  The movies might have totally sucked, but the film student goes on and on about the direction, lighting, and so on, amidst a flood of angry or confused movie-goers.  This is crap, and a hallmark of the postmodern world we live in where things are now created for exclusive groups, instead of larger audiences.  The longevity and usefulness of personal art is temporary, fleeting, and ultimately meaningless.  We don’t expect every painting, film, or pop-song to be amazing for centuries – of course not – but why don’t we have long-lasting works anymore?  This is the question I raise and attempt to locate data for.  We also do paint for ourselves.  I have a number of personal drawings and paintings that will never be shown.  Not because I’m ashamed, but because that the art is not for a public – there’s no need to show it.  I have a responsibility as a fine artist to show only work which I believe a public would like to see and needs.

Here is a painting exercise for folks – I’ll use my own work.  <gasp> no he didn’ – Sure, I did use photo reference in my earlier days; I too tried painting from photos.  I learned the lesson first-hand that photo paintings lack something which model-based paintings have.  I have since learned how to use a photo for a painting, not as the painting.

Which of the following paintings was created from a photo?  Which of the following paintings was painted with photo-reference?  Then criticize and analyze. I don’t have enough portraits scanned in for a good data set, apologies, so I’m selecting three portraits and two landscapes.

-The Endless Slug

Unintentional Plebeian Insults and “Free Time”

Posted in Anthropology, Art, Artists, Criticism, Games (other), Leisure, Pop-culture, Social Science with tags , , , , , , , , , , , , , , , , , , , , , , , on 3 March, 2010 by endlessslug

The other day, a friend of mine asked me, rather innocently, “[Endless Slug], what do you do with all of your free time?”  This person believed, incorrectly, that the Slug does jack shit all day and lays around thinking the world owes him a favor – at least that’s how I began to interpret such questions from the plebeians a while back.  The question itself was immediately insulting and then was further hurtful when I discovered that my friend actually had a job lined up but he wouldn’t be starting the job for another couple months.  So until that time, he had nothing to do.  Well, Boo-Fucking-Hoo.  I did not and do not take the question as some sort of direct insult, as I said I believe it was very innocent a question, I don’t think he even expected an answer.  Many people are unaware of what the reactions of a person might be and responsible parties such as myself whom have dealt with questions like this many times before “roll with it” and move on.  I, and many like me, are the abnormal population and we deal accordingly – or flip out if the abnormal is also an asshole.  In other words, there’s no reason for an unemployed artist to be a dick to the stupid, it just makes them hurt and angry when they realize they’re stupid.

This event got me to thinking a little – resulting in this post you are reading.  What does the Slug do? How do people interpret the behavior and actions of the Slug? Why can’t the Slug seem to find a job anywhere? What’s wrong with the Slug?  In an attempt, then, to diffuse some misconceptions, I’ll tell you what the Slug does from day to day.  But first, we must make some distinctions:

Definition of “Free Time”

I’ve had to re-check my data about how people actually understand the concept of “free time”.  I believe now that the plebeians understand the concept as: Time out of [my] life which I freely give to pursuits which offer no return on investment. Optionally, it may also mean more simply: unprofitable frivolousness.  “Frivolousness” meaning inherently and intrinsic to the capitalistic understanding of “unprofitable” creating an automatic tautology within the phrase itself. Thus, one cannot exist without the other.  Frivolous = waste of time only because there is no profit.  If there were profit, this behavior becomes cognitively elevated to something like “competitive leisure activities we can discuss at work and are socially acceptable”.  For example, playing Halo 3 is not frivolous, nor a waste of time, while making a pastel drawing is.  Now when [you] one reads what I just wrote, you’ll think about it and probable argue automatically.  Probably because you’ve never thought about it before.  So I ask readers to not simply attack based on your personal experience but take what I said and see if it holds in terms of how people use the concept of free time and leisure in their daily activities and cognition.  What does it mean to a larger audience?  Then we come one step closer to understanding science, and therefore understanding the role of the artist.

“Free Time” as defined and understood by me is simply: Time when I have no worries and may rest.

