AFH2012

Photo

artforhumans — Thu, 14 Feb 2013 14:52:42 -0500

Video

artforhumans — Mon, 11 Feb 2013 16:26:27 -0500

Front & Verso ILUM series W + DT Multimedia on wood...

artforhumans — Mon, 11 Feb 2013 16:14:37 -0500

Front & Verso

ILUM series

W + DT

Multimedia on wood block

2010

CoDT: [Intro] On Bush's Paintings

artforhumans — Mon, 11 Feb 2013 16:11:52 -0500

The Chronicles of Dim Tim

By Paul McLean

[Introduction]

Everything that is not infinite, which is to say, all finitudes, all subjects of Time, the subjective, are prone to uncertainty. If fate exists, the fate of finite subjects is the ontology of uncertainty. Which is not to say that the chronologically subjected must submit to this fate. Realization is a sign of the rejection of enslavement to uncertainty. The abandonment of subjectivity reflects objectivity, even if the action as such is mimetic. A time-subject can only pretend to the objective of objectivity, since Time is the only Object. Pretense and mimesis are closed loop dynamics when co-configured. Triangulated with perception, or to be specific, a mobile perceptual complex capacitated to generate a conceptual analysis, pretense and mimesis plus concept generation produce the imaginary, which is obviously, inherently contingent, in its self-relating, -affecting and –effecting, reductive qualities. Subjectivity is not only prone to uncertainty, it is prone to illusion (or self-delusion), as a causal, looping feature of the self in the context of fate. How to free oneself is the question, and it is not an easy question to answer, for every answer to that question is absolutely unique, but always identical to every other correct answer to the question in consequence.

Possibly, the first idea that must be smashed is that the answer is to be found in timelessness. There truly is no such thing. – Dim Tim, EotW + 19

In this era of crisis and catastrophe, we have a new facet to the malaise. We discovered that the former ineloquent President of the United States is an artist. We learned that he is fond of the autoportrait, and his preferred scenario is located in the washroom.

The paintings by George W. Bush, leaked by GUCCIFER, reveal much about the reflexive nature of the “Art World,” and about critique practice, taste, prejudices toward craft, and the assumption that a person’s innate character can be determined by degree – deduced - through analysis of that person’s exercise of formal expression. Most importantly, these new works of art reinforce the meme that everyone, even political operative-psychopaths, can be artists.

I am reminded of the oeuvre of serial murderer John Wayne Gacy’s, of his garish and terrifying clowns. Some art writers have linked Bush’s art to Winston Churchill, which is a boon to the one and not the other, and probably not fair to either painter.

It is difficult to compose any thought on the subject not colored by irony. The phenomenon is a perplexity on the whole, a conundrum. The fact that the pervasively despised and toxic figure Bush is drawn to the plastic arts short circuits embedded notions about his drives amongst the culturati.

I would argue that the revelation that Bush paints for pleasure indicates his affinity for the heroic, and his concern for his legacy. Therefore, we can judge him to be fearfully misguided, even delusional. At the least, we can acknowledge Bush’s deeply flawed perceptual apparatus.

It is unfortunate that Baudrillard missed this moment. It is equally unfortunate, but in a very different way, that the task of responding to the Bush painting leak is assigned to the likes of Jerry Saltz and his wife Roberta Smith. Less bright stars in the constellation of public art criticism would be well advised to survey the “ground” on which this media event unfolds, its spatial qualities, its laws and the forces that apply.

The interiority of Bush is inhabited also by the likes of Dick Cheney, infamous torture memos, “Victory” over Iraq, the founding of Gitmo, and much worse. The internal Bush topology includes his ancestors, his father, mother and brothers, and a host of shades as fearful as any contrived by any poet, including Poe. That the toilet paintings of the second President Bush do not communicate anything of this darkness is a horror to ponder, indeed.

The nature of the disclosure of Bush’s amateur painting habit to the public, the leaking of the painting couplet’s digitized versions along with thousands of the ex-President’s private emails by a pseudonymous hacker, is itself phenomenal. No American leader, with the possible exception of current President Obama, has borne more responsibility for undermining the virtual personal privacy of U.S. citizens than Bush. That anyone would defend Bush’s privacy in the digital domain is prima facie astonishing, and an act of chutzpah.

Thus, the (on Bush’s part) involuntary dispersion of his “private” paintings must be seen in terms of reckoning. If he experiences some embarrassment in the course of the paintings’ subsequent critical deconstruction, Bush’s angst ought to be weighed in light of moral e-causality, a technology-enabled form of karma.

