{"id":7670,"date":"2017-08-03T12:16:15","date_gmt":"2017-08-03T12:16:15","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=7670"},"modified":"2017-08-02T14:07:42","modified_gmt":"2017-08-02T14:07:42","slug":"stop-moving","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=7670","title":{"rendered":"Stop moving"},"content":{"rendered":"
\"\"<\/a>

Scott Alan Adams Sr., George Bush<\/p><\/div>\n

Jim Mott paid a visit last week and we talked for a couple hours, as he sat in one of our Adirondack chairs and sketched a bit of what he saw in the yard, probably some of the birds attracted to our feeders. He was wearing a Red Sox cap someone had left in his car once, and was in a good mood, thanks to the fact that he has a job working with a nature conservation group to supplement whatever he makes from his art. Most of the time, Jim trades his paintings for room and board, when he\u2019s in his Itinerant Artist mode, but he also sells and has a show coming up with several other regional artists. It was a good conversation, and here is some of it:<\/p>\n

JM: On those rare cases when I sit down and really draw something it\u2019s so refreshing but it\u2019s hard to make myself do it. I do a sketch and think maybe I\u2019ll do a painting from it and then I see everyone else holding up their phone cameras. Working from sketches, we\u2019d be doing art the way we did it thirty or forty years ago. Richter certainly relies on photography.<\/p>\n

DD: Richter’s name has come up a lot in the past few days. I was just emailing with Rick Harrington who was talking about how he\u2019s been watching Richter\u2019s videos. And I was emailing this morning with Bill Stephens and Bill Santelli and we were talking a little about Richter.<\/strong><\/p>\n

He does those big squeegee paintings which I really like.<\/p>\n

I do too.<\/strong><\/p>\n

I saw some of his photo-real paintings in Chicago.<\/p>\n

We talked about that.<\/strong><\/p>\n

Up close the presence of the paint is so sublime.<\/p>\n

I think he focuses a lot on the quality of the surface. I think he\u2019s looking to Vermeer and Old Masters for the photorealistic paintings. He gets that very soft edge.<\/strong><\/p>\n

But what makes the paint feel so there is that there’s such a sense of material. Its like the feel of something done with limestone.<\/p>\n

Rick and I have talked about our disappointment with Walton Ford\u2019s paint. You stand back and it\u2019s one hell of an image and it really works, but the love of the paint doesn\u2019t seem to be there. You can see the paint and it\u2019s very evident; it\u2019s a jumble of paint up close but it doesn\u2019t have that quality you\u2019re talking about. But it works.<\/strong><\/p>\n

This is a distraction but you\u2019ve probably seen this book. (Jim handed me a coffee table book he’d brought with him, a catalog of George W. Bush’s portraits of war veterans.)<\/p>\n

No. Oh, Bush. Oh, those are good! Those are better than I thought. Huh. Good for him.<\/strong><\/p>\n

It\u2019s such a bizarre thing.<\/p>\n

Well, Churchill.<\/strong><\/p>\n

But he\u2019d never painted before. There\u2019s a strong sense in my mind that he\u2019s doing it as a kind of atonement, but it\u2019s cheerful.<\/p>\n

It reminds me of Philip Burke.\u00a0<\/strong><\/p>\n

After he started to paint he started to notice that shadows weren\u2019t shadows but colors.<\/p>\n

These are way better than I thought.<\/strong><\/p>\n

He said, “I became comfortable with the idea of tones and values.” Wow.<\/p>\n

This one, he\u2019s just pushed that so far that it\u2019s interesting. It\u2019s like Lucien Freud.<\/strong><\/p>\n

Freud is one of his models. You\u2019ve got a president who started war and now is painting. These are all guys who have come to his treatment center. Damaged.<\/p>\n

We were going to talk about social media vs. painting.\u00a0<\/strong><\/p>\n

I used to focus more on social media as a horrible thing. It\u2019s fun to get likes and so on, but it takes you away from yourself. I was thinking about digital photography, the way everyone depends on it to process the world. You see people holding up their phones everywhere.<\/p>\n

I depend on digital photography for my work. But social media is turning it into a stream of sensations.\u00a0<\/strong>I can\u2019t tell if my A.D.D. is age or because I\u2019m media-saturated. But you probably aren\u2019t as exposed to media.<\/strong><\/p>\n

If I go on Facebook, I\u2019ll be off in a minute or I\u2019ll be lost for an hour or two. I don\u2019t go on more than every few months.<\/p>\n

I post pro forma stuff. I\u2019m not using<\/em> Facebook at all. It\u2019s just a sign that I\u2019m still here. There is something good about it. Nancy uses it with more personal interest than I do. It really keeps her in touch.<\/strong><\/p>\n

