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| RTomens, 2018 |
I made the print above, Mother Image, yesterday and as you can see it continues my interest in imagery/culture from mid-century America, although not for reasons of 'nostalgia', obviously, since I was never there. Other interpretations of nostalgia are possible. Affection, if not longing, for a bygone era or, in my case, fondness for the colour of an era in print. Yes, whatever. This work combines a found image with a photo I took last year.
Weasel Walter isn't one to dwell on the past and despite having noticed his name I had never listened to him until this morning, namely the interview below. I don't know how he popped onto my radar today but I'm glad he did. If his diverse (and vast) musical output doesn't interest you that much, his thoughts on making art (music in his case) as a permanent outsider should (unless you happen to have 'made it'). WW has been around for a good few years and developed his drumming (Improv) chops before moving on and I admire that for starters. It's easier to stay put, even though where you're at isn't very popular.
As I listened I realised he could be talking about any art form which is niche. By which I mean content-wise, I suppose. Put another way, let's just say he echoes the thoughts, I'm sure, of all who carry on regardless of having no financial success. Each of us may succumb to bitterness before, hopefully, saying 'Fuck it!' to ourselves and charging on whilst feeling virtually alone.
At one point this notion of caring what other people think is discussed. I can relate to WW's desire to work with others whilst remaining determined not to let what others think of him soil his thoughts. I've often wanted to work with others, as in a group of like-minded artists, but that's even harder than finding musicians on the same wavelength. By the very nature of the thing, producing art is a solo effort, with a few exceptions who have co-created. Music, though, is a co-operative venture, on the whole, again with occasional solo recordings.
Talking of music, at one point WW suggests that if John Coltrane was miraculously resurrected his new album on Bandcamp would be just another album on Bandcamp. In other words, the 'level playing field', as he puts it, can reduce everything to the same status in a negative way, as well as positive. I've joked about that in the past, suggesting that should Picasso be alive and posting his work on Facebook it might just get a few 'likes' before viewers quickly move on or at worst... 'meh'.
They also discuss class in relation to the more privileged artists. I was surprised the subject came up between two Americans since they don't seem to share the level of obsession with class that we do in the UK. Or I do - rather did in relation to my art. I'm not saying I'm 'over it' but as WW has (being self-confessed 'lower-middle) I've become more accepting of the luck of others. It's not worth being angry about the good fortune of others born into financial comfort which enables them to be creative without money worries.
Likewise, it's not worth getting in a state about the degree to which your art is accepted. WW suggests that out of a hundred people asked, none would known him. So it is, even with legends such as Cecil Taylor (RIP) or Dieter Roth. As for making money, who buys art? It's not a career, except for the very few and they are either currently fashionable Fine Artists or Commercial ones.
Anyway, make time to play the interview. If any of the above issues interest you it's worth a listen.
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