The early 1990's Gallery Texts
note: This is a supplemental text for "The Early Nineties Galleries Texts". If you have arrived at this text independent of first viewing the comprehensive gallery and the images for which this discusses, the please visit "Early Nineties Gallery" (just click here). Thank you, G.P.
During
the mid-nineties, I completed a series of paintings made entirely by mouth.
Generally speaking, the motivation behind those works was, when one considers
mouth painting, it brings forth an image of 'handicapped art'; which for
the most part is not much better than kitsch. The topic of my mouth painting's
consisted solely of hands and feet, painted in the same style as my larger
works; but obviously the technique was not as controlled (c.f. the
foot mouth paintings in the Early Nineties Gallery). In making
these mouth works I hoped to challenge the common cliche or marketing
term of "Physically Challenged or Handicapped Art," which to
most of us immediately triggers pernicious images of hapless cripples
painting saccharine images of puppies, teary eyed children or escapist
landscapes outside of the tradition of Canadian landscape painting. My
point in making those "Mouth Pieces" (title for the series),
was to say that the only handicapped, disabled or physically challenged
thing about mouth painting: is the fact that what has up until now been
marketed as Foot and Mouth Art, is bad or inferior art. The absence of
any sense of art history or understanding current trends in art is the
only handicap that Mouth and Foot artists face aside from the technical
difficulty of painting with your mouth or feet. Let us not forget that:
Renoir in his later years painted with his brushes bound to his arthritic
arms, Matisse painted larger as he was going blind and that Chuck Close
paints with the aid of his assistants from his wheelchair today (c.f.
Gerard's collaboration
with Chuck Close "Portrait of Chuck Close"). All of
these artists were or are handicapped, but certainly we couldn't say that
their art is handicapped. In fact in this light, I see any of the terms
'Handicapped Art - Physically Challenged or Disabled Art' as somewhat
of an oxymoron.
I do not have an axe to grind with anyone who is a Foot or Mouth painter. The issue for me is the quality of work, which many of these artists and their patrons hold up to be art. For the most part, this art is not only inferior, but it acts as a type of buffer, further cultivating a malevolent ignorance in society towards the capabilities of the handicapped. I mean really, think about it for a minute: what's the first thing which pops into your mind when you think of Disabled Art? Yuk, right? Nevertheless, as stated above, I think of Matisse as a physically challenged artist. Yet Matisse's work is never defined as physically challenged art, and rightfully so - it doesn't need to be, it's just great art. Sardonically, I might say that Jackson Pollack didn't use his hands or brushes in all his paintings either, but he still made great art - yet we don't define him as a tin can and string painter - as in foot and mouth. In my opinion great art is great art no matter who makes it. I do look at the term "Foot and Mouth Art" with a jaundiced perspective: to me it is solely a moniker used to cultivate sales based on sympathy. They prey on our sense of guilt 'those poor people deserve more and so let's be good and by a few boxes of their cards'. Sadly, no one looks at the merit of the art except for me and other artists. Anyone who is creatively involved in their life is enriching their life and so too then is the sick and infirmed, but to call this "art" on the same level as Chuck Close, to me, is anathema. I
also have an issue with the organizations which perpetuate the continued
use of this "fill in the blank challenged" language, even if
their aim may be altruistic to those who may lack ambulatory skills. At
what point are they driven by their fiduciary needs of budget and or actually
doing well? The road to hell is paved with good intention! What they should
be doing with their monies is setting up scholarships to send these individuals
to art schools or receive personal training from serious local artists
in their community, if that student can't wheel their way to classes.
This would not only benefit the individual more than entrapping them into
a commodity situation of selling their handicap but also inform society,
in a more positive fashion as to the true value of art - be it personal
as a catharsis, or professional as in making a living for artists such
as myself. Teach a person to fish and they eat forever, give them a fish
in a tank and they salivate or drool in front of the glass if their famished! The
following anecdote conveys my aforementioned point all to well. During
the time I was working on these mouth paintings, I was contacted by a
huge multinational drug corporation. They wanted to purchase art for their
recently built headquarters in Europe. Putting art collected from all
their national regional divisions on each floor. They thought to patronize
the disabled and show their civic mindedness by purchasing works of art
created by the same. After they had consulted with a well respected Canadian
Museum, I was contacted to see if I'd be interested in selling them some
art. I adamantly insisted that I didn't make ??????? challenged
art, rather I made art about being ??????? challenged. In other
words I didn't paint beautiful escapist landscapes, clowns, etc. They
insisted that based on my international reputation and recommendations
that they wanted me to seriously submit work. I said "You don't get
it: I don't do paintings with no hands but rather I do paintings about
having no hands." A slight degree of difference but large enough
to make a paradigm shifting hell of difference if you don't have them
- hands that is! Furthermore, I could predict what their interior designer
consultants would say of the work, once they saw them: I suspected they
weren't looking for good art but rather the same works which I so elaborately
describe above.
Humorously, after telling me they may want to purchase as many as six or seven major works, I not only submitted by I submitted. I sent examples of my Red Blue Paintings. A few months later a letter arrived from them. There in stated and I paraphrase "We can see why your very provocative works come so highly recommended. Alas, we are unable to purchase any of your astonishing works of art, as we believe they would not be conducive to the work environment." What I fool I was, to think they might actually want art and not just something to place over the sofa of a waiting room to make the world think "My, my their also helping those poor people!" They didn't want to think or their workers to think in the work environment! Why think? Indeed why think and why should they think: art is just a decoration which can also be used to advertise their good intent. 'Think of a Van Gogh painting hanging in the lobby of any psychological drug manufacturers headquarters - I like the idea, and it's probably safe to do so now. When Van Gogh was locked up in the asylum, they would've sent him the same type of letter. I can imagine reading it now "Very provocative work Mr. Van Gogh, in fact maybe too provocative." It's too funny and yet so sad! This is what happens when this whole "Foot and Mouth, etc. Art" is taken to its final logical conclusion. This above company actually couldn't see the difference between ??????? challenged art and great art made by the ??????? challenged. This is what angers me so, as it doesn't have to be this way and the solutions are so easy to grasp hold of. The financial resources combined from all the money drives, cards, Christmas trees, lottery tickets, television shows, etc. surely far surpass the cost of education. The cost of educating first the lame about their creative potential, which will then trickling down to educate all the rest! Capitalize instead of Capitalization! If
I were a rich artist I'd simply set up a scholarship fund to send an armless
or paraplegic artist to art school every year. Surely, this is more liberating
than the current system, as my approach is based on empathy. I thank God
that I still have a tongue in my mouth to say this, and that that tongue
has not been suppressed by the weight of a brush hard pressed against
it and my wallet. I know there's bad art everywhere so I guess what I'm
saying is that 'normal bad art' has nothing to hide behind like the lions
share of bad Hoof and Mouth Diseased Art. Gerard Pas - New York - April 2002. |