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I am back from the bosky hills and verdant dells of West Virginia and SE Ohio and I have a lot of new ideas and stories to share.  Thanks Mom and Dad for the lovely visit and all of your kindness. Also, I want to thank Dan Claymore who did a superb job in my absence.  Dan understood the purpose of Ferrebeekeeper and matched the tone beautifully (although that Japanese fishmarket made me anxious for the oceans and our flatfish friends). Because of his excellent work, I realize I should take more vacations.  Dan also confided in me that he found the project intimidating because of the perspicacity of the polymath readers…so, as always, thank YOU!

When I travel, I carry a little book and a tin of pens and colored pencils (my tin is shaped like a sarcophagus and is interesting in its own right, but more about that later).  I like to quickly draw little colored sketches of what pops into my head or what is in front of me. Sometimes there are realistic. Sometimes they are utterly fanciful.  They are sometimes silly and occasionally sad.  I have dozens of volumes of New York drawings, but I figured I should share all the little sketches I made on my trip (unfortunately nobody posed for me–so there are no portraits). Keep in mind that these are sketches–so they are quick and imperfect.  For example, I drew the one at the top in the car as my family and I went to a wedding in the central mountains of West Virginia, and half way through I realized I didn’t have a dark gray pencil.  Roads are hard for me too (as are straight lines in the moving car).  Maybe this says something about the unnatural yet astonishing nature of our highway infrastructure.

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In the car, I also drew this humorous drawing of a gnome kingdom.  My mother was describing a nuclear weapons facility somewhere which she visited during her Pentagon career, and I apparently misheard the name.  This delightful misunderstanding engendered a whole didactic gnome world. Fribble Fribble!

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This drawing is the corner of the yard at home with autumn cornfields beyond.  Vinnie the barncat is sneaking onto the right corner, catty-corner from the old Amish farmstead.  I wish I could have captured Vinnie better, but Rory the obstreperous adolescent poodle chased him off, before I could catch a better likeness.

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No Ferrebeekeeper sketch collection would be complete without a magical flounder.  This one apparently has a direct connection to the underworld.  More about that in later posts.

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Speaking of the underworld, here is a little drawing of the world beneath the topsoil.  There is a lungfish, a brumating turtle, a mole, a mummy, and an ant colony, but beneath these ordinary items is a whole gnome kingdom.  Don’t worry! I don’t believe in gnomes. Their tireless tiny civilization really represents bacteria to me…oh and humans civilization too (artistic allegory is more of an art than a science).  This macro/micro dichotomy is captured by the shoes of a full sized (albeit anachronistic) human at the top left.

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This is a quick impression of a sunset which was SO beautiful.  If only I could truly have captured more of its sublime luminescent color….

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This is my parents’ pond, which I love more than I can tell you.  Unfortunately a big drip came out of my dip pen and made the ducks look monstrous.  There is a hint of autumn orange in the trees.  This is another one that frustrates me, because reality was so pretty.

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I watched the second half of a documentary about the circus on PBS.  It seems like the circus was more important and central to our nation than I knew (although I should have guessed based on current politics).  I represented the performers as abstract shapes, but the overall composition bears a debt to Cimabue and his Byzantine predecessors.

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Finally here is a picture from the tarmac of John Glenn airport in Columbus.  Naturally the plane moved away as soon as things began to get good. By the way I really enjoyed my flight and I am always surprised that people are so angry about flying.  For the price of a moderately fancy dinner, we can rocket across the continent above the clouds at hundred miles an hour.  We travel like the gods of Greek mythology except people serve us coffee and ginger cookies and, best of all we can truly see the earth from a towering perspective–which is the subject of my last picture which I scrawled as we looped back across Long island west to LaGuardia (I’m glad I am not an air traffic controller).  Sadly this picture did not capture the beauty and complexity of Long Island Sound, and Queens (nor even the lovely billowing cumulus clouds) but at least it made me stare raptly out the window at the ineffable but disturbing beauty of the strange concrete ecosystem we are building.