“Hobby” Vs. “Professional Research and Development”

The general public has a very loose definition of the arts.  Even many contemporary artists, especially those in the postmodern currents, have this same “loose” sort of view.  Artists in all fields struggle daily with the public assaulting them with ignorant Protestant-Ethic/Capitalistic views on the arts, namely that the arts are nothing more than a hobby unless you’re a ‘genius’ or ‘lucky’.  In my experience, there is no such thing as a genius, all the masters were well-trained in what they were doing, not accidents or supernatural anomalies.  A hobby, as defined by the general public would be a purely self-interested, impractical endeavor resulting in no returns on investment, except personal fulfillment. We can’t blame the public for those views – most artists they probably know are fairly impractical and often broke.  I’ve been the direct subject of ridicule countless times as someone who seemingly ‘does nothing’ or ‘does impractical things’.  But people judge on surfaces.  What artists do, however, is not a hobby but professional research and development. We seek to better our understanding of the arts, the economy, history, politics, knowledge, the sciences, other cultures, and ourselves through our work with our mediums.   Artists are scientists.  We observe, develop hypotheses, and produce our art which acts as a living hypothesis which is tested with each reader, viewer, or participant.  Art is a lifetime commitment and an undertaking which cannot be stopped once it has begun.  Artists never stop thinking.  I spend countless hours thinking, stressing, going through scenarios of what to produce, what to communicate with another person – and we need experiences.  When you, Mr. General Public,  see an artist out at a bar, a pub, a restaurant, at a dance, or play, or just walking around the mall, they are not being lazy; we are researching, observing, thinking – constantly.  Or, at least we should be.  I have no respect for the ‘painting a day’ artists, for example.  These people are a waste of life, doing little but pissing out hobby-art directly for profit.  Sure, sometimes a day-painter has an eye and can make some nice stuff for a Midwest-suburban kitchen, but so what? An anomaly ultimately with no function but to fill a trash heap when the owners move.  I spent almost a decade as a Social Scientist in Anthropology and learned that anthropologists are often treated the same – as if they do nothing but eat, travel, and talk at the public about ‘things no one cares about,’ while sociologists and psychologists take jobs which should very rightfully be attributed to anthropologists only because the public has no idea what anthropologists do.  It’s a shame and an embarrassment to human knowledge.  The idea that literature specialists get the myth-analysis jobs is also in that same category of ridiculous.  Definitions are pointless without observations of meaning, behavior, and function.  There is a pattern.  It is not God, idiots.

The aggressive ignorance of the non-artist world is compounded by artists themselves; namely, those artists comprising post-modern contemporary art, music, dance, and literature.  The rise of the middle class has saturated the fine art world with shit, leading many amateurs and folks without advisement to think that this mess of individualistic art is the ‘right’ way to ‘do’ art, namely, ‘anyway you want – you can do anything, no one can critique you because it’s yours’.  And so on.  What a load of elephant steamer.  To be an artist of any sort requires an intense public responsibility.  We cannot make art which is only for artists – although many people will make a few works in this realm; we do it to learn not to do it too often.  We must make art which communicates complex experiences to a public which will also experience the same things but have no ability to express or exchange the emotional complexity of such experiences.  This is what making fine art is all about.  On top of that, the work should be aesthetically fit to the message; i.e., it should be beautiful, relative to what is being said.

With that aside, here is a typical day in the life of the Endless Slug:

1 )  Wake up terrified due to nightmares about money and police, often because my roommates make early breakfasts and bang stuff on the counters below my bed which in my dream sound like people banging on my door.

2 ) Check email.  Each day, I receive 1-6 job rejections, 20-40 spam emails (many with false job opportunities for work-at-home or cash-collections scams), 1-3 career-builder style job lists full of jobs I’m either not qualified or over-qualified for, and my daily horoscope.

3 ) Check hits on my business websites and see if anyone bought anything.  After 11 months ‘live’, I haven’t sold a thing.

4 ) Deal with creditor calls.  Since I have no money, I stopped paying my credit cards.  I’ve dealt with it before, but seriously – Why bother calling me 10 times a day, per card, when it is clear that if I haven’t had a job in a year that constantly asking for money will result in nothing.  I will call you, people, when I decide to send a payment.

