{"id":2049,"date":"2012-11-03T01:00:41","date_gmt":"2012-11-03T01:00:41","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=2049"},"modified":"2012-11-02T14:19:04","modified_gmt":"2012-11-02T14:19:04","slug":"cheap-scary-exciting-beautiful-desolate","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=2049","title":{"rendered":"Cheap, scary, exciting, beautiful, desolate"},"content":{"rendered":"
\"\"<\/a>

Jim Mott<\/p><\/div>\n

Jim Mott<\/a>, my friend the itinerant artist, is in the middle of his Great Lakes tour, which takes him through Buffalo, Cleveland, Detroit and a couple stops in Ontario. He stays with hosts who give him room and board in exchange for a painting of their surroundings. It\u2019s probably the most radical way of being an artist I know. It takes money out of the equation entirely and puts him into a role somewhat like a mendicant monk, or the poet Basho, in his walk around Japan. This kind of itinerant art connects him with people in an extremely personal way\u2014he\u2019s invited to infiltrate their lives and reflect their world back to them through his quickly executed paintings. He becomes a humble servant rather than a seer, producing work that\u2019s instantly recognizable and meaningful, rather than an image that requires deciphering and commentary by anyone other than the recipient. In other words, his project turns a lot of things upside down and the result is work (and a performance) that\u2019s accessible and friendly and transparent. You know instantly what he\u2019s doing, why he\u2019s doing it, and I, for one, love what comes out of it. I spoke with him for a couple hours before he left this past weekend\u2014just before I drove to Cincinnati and back.<\/p>\n

How can you get to a place where you can have an impact? That’s the question for an artist. Is success getting the painting done and being happy with it. It is enough, but you want it to be more than that. <\/strong><\/p>\n

When my goal has been to reach a bigger public, I don\u2019t have time to do the painting. Even when I\u2019m planning a tour . . . I have this hollow feeling because I\u2019m not painting.<\/p>\n

Hey, I probably spent two full weeks doing those maple floater frames for the Oxford show.<\/strong><\/p>\n

It\u2019s working with your hands, at least. (laughter)<\/p>\n

Yeah. You have to get into a certain number of hours every day to get the momentum. I actually did that with a lot of the work for the Oxford show. I was painting the day before the show. I brought it down the next day after I\u2019d finished it, still a little wet. I remember reading that Francis Bacon would bring his paintings to a show still wet. <\/strong><\/p>\n

My younger brother has similar discipline. Not many people have a lot of free time and actually use it well.<\/p>\n

Having the time is the first problem. <\/strong><\/p>\n

There are so many artist friends in Rochester who are really good, but in the same boat. Every city has those. The economic conditions aren\u2019t good.<\/p>\n

This is part of what interests me about old school hip-hop. It\u2019s supposed to be local. Do it yourself. About your area code, expressing something about where you live, communicating with that core group of people. It\u2019s about home. A core group in Cincinnati, or Brooklyn, or Philadelphia or New Orleans. That ought to be what makes painting vital. Artists gathering together and seeing a commonality in what they are doing, for an area. Local galleries sort of do that. But it\u2019s more about: here\u2019s what this individual is doing. <\/strong><\/p>\n

RoCo<\/a> is about that. When I go to their group shows, there\u2019s a lot of edgy contemporary work. I look around and think what\u2019s going on? Why don\u2019t I get it?<\/p>\n

Isn\u2019t that the problem right now? I sometimes think the people who \u201cget it\u201d are just following along. They have a paradigm in their head about what they should be looking at and this fulfills it. There\u2019s little personal, emotional response to a lot of what they see. <\/strong><\/p>\n

People who like Southern rock don\u2019t like hip-hop. It\u2019s personal.<\/p>\n

I don\u2019t listen to Taylor Swift, but I can see why people like her. It isn’t that I don’t get it. That\u2019s different.<\/strong><\/p>\n

