Archive for the ‘Humor’ Category
Matt McCormick’s new film, The Subconscious art of Graffiti Removal, makes the argument that the act of removing graffiti, and the end result, is itself art. “Graffiti Removal is the act of removing tags and graffiti by painting over them and Subconscious Art is a product of artistic merit that was created without conscious artistic intentions.” So that makes Missoula’s Greyman one of our most prolific street artists, right? Hit the link for an excerpt from the film, as well as a couple of other short films on the subject.
 Unilever Marketing Brilliance by Marc Moss (If only they were cool enough to hire me)
When I arrived in their little office in downtown Missoula, I was greeted with warm smiles. S. was pretty excited to have me deliver the piece, and I was pretty excited to be able to sign it in her presence, help her decide where it should hang, and finally, hang it on her office wall. The women there provided me with a small metal hammer which was painted in “feminine” colors and had flowers on it. They got a kick out of it when I drove the nail using the provided hammer. The piece looks great in her office, and I meant to photograph it, but was caught up in the contagious excitement of the women as they admired the piece. We talked about it for a while, before easing into friendly talk comparing office humor and other daily life conversations. After it had been hung, E. commented that the wall looked a little lonely, that maybe S. needs more of my pieces to compliment the existing one. S. had already mentioned the possibility of wanting another piece, and I was glad to encourage her, picking up a dry erase marker and drawing on the whiteboard how the wall might look with the addition of two complimentary pieces. As I left the office, I was remembering the first time I had completed a similar project. I remember how personally involved in it I was. This time was different. It was less about the emotion, and more about presenting the work in such a way that the emotion came through in a humorous way. I re-learned some of the things I learned the first time around, namely that vellum applied with spray adhesive is much better than self-adhering vellum. This version of the project was much more coherent, all of the pieces being almost of uniform size, all being a uniform shape. I enjoyed using two different models for the photographs as well. And the distance and time between me and the models involved made creating the project more enjoyable. Yeah, I was stressed about finishing it on time, but I enjoyed the entire process more and was more deliberate in the way that I went about it. Finishing the show felt good, and it generated a lot of brainstorming on my part for subsequent shows I’ll be doing. Brainstorming around concepts of content, but also around concepts of logistics about how I want to pull off the ideas themselves. Right now work has got me pretty busy. Working three jobs currently. I’m tying to do something creative every day, and am constantly thinking about the next project, when i can start it. In the meantime, I’m learning how to use a new camera. I’ll be posting some of those photographs here as time allows.
Ever since the OPP renovated the bar, one thing has bothered me and that’s the lOWERCASE ls on the beer signs. Now, I’ve always loved the artwork on the OPP’s chalkboard, don’t get me wrong. I think each panel is absolutely beautiful. I remember, just after the remodel, wondering when the chalkboard would return. Finally it did, and WTF. One of my favorites is the LAKE MISSOULA AMBER from the KETTlE HOUSE. I mentioned it to some of my friends, and we had a laugh about it, ordered another round, and (they) forgot about it. But I couldn’t. It was one of those things that was always slightly annoying. But I should just get over it, right? Well, I found some other folks who think lOWERCASE ls are equally as absurd. I guess this validation is enough to let it go.(yeah, another restaurant post. This one deals directly with local art, so cut me some slack, eh?)
Check out more lOWERCASE ls here. Why not buy me a MOOSE DROOl? Click below to buy me a beer. Thanks! I’m converting a bunch of .avi files to .mov files because for whatever reason, Quicktime and VLC both aren’t playing .avi files. I’d like to index all of my movie files that I’ve shot and begin playing around with editing again. I’m using iSquint to make the conversions. Check out their HELP menu.
