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This year’s graduation exhibit at the Freda Diesing School was held on April 19 and 20. It was by far the weakest of the five I have attended. In previous years, there have always been one or two students who were ready to become professional artists, but this year there were none, although a reassonably large number could be ready if they keep working for another year or two.

Unfortunately, this year’s show featured too many shaky hands on the paint brush and failures to find the grain. Too often, what passed at a distance was flawed close up.

However, that’s not to say that the exhibit was disappointing – just that it could have been better. The longhouse on the Terrace campus of Northwest Community College is always worth a lingering visit, and I never object to a preview of those who might become promising new artists in another few years.

longhouse-interior

The work of many of the best artists was visible in the display of paddles at the entrance. This is probably no accident, since a painted paddle is one of the first assignments given to students in the school, so students had plenty of time to perfect their results.

entrance

Inside, I first scanned the exhibit for artists whose works I had seen before. Sam Mackay, the winner of the 2012 Mature Student Award produced a solid effort in his “Wolf Howling in the Moon” mask:

sam-mckay-wolf-howling

 

I also looked for works by Jared Kane, from whom I bought two prints last year. He proved to be one of the more imaginative carvers in the show, but the fact is obscured by the lack of finishing on many of his works, as well as his attempts to use light washes of paint that only look sloppy. His potential is obvious, but he seems to be working against himself in these respects:

jared-kane

This year’s Mature Student Winners (who only found out they had won at the show) also showed considerable potential. Steven Wesley, this year’s winner of the award, produced the very solid “Eagle Transformation:”

steven-wesley-eagle-transformation

 

Roberta Quock, one of this year’s honorable mentions, produced “Wolf Mask,” one of the best finished and painted masks in the exhibit:

roberta-quock

 

This year’s other honorable mention, Lorretta Quock Sort showed a similar talent. I particularly liked her mask, “Long Face Willie Campbell,” carved in honor of a grandfather she had never met and reserved to give to her parents::

lorretta-sort-long-willie-campbell

By the time I had looked around the show a few times, two artists stood out. The first was Lyle Mack, the latest from the large and talented Nuxalk family to attend the school. The painting on Mack’s “Beholder of the Light” was imperfect in one or two places, but with some retouching this frontlet could would no trouble meeting professional standards:

lyle-mack-frontlet

However, the most promising artist in the show was Angelo Cavagnaro. His “Gitmidiik Wild Man” mask and “Lunar Eclipse Mask” owe their success to their high standard of painting, but, although their treatments of their subjects are conventional, both are competently carved:

angelo-cavagnaro-wild-man

angelo-cavagnaro-luna-eclipse

Cavagnaro also contributed to the show a bowl entitled, “Supernatural Flounder” which was the most imaginative piece in the show – so much so that I took it home with me. Despite the roughness of some of the carving, this bowl, more than anything else, suggests what he might be capable of with another year or two of practice. When I posted a picture of it to Facebook, it immediately attracted Likes from four or five proffessional artists:

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Most of the pictures in the show will be in The Spirit Wrestler Gallery’s “Northern Exposure” show in Vancouver at the end of May. Several students were also planning to add additional pieces for the southern show, which I look forward to seeing. As always, I anticipate that show, but I look forward even more to seeing what first year students like Robert Quock and Lorretta Quock Sort will be doing next year, with another twelve months of development.

 

When Angelo Cavagnaro was completing his projects for his second year at the Freda Diesing School of Northwest Coast Arts, senior adviser Dempsey Bob stopped by his work bench.

“What’s that?” Bob joked. “A flounder?”

Cavagnaro says that he had intended the bowl to be a halibut, as its shape and the two eyes on one side suggests. However, remembering Bob’s comment, he named it“ Supernatural Flounder.” It’s a fittingly whimsical title for what I consider a whimsical piece.

“Supernatural Flounder” reflects not only the importance of fishing to traditional Northwest Coast cultures, but of grease. While the northwest coast of North America historically supplied the abundance of food necessary for cultures centered on status and art, the diet was low in fat, or grease as it was generally known.