If I put in any amount of time I feel so thin and out of touch with . . . meaning. My wife writes really well and does beautiful posts and she designs them to be liked and they are<\/em> liked. It\u2019s hard to say. I\u2019m naturally resistant to change and a little bit of a Luddite but a painter I admire said I was her favorite painter, but other than that the things I like are talking face to face or wandering at night in the city and being surprised by effects of shadows. Social media, it’s kind of like drugs. I remember hearing one of the Rolling Stones say that it all depended on whether you can handle it.<\/p>\n

Had to be Keith.<\/strong><\/p>\n

Social media, if you can handle it sure.<\/p>\n

Nobody is talking about painting as a counterforce to contemporary media. It really is. It\u2019s a still, focused activity.<\/strong><\/p>\n

It\u2019s working with real material.<\/p>\n

The physical world.<\/strong><\/p>\n

My philosophical orientation is that spiritual growth comes through working with your material. You are a material thing. You work with it. Dematerialization isn\u2019t spiritual.<\/p>\n

Disembodied. That\u2019s interesting. That\u2019s Matthew Crawford\u2019s view. He wrote those two phenomenal books. He\u2019s essentially a philosopher, became a motorcycle repairman. He\u2019s a phenomenal writer. That\u2019s what he\u2019s exploring, the nature of physical awareness and intelligence. That is what gives you a glimpse of something more, or what seems to be more. The subject of spirituality, the spiritual dimension of art\u2014it\u2019s such an overused term\u2014is something I\u2019ve been wanting to write more about. For me it has to do with the limitations of the conscious mind. It\u2019s complicated.<\/strong><\/p>\n

It is. But rich, though.<\/p>\n

For me, it all has to do with gaining some kind of humble perspective on the nature of your conscious mind. That\u2019s the crux of it. When you are able at some point to realize that your mind is constantly misleading you because<\/em> you are so focused, this ability to shut out almost everything but what you are paying attention to. That\u2019s the problem. Painting doesn\u2019t actually eliminate that, it intensifies it, because you are paying attention to very small things and screening everything else out, but in the end you create something that has the ability to convey something larger. You get a glimpse of wholeness. That\u2019s psychological, though I think of it as spiritual, but maybe that\u2019s a meaningless distinction.<\/strong><\/p>\n

Say more.<\/p>\n

Hmm. It\u2019s funny that I went through a period in my teens where I had a very nihilistic period. It wasn\u2019t voluntary or angry or a response to what I was going through in a conscious way, that I was rejecting all values as some kind of choice. It was the classic existential crisis in a way: the impossibility of meaning, any kind of fixed or absolute meaning. It was a sudden certainty about the impossibility<\/em> of meaning. I struggled with that for years until I had an insight that this was my individual mind that was putting me in this box, not necessarily the nature of things. Even if I couldn\u2019t imagine meaning didn\u2019t mean it wasn\u2019t there. That was like turning a corner, or completely turning around: the sense of <\/strong>of course, how could I not have realized this?<\/strong> <\/em><\/p>\n

Some philosophers might go the other way and say, everyone wants meaning but they aren\u2019t open to the reality that there is no meaning.<\/p>\n

Yes. The total opposite. Postmodernists you mean. It came from reading Kierkegaard. The Sickness Unto Death<\/em>. He was saying that despair doesn\u2019t know it\u2019s despair. Despair hides itself from itself. It\u2019s like denial in the recovery movement: he was describing something like that; you think you know what\u2019s happening but you don\u2019t. Being in that state hides itself from you. That was something that had never occurred to me. I\u2019m in this state, and I don\u2019t know it because<\/em> I\u2019m in that state. For Kierkegaard, we are all<\/em> in that state, everyone. The only way out of that state is not through your own effort, because any effort arises from the state you are already in. Any effort to construct meaning arises out of this ignorance of the state of your own consciousness. I started painting in this period, not thinking that it had any meaning, but because it was an instinctive response to this lack of meaning. Then I began to see that maybe this activity was a way of grappling with this, a way of reaching out for meaning without thinking it\u2019s possible or having to know what it is. Everyone is such a positivist. Everyone has to be so certain about everything. I\u2019m uncertain about everything, and I\u2019m totally comfortable with that. Uncertainty is the nature of things. The certainty isn\u2019t what counts. It\u2019s the sense that you can have faith in a meaning you can\u2019t grasp.<\/strong><\/p>\n