We should interview some of those artists we don\u2019t \u201cget.\u201d It might be good to talk to these artists and figure out where they\u2019re coming from. I met an artist in Memphis at a dinner party, and she\u2019s proudly an artist and she teaches and she assembles doll parts. Dolls heads and things and people think it\u2019s cool. I don’t know.<\/p>\n

I\u2019ve had this experience. Some artists at Viridian I will glance at the work and feel as if I have no idea . . . but after a year I start to like it. <\/strong><\/p>\n

So we shouldn\u2019t dismiss it.<\/p>\n

Does it matter how many people it will reach? How do you do visual art in a way that has quality and isn\u2019t just a cheap bid for popularity or status but can appeal to or reach anyone who has any feeling for visual art. Your work can be immediately appreciated. Art ought to be accessible to most people.<\/strong><\/p>\n

I like that idea. But I\u2019m aware of not pursuing directions that might be less accessible and even more rewarding personally. I\u2019m starting to think that what you don\u2019t like right away . . . it\u2019s a reflection of the fragmented enclaves of society itself.<\/p>\n

The idea that society is fragmented gets promoted by the groups that form. Multiculturalism, identity politics, it\u2019s all tied up on . . . \u00a0<\/strong><\/p>\n

. . . tribalism.<\/p>\n

Exactly. As opposed to the idea of a universal education about core values that are present in most cultures. Find what\u2019s common to all human beings. What makes life interesting is how people are different, but if everything is focused on what makes you unique instead of what\u2019s in common . . . in the Sixties everybody listened to everything else and appreciated it. There was no sense that you were an idiot if you liked Tommy James and not Led Zeppelin. Well, maybe a little . . .<\/strong><\/p>\n

We shouldn\u2019t assume that what we like represents a legitimate worldview to anybody . . . I like aboriginal art.<\/p>\n

And that has nothing to do with our culture. <\/strong><\/p>\n

But it\u2019s very easy to like and get into it. To sense some enchantment that\u2019s welcoming in a way. It\u2019s nourishing.<\/p>\n

That\u2019s interesting. You\u2019re saying that at some level, subconsciously, you\u2019re getting what\u2019s nourishing in it without consciously understanding . . . the way of life. <\/strong><\/p>\n

The culture\u2019s being destroyed basically. My sister lived with a family. There\u2019s still some connection to the old ways and access to something we wish we had access to. But for them there\u2019s also the husband who comes home drunk and beats people because they don\u2019t have their lives anymore. Maybe in any form of art you can get to a level that breaks through to something other people can get. I don\u2019t know.<\/p>\n

I like to think there is. I\u2019ve had people tell me that\u2019s ridiculous. <\/strong><\/p>\n

It\u2019s Romantic.<\/p>\n

It is. Romanticism was built on that. That you can find this connection to nature or truth that isn\u2019t just arbitrary and cultural. It\u2019s built into what we are as natural creatures. <\/strong><\/p>\n

A few books I like to cite as being connected to what I\u2019m doing, Rilke\u2019s Letters to a Young Poet. <\/em>It\u2019s full of quotes art students love. \u201cWinning the trust of small things.\u201d<\/p>\n

Rilke\u2019s very visual. His love for Cezanne. There were so many people who were enthralled by Cezanne. There is this power to his work. I think he was so immersed in nature, so reclusive, he had this relationship in his experience of the world that was so much deeper than the other Impressionists. I saw that show in Montclair on his influence over American artists. You wouldn\u2019t believe how many artists he influenced before they went on to do what they did.
\n<\/strong><\/p>\n

He was rooted in nature so he doesn\u2019t have the same sense of alienation.<\/p>\n

He was really expressing something that was there. He would go out and bring something back and it wasn\u2019t the photographic look of anything; it was more than what you could see. I don\u2019t think he was doing anything revolutionary, just painting . . .<\/strong><\/p>\n

. . . as best he could.<\/p>\n

Right. These are the colors I want to use and this is how I want to put them down and when I\u2019m done this is how it looks but there\u2019s still more. Everything he did had this ancient feel. A sense of time.<\/strong><\/p>\n

