Full-blooded acknowledgement.

Where the hell was this idea when I was dropping out of an MA in the humanities?

For [Dave] Hickey, writing near the beginning of the nineties, only a full-blooded acknowledgement of the pleasure and sociality that intersect in disputatious experiences of beauty could rescue the academic art world from its arid purism. (2)

From Morris, Mitchell. The Persistence of Sentiment. Berkeley: U California P, 2013. Print.

AGNS visit, 21 Mar 2015

An old engraving of men fighting over curling match (literally), including one man prostrate on the ice, broom in hand, defeated, and a cat, mid-leap.

Elementary school kids layering paint, photography & tracings of apples, a la Mary Pratt.

Manfred Mohr’s algorithmic geometry:


(Zeichnung A, Ink / paper, 1967, 75cm x 60cm)

Daniel Rozin’s “Rust Mirror.”

“Machinery is NOT unnatural. We are cyborgs already.” – From Alan Rath’s artist’s statement.

The pleading watercolour faces of soldiers and nurses in Canadian WWI propaganda posters.

Eleanor King’s wormholes: part spirograph, part flattened slinky, part ripple in the space-time continuum.

Jacques Hurtubise’s abstract, symmetrical control:

Mors aux Dents


Not one practical.

My mother had four children. Perhaps by a system of coercion and education she might have turned us into practical citizens, and sometimes she lamented, “Why must all four be artists and not one practical?” But it was her own beautiful and restless spirit that made us artists. (26)

From Duncan, Isadora. Isadora: The Autobiography of Isadora Duncan. New York: Award Books, 1968. Print.

Class, culture, and “tremendous feeling.”

I don’t make the mistake that high culture mongers do of assuming that because people like cheap art, their feelings are cheap, too. When people say, “Oh, listen, they’re playing our song,” they don’t mean, “Our song, this cheap, tinkling, syncopated piece of rubbish is what we felt when we met.” What they’re saying is, “That song reminds me of the tremendous feeling we had when we met.” Some of the songs I use are great anyway, but the cheaper songs are still in the direct line of descent from David’s Psalms. They’re saying, “Listen, the world isn’t quite like this, the world is better than this, there is love in it.” So-called dumb people, simple people, uneducated people, have as authentic and profound depth of feeling as the most educated on earth. And anyone who says different is a fascist. (121)

English filmmaker Dennis Potter (1935-1994), qtd. in: Marcus, Greil. The Doors: A Lifetime of Listening to Five Mean Years. New York: Public Affairs, 2011. Print.