Just as in medieval Europe, people craved grease incessantly. In fact. stores of grease – usually from the oily oolichan or candle fish, whose season was in early spring, when supplies would be at their lowest – were a sign of wealth. To this day, it remains a traditional delicacy. Historically, it was a treat at feasts and ceremonies, where it would be served to guests in highly decorated bowls. Some of these bowls were about the size of Cavagnaro’s piece, holding enough grease for a single serving. Others were a couple of metres long, and must have served dozens.

“Supernatural Flounder” is a transformation piece, like many that I have bought. The human face in the tail suggests that the fish – whether halibut or flounder – is one of those supernatural creatures that can assume human form. Many depictions of such creatures show them in the moment of transition, which is often shown as dramatically agonizing, like some of the computer-generated transformations of werewolves in modern horror films.

However, Cavagnaro takes a somewhat different approach. The body of the bowl is simply carved, with fins indicated by rough shapes scored with a couple of lines apiece. That leaves the human and fish faces to be emphasized, their lips and nostrils painted with the same red, and their eyes with the same black. There are differences in the shapes of the eyes and their sockets, but if you look at the piece long enough, the resemblance is undeniable. Both have the same blankness, inviting a comparison which explains why I call the piece whimsical – in the end, the human face ends up looking not that different from the fish’s. The result is a creature that looks at home with its dual nature, whose stomach just happens to be where the bowl is.

As a carving, “Supernatural Flounder” could stand more attention to finishing details. The interior of the bowl is rough, and there are many places on the carving where the artist’s working against the grain is still obvious. On a piece that is so minimally painted, such details stand out, and need to be thought about. But the general shape and proportions is well-thought out, and Cavagnaro shows the same steady hand on the paint brush as in his other works.

In the end, the bowl turned out to be the only piece I bought at the graduate show. As I write, it sits on a sideboard a few paces away, where I can enjoy by turning my head a few centimeters.

100_1585

Last weekend, I flew north to Terrace to give out the Mature Student Award at the Freda Diesing School graduation. This was the fourth year I have sponsored the award, and the third in which one main recipient and two honorable mentions were named. The award honors students twenty-five and older, recognizing that returning students face challenges in returning to school that younger students don’t, yet often contribute grreatly to a class.

The main recipient was Steven Wesley, a member of the Eagle side of the Haida Nation. Wesley fished for many years, then returned to school in 1997 to earn his high school diploma. “I wanted to be a role model for my daughters,” he said. “I wanted to show them that even their Dad could get his Grade Twelve.

Wesley went on to become a bus driver and trucker. However, he relates that, in 2002, “A friend handed me a knife and a block of wood and asked if I wanted to carve. And ever since I kept pursuing my dream of becoming an artist,” he says.

Although mostly self-taught and learning by observing others, Wesley was accepted at the K’san School in 2004. However, he had to turn down the position due to lack of funding. When he applied to the Freda Diesing School in 2008, he was luckier in finding support.”I just wanted to learn everything,” he says. “I taught myself how to do the ovoids and U shapes but I wasn’t sure they were the way they should be. So, coming back, I wanted to learn from the beginning again. “

However, for Wesley, the most satisfying part of his first year was learning about negative space in carving: “how deep, how high, how wide. I knew the forms, but I didn’t know how to use negative space in my designs.”

He plans to return for his second year in September, and to carve and paint over the summer. “The more you carve, the less you forget,” he says.

One of the two honorable mentions was given to Roberta Quock, a Tahltan from Telegraph Creek who grew up in Merritt and Kamloops. Long interested in painting and beadwork, she says, “I’ve always wanted to go to this school to study more and to learn carving and study more of the culture.”

Besides beginning to learn how to carve, Quock found the first year class a friendly place to learn. “We really bonded together, and we helped each other out,” she says. “We looked out for each other like a family.”

Quock also plans to return for her second year, studying beside her brother Lyle.

The other honorable mention went to Lorretta Quock Sort, a Tahltan of the Crow Clan. An experienced textile artist, for some time Sort has been making fire bags (ammunition pouches) that the president of the Tahltan nation has been distributing as gifts.