I think of Dickinson. Edwin Dickinson. We were talking about fragmentation. He came after or during the time of the abstract expressionists so he was against that in a way . . .<\/p>\n

Burchfield too. Porter. People who were against the grain. <\/strong><\/p>\n

He combined the abstract with representation, trying to pull it together on purpose. Most painters I know are trying that still.<\/p>\n

It\u2019s so difficult. I\u2019m always seduced by trying to paint exactly what I see, and it\u2019s hard to pull it back to that dual motivation, even though that\u2019s precisely what I most want to do.\u00a0 You\u2019re taking a different approach.<\/strong><\/p>\n

No, I try to take your approach but I get impatient.<\/p>\n

I can\u2019t reproduce what I do every time I paint. There are so many variables. How fast you work. The thickness of the paint. The mixture of one color with another. <\/strong><\/p>\n

We should sketch together. Painting feels like time away from living, but sketching feels as if it enhances life. It amplifies the excitement of being there. Some days I force myself to go out with a pad rather than a camera.<\/p>\n

I thought you worked mostly from direct observation. <\/strong><\/p>\n

But I take a camera to record things too. Sometimes when I take photographs I can\u2019t remember what I saw. I remember the photograph. If I do a sketch it\u2019s very different. (Jim is sitting at our kitchen table, sketching a nuthatch he sees in our cherry tree, while we talk.) The payoff is being there and doing it.<\/p>\n

Like Tibetan sand painting. <\/strong><\/p>\n

Except you still have the sketch. (laughs)<\/p>\n

The question is why is art not as relevant as it used to be. Price? But was art ever relevant? Was it really a popular art form? How many people saw Velasquez or Bruegel? You can fall back on Michelangelo as someone who reached a lot of people, but how do you duplicate that? Warhol? <\/strong><\/p>\n

The kinds of experience that art can put you in touch with are not given space in mainstream culture.<\/p>\n

The quietness.\u00a0 <\/strong><\/p>\n

Anyone has access to it but we\u2019re conditioned not to make time for it.<\/p>\n

Time and . . .it\u2019s just the opposite of the Internet. You aren\u2019t going from page to page, or changing channels or clicking ahead in the playlist, you\u2019re just looking at that rock for a week or two weeks. <\/strong><\/p>\n

You look at a painting you like, your solitude connects with someone else\u2019s and it feels full. How is that different from being on the computer connecting with other people\u2019s thoughts, when I go away feeling empty. What\u2019s going on there? Why don\u2019t more people want that?<\/p>\n

That\u2019s very interesting. It\u2019s one way in which visual art is antithetical of other forms of art or entertainment. It\u2019s the opposite of this buzzing barrage of stimuli that we\u2019ve got now with media. Painting is static. Go back to Edwin Dickinson. There\u2019s so little to be found about him. With books, there\u2019s almost nothing you can buy that doesn\u2019t go for hundreds of dollars. They have a huge canvas of his in Buffalo. <\/strong><\/p>\n

Very different from his . . .<\/p>\n

Premier coup stuff.\u00a0 I found examples of both when I was looking. <\/strong><\/p>\n

And then there are the drawings that are the best of all. The book I wish I\u2019d bought, which I tried to steal from my adviser but he remembered that it was gone (laugh), it reproduced about twenty or thirty drawings. They weren\u2019t full size but reproduced well on that paper. I saw a couple in real life and they were not a disappointment. He did people, parts of houses, landscapes. A lot of negative space. Bits of precise . .<\/p>\n

. . . and then it trails off. Yeah. <\/strong><\/p>\n

They feel very meditative. You\u2019re in the presence of someone who caught it all even if he didn’t show it all.<\/p>\n

Strong lines? <\/strong><\/p>\n

No, very atmospheric.<\/p>\n

Yeah, he worked from areas of value rather than lines. But in this painting in Buffalo there\u2019s an incredible sense of line so he must have slowly refined down to edges. <\/strong><\/p>\n