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Let me know what you think of my little sketches and, now that summer vacation is out of the way, get ready for some October horror and Halloween fun! Oh! Also get ready for Dan Claymore’s book about a human gumshoe in the dark robot future.  It will be out before you know it, and it is going to be amazing!

 

It is the first day of October, which means you need to start getting ready for Halloween horror coming to Ferrebeekeeper at the end of the month! Every year we have done a special theme week to highlight the monsters lurking in the many shadows of existence. As all of you know, there is darkness out there: it lurks just beneath our appetites, our skin, our mortal lives…Ye! there is a ghastly void beneath the pretty autumn flowers themselves! As a teaser of things to come later this month, I am doubling back to an earlier post which had one of my drawings in it.

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The drawing was hard to see in that post (because WordPress seemingly no longer blows images up to true size if you click on them) however it took me an enormous amount of time and it looks very ghastly and disconcerting in the real world. It is another one of my allegorical flounder drawings, but this one concerns the hunger, carnage, and obliteration which, alas, seem to be ineluctable features of all systems involving living things…perhaps of all systems, full stop.

There is a story I imagined while drawing this: what if you were wandering through the barrowlands of Europe when you found an ancient flatfish made of hammered gold? You would grab the treasure and begin to carry it off, however closer examination might give you pause, for, graven into the solid gold, are vile butchers, sorcerers, monsters, and dark gods. Assembled on the surface of the piece are a monster andrewsarchus, an underworld goddess leaping out of a well with entrails in her hand, cannibals, and a parasitic tapeworm thing. All of these frightful entities are gathered around an evil sentient tree with hanged men it its boughs, and the entire tableau is on the back of a terrible moaning flatfish which seems almost to writhe in your hand. When you look up at the sky the night is descending on the wold. The megaliths take on a sinister new aspect and the very stars seem inimical. it is all too easy to imagine the black holes eating away the center of each galaxy. With dawning fear you realize you need to put this unearthly artifact right back where you found it.

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Congratulations to the Japanese Space Agency!   On Friday morning (EST) the Japanese space probe Hayabusa2 dropped two adorable little hopping rover bots (“hoppers”? “hop-overs”? “hop-bots”? um, we’ll work on it…) onto the surface of Asteroid Ryugu. The spacecraft arrived at the near-Earth asteroid back in June when the sort-of-octahedral space rock was passing near to our home planet.  The twin “MinervaII” probes (“Micro Nano Experimental Robot Vehicle for Asteroid”) are 18 centimeter (7 inch) disks which weigh 1.1 kilograms (2.4 pounds) each.  Making use of the asteroid’s exceedingly low gravity, the tiny robots will hop to their location and deliver readings about the composition of the ancient icy rock, which will hopefully provide insight into the formation of the solar system.  Additionally, more stirring action is on the way in October when Hayabusa II will deliver a larger lander (named Mascot!) and then a third Minerva lander.  This flurry of activity is in preparation to collect asteroid material which will be returned to Earth!

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Hopefully….the MinervaII probes are (unsurprisingly) the second in a line of Minerva probes.  The first Minerva hopping robot met an inglorious fate during the first Hayabusa mission to the asteroid Itokawa in 2005.  That (smaller) Minerva rover was deployed a bit early and hopped ignominiously into the void of space.  Sadly I don’t have pictures, but imagine a hockey puck falling into infinite blackness.

I will follow up with more news about this mission as it becomes available, but for now let us celebrate!