Sort’s first ventures into carving will all be given away to her parents and three children. She explains, “My Mom always told me that when you do something for the first time you should give it away. You’re not supposed to keep it or sell it. But, coming from such a large family, it was hard to decide who got what.”
Like the other winners, Sort plans to keep busy over the summer. She has already set herself the task of doing a mask and bowl over the summer, as well commissions for two button blankets and more fire bags, which these days are popular as women’s purses.

Wesley, Quock, and Sort were all among the more accomplished students in this year’s exhibition. I look forward to seeing them develop in their second year, and I’m pleased to have played a small role in their development as artists.

Some years ago, the Vancouver Folk Festival included an activist for the disabled. When an announcer on one of the afternoon stages called him “differently abled,” he immediately took over the microphone.

“Differently abled?” he said. “Hell, I’m a bloody crip!”

I think of his reply sometimes when I see articles prefaced with a trigger warning that they discuss potentially disturbing topics. Then I wonder if the warnings really do anything for the people they are supposed to help.

To start with, isn’t a title supposed to make clear what you are talking about? With any halfway conscientious writer, most trigger warnings are redundant.

More importantly, I question whether the average traumatized person wants to be sheltered from potential upset. Possibly, just after their trauma they would prefer not to dwell on what happened. But, more than anything else, the people I know who suffer from long-term trauma have a tremendous desire to cope. They want to appear normal, even if that appearance is an illusion. They don’t want to stand out, or to talk about their problems, or to be given more special treatment than is absolutely necessary.

From this perspective, a trigger warning is not a kindness or a piece of politeness. It’s an implication that they can’t manage – that all their carefully constructed defenses aren’t enough, and that, although they are survivors, their survival tactics aren’t enough.

In their minds, I am told, such implications are, if not actually an insult, then a dismissal of their ability to survive. The truly traumatized (by which I mean the raped and assaulted, and the people with Post Traumatic Stress Disorder, not the upper middle class professional feeling thwarted at work) often take great pride in their ability to cope, so they are not going to appreciate any suggestion that they can’t.

In fact, their obsession with passing for normal is so great that a surprising number of those suffering from long-term trauma have said that, if a treatment could make them forget what happened or somehow remove its effects upon them, they would refuse it. A magic removal of their trauma would be a denial of the pride they take in having survived.

Yes, a trigger warning might spare them. But many of the traumatized don’t want to be spared. They want to prove, if only to themselves, that they can survive to some degree, even when faced with topics related to their conditions. This desire exists even when they encounter a trigger warning when browsing the Internet by themselves, and independent of how well they actually can rise above everything.

In effect, a trigger warning is an invitation for the traumatized to relax and spare themselves pain. Yet that is something that the traumatized cannot do with most people or in most situations. If they are lucky, they might be able to relax with a lover or a close friend, and resist the temptation to read past the trigger warning. But in most cases and with most people, the trigger is likely to be a challenge. If anything, some of the traumatized whom I know would be all the more tempted to click a link with a trigger warning, just to test themselves.

Those who provide trigger warnings mean well. The warnings are not just runaway political correctness, as conservatives have been known to suggest. But in their effort to pass for normal, few of the traumatized appreciate the effort to give them special consideration. From what I’ve seen, most of them would be more grateful if you let them face whatever happened along without any illusions and didn’t single them out for special treatment.

A trigger warning might seem to be a kindness. But from a traumatic perspective, it may be a subtler cruelty than a direct insult.

When I hear fundamentalists preaching hate and atheists ranting against organized religion, I am proud to be agnostic. It seems the only intellectual and moral position with any integrity. It seems the simplest position to take – the only one that avoids obsession and allows me to appreciate the Christian culture of the past while neither overvaluing it nor repudiating it. In fact, agnosticism has a sub-culture of its own that is more satisfyingly complex — and therefore closer to the real state of humanity — than fervent belief or unbelief.

When I call myself an agnostic, I mean that I take no position on the question of whether a deity exists. Given the existing evidence, I tend to doubt it. However, I reserve the right to change my mind if any evidence worth considering comes along.

