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Sometime within the next thirty years, the area of Yonge St incorporating Sam the Record Man, Dundas Square, up to Bloor, will be preserved in all its classless glory as a heritage district of late 20th Century.

My contribution to the book Decentre: concerning artist-run culture/a propos de centres d’artistes published by YYZ Books, and which launches tonight in Toronto.

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Artist-run centres developed to exhibit what at the time was unmarketable, and in so doing became the elitist arbiters of a contemporary taste, based on a reputation for taking risks and initial support of those who went on to become the academics and international art stars (and therefore the default judges of what constitutes good art). Undoubtedly without their presence we’d be culturally poorer, yet today they have become part of an economic system of which they’re in denial.

Because artists have always depended on the patronage of the rich, the artist-run centres have become essential within the overall art system, arguably the only “dealer” that really matters to patrons. To have any sense of artistic legitimacy in Canada – the type that gets you bought by institutions – one needs to somehow be affiliated with an artist-run centre.

Today’s art institution will buy based on a trendiness they equate with aesthetic and cultural merit, and their purchase perpetuates the artist’s delusion that they matter in some grander context, even while their piece lies in a crate in storage. Had they sold to a private patron, they could at least watch as this person re-sells their work to another rich person or to an institution looking for a piece of trendy action on someone once overlooked. The seller does this to a potentially large profit, a share of which the artist won’t see.

Because artist-run centres are staffed by a relatively small network of professionals, they’ve unfortunately become nests of nepotism. How many young artists new to the system send off packages bi-annually only to watch the exhibition calendar fill up with ”curated” shows featuring artists who are friends with staff and board members? This is exacerbated by allegiances to obsolete ideas and aesthetic ideologies which result in shows of boring work weakly justified with poorly written brochure essays.

The fortunate thing is that every five years an artist-run-centre is populated by a new generation of staff, exhibiting artists, and board members. This makes them highly adaptable to changing cultural conditions, and perpetually reformable.

JA: Do you want to add something about the art scene?

RR: I have this vague sense that the art world has become so isolated from everything else in the universe that you’re either in it or in the rest of the world — nobody has time to be in both.

-Josefina Ayerza interviewed Richard Rorty in the Nov/Dec 1993 issue of Flash Art

Moving parts in rubbing contact require lubrication to avoid excessive wear. Honorifics and formal politeness provide lubrication where people rub together. Often the very young, the untraveled, the naive, the unsophisticated deplore these formalities as “empty,” “meaningless,” or “dishonest,” and scorn to use them. No matter how “pure” their motives, they thereby throw sans into machinery that does not work too well at best.

-Robert Heinlein, The Notebooks of Lazarus Long, from Time Enough for Love (1973)

Believing in Creationism conveys a reproductive advantage in attracting other Creationists.

Thus, by not breeding with those who believe in Evolution, Creationists are proving the theorem of those they oppose.

When I learned of this late last week, I thought it would have been something awesome to go to.

Until I saw the pictures.

The deets:

Monday, May 26, 6:30 PM - 8:30 PM
Munk Debates
Be it Resolved that the world is a SAFER place with a REPUBLICAN in
the White House
Discussant: Charles Krauthammer
Discussant: Niall Ferguson
Discussant: Samantha Power
Discussant: Richard Holbrooke
Co-Sponsored by The Globe and Mail, Royal Ontario Museum, Salon
Speakers Series, Aurea Foundation, Munk Centre for
International Studies
Registration: Tickets available only at: http://www.munkdebates.com
The Royal Ontario Museum
100 Queen’s Park Crescent
Toronto, Ontario

timothycomeau.com/onkawara

defaults write com.apple.finder AppleShowAllFiles TRUE

killall Finder

defaults write com.apple.finder AppleShowAllFiles FALSE

killall Finder

I just found this laying around the hard-drive. It’s something I wrote at the beginning of February, meant as a reply posting on a web-forum before I abandoned it as too long and potentially off-topic. I also read it now and think it dates me as a 30-something pre-Millennial with 20th Century memories. I’m not so sure the sentiments herein expressed would resonate with early 20-somethings who hate old art as being too much Church-stuff. I’m also not sure how many 20-something artists are dealing with legacy-Marxists on a regular basis, as I have over the past decade.

One of the lessons of the 20th Century was that the world changes every ten years. Each decade compressed the changes of a mediaeval century, and yet the arts don’t seem to have clued into this. My reason for pursuing the arts came from it’s humanism, as expressed especially in the 1960s, which I now recognize as being part of the Western World’s healing process following World War II. As a teenager, the Time-Life series on artists produced at that time were an introduction to a cultural world that I was not being taught in my rural Nova Scotia school.