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Like a lot of people, I have a dayjob which does not necessarily play to my greatest strengths.  That is good on normal days: when I get out of the office I am ready to write about Goths in space or technicolor trees and then sculpt representations of meaningful tricolor flatfish.  It is less good on days when the sink is hopelessly clogged at home and there are administrative chores related to technical or monetary aspects of life which must be addressed.  Then the whole day becomes pointless dirty drudgery with no respite.  All of which is to say, i ran out of time to write about science and art, so I am going to show some flounder drawings which i made on the train.  Above is a very colorful flounder with a dinosaur, a hotdog, a walking alien machine, and a strange angel.  I would have loved it so much as a child.  As an adult though, I like the elongated walrus best.

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The second small flounder is a more traditional flounder living in the ocean with a dancing prawn and a pale squid (the little mollusk must be frightened).  Although this drawing lacks some of the more fantastical and surreal elements which stand out in other works from this series, its high contrast white on black linework does make it pop out.  We’ll return to regular programming tomorrow.  Wish me luck fixing my sink!

 

 

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Every night, in my dreams, I watch the world die.  After a long absence, I have returned to find that the life-giving systems which recycle waste back into useable nutrients have failed. My friends are dead, reduced to grotesque rotting skeletons and mouldering lumps, except for a few last survivors who are barely hanging on to an attenuated half-life of hunger and shallow comatose breaths.  I desperately rush to help: I turn on machines to clean away the toxic miasma.  I ply the dying victims with food and oxygen… but the microbial ecosystems upon which everything depend are mortally degraded.  My last friends are too far gone, and they expire painfully while I watch powerless.  What is left is dead world of complete desolation.  The precious seed of life has failed and I know that I am the author of this annihilation.

This is all true. I have such dreams all the time and they torment me more than you can know.  My art and writing—my entire life quest flows from these nightly horrors.  Worst of all, these dreams are based on true experiences from my childhood which color every news article I read.  Every opinion I hear about humankind, the world, and the fate of all living things is overshadowed by these prophetic nightmares. However, before you call the men with big white nets, there is a critical twist which I must share with you. In these dreams, everyone is a fish and the world is an aquarium.

Here is what happened. When I was a child, I wanted to be an ichthyologist.  I took all of my allowance money and holiday presents and saved to build miniature worlds of wonder like the ones I saw in hobbyist magazines.  I read up on each fish species—what they ate and how they lived and what their natural habitat was like.  I learned about nematodes and frozen brine shrimp and undergravel filters to help nitrifying bacteria flourish.

Back then I had a tropical South America tank of beautiful fish from the Amazon—little tetras like colored gems, adorable armored catfish with big kindly cartoon eyes, angelfish with fins like a bride’s veil, a knife fish named Ripley who was like a black electrical ghost.  I had a tank of Tanganyika cichlids from East Africa (near humankind’s first home).  They lurked in volcanic rocks and I could see their huge mouths (for safely rearing their young) frowning from the crevices.  At the apex of my involvement with the hobby, I even had a marine tank filled with fluorescent damselfish, shrimp like rainbows, and a clever triggerfish which was busy excavating a private lair into a hunk of red tube coral.  It was magical! The miniature worlds I built were incredible.  I even had a classical tank of google-eyed goldfish with multicolored pebbles and a porcelain mermaid in the center.

But each of these little glass paradises failed and died.  Sometimes they were destroyed slowly by unknown bacterial mishaps which caused the ammonia or nitrogen cycle to shift off-kilter.  Sometimes a heater would go out or get flipped to maximum setting and thermal shock would kill my poor pets. The Tanganyika cichlids got stressed out over territory and ate each other whole with their big mouths (just like NY real-estate developers!).  Other times the apocalypse was swift: algal blooms or invasive fungi or diseases which I unknowingly brought from the pet store would ravage the tank.  Once, the glass of my Amazon-basin aquarium shattered while we were out shopping.  My family returned to find the ceilings dripping water.  The dying angelfish were lying gasping on the wet pebbles at the bottom of the empty tank. It was horrible. Even the goldfish ultimately died.  A weird dropsy caused their gleaming orange bodies to bulge out and pop apart.  I love animals and some of the fish had real personality and emotions (in addition to being beautiful) but, despite tremendous heartfelt effort, my stewardship killed them all.