It might be, and probably will be, argued by extreme voices in the critical classes, especially of the left - among which we can find those who believe Bush ought to be imprisoned for some of his Presidential actions – that, in a just world, the former President would be breaking rocks, not making clumsy paintings. Maybe so, maybe so.

Not every prison permits its inmates the luxuries of paint, brush, easel, canvas, and the other tools of the painter. It ought in context to be remembered that international indictments have been filed against Bush and a handful of his cohorts, which is a reason why the former President’s travel engagements have been limited to the domestic. I recall a story about an inmate who painted with M&M’s candies, using the dyes from the candy to do his pictures. The authorities eventually removed that privilege. Tragic. An art world enamored with alterity periodically trots out inmate paintings, lunatic paintings, Outsider paintings. Bush’s paintings somehow seem appropriate to the genre.

Whether the arts have a humanizing, restorative or therapeutic effect on the criminal is a question for penal specialists, of whom I am not one. Nonetheless, the point is moot in one respect. Bush is unlikely to ever be jailed for his bad Presidential behavior. He belongs to a class of un-prosecuted or under-prosecuted criminals, real persons and artificial personhoods, whose activities, often superlatively heinous, go unpunished, due to their Untouchable status in courts of law.

Artists in free societies enjoy special privileges, it’s true, but Bush the artist has enjoyed protections the average artist can only dream of. The President is secured through the auspices of the Secret Service. His networks include extremely dangerous people. He has often said anything he wanted, sometimes badly, and suffered no physical consequences for doing so, other than having the odd shoe hurled at him (which he deftly dodged). Bush 43 is also now very much acclimated to people mocking him. He has experienced caricature as few have. Perhaps he thought those days were behind him, that his hermitage in Kennebunkport would avail him respite. Not so.

If only W had taken to painting in the beginning. How his life might have been different!

One wonders if, after having been bitten by the art bug, Bush now thinks of his life in sum as a kind of artwork. Hitler, we learned, had aspirations to be an artist. The conjecture is not entirely unfeasible. It seems Bush is capable of justifying anything through rationalization. Why not re-organize his existence via the art lens?

On our side, we can justify considering Bush in his totality as an artist through the mechanics of the Creative in society. We have theoretical precedents and arguments galore to ratify a new assessment of W according to the no-rule rules of modern art. If Beuys and Warhol were right, we can genuinely re-analyze the Bush phenomenon holistically as a product of the fungible art of living. Let’s entertain the notion that everyone, even W is an artist, and that everything an artist does is art, and that, as Creative Time posits programmatically, that living itself is a form of art.

Are there criteria for this conjecture? Whatever the protestations and stylized pantomimes of The Enflamed Critics might suggest, malpractice in painting, or art in general, isn’t tantamount to wrecking the global economy. Bush didn’t sign the crash of 2007, but he could have, or should have. Would the financial collapse (for the 99%) be more tolerable, if we understood it to be a function of George W. Bush’s art?

I can see the E-flux release: “The ex-President artist, embraces authorship only when it suits him creatively. He engages in both innovative collective practice, an iteration of neo-systems game, and more traditional object-based solo work. Bush is exploring contemporaneity and precarity as an enforced condition on the Other, while maintaining a certain critical distance in his practice from the audience, outside the realm of cybernetic effects, situated himself, or at least as a version of himself, inside the spheres of cause. For Bush, authorship is only the beginning of a chain of irruptive events converging at last in the frame of representation, a rhizome with roots in a wholly constructed (simulation/Real) toggling scenario. As an artist composed of multiple selves, Bush experiments in revolving architectures, spanning the political, commercial, social and aesthetic, but never seems to lose his naked self, no matter how complex the arc of his trajectory might appear to the viewer, even the qualified observer. Bush abhors criticism, but invites it, and so we have tension. Only in the quasi-secret worlds he inhabits, the one described in his peculiar paintings, do we find Bush releasing this tension, in actuality and pictorially, simultaneously. ‘What is he doing in that bathtub?’ we must ask!”

One answer might be: fostering huge disparities in wealth distribution, undermining U.S. sovereignty through fiscal subterfuge, starting wars that take hundreds of thousands of lives and weaken the American military, institutionalizing a propaganda machine for a hybrid corporate-government machine, establishing torture and illegal surveillance programs, nurturing a U.S. prison state, and so on. Bush as President did all these things, or protected those who did. He lavished Wall Street with special beneficence, and the extraction and exploitation industries, too, enabling evil firms, individuals and even regimes to run amuck, without real consequence beyond the periodic and paltry payoff, the rare cost incurred by serial criminal enterprises and syndicates now.

He might also be jerking off. Which is what these paintings look like.