The Agents had a constant presence. The seemed to be everywhere at once. They reminded us of an ambiguous “constant threat”, and spoke in urgent tones, always careful to be painfully polite, thanking us for our cooperation as they herded us from one space to the next. “Why do the questions never change? Why are you asking yourself the same questions? What is your purpose? Where do you want to end up? Why do you think you are different than them? Why is it always about you? “Am I different?” Two women and a man stand imposingly over another man, who is seated. The seated man holds his head in his hands and is having a monologue with himself, asking questions about himself, his purpose. The questions are influenced by the barking interrogation of the three standing above him, one holding a harsh light over him. The seated man is dressed as a young professional, while the three who relentlessly question him, interrupting each other, creating confusion, creating a heightened sense of anxiety in the man. The evening built up to this point quickly, as Agents dressed in black, wearing dark sunglasses and earbuds ominously in place walked hurriedly and confidently throughout the gallery space, snapping instructions at guests, informing us that we must “clear the area” and “move along” but without telling us why. And no one asked why. Some of us knew what was transpiring that night at the Missoula Art Museum, others did not, but the feeling of fear and intimidation was very real. The interrogation lasted only a few minutes before the crowd was dispersed and the Agents cleared the gallery space again. They reconvened in the lobby of the gallery. One began reciting the First Amendment very loudly, while others whistled Yankee Doodle Dandy over top of his commanding voice. It all felt very Brave New World or 1984. Immediately after all of the heaviness and orchestrated confusion, the sunglasses came off, the red clown noses appeared, and the gathered were invited into a performance of Peace, Joy and Celebration. A strip of cloth descended from the ceiling, and the crowd was invited to “grab on”, as we were led, by members of the OFA, into the performance space. The performance space was warm and welcoming, featuring a backdrop created by Jonathan Marquis and Adelaide Every, The Fabric of Our Lives, an abstract quilt of assembled fabric gathered from the Missoula community. Pennies on the Ground – song and improvised structure by Catlin Hill “no window open, no lamp lit, no light switch, no ladder up no rug down, no pans laughin, no kettles cryin, no pennies on the ground” Heidi Junkersfield opened the performance by teaching us how to sing these words together, binding us as an impromptu micro-community within the larger community of Missoula for the evening’s performance. We sang these lines together in almost a chant before Jill Beauchesne performed a poem accompanied by Hill on violin and Nathan Zavalney on guitar while Anya Cloud played off of Beauchense’ words in a beautiful interpretive dance. The piece, Red Hawk on the Power Line, used familiar geographic imagery from Missoula’s North Side neighborhood to convey a sense of place and loneliness in the individual mind. I think. Sometimes I don’t “get” poetry, but I like the feel of it anyway. Dakini Mind – conceived by Junkersfield and Penelope Baquero “You are not balanced enough!” One woman shouts at the other. They are two halves of the individual self, battling it out for us to see. One, recites a litany of intentions that hold no weight because they are not backed up with action. Intentions of change, of becoming a better person, of wanting to be good in the struggle of daily life. It’s a familiar internal struggle that many of us have, and can lead to depression or redemption. We are eternally at odds with ourselves, and the two women in the spotlight shine a harsh light on our internal struggles by acting it out for us. But there are glimpses of harmony within this dissonance, as they danced together, embracing each other tenderly, before violently pushing each other away. The piece was an “exploration of three feminine mystical beings — Kali, Pachamama and Dakini” that included enough humor to allow the viewer to acknowledge seeing himself within the piece and encourage him to keep up the fight, to not give up. Dakini Mind finishes with Junkersfield running in place, talking out loud, trying to convince herself that she has it together, that she is strong. And then Baquero delivers the punchline: “I’m strong and I’m not even running.”
The Manual – collaborative piece created by the male members of OFA The Magician is introduced to us, and is a cocky, confident young man. He is shown, by our colorful host, Mark Morante, the true path to manhood is Rock and Roll, and is deluded by the images projected onto the screen that this is his True Destiny. As the lights come up, and the images fade, he discovers a guitar in his hands. He begins to play it, writes a quick song, and the loud music kicks in. He Rawks Out. He keeps Rawking Out, until he is revealed to be a sham by a playful clown who shows him that the microphone into which he is “singing” is unplugged. The Lover, then, is brainwashed into believing that in order to be a Man he must regal the women with his tenderness, virility and charm. He chooses a woman at random from the crowd and begins to dance with her to Prince’s “Purple Rain”, but is ultimately distracted by the appearance of a mirror, which he takes, dropping the woman, dancing with his own reflection. The Warrior then comes to the stage and watches propaganda on the screen which convinces him that to be a Real Man, he must Make The Ultimate Sacrifice and become a Soldier. The clowns return, this time somberly, carrying his dead body from the stage. Finally, The Politician arrives, eager, hopeful and self-assured. After he is shown images on the screen of “great leaders”, he stands up and begins schmoozing and pumping the hands of his devoted, but, then, sadly, begins accepting graft from the Clown Lobbyists and he too is led from the stage. So what is the answer? How can one be a True Man? Peace. The screen flickers images of peaceful protests, anti-war messages as a beautiful cover of John Lennon’s Imagine plays. (Anyone who was there know who sang this?) All of the OFA are now on the stage dancing together, with recognizable elements from Tai Chi and yoga infused into the dance. The OpenField Artists is an Interdisciplinary art collective which uses dance, theater, spoken word, music, video and visual art to explore themes such as Myth, Cultural Identity, and Consumption. Through experimentation, improvisation and the presentation of original works, they create experiences that involve the public in a variety of ways. OFA: |