And these experiences haunt me at night. My dreams used to involve a few aquariums which I would try to save…but as I have grown up, the dreams have grown up too.  Now sometimes the setting will be a sere coastline which seems uninhabited at first, until I realize the landscape itself is made of giant earth colored fish which are slowly dying.  Lately the dreams have moved into the forest where the trees are made of deadwood and the boulders are the hulks of once-living things.  As adulthood corrodes away my figurative dreams of success, strength, love, and meaning, my literal nighttime dreams grow bigger and worse.  In dreams, I have walked through cities of contagion, plague, and starvation.  At night I have sailed a junk across an ink black ocean with nothing in it but slips of charred paper and plastic bags floating like ghosts.

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This is why zoos and aquariums (the big public ones) fascinate me. Surely teams of professionals with hundred million dollar endowments can surely keep our animal friends alive!  Except…they can’t always.  Even with all of the best veterinarians, ecologists, and biologists, working night and day, things still go wrong in weird unexpected ways (by the way, this somewhat pitiless assessment doesn’t mean I stand against zoos: I see them as a combination of ambassador, laboratory, and Noah’s ark).  My first job was as an intern at a synthetic ecosystem designed by the world’s foremost designer of synthetic ecosystems…and it was a beautiful study in gradual failure and unexpected interactions.  Ecology is complicated and we don’t understand it very well

We are living through one of the great meltdowns which periodically occur throughout Life’s 4.5 billion year history [eds. note: if religious people can capitalize genitive pronouns for God, then Ferrebeekeeper can capitalize a word which we are using to betoken all of the living things from Earth throughout all of time].  It doesn’t take a geologist’s comprehension of the End-Permian mass extinction to imagine ourselves as a toxic black smear in a rock column of the future.  I know from reading eschatology that I am not the only person who is tormented by dreams of Armageddon.

At the same time humankind is ballooning in number and appetite, we are also learning at an exponential rate.  My experiences with little terrariums and fishtanks does not need to foreshadow the fate of orcas, vinegar scorpions, honeybees, banana trees…and humans. We can use our hard-won knowledge to keep the world’s precious living things alive!  We can even carry the sacred seed of life into the heavens.  Space would be a better place for us anyway—a place where we can truly spread our wings and grow exponentially towards godhood.  It is what we have always wanted…and it is tantalizingly close.

One of my favorite poems has what might be my favorite quotation in English “Learn from your dreams what you lack.” I HAVE learned that…and now I am telling you too. We lack a comprehensive understanding of ecology and the life sciences.  We lack the political cohesion and organizational skills to make effective use of what we already know.  Those things are not outside of our grasp.   Most of the smartest and hardest-working people here spend their lives ripping people off with complicated financial products and elaborate tech products (which are really only online rolodexes or digital catalogs or what-have-you).  What a waste! The bankers could throw away their nasty spreadsheets, the doctors could stop filling out pointless insurance forms, the engineers could stop making wireless blenders and cryptocurrency. We could all start building space cities NOW..this very day (although the first generation of those cities are going to have some troubles with the synthetic oceans).  The possibilities are endless!  Our knowledge and imagination can take us to where we have always dreamed of being.  Our failure to be smart, brave, and creative will take us all to one of my dead festering nightmares.

Those fish should not have died in vain. We should not die in vain either. Let’s build a future worth having.

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Here is the Crown of Kazan.  It belonged to Ediger Mahmet, the last ruler of the Tartar state of Kazan.  The Khanate of Kazan encompassed parts of modern Tatarstan, Udmurtia, Bashkortostan, Mari El, Chuvashia, and Mordovia—rich forested lands at the extreme eastern edge of Europe which abutted the great Central Asian steppe (indeed Kazan was one of the last pieces of the Mongol Empire which had briefly ruled most of Eurasia). After the death of Genghis Khan, the empire shattered into successor states such as the Khanate of the Golden Horde.  Kazan emerged from the turmoil as a powerful state between the early 15th and mid 16th centuries AD.