The humanistic aspect of the arts is still what politicians and journalists are likely to throw at us - the arts encourage ‘life’ with mystical overtones. I now understand why that was propagated in the years following the Second World War, but by the time I went to art-school (following the idea that a cultured life was the one the most worth living) I ran into bitter and disagreeable adults who hated the word `beauty`, hated the word `humanism`, and instead taught me to be angry with capitalism, patriarchy, corporations and the other suspects. Thus enraged, I was then encouraged to express my thoughts on the matter through obfuscation, conceptual trickery, (and those other usual techniques) not in writing - since I was expected to be only barely literate - but my making something to be exhibited in a plain white room.

Once out of art school, I thought of myself as a young professional trained in my field and yet found that income-via-arts-employment was rare, the already-expensive credentialing inadequate, and the grant system to be more of a nepotistic lottery, and no one was as smart as they thought they were; more or less they were merely quoters, not thinkers. Old ideas, not new. As long as they could throw a quote at you from one of those bitter French men (they who hated capitalism, humanism and the usual) then they considered themselves not only smart, but superior, and it didn’t matter if their day jobs did not coincide with their training. We were all channeled into a bohemian life of obscurity and intellectual self-deception.

My sense then is that the arts professionals of Canada have totally lost track of the game. They are very quick to adopt the thinking of foreigners while denigrating their home culture. Their greatest ambition is to leave the country. Trained to be hateful of contemporary society, they are too disagreeable to be employable by the corporations who could use them. And here it comes back to the humanistic heritage - your average person who respects the arts does so because of that humanistic heritage, and yet the too-cool-for-school artist today will quickly mock this superficial understanding.

Why then, is there little art is schools? Perhaps because ’sensible’ adults don’t want their kids around the bad influence of either hippy-dippy mystics or disgruntled communists. Those of us who understand why that is an oversimplification and an unfair stereotype are the ones who probably already have their kids involved in the arts. They’re not as rare as we may think, and highlights the political thinking against universalizing art education - politicians think parents-who-want-it find a way outside of the public system. It’s a lifestyle option, and an ethnically specific one at that.

My own, disillusioned sense, is that the arts do not have the value invested into them by 19th Century European snobs. I never use the word `disinterested` for example, except when talking Kantian aesthetics. The writings of John Ruskin I find to be mostly unreadable due to being obsolete. Clement Greenberg, nor Andy Warhol, ever heard the word ‘email’ in their lifetime, let alone ‘world-wide-web’. For that matter, Warhol never got the chance to use Photoshop.

Industrial manufacturing has given us a world of aesthetically pleasing products, and talent for image making is now found in the worlds of design and illustration. (Jutxapoz magazine). Installation art tends to amount to bad set design, and performance art to bad acting. I see better art videos on YouTube than I do in galleries, and on YouTube they don’t try to be art. If you consider the Mona Lisa to be the first viral image, it’s easy to extend the consideration to how much a viral video has passed the test of the audience, making it legitimate art.

These are examples of how our world has changed, and I feel like ‘the visual arts’ are a fossilized cultural product from at most, the 1980s. Future historians will look to illustration, design, and films to gauge our culture, and especially the YouTube archives. Like the photography of a century ago, it’s the stuff taken with Kodaks that are of interest, not the stuff trying to imitate romantic paintings.

If we want to have galleries in our towns and cities, it is important that we all understand why they are important. I still value art for it’s humanism. But our culture is so creative outside of galleries, and it is this creativity that is accessible to people who haven’t studied art. The argument shouldn’t then be to have an art for those professionals - it should be accessible to all. A life in the arts should broaden one’s possibilities, not narrow them to the life of a clique.

When people talk about `art` these days, I no longer know what they’re talking about. I suspect they are talking about some hipster club they don’t want a corporate dork to join. But that exclusion denies someone who needs art is their life from having it - and the result is Canadian culture in 2008.

I sat at the table waiting for my order to be ready. It came on the radio again, the second time I’d heard it that day. An earlier radio speaker, in the morning rain.

Hearing it this second time, I flashed forward fifteen years. One day in the early 2020s, I’ll hear it buried on a radio playlist, and think back to these days. Just as I do with these songs:

Which always reminds me of the early summer of 1990. Specifically, hearing it on the car radio in the Annapolis Valley. But of course, there are also the memories of dancing to it weekend nights in 1994.

This

reminds me of gardening in the summer of 1991.

and this

brings me back to that year, half-way down the aisle under the ‘fresh’ sign in this grocery store, looking back toward the camera’s viewpoint.

But while we’re at it, let’s keep in mind that this time next year, this:

will be twenty years ago.