I suppose that if you define deity as the underlying structure of the universe, I might grudgingly call myself a pantheist. But, while that structure deserves my admiration, I see no reason to worship it, or to think that it is sentient and would receive or want my worship. So, on the whole, I remain an agnostic.

One of the major advantages of this position is that I can put aside all questions about religion and get on with my life. This is something that neither the religious or atheistic can manage to do. On the one hand, the religious obsess over what their creed would have them to, abdicating personal responsibility for their morality, as if they are overgrown children.

On the other hand, most of the atheists I know obsess over religion at least as much as the faithful — and often more. Like alcoholics, they are pre-occupied about what they have given up, so much so that the average atheist could be described in the language of addiction as a recovering Christian or a recovering Buddhist.

By contrast, as an agnostic I no longer concern myself with faith or lack of it. Both are equally irrelevant so far as I am concerned, and if I am somewhat closer in outlook to an atheist than to a believer, unlike both I let go.

That is not to say that religion holds no interest to me. Nothing that occupied so much of humanity’s attention for so many centuries can be unimportant if you are interested in history. Over the years, I have read a variety of Christian, Islamic, and Jewish texts as well as some Buddhist, Hindu, Sikh, Sufi and Zen texts. But I approach them from a scholarly perspective. For the most part, they are not instructions about how to live and think, but rather a record of how people believed they should live and think in the past.

Encountering these beliefs can be fascinating, but I have no more urge to imitate them than I do to wear a toga or carry an assegai.

The same is true of art and history. Although religion has clearly inspired great art, I do not look for prove of my convictions in that inspiration. Nor do I expect archeology or newly discovered documents to confirm the truth of what is presented in the Bible or any other religious text.

Yet, at the same time, I feel no need to repudiate my culture’s religious past. I accept and appreciate it as an interesting example of the varieties of human experience, recognizing that it has probably shaped my thoughts to an extent – even in a post-Christian era – and see no need to dismiss the outlooks of my ancestors. As an agnostic, I have not repudiated my past so much as repositioned myself in relation to it.

To others, I know, this perspective is intolerable. Nor, in fact, is it always easy. But I have concluded that my two-way doubt is an accurate perception – or at least a more accurate one that faith or non-faith. There is a terrible certainty about faith or non-faith alike that too easily becomes strident and simplistic.

What I appreciate about agnosticism is that it encourages perception and acceptance of ambiguity. That is why, I suspect, that the English language novel did not manage to come into its own until the skepticism of the nineteenth century set in. Strong convictions make effective polemics, but they discourage observation and meditation. That is why there is such a rich sub-culture of agnosticism in the works of writers like George Eliot and Thomas Hardy. In such writers, the uncertainty of belief leads to a closer examination of people and their habitual behavior – and, ultimately, as the nineteenth century gave way to the twentieth, to psychology.

Agnosticism has no grand statements about human existence. If it did, then by definition it would not be agnosticism. But as a perspective, as a stance in relation to the rest of the world, it seems less self-deceiving and more self-correcting than either faith or atheism can ever hope to be. Agnosticism has no per-conceived perspective, which makes it the philosophical position of choice for those who prefer to know the world as it is rather than how they would like it to be.

Duckspeak

George Orwell’s legacy includes dozens of memorable phrases. They include “Big Brother is watching you,” “All animals are equal, but some animals are more equal than others,” and “If you want a vision of the future, imagine a boot stamping on a human face—forever,” all of which are more chilling for seeming all too probable. But if anything, he is even better known for the words he coined, like “doublethink” and “thoughtcrime.” However, one Orwellian coining that I’ve always wished had become a part of English is “duckspeak.”

According to Orwell in Nineteen Eighty-Four, “duckspeak” means superficially different things depending to whom it is applied. When used of a speaker who follows the current orthodoxy, it is a word of approval. However, when applied to an enemy, it’s an insult;.

In its vividness, the word reminds me of some the great invective of the eighteenth century, including “toady,” “bootlicker” and “lickspittle.” And now I think, the eighteenth century developed a near-synonym for duckspeak, too – “cant.”