He could be precise. There was one of a window, and most was fuzzy but there were parts of the window that were so straight and sharp that it almost becomes something else, breaking away into abstraction.<\/p>\n

I was reminded of Braque. So many things remind me of Braque. This one in Buffalo reminded me of . . . not surrealism, but unreal. You know that Gorky painting of the artist and his mother? She\u2019s right behind him. It\u2019s marvelous. It has that precise, a strong sense of line, very abstract. It reminds me of some of those paintings Chagall did in his cubist phase, where he\u2019s floating over the town . . . it has that quality where it\u2019s flat and about pattern as much as form. The faces are realistic, but the rest flattens out. Braque\u2019s pedestal tables, he\u2019ll flatten out the object but retain the coloring it would have it if were three-dimensional, and he\u2019ll mix sand into the paint as if he were painting on stucco. To flatten it more. <\/strong><\/p>\n

I used to think in terms of a solution to the situation of visual art. Now it\u2019s more wanting to reflect simply on the way it is for artists. I don\u2019t think most painters in Rochester will sell what\u2019s in their closets, and yet they persevere. Having more people appreciate that would help.<\/p>\n

We\u2019re thinking the same thing. I keep coming back and thinking what\u2019s the solution? I don’t know. Everyone denigrates high quality inkjet prints partly because they get sold as if they were original art prints. If it was understood this is as close as you\u2019ll get to the real thing, which you can afford. But even then, you know few people would spend more than a hundred dollars for a reproduction of a painting. <\/strong><\/p>\n

I stayed with a couple in Vermont, smart, engaged, not badly off, activists. They loved being hosts, watching me paint, very supportive in helping me find other hosts. Ten years later they came by and saw a painting on the wall, with a much higher level of finish. The ones I do on tour would go for $500 and this would be more than that. First of all I didn\u2019t want to sell it, but I would because I . . . need to, and so on. (laughter) I told them the ones I do on tour would sell for at three to four hundred dollars. I literally saw their jaws drop.<\/p>\n

How can they balk at that? I see people who are incredibly well off and will never buy a painting. <\/strong><\/p>\n

They\u2019d been thinking more around a hundred dollars. And I said, well, I have some prints. It looks a lot like one and it\u2019s only $35 because it\u2019s an inkjet print. They were pretty happy with that. But it reinforced my going on tour because you take the exchange of money out of it that way.<\/p>\n

You can buy a song for a dollar. You can go to a movie for twenty bucks. You can subscribe to Netflix for eight dollars a month and that\u2019s the price range. Or a book for $20. Nothing costs what visual art costs. <\/strong><\/p>\n

Fifteen years ago, I felt free to ask more and things moved. That was the economy.<\/p>\n

It will be a long time before it comes back. <\/strong><\/p>\n

The middle class is declining<\/p>\n

So we\u2019re all for the one percent!<\/strong><\/p>\n

To make a living you have to market to the one percent.<\/p>\n

Hm. That\u2019s where I do think the prints would fulfill a role. If you could do decently sized prints for $50 or even $100. But could you afford to print them for that? Poster-sized prints of a painting. Wouldn\u2019t it cost more than that to produce? <\/strong><\/p>\n

I find selling in galleries distasteful: I like being able to trade paintings and then exhibit the best results in colleges, but it hasn\u2019t paid off yet. It could. If I could get paid several hundred dollars to talk at a college.<\/p>\n

What\u2019s your tour route this time? <\/strong><\/p>\n

You know an obscure literary journal, Great Lakes Review?<\/em> Someone on the board offered to pay my gas if I promised to write something about the trip. So it has to be the Great Lakes. Because it\u2019s so late in the year now, I\u2019m doing one part now and one in the spring. Great Lakes, rust belt and some Canada.<\/p>\n

Chicago?<\/strong><\/p>\n

Not this trip. Maybe in the spring. Five or six stops this time. I\u2019m going to go to Niagara Falls, Cleveland where the offices of the journal are, then Detroit, maybe Saginaw and a stop or two in Ontario. I think Detroit will be the most interesting because there\u2019s so much going on there. Young artists moving into the bombed-out zone.<\/p>\n

