Charlotte Street Foundation identifies the needs and fuels the evolution of an ever-changing multidisciplinary arts ecosystem, acting as its primary provocateur. We cultivate the contemporary, the exceptional, and the unexpected in the practice of artists working in and engaging with the Kansas City Art Community
any of you who follow my arts-writing blog may have noticed that there hasn’t been much activity on there over the last month or two. it’s true, I haven’t been writing about art around here very much, but I have two good reasons for it:
1) I was recently hired as the Junior Blog Editor for LA-based art & design blog Beautiful/Decay, and I am trying to save up my energy for starting that in a week or so.
2) much more interesting to you all, I have been hard at work writing paintings. yes – writing: paintings. these are an experimental art/writing (not arts-writing) series descendent more from DFWallace (Poor Tony introductory monologue in I.J.) and Joyce (Ulysses finale stream of conscious) than Wool or Holzer (both pretty uninteresting if you ask me), in which solid, block-justified pages of consciousness stream as an unbroken run-on sentence each with no punctuation whatsoever to disrupt the flow of the words or dictate specific cadences/checkpoints.
…the experiment arises out of ongoing speculation I’ve been toying with in my head over the difference in the way we experience visual art and writing. questions like: how much active (vs passive – think TV) attention is required to truly engage each form (think about how you can drink and shoot the shit in front of work at an art show and still ‘see’ the art but how no equivalent is possible with literature)? what is the speed of the ‘reveal’ of each in relation to each other (how you know in two-thirds of a second whether or not you are going to give an artwork the time of day and the difference between that and ‘scrolling’ text)? how does seeing something all at once vs in segments that must proceed each other in linear sequence determine our ultimate understanding of the thing (how much do people like their aesthetic experience to be like a tour vs an exploration)? how is the ability to ‘skip around’ a benefit and/or hindrance to the comprehension and thus meaning of a work (how similar are the acts of focusing, screening, skipping, hopping, etc)? etc.
at Open Studios, a few of the best of these primarily imagistically-oriented texts will be printed 11×17″ and hung on the walls of my studio like any other painting might be. others will at the very least be available for print-on-request, if not prepared in advance in some sort of takeaway.
so c’mon out and let’s talk about this sort of stuff, and/or interrelated topics like what are the pros and cons of the fact that almost the only way that Kansas City supports writers is by treating them just like artists. or whatever else you want to talk about. it’ll be more fun than me just saying ‘I write about art in an interesting way, read my blog.’
see you there.