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Although it had a strong beginning, Kazan’s later years were a sad story of Russian meddling, interference, and outright assault.  The noble houses of Kazan were more interested in fighting each other for control of the kingdom–which grew more ossified and derelict as the Turkic nobles fought one another and ignored the needs of their oppressed peasantry. Their stupidity, weakness, and ridiculous inability to understand the profound threat from Moscow strikes one as hard to believe. Initially, a Russian puppet, Shahghali, was placed on the throne, but, as civil wars broke out, he proved unable to keep the population subdued under the yoke of Moscow as civil war. In August 1552, forces of Ivan the Terrible invaded and annexed the kingdom outright.

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(The Kazans Genuflect Before the Tsar)

After Ivan the Terrible took over Kazan, Russian forces slaughtered more than 110,000 of the nobles, soldiers, and peasants.  Pro-Russian traitors who had worked insidiously to ensure the defeat of their country were rewarded by being allowed to keep their lands and towers (and, of course, the gold which Ivan had used to buy them off).

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Today the Crown of Kazan is found inside the Kremlin armory with early Russian crowns like the Cap of Monomakh as well as crowns from other kingdoms swallowed whole by the insatiable Russian Empire. Here is a picture of Gerhard Schroeder looking bored/horrified (borified?) as Vladimir Putin explains this history to him and tells how Russia weakened and annexed its competitors during the Middle Ages.

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There is some bittersweet news from China.  Well “news” is maybe a somewhat misleading word.  This is a small sad story within a sprawling epic story…within our story, in fact.

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In the geological age previous to this one, China was covered by a stupendous forest of bamboo and deciduous trees (it seems like a lot of our familiar tree families of North America might have originated there).  It was a tree world of pandas, elephants, tapirs, panthers, tigers, orangutans… and gibbons, the exquisite gracile “lesser” apes who are the true masters of swinging through forest canopies.

The vast rich forest was a perfect world for primates…and Africa’s angriest, sharpest lineage, the hominids, showed up 1.5 million to 2 million years ago.  These first hominids were Homo erectus, a comparatively benign lot, but not far behind them came other hominids with darker tastes, and then, approximately 120,000 years ago, Homo sapiens showed up,”wise man,” a tragic fire-wielding invasive species with an insatiable appetite for…well for food, actually.  Homo Sapiens brought agriculture to East Asia or perhaps developed it there.  Indeed there are suggestions that Homo sapiens might have evolved in East Asia out of the maelstrom of clever upright apes that were ambling around the place, and, though I don’t find the argument nearly as persuasive as an African genesis, a wealth of peculiar fossil finds and ancient archaeological discoveries mean it cannot be dismissed outright, either.

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Eight thousand years ago farms began spilling across what is now China.  These early Chinese farmers discovered the perfect food for humans–a delicious superlative grain which is still the staple food for most of humanity. But this is not the story of rice (I need to write about that later, because I love rice, and it might be the most important plant in the world); it is the story of what rice-farming did. Cities and kingdoms sprang up, and in 259 BC, the first emperor, Qin Shi Huang, truly unified China from the capital of Xi’an in the ancient land of Shaanxi.  Stories of Qin Shi Huang’s cunning and cruelty are as diverse as the stories of his unimaginable wealth and power, yet in the end all of his strength came from rice which sustained the teeming population of the Qin dynasty, and this rice came from the forest, which was cut down to provide agricultural lands and living space for what is still the world’s most populous region.