5 ) Check out the career-site jobs and apply to 1-10 jobs (I do a minimum of 5 every morning, since June)

6 ) Then I play some Facebook games.  Even this act is not just frivolous.  Part of my ongoing research is on leisure and game play so when I play, I analyze and track how shittily these people actually make these games.  They’re all very limiting.  I wish someone would hire me as a game consultant.  Seriously, I’ll make ya rich.

7) Then I decide whether I will work on a painting or work on a book project for the new business.

7a ) If painting, I have to check my lighting, materials, ideas, and whether or not anyone is cooking.  The cooking smells are so terrible up here I cannot work if anyone cooks, even myself.  It’s not that any of the food is bad, but for whatever reason, the scents collect into a terrible gas cloud upstairs that does not seem to vent.  I have a very sensitive sense of smell so it generally cripples me for a couple hours every day, whenever anyone cooks.

7b ) If a book, not much is required other than motivation.  If there were too many creditors or I had to discuss finances with family, the motivation to create is basically toast.

7c ) If I cannot work, I read and think.  Currently I am reading: poetry from Byron and Shelley, Romances of Chretian de Troyes (untranslated), Interviews with Francis Bacon (the painter), once a week I read a single short story from Guy de Maupassant, Dying Earth by Jack Vance (research), the Lais of Marie de France, the 1st edition AD&D Dungeon Master’s Guide, books on setting up corporations and copyright laws, and methods of Maxfield Parrish.

8 ) around 6pm, I get some food and watch Attack of the Show.

9 ) Depending on the day, I might have a show to watch in prime time, it’s rare.

10 ) I work through AOTS and all shows, and continue to work until around 2-4am.

11) Around midnight, I get more food, usually something light.

12) I then make a decision of whether or not to stay at my place to go to the girlfriend’s place, or have her come by.  If I see the girlfriend, my production goes down to about 10% although her input on what I’m doing is valuable and important since I have few peer critics at the moment and I must always be careful – all artists must always be careful – that what they’re/I am producing is clear and understandable to the public and peers alike.  The g/f thus serves as a powerful grounding device. I urge everyone to get one or more.

<Optional Nights> Other nights are more social.  Two to three nights a week, I fence or teach fencing at the local University.  I usually go back to work after I come home.  One night a week, I run an AD&D game which I’ve done every Wednesday since 1995.  Even playing this game, as my players will undoubtedly support, I research, test, develop, and work, trying to make the game better and better – constant refinement.  To my players, the game is a hobby, to me it’s a professional work as well as continuation of oral tradition – it has meaning beyond simple personal fulfillment.   One night a week, I have a Tacos and Buffy night.  During this, I still analyze and lecture to my poor friends about theme, character, plot, story, myth, legend, tricksters, what have you.. and then go pass out, hopefully with a fit girl and a Cabernet by my side.

And that’s my day.  There is no free time.  I’m not even sure what free time even is for me.  I do many things, most professionally for a time.  I was a musician, a drafter, a roofer, a produce guy, a warehouseman, a demolition man, a painter -both fine and houses, a film critic, an illustrator, a publisher, a writer, a college teacher, a world-traveler, a critical reader (is there any other type?), a restaurant manager, a cultural anthropologist, a researcher of language and culture and space, and according to my Indonesian friends, a lover.  I learn things every day and can never learn too much or enough.  I spend all of my time trying to learn everything I can – not necessarily to be ‘better’ than anyone, even myself, but to know and to improve everyone else.  I don’t do this for me, I do it for you.  I like compiling data and figuring things out.  If anyone’s seen me teach, you’ll see what the result is.  I’ve actually been told that to attempt to improve those around me is an act of pretentiousness or arrogance.  Seriously?  When you force it upon somebody with a claim that you are somehow, without error, correct – yes this is pretentious and arrogant.  I, as well as most artists, want to interact with you though, we want you to give us some data. We are proposing hypotheses, not theories, and always a hypothesis backed up with much empirical data.  We hope to develop theory through experimentation which we can only do through human interaction and interaction with our work – so give it to us.  To make work which works for only a select group of people is limited and also pointless other than for learning experiences.  The best art in the world is functional for everyone within a cultural and era limitation, if not now, than later with age and experience.  We all read Hemingway in high school, but few ‘get it’ until they’re 24, 35, and 40 years old.  Go read it again.  See what’s changed.  I don’t expect my friends in Romania to understand Hemingway, however – at least in the same way.  With the arts, we must always think diachronically and culturally.  This means, from geographical culture to culture and over time.  Good fine art changes over time with you, it is not necessarily easily understood, it takes time, experience, and life to ‘get it’ sometimes.