Both cant and duckspeak refer to a bland and unthinking expression of conventional ideas, often with enthusiasm and stubbornness. The difference is that cant was usually applied to statements that the speaker disagreed with. Duckspeak retains that application, but becomes a compliment when you agree with the statement, because speaking in cliches implies an unthinking loyalty. The implication is that a person who is a duckspeaker is unlikely to be disloyal, because they have no original thoughts.

Essentially, duckspeakers are those who break every rule for clear expression that George Orwell summarized in “Politics and the English Language.” They don’t use short, effective words; they use long, vague ones that obscure their meaning. They frown on original thought, and prefer instead to string cliches together into an approximation of meaning.

Rather than communication, their goals are inter-personal. They may hope that a flow of empty phrases will silence the opposition and impress bystanders into a silent admiration of their eloquence. However, their main purpose – quite unconsciously – is to show themselves orthodox followers of whatever line of thinking they happen to support.

The idea that speech or writing might be used to get things done is foreign to their actions, although when you point out the fact, they are likely to stare at you and wonder why you are stating the obvious – thereby proving that they are also engaged in what Orwell termed “doublethink,” the holding of two completely contradictory ideas at the same time.

Examples of duckspeak are everywhere. You might say that it is the dialect of modern industrial culture. But what got me thinking about duckspeak was the incident at PyCon that people call Donglegate. Hearing two men behind her joking about big dongles, Adria Richards posted a picture of them on Twitter to shame them, and complained to the conference organizers, who reprimanded the men. Richards later blogged about the incident with what can only be called a triumphant tone, suggesting she had struck a blow for women in technology. Soon after, others started giving their opinion of what happened. Richards and one of the jokers lost their jobs, and anti-feminists sent her death and rape threats.

Anybody with a claim to impartiality might have seen these events as evidence that feminism has come to high-tech, and that exactly how it will fit into that sub-culture needs to be discussed. However, with few exceptions, people on both sides could only respond with duckspeak.

The anti-feminists attacked Richards for the joker’s loss of his job, while openly rejoicing when she lost hers. They labeled her a stereotypical feminist – dictatorial, humorless, and erratic – and suggested that she deserved what happened to her. Rather than trying to analyze the memes that might have caused Donglegate, they used it as an excuse for the same old invective, ignoring the fact that many things need to change.

But to my dismay, the feminists – the women and men I support – responded as badly.. They excused Richards’ actions on the grounds that talking to the jokers one-on- one might be difficult for a woman, ignoring the fact Richards is articulate and capable. They petitioned for Richards’ employer to rehire her, while showing little sympathy for the fired joker, suggesting that he deserved what happened to him. They painted her as the victim of racism and misogyny (which she was), but made little mention of her arrogance and carelessness.

In other words, all nuance was lost in the discussion, and with it any hope for serious discussion. Both sides were too busy proving their orthodoxy to manage anything constructive.

Aside from a possible emotional catharsis, all that came out of the affair was the tendency of some anti-feminists to quote their opponents in squeaky voices. To a reader of Orwell like me, they seemed to have independently re-invented duckspeak in the most literal sense. But of course, what they never noticed is their verbal manifestos could have been lampooned in exactly the same. way.

Most people didn’t even get that much from the affair. We are all so used to public discussion degenerating in this way that most of us forget that it could be conducted in any other way.

That’s probably why duckspeak, like cant before it, has become obsolete. You don’t need a word for the norm. It’s just how people behave.

Still, watching episodes like Donglegate unfold, I conclude that a revival at least of duckspeak, with its ambiguous meanings, would be a useful way to improve public thought. Watching the anti-feminists and feminists demonstrate their separate orthodoxies, I couldn’t help thinking of the end of Animal Farm, in which humans and pigs are mingling, and the watching animals are having an increasingly hard time telling the two apart.

That’s where duckspeak leads. And if, by any chance I’m guilty of it here, then all I can say is – quack to you, too.

Thrift and art

My parents were children of the Great Depression.. The era left its mark on them, and continues to leave its mark on me, especially in my attitude towards art.