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We have excavated Qin Shi Huang’s tomb (universally known as the “Tomb of the Terracotta Soldiers”). The tomb compound was a whole necropolis city of wonders and archaeologists and scientists are still unraveling its wonders and unlocking its mysteries.  The compound included the tomb of Lady Xia, the grandmother of the first emperor of China, and, in addition to her corpse, her tomb included her pet, a gibbon. Gibbons were pets of the aristocracy in dynastic China (here is a particularly poignant and sad poem, which you should read after you read this post).  Recently a British primatologist was touring a museum of the finds from the first emperor’s tomb and the skeletal hand of Lady Xia’s pet caught his eye.  Subsequent research has revealed that the animal belonged to a gibbon species which no longer exists.  The first specimen known to science was found in the the tomb of the first Emperor’s grandmother.   The “new” gibbon is named  gibbon was named Junzi imperialis based on where and how it was found.

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There are no gibbons in the wild anywhere near Shaanxi today.  As civilization rose, the great forests fell and Junzi imperialis was surely a victim of habitat loss. The grain we must have to run our vast complicated societies cost it everything…and we didn’t even remember its loss.  In Chinese art, gibbons represent a pure and ideal existence…they are sort of emblematic of a Chinese version of Eden (that ancient allusion is one of the things that makes that poem so plaintive) yet I don’t think we realized just how appropriate is such symbolism.  Humankind has already driven a lot more primate species to extinction than we know about. It is worth remembering the cost of our previous success as we look at the future.   Our strength and knowledge grow greater, but our appetite grows too, and the world is not getting any bigger.  Think about Lady Xia’s gibbon the next time you have a bowl of nourishing rice.  People are reflected in their pets and the empty eye sockets of the little long-dead pet tells about our own greatness and our terrible failures.  What do you see in those dark windows? Is the future just more and more tyrannical emperors crushing peasants and cutting down forests to build luxurious tombs or can we learn something new about our own place in the world and maybe beyond it?

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After the launch of my website at Brooklyn’s annual mermaid parade, I can’t seem to quite escape the theme of mermaids.  Of course, this is arguably the symbolic point of mermaids, which represent the intensity of an impossible longing which can never be escaped.  Most of the mermaid pictures from the 19th century show sailors leaping to their doom in the watery depths, unable to resist the siren song or the beautiful & unreal people who live in a different realm.  The besotted swains die in beautiful pale arms which may not even exist…watery arms which may represent strange ideas, inimical to the patterns of life.  Like the tale of Apollo and Marsyas, it is a theme which artists come back to again and again.  Painters know what it means to embrace self-annihilation following an impossibly gorgeous song which nobody else can seem to hear…

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To illustrate this aspect of the mermaid theme…and of art itself–I am returning to Franz Von Stuck, the cofounder of the Munich Succession.  Stuck’s mythological themed art transcended the chocolate-box aesthetics of turgid 19th century academic art.  It spoke directly to the doom and sadness and impossible dreamlike beauty of life.  The mermaids in his art seem to have a carnal energy & bestial strength which is taken directly from human struggle.  They embody the wild energy of symbolism and the avant garde as art broke from the glacial forms of 19th century realism. Yet, like the mermaid, which is half one thing and half another, Stuck’s art directly partakes of 19th century realism too.  It is superb figurative art and the 20th century would embrace a much different form.  Stuck was a transitional artist, and when he was old, his work was regarded as old-fashioned and irrelevant to a generation of artists who witnessed the horrors of industrial warfare in the trenches of the Somme and Verdun.

Most of the successful artists of the 19th century were disgusted by the raw broken forms of early 20th century art, but Stuck, to his enormous credit, recognized that success means being left behind.  He taught the next generation of artists the forms he knew so that they could break them to pieces.  He used his connections to uplift the careers of his students Hans Purrmann, Wassily Kandinsky, Josef Albers, and Paul Klee.  It is ironic that the figurative painter taught a generation of rebels who fractured art and brought it to strange abstruse realms.

