Emergent Forms of Other Belief


The Crisis Theme that seems to be the default, unchangeable background of everything these days can be exhausting. None of us seems to know how to handle social media – is it for self-promotion? sharing opinions? business? the fck is a status update? connecting instead of conversing – beyond obsessive attention to it or turning it off completely. That the tools have been created to make other people rich appears to be a mere byproduct, but is it? Do I need to read an article on it that my friends agree with to believe that? Every news item from the Dunce-in-chief to climate change to what’s wrong with the Democratic party to health care to guns hermetically seals us in a state of doubtful knowing. And like quicksand, if you try to get out of it too desperately, you’re only pulled back all the more. For those who insist on creating, it can be be double-trouble: your battle is not to react against but still ‘do something.’ What does that mean?

Friend of the blog Jed Perl lays out in an inadvertent cautionary tale in this Rauschenberg review, The Confidence Man of American Art:

It was as a genre-buster—an artist who crossed boundaries and cross-pollinated disciplines—that Rauschenberg was embraced in the 1960s. More than fifty years later, there are more and more artists who seem to believe, as he apparently did, that art is unbounded. The only difference is that our contemporaries—figures such as Jeff Koons, Isa Genzken, and Matthew Day Jackson—have traded his whatever-you-want for an even more open-ended and blunt whatever. A creative spirit, according to the argument that Rauschenberg did so much to advance, need not be merely a painter, a photographer, a stage designer, a printmaker, a moviemaker, a collagist, an assemblagist, a writer, an actor, a musician, or a dancer. An artist can be any or all of these things, and even many of them simultaneously. The old artisanal model of the artist—the artist whose genius is grounded in the demands of a particular craft—is replaced by the artist who is often not only figuratively but also literally without portfolio, a creative personality-at-large in the arts.

One can argue that there are historical precedents for this view. Picasso enriched both his painting and his sculpture by working back and forth between the two disciplines. And the work that Picasso did in the theater certainly precipitated significant shifts in his painting.

Just so, and there is much more. And I do not come to praise Rauschenberg or to bury him. One point can be that, for better or worse, he imagined himself and what he was doing. Sure he was affected by his culture and the times in which he lived. But Jed is correct – the question is where the question (whatever it is) takes the artist. If it runs you back into into the insufferable quandary of boredom or futility, it wasn’t the right question. We can work our way through this time, as others have other times, but not by taking it on directly. Okay maybe, if you’re Zola. But you’re not. So don’t do that at all. Ignore it? Abdication is consent. Also – nothing will change. That’s one reason to like the ‘confidence man’ citizen’s arrest of Rauschenberg. It’s a hefty charge. But that’s okay – you don’t need to [first] accept any of the givens about anyone or thing in order to get somewhere. And this is not about progress, anyway. It’s about getting to all some of that other space, all around you, that seems inaccessible. That’s what can be frustrating – and it’s not even true. It’s just a thing someone has created and you’ve allowed to be in your way, that you need to [yes] use your discipline to think beyond. And [yes] to make something.

Image: Portrait of Apollinaire as a Premonition, by Giorgio de Chiricio, 1914

Sacco and Vanzetti

Don’t forget this:

On August 23, 1927, the state of Massachusetts executed two Italian immigrant anarchists by the names of Nicola Sacco and Bartolomeo Vanzetti for the murder of two men in a 1920 armed robbery in South Braintree. Although the two men may or may not have been involved in the crime, as Italian anarchists, they were on trial for their beliefs as much as the murder. Despite the lack of concrete evidence and international outrage over the miscarriage of justice, the state of Massachusetts railroaded them into the electric chair.

Sacco and Vanzetti were anarchists, men deeply affected by the terrible labor and social conditions of the early 20th century. Both immigrated from Italy in 1908, though they didn’t meet for nearly a decade. The seeming inability for the capitalist system to treat working people with dignity and respect drove many to desperation. By the 1890s, anarchism was a growing threat in the United States, perhaps most personified by Leon Czoglosz’s assassination of President William McKinley in 1901. Although that and other incidents convinced enough upper and middle-class Anglo-Saxons to enact limited reforms during the Progressive Era, the fundamental conditions of working-class urban life had changed little by 1920.

Sacco and Vanzetti both followed the teachings of Luigi Galleani, an anarchist theorist who advocated violence to overthrow the state. The Galleanists did in fact use violence in the United States. They were believed to be the group behind the bombing of Attorney General A. Mitchell Palmer’s home in 1919. Palmer, already cracking down on radicalism with the help of his young eager assistant by the name of J. Edgar Hoover, built upon this incident to intensify the Red Scare, that nation-wide crackdown on radicalism in all forms during and after American entry into World War I.

It was in this atmosphere that men like Sacco and Vanzetti were suspects in murders like that which took place on April 15, 1920, when armed robbers attacked a company payroll, killing two men. Although the evidence was indirect, the police suspected the greater Boston anarchist community, which was suspected in a series of other robberies to fund their activities. The police also discovered that one anarchist, Mario Buda had worked in two shops subjected to similar robberies. Upon questioning, Buda let slip that the local anarchist community had an automobile under repair, leading police to stake out the repair shop. The police convinced the garage owner to notify them when the anarchists arrived to pick up the car. When 4 men did, including Buda, Sacco, and Vanzetti, they sensed a trap and fled, but Sacco and Vanzetti were soon picked up. Both had guns at their homes; Sacco having a loaded .32 Colt similar to that used in the killings.

and that’s a great series on the history of Labor by Loomis. Check it out.