It must be incredibly cheap.<\/strong><\/p>\n

Cheap and scary and exciting and beautiful and desolate.<\/p>\n

There\u2019s this movie called Detroipia, a lot of visuals of the abandoned buildings and what it\u2019s like for a few people staying in the area. That will be the big focus, to see what\u2019s happening there.<\/p>\n","protected":false},"excerpt":{"rendered":"

Jim Mott, my friend the itinerant artist, is in the middle of his Great Lakes tour, which takes him through Buffalo, Cleveland, Detroit and a couple stops in Ontario. He stays with hosts who give him room and board in exchange for a painting of their surroundings. It\u2019s probably the most radical way of being […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2049","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nCheap, scary, exciting, beautiful, desolate - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=2049\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cheap, scary, exciting, beautiful, desolate - represent\" \/>\n<meta property=\"og:description\" content=\"Jim Mott, my friend the itinerant artist, is in the middle of his Great Lakes tour, which takes him through Buffalo, Cleveland, Detroit and a couple stops in Ontario. 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It\u2019s probably the most radical way of being […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/thedorseypost.com\/?p=2049\" \/>\n<meta property=\"og:site_name\" content=\"represent\" \/>\n<meta property=\"article:published_time\" content=\"2012-11-03T01:00:41+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/thedorseypost.com\/wp-content\/uploads\/2012\/11\/jim_mott.jpg\" \/>\n<meta name=\"author\" content=\"dave dorsey\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"dave dorsey\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=2049#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=2049\"},\"author\":{\"name\":\"dave dorsey\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#\\\/schema\\\/person\\\/5f1b414f169df69053f04f66b929fd57\"},\"headline\":\"Cheap, scary, exciting, beautiful, desolate\",\"datePublished\":\"2012-11-03T01:00:41+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=2049\"},\"wordCount\":2991,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=2049#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/thedorseypost.com\\\/wp-content\\\/uploads\\\/2012\\\/11\\\/jim_mott.jpg\",\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/thedorseypost.com\\\/?p=2049#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=2049\",\"url\":\"https:\\\/\\\/thedorseypost.com\\\/?p=2049\",\"name\":\"Cheap, scary, exciting, beautiful, desolate - represent\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=2049#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=2049#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/thedorseypost.com\\\/wp-content\\\/uploads\\\/2012\\\/11\\\/jim_mott.jpg\",\"datePublished\":\"2012-11-03T01:00:41+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#\\\/schema\\\/person\\\/5f1b414f169df69053f04f66b929fd57\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=2049#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/thedorseypost.com\\\/?p=2049\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=2049#primaryimage\",\"url\":\"https:\\\/\\\/thedorseypost.com\\\/wp-content\\\/uploads\\\/2012\\\/11\\\/jim_mott.jpg\",\"contentUrl\":\"https:\\\/\\\/thedorseypost.com\\\/wp-content\\\/uploads\\\/2012\\\/11\\\/jim_mott.jpg\",\"width\":\"350\",\"height\":\"234\",\"caption\":\"Jim Mott\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=2049#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/thedorseypost.com\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Cheap, scary, exciting, beautiful, desolate\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#website\",\"url\":\"https:\\\/\\\/thedorseypost.com\\\/\",\"name\":\"represent\",\"description\":\"the painting life\",\"alternateName\":\"the dorsey post\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/thedorseypost.com\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#\\\/schema\\\/person\\\/5f1b414f169df69053f04f66b929fd57\",\"name\":\"dave dorsey\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1b459062818b38ed5bb3f68365bc2557f760412a5db1278493176a6a45bb1c8f?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1b459062818b38ed5bb3f68365bc2557f760412a5db1278493176a6a45bb1c8f?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1b459062818b38ed5bb3f68365bc2557f760412a5db1278493176a6a45bb1c8f?s=96&d=mm&r=g\",\"caption\":\"dave dorsey\"},\"description\":\"I'm a painter living in Pittsford, NY. 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