So.  No, I don’t work in the traditional Americana sense.  It’s not that I don’t want to – I search for jobs every day, from McDonalds to the FBI, but nothing has come through, nothing has worked out.  I make no income, I owe lots of money, I have little to give back to anyone except a small game I run weekly and some nice art people are downloading for free.  But don’t ever think that I have any free time, or that any artist does.  I wish my mind could have free time, to not be stressed, to relax, to play a video game once in a while (I don’t even/can’t even do that), or to just generally enjoy any given minute of my day.  Instead, my brain is on constant overdrive.  From the moment I wake up until late at night when I cannot sleep, the brain doesn’t stop stressing, criticizing, wondering, worrying, thinking.   As I thought about writing this entry, I asked myself that same question which started all of this – Slug, what do you do with your free time?  My honest answer: I hope.  But unlike the American Spirit’s way of thinking, in my experience, when there is no free time, there is no hope.

Personally, I’ve always thought everyone else but me had immense free time and money, both of which they wasted.  I still think this.  I see people every day wasting money on pointless pursuits of personal fulfillment which accomplishes nothing except get you people to the next day.  This is partly why I get so insulted when someone accuses me of being, well, a slug.  It’s the people with the least money who could use it the most.  I give back, if allowed to.  This concept of hard work = financial success, is a complete lie.  Although, due to my cultural training, I struggle every day with thoughts such as, “today will be the day when all my work pays off…”  But I know it will not, and will never be.  Many of my friends and acquaintances repeat the mantra of “something will turn up…”  Well, friends, I’ve been looking for a professional job, every day, since May of 2000.  I was able to land a job teaching at a Community College, but damnit if that wasn’t a huge scam.  I’ve rarely seen a business rape it’s employees as much as that place.  And it does not help that every day I’d have to drive an hour to teach 70+ students about my chosen career that they care nothing about and will go off knowing nothing and getting way better jobs than I.  To Hell with that abuse and trauma.  Interestingly, I do have an open invite to return to teaching whenever I like – apparently I was one of their best instructors.  Sure, I cared about the institution, my field, and the students.  My bad.  I didn’t know I was supposed to not give a shit and just collect a paycheck before returning to my Wal-Mart day-job.  I quit that place – partly due to the above reasons, partly due to that I was supposed to have a new job but that fell through, very badly.  Some might say I just “play the game” poorly, but I feel like I was never invited to play at all.

Finally, if I didn’t offend enough yet:

Fuck Haiti, fuck Chile, fuck little poor kids somewhere in the so-called 3rd world that you don’t know, donate to the one you do know: The Endless Slug. Click here to send me some money so I can live. If you can’t donate, do me a favor and fail at something important today.

-The Endless Slug

Recognition!

Posted in Art, Artists, Contemorary Art, Criticism, Gallery Talk, Studio Work with tags , , , , , , , , , , , , , , on 27 January, 2010 by endlessslug

One of my pastel drawings was the favorite work on zatista.com by guest curator Anthony Cochran!

Endless Passage (Reversed)

Check out what he said about it and read his article HERE.

It’s nice to finally get a little recognition for something I’ve done.  The only problem is that over the winter, I realized that many of the images I posted on my portfolio sites were reversed due to the scans of the slides I used.  I re-packaged the original works to protect them a bit more, and realized that the slides were backwards.  I switched all of them out – except for the ones on Zatista.  Doh!  So, apologies to Mr. Cochran, but if you flip that image, I hope it isn’t any less your favorite!  Also a note to would-be buyers out there, take a look at the image in reverse and see if you still want it – hope you do!

-Endless Slug, endlessly slugging.

Endless Passage (Correct)

*** UPDATE ***

The very active folks over at Zatista gave a read to my blog today and noted the image flub.  They’ve kindly switched my image on their marketing materials to show the corrected image.  Who feels like an idiot? Slug do.  Anyway, thanks to Zatista for being so tenacious with their aid and interest in my work as well as all the other artists over at their site.