Like most people, the times in which they grew up left them with a conviction of the correct price to pay for goods (I’m no different; unless I stop to think, a paperback should cost me $2.95, the average price when I was a young man). However, those hard times also left deeper impressions.

If I had to summarize their attitudes towards spending, I would choose the word “thrifty”. Not cheap or mean, and certainly not ungenerous, but thrifty. Although by the time I was I started high school, they were solidly middle class, their spending habits remained cautious. Generally, they thought twice about making a purchase. They delighted in finding a sale or a bargain, or, better yet, a freebie, even if it was not quite what they wanted. They used credit, but paid off the balance every month, except for major purposes like cars and houses. Spending money on themselves made them feel daring unless it was for essentials, and when they received an extravagant gift, their inevitable exclamation of, “You shouldn’t have” was meant in the most literal sense.

My father relaxed these attitudes as they prospered, but, to a large extent, my mother never has. She remains the product of the 1930s, budgeting and balancing her cheque book to this day.

Intellectually, I can see that some of these attitudes are no longer needed. But, despite growing up in moderate privilege, I can never ridicule their attitudes, because, with very few adjustments for the era of my childhood, I mirror many of them.

Like my parents, I tend to keep appliances until they break down (and then I’m shocked, because it was only five years ago that they were working perfectly. It took years after I moved out on my own for me to realize that I could buy furniture of my own, because the castoffs and remnants with which I started my first household hadn’t fallen apart yet. Except for food and clothes, I hesitate to spend money on myself, although I do spend more on books, music, and dining out than my parents would approve. Until a few years ago, I didn’t even own a credit card, and, if I could buy on the Internet or pay travel expenses some other way – preferably by debit card, so I couldn’t spend money I didn’t have – I would. A strong ascetic sense runs through me, all the stronger for the fact that status and goods matter far less to me than ideas and conversation.

However, at the same time, parts of my personality undermine these core attitudes. For instance, while I share my parents’ reluctance about buying things for myself, I thoroughly enjoy buying for others, especially Trish. Each Christmas and birthday, both of us would given the other one dozens of presents, enlivening each gift giving by adding cryptic clues to the tag and making a point of taking each special day as a holiday. So long as I wasn’t buying for myself, the primordial guilt wouldn’t erupt – and never mind that many of the gifts that Trish and I gave each other were enjoyed by the giver as much as the receiver.

Similarly, I enjoy giving money to charities. Admittedly, some of the money I donate can be declared on my income tax, but that’s not the point. Although I keep most of my donations quiet, giving money is an opportunity to be generous without triggering my instincts to hoard and save. The family thriftiness may show through in the care with which I choose where to donate, but the point is that giving is an excuse to go against my usual tendencies.

But the most significant way that I’ve circumvented my upbringing is in the buying of art. By the standards of my upbringing, buying art is an extravagance that can have no justification. Maybe art buying would be acceptable if I did it as an investment, but all I’m doing is displaying it in my townhouse.

Meanwhile, all my upbringing is telling me I should be saving my money instead. If I am going buy art at all, I should content myself with limited prints, and frequent the tourist shops rather than the art galleries. That way, I could have things that were almost as good, while spending far, far less.

However, to me, that’s part of the point: No piece of art that I buy is a substitute for any other. I don’t turn down bargains, but I don’t go looking for them, either. When I buy art, I’m looking for something that I respond to, regardless of price. I am bringing home exactly what I want, not settling for something else because it costs me less I can never be disappointed because a piece is second-best and almost as good, and although a part of me is clamoring about spending recklessly, the larger part finds immense satisfaction in realizing that I am not disappointing myself in the name of being thrifty.

I’m unlikely to ever be a careless spender. If I go to Las Vegas, anyone who wants to find me will have to visit the sights rather than the casinos. I’m more likely, too, to ask about time payments if I can’t afford artwork rather than go into debt. But more than anything else in the satisfaction of having arranged my life so that my eyes fall upon imagination and craft wherever they look, I feel certain – at least for the moment – that I have outgrown my thrifty conditioning.

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