I\u2019ve been listening to this learning series, great works of English literature. This nice English man has this line I can\u2019t remember where he keeps going back to the Romantics, Wordsworth and Coleridge. He talks about meaning that can\u2019t be rationally explained or grasped, but can somehow be glimpsed now and then. I like that. I was thinking about doing night sketching and why I\u2019m drawn to that, and I guess it\u2019s why someone is drawn to painting in general. It goes back to Kierkegaard\u2019s phrase about being transparently grounded in the absolute. In college that was my favorite phrase from him, because it seems so cool. That\u2019s what\u2019s happening in the art process.<\/p>\n

You become transparent to what is happening in the process, what\u2019s being conveyed, without your intending to convey it or knowing what you are conveying in a conscious way. You\u2019re not putting it in there. You\u2019re the window that lets it come into the work.<\/strong><\/p>\n

He calls it the absolute; you call it a glimpse of wholeness.<\/p>\n

All of this is so contrary to what everyone thinks when they think about the art world now.<\/strong><\/p>\n

I\u2019ve internalized a lot of art history, but whenever I write an art statement I\u2019m always drawing from literature or the Bible, even though I\u2019m not really religious, or from philosophy. It\u2019s always this other realm of people trying to figure stuff out, poetically related to that unknown, which is meaningful.<\/p>\n

I\u2019m constantly seeing things in literature or philosophy that have more to do with art than most of what gets written about art. What some novelist has said, or whatever, and how that reflects the process of painting or what goes into a painting.<\/strong><\/p>\n

The writer or painter or theologian are all after the same thing: to make sense of all this.<\/p>\n

The craving for meaning. Wittgenstein would say that what you\u2019re asking for is so nebulous . . what you\u2019re pursing doesn\u2019t exist. Your mind craving something because of a confusion that arises from language. I\u2019m not really sure that\u2019s actually what he felt.<\/strong><\/p>\n

So much of the talking and thinking about meaning, a little of that and I go away feeling empty.<\/p>\n

Right. That is the point. As soon as you consciously pursue this thing, you have this . . . this need for what it is we\u2019re talking about, but as soon as you start focusing on it, defining it, it disappears. It can\u2019t be an object of conscious pursuit, but it can be there in<\/em> the pursuit.<\/strong><\/p>\n

One of my most positive art experiences was the year before I started the itinerant project, I went to Provence and lived with this family. Landing in France and taking this train to their town, I was overwhelmed by doubt and lack of confidence and sort of swimming or drowning. But I started sketching out of habit. I started to feel connected and feel good and just by making these little marks that showed mountains and trees. You like Ai Weiwei.<\/p>\n

Yes. I follow him on Instagram.<\/strong><\/p>\n

His work can be political but it\u2019s more.<\/p>\n

Yes, it exceeds the metaphor. The intent. It goes back to desire. This is where I agree with Donald Kuspit in Idiosyncratic Identities<\/em>. It has to come from eagerness, desire. You can\u2019t say I\u2019m going to do this to have an impact, a social impact. I\u2019m going to be a social justice warrior and make art so that life gets better and so on. That\u2019s one way of intentionally choosing: the other is to do something you don\u2019t want to do in order to sell. But if it\u2019s physically enjoyable and fulfilling somehow, it\u2019s alive. The only way to make it alive is to blindly do what you really want to do. You<\/em> do that. You paint exactly the way you want to paint. This is the way you respond to what you see. It\u2019s the way you make a painting.<\/strong><\/p>\n

The Itinerant Artist Project arose as something I felt the need to do. If I analyze it I could market it better for its relevance.<\/p>\n

I don\u2019t see a problem with that.<\/strong><\/p>\n

But then I think what can I do differently, what can I do next. I don\u2019t really love painting.<\/p>\n

You say that. I feel the same way. The anxiety before you start painting.<\/strong><\/p>\n

I don\u2019t really know what to do sometimes, but I feel better once I\u2019ve done it.<\/p>\n

I often don\u2019t want to sit down and paint, but as soon as I do, I\u2019m into it. Being done is the best part. It\u2019s satisfying seeing it emerge. It\u2019s a balance between the tedium of the labor and the satisfaction of seeing it done which is continuous.<\/strong><\/p>\n

The day I accepted my job I went to the studio and started doing black and white and gray marks in conversation with one another and it was something I wanted to try. I hadn\u2019t been able to do a painting in a long session for a long time but I did some of these for days. I didn\u2019t care if anyone else got anything out of them because I had a job now. The element of . . .<\/p>\n

. . . not having to get results . . .<\/strong><\/p>\n

Right, it was just a process.<\/p>\n

It\u2019s all about process for me in two different ways. One is I have a technique, a method now and get the results I want by sticking to a certain process. There are surprises and I\u2019m always improvising along the way. But the other work I started earlier this year are these small paintings of bowls, looser, less detailed and faster and it\u2019s much more about the freshness of the paint. Like premier coup. I did maybe six and one I felt was the best got into two shoes. It\u2019s in North Dakota now. When I did them I thought these probably won\u2019t get into shows or sell. But that hasn\u2019t been true.<\/strong><\/p>\n