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There is a dark shadow cast by Stuck’s art as well.  The art professor who was married to an American divorcee and taught diverse students from across Eastern Europe had a shadow disciple he never knew about. Stuck was Hitler’s favorite artist from childhood onwards.  How different the mermaid’s song sounds in different ears!  Did Hitler look at these same sea maidens and see Teutonic beauty? Was Hitler angry that the nostalgic art of the German Empire was debased by 20th century abstraction? It must have been so.

This brings us to a large question which I wish to address more frequently: what is the point of art?  People who dislike art will say “there is none” and people who love art will be speechless at the temerity of the question. Yet it is a question which must be asked every generation. Indeed the answers vary from generation to generation, just as the art varies (although I suspect the ultimate answers are of a similar transcendent nature).

When I was younger I imagined that art was like homework…perhaps like an essay.  You went home and created the best work which you could in solitude.  If you crafted a sufficiently dense tapestry of artistic, literary, and scientific allusions with appropriate bravura and craftsmanship, the world would take note of your ideas.  It is a Disney princess view of art, where the pure spirit disdains the ghastly politics of the world until a prince swoops in and takes her to the apex of society… but life has taught me otherwise.  Art is like politics…it might BE politics.  It is about finding an effective way to share ideas and meaning with a group of people.  It is about organizing social networks in order to do so.  Perhaps that involves painting mythological allusions from Greco-Roman society or perhaps it involves dance or performance or the internet or even more experimental and unexplored forms.

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Art is the mermaid’s song.  It is where our ideas of beauty and meaning come from.  It is how we conceptualize the world as it is and as it should be.  I am unhappy with the world.  It seems to be drifting along the way Stuck’s world was when he died (in Munich in 1928 amidst a time of political rancor and a hollow economic boom which was followed by a crippling depression).  His true students were busy representing these problems in abstract forms which nobody understood.  His shadow student found a more direct way to move people by standing up in Munich and saying “Germany First!”  So what is the good of art?  How can we stop the would-be-Hitlers.  How can we save the fish of the ocean from going extinct?

I don’t know the answer to that, but I am working on it and thinking about it.  You should be too.

Artists need to stop navel gazing and concentrating on social problems solved back in the sixties. and look at our real global-sized problems of the Anthropocene.  The environmental and economic problems of the world are leaving the corporate and identity art which fills up Chelsea’s galleries far behind. In a hundred years nobody will care about who Tracey Emin slept with, but they might well wonder why the oceans have no fish or how America became a imperial principate.  I don’t know if art can help solve these problems, but maybe talking about them can help.  In the meantime don’t listen to the corporate siren song of infinite growth and absolute greed which says sit at your cubical 15 hours a day and do what you are told and you might have leather bucket seats.  Listen to the artist’s siren song which says “Why? Why? Why?  Oh can’t we do better?  Oh can’t we come up with new things?”

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I was going to showcase a mermaid painting from the glorious 19th century–a golden age of exquisite oil painting (when the technique of the masters combined with stupendous wealth and the camera made visual refernces available for the first time without yet stealing the show), but then I looked up at the wall and noticed I have my own mermaid painting–it just isn’t finished yet.  So I am afraid the 19th century masters will have to rest on their laurels until another day…and I am also afraid you will have to use your imagination to fill in some of the unfinished details of this work in progress.  This is one of the last of my torus-themed paintings, and you can see the great flounder lurking beneath it, preparing to take over as the central leitmotif of this era of my art.   The torus is made of a coil of strange purple cells (or rope) which is surmounted by an alien lotus blossom.  On the left a classic mermaid sings meltingly of the splendor of the seas, while on the right a trio of sinister dark carnival “mermaids” race towards the enigmatic central shape.  All around them the ocean blooms with life–mollusks and crabs desport themselves as a made-up roosterfish swims by and a moray looks on in wonder. Yet humankind is also present.  The lost lure with its beguilement and hooks hints at our trickery, although a masked diver suggests we are not inured to the lure of the dep in our own right.  Tune in later to see how it looks when it is done!

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