Novad [ink on paper or polyester] Series Pt...

artforhumans — Wed, 23 Jan 2013 14:22:58 -0500

Novad [ink on paper or polyester] Series Pt 3

http://www.flickr.com/photos/artforhumans/sets/72157632587941881/

Novad [ink on paper or polyester] Series Pt...

artforhumans — Wed, 23 Jan 2013 14:19:42 -0500

Novad [ink on paper or polyester] Series Pt 2

http://www.flickr.com/photos/artforhumans/sets/72157632587941881/

Novad [ink on paper or polyester] Series Pt...

artforhumans — Wed, 23 Jan 2013 14:17:03 -0500

Novad [ink on paper or polyester] Series Pt 1

http://www.flickr.com/photos/artforhumans/sets/72157632587941881/

Clay Patrick McBride Shoot Vidz in 4D Video treatment by Paul...

artforhumans — Tue, 22 Jan 2013 18:33:46 -0500

Clay Patrick McBride Shoot Vidz in 4D

Video treatment by Paul McLean

http://www.claypatrickmcbride.com
[source content by CPM Studio]

Paul does a photo shoot with Clay Patrick McBride in...

artforhumans — Tue, 22 Jan 2013 15:37:19 -0500

Paul does a photo shoot with Clay Patrick McBride in Williamsburg, BK

http://www.claypatrickmcbride.com
[video courtesy CPM + crew]

Raw vidz. Photos coming soon.

New purpink hair for PJM by Chelsea Pickthorn + Jocelyn...

artforhumans — Tue, 22 Jan 2013 15:34:30 -0500

New purpink hair for PJM by Chelsea Pickthorn + Jocelyn [Bushwick, BK/Jefferson St. L stop].

PickthornBK rox!

Novad Zine END OF THE WORLD EDITION, no.ONE, Vol.ø [Online Preview @ISSUU]

artforhumans — Sun, 20 Jan 2013 16:47:04 -0500

">Novad Zine END OF THE WORLD EDITION, no.ONE, Vol.ø [Online Preview @ISSUU]:

We are testing ISSUU for publishing Novad Zine and other AFH and OAS publications. Let us know what you think!

occupationalartschool: in the interim between NZEotWn1vø &...

artforhumans — Fri, 18 Jan 2013 11:19:38 -0500

occupationalartschool:

in the interim between NZEotWn1vø & NZn1, the NOVADS create in the space between/ answer the Q: WTF iz a NOVAD? write poems w/all our might, make artz, songz, videoz + more, OTC [off teh clok]

occupationalartschool: Published on Jan 18, 2013 Animation...

artforhumans — Fri, 18 Jan 2013 11:14:45 -0500

occupationalartschool:

Published on Jan 18, 2013

Animation by Paul McLean [AFH/OAS/OwA/Novads]
Audio by Jez3Prez [RevGAMES/Novads/Anarchives/OWSAC(original)] + Wilson Novitzki [DisciplineAriel]
Content by Chimaera Collective

Download free preview copy of Novad Zine END OF THE WORLD EDITION, no.ONE, Vol.ø [PDF, 300dpi, 70mb] here: http://www.artforhumans.com/oas-folder/eotw/NOVADzineEotW_for_%20review.pdf

Preview on Facebook: http://www.facebook.com/media/set/?set=a.306033022849534.72324.10000328517434…

Audio by Zerp3zejAnimation + video by Paul McLeanFor Novad Zine...

artforhumans — Wed, 16 Jan 2013 16:04:46 -0500

Audio by Zerp3zej
Animation + video by Paul McLean
For Novad Zine [Interstitial]

You can’t really tell from these mushy mobile phone pics,...

artforhumans — Sun, 13 Jan 2013 11:25:36 -0500

You can’t really tell from these mushy mobile phone pics, but the paintings have a lot of detail features. There are some new figurative developments that have me totally stoked. The ink on polyester (treated for wet media) is a revelation. I’ll be able to go fairly big in that. I think the progression owes a lot to the novadic influence/inspiration.

This month I’m working in my friend Dumitru Gorzo’s...

artforhumans — Sun, 13 Jan 2013 11:17:50 -0500

This month I’m working in my friend Dumitru Gorzo’s studio, while he’s away in Europe. I’m painting with ink on polyester and paper. These paintings will have multiple applications [silkscreen, wheatpaste campaign, digital (several), overhead projection, holographs for paintings, etc.].

NovadZINE End of the World Edition, no.ONE, Vol.ø samples....

artforhumans — Sun, 13 Jan 2013 11:10:40 -0500

NovadZINE End of the World Edition, no.ONE, Vol.ø samples. Download free HERE. [70mb PDF, 8.5 x 11”” - 300dpi, for print-output]. I contributed content, design, layout, etc.