You really wanted to do it.<\/p>\n

Exactly. I forgot about productivity and sales and shows and yet the response was there. I\u2019m going to alternate between the two modes, very realistic and this new way forward. For years and years I had given up mostly on that path.<\/strong><\/p>\n

I\u2019d like to find a path. I have so many that are just one or two but I can\u2019t do it again.<\/p>\n

In this recent effort there were two or three that really succeeded out of eight. The others were good, but they weren\u2019t what I was trying to do. They may have succeeded in a way I didn\u2019t intend or understand.<\/strong><\/p>\n

How do you connect with people? The question is how do you reach people.<\/p>\n

My attitude is that you put it out there and if they find it, great. If they don\u2019t, that\u2019s fine.<\/strong><\/p>\n

My parents were activists so I always have the sense that if something\u2019s wrong you have a movement.<\/p>\n

I guess so. I can see that. I can see that with a smile. Like, Stop Moving. The Stop Moving Movement.<\/em><\/strong><\/p>\n

I\u2019m going to steal that. That\u2019s great.<\/p>\n

Enough with the moving images.<\/strong><\/p>\n

I\u2019m in a show in August at Main Street Arts in Clifton Springs.<\/p>\n

It\u2019s a great gallery.<\/strong><\/p>\n

I\u2019ll be in a group show. A couple people are really good and they sell a lot. I have a lot of work still to do for it.<\/p>\n

I\u2019d be interested in seeing the abstracts you\u2019ve been doing.<\/strong><\/p>\n

I really like them, but when I put my glasses on yesterday, a month later, I realized they weren\u2019t as good as I thought.<\/p>\n

That\u2019s often the case with anything.<\/strong><\/p>\n

I don\u2019t feel that \u201clandscape painter\u201d captures much of what I\u2019m about. These black and white ones put me all over the place. For the show, there are so many paintings I want to do.<\/p>\n

How many do you have to do?<\/strong><\/p>\n

He just wants little ones. I imagine if I can do ten or twenty that would nice. I\u2019ve only done one that I like so far.<\/p>\n

You could do twenty in a month. Are these all from life? Do you take photos?<\/strong><\/p>\n

Sketches and photos.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Jim Mott paid a visit last week and we talked for a couple hours, as he sat in one of our Adirondack chairs and sketched a bit of what he saw in the yard, probably some of the birds attracted to our feeders. 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He was wearing a Red Sox cap someone had left in his […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/thedorseypost.com\/?p=7670\" \/>\n<meta property=\"og:site_name\" content=\"represent\" \/>\n<meta property=\"article:published_time\" content=\"2017-08-03T12:16:15+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/thedorseypost.com\/wp-content\/uploads\/2017\/08\/Scott-Alan-Adams-George-Bush-872x1024.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=7670#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7670\"},\"author\":{\"name\":\"dave dorsey\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#\\\/schema\\\/person\\\/5f1b414f169df69053f04f66b929fd57\"},\"headline\":\"Stop moving\",\"datePublished\":\"2017-08-03T12:16:15+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7670\"},\"wordCount\":3059,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7670#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/thedorseypost.com\\\/wp-content\\\/uploads\\\/2017\\\/08\\\/Scott-Alan-Adams-George-Bush-872x1024.jpg\",\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/thedorseypost.com\\\/?p=7670#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7670\",\"url\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7670\",\"name\":\"Stop moving - represent\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7670#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7670#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/thedorseypost.com\\\/wp-content\\\/uploads\\\/2017\\\/08\\\/Scott-Alan-Adams-George-Bush-872x1024.jpg\",\"datePublished\":\"2017-08-03T12:16:15+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#\\\/schema\\\/person\\\/5f1b414f169df69053f04f66b929fd57\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7670#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/thedorseypost.com\\\/?p=7670\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7670#primaryimage\",\"url\":\"https:\\\/\\\/thedorseypost.com\\\/wp-content\\\/uploads\\\/2017\\\/08\\\/Scott-Alan-Adams-George-Bush.jpg\",\"contentUrl\":\"https:\\\/\\\/thedorseypost.com\\\/wp-content\\\/uploads\\\/2017\\\/08\\\/Scott-Alan-Adams-George-Bush.jpg\",\"width\":2005,\"height\":2354,\"caption\":\"Scott Alan Adams, George B\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7670#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/thedorseypost.com\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Stop moving\"}]},{\"@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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