Preliminary sketch [digitized Turner slaver ship Zong, from...

artforhumans — Sat, 15 Dec 2012 12:31:48 -0500

Preliminary sketch [digitized Turner slaver ship Zong, from mobile phone photograph of the painting by PJM] for “Fallacies of Hope,” 2013 exhibit at SLAG.

PEACE [for Amelia, Wilson, Christopher & All]By Paul...

artforhumans — Fri, 14 Dec 2012 11:26:58 -0500

PEACE
[for Amelia, Wilson, Christopher & All]
By Paul McLean

TIME
comes
when
you wish
you had been kind
to every soul
whose path
you crossed
& realize
you had not.

Like the cinders
floating
on the wind
toward the window
of this loft
from the concrete plant
yonder
to enter
whatever you do
through the gaps
in the panes
into the lungs
of this small child
your beautiful son
Lachlan
who knows
nothing
of ash
disease
or dying
& wrong
& not.

Was it TIME
propelled the orb
or the orb
self-propelled?

Look out ~

She’s moving.

In that one
moment
…
the fire
burning
~ passion aflame
in Ithaca
to conceive
a child
& after,
to feast
on the flesh
of animals
in the midst
of loud voices
lights too bright
not knowing
not in your head
that

He is coming.

Now
this world
is ending
this calendar
is over

You can feel it
in you through
& through

your sense of it
is precise

It is precious

that much
is clear

like a day
after snow has fallen
& the the storm
passed

before anyone
has risen

you pull on your boots
you walk the trail
to the mountains

no tracks but yours
in the powder

hardly a sound
at all

but the crunch
of your weight
packing the snow
underneath
your treading
the incline

into the tree line
the Pondy pines
& cover

& you wish
you were light
enough
that your passing
would not even
disturb one
snowflake

each one ~
you learned
along the way
somewhere, maybe
school or church
or the TV
~ is unique

at some point
you stop
look out ~
upon the scene
the spectacle
of Nature
arrayed
a panaroma
far below you
[though up
& down
& all around
barely
registers, here]
where you stand
breathing
not too hard

the wind(s)
on the face

it feels good

the intent movement
has made you
warm

you could
go further
but you
do not

you reach
with gloved hands
to the sky

…

you were young
then
though it
didn’t seem
like it

you were thinking
of other things
you thought & behaved
differently
or not at all
& maybe it’s better
to not ponder
too much
the profound
mystery
of living
& being
alone
altogether
with everything
in the world

∞

on the Hill
you & water
became
relatives

by the fire
your relatives
become
blood

with tobacco
you dreamed
& pray
for everything
that moves
everything
holy

peering at the heavens
all the stars
& whatnot
you see
more or less
depending
on the song
you are singing
friends
standing beside you
singing too
~ same song
forever

inside it forms
like a halo
on an angel
in a painting
within your ribcage
or between your cells
a spirit
a mind
a ghost
dances

…

in the paint
you found it
& to not
make it real
is killing you
driving you mad
under the circumstances
because of conditions
beyond your control ~

TIME is the only object

Sure, man
but that will not
[as a subject
for discourse,
an idea,
a negation,
ultimately]
create your art,
for you,
& it is not all
subjective,

in quinacridone
red gold on redwood
from dead & down
harvested
on Morris Graves’
land, lovely
property
near the bird
sanctuary

you draw chakras
representing kundalini
about which you know
nothing, for certain
& the wood splits
& there’s an earthquake
or thunder
& the rending
cracks open
each one
at 3AM in the morning
or thereabouts

to the pema kar
the white lotus
at the summit
on the pinnacle
of your skull
between you
& the clouds

an Opening

out of the muck
a flower
a funny monkey
& Highlander
through & through
past the otherworldly
monstrous
& loyal guards
with barely a scuffle

to See her
Green Tara
on her throne

& you exchange
formalities,
such as
they are
there

…she commands
you
to quit
fighting

the only thing
action
you cannot do

so did Joan
years later

no mas
(~ Roberto)
righteous anger
she smiled
satchidananda

& you
born of the dragon
long ago
~ it served you

…

until the chill
morning air
& your shivering
wake you

your cold blankets
your clenching fingers
your hollow throat
your swollen tongue

no possessions

aching all over
your body

no one
around

you hold It
close to you

you weep
for Vision

& it was
always
this way

& will be
forever
~ Old man

- December 14, 2:51 AM, Bushwick

occupationalartschool: Complete animation (Pts. 1-6) + audio by...

artforhumans — Tue, 04 Dec 2012 15:47:36 -0500

occupationalartschool:

Complete animation (Pts. 1-6) + audio by Amelia Winger-Bearskin