Saturday, January 31, 2009

Eudaimonia

This past Saturday morning, I rode the N train into downtown Manhattan. Sitting across from me, a tired-looking father played with his young sons. Lowering my magazine for a minute, I watched the three of them. Although the boys' antics disturbed some of our fellow passengers, the father was unflappable, and cheerfully committed to the childrens' exuberance. He responded as he needed to, reining in a stray arm, hushing a piercing squeal, but also participating in the boys' adventure, pointing out curious subway details and posing fun questions about this, that and the other. When the father's eyes caught my considerate gaze, I smiled and slightly bowed my head in greeting. The man looked at me for an instant, then returned his attention to the boys. "Ours is the next stop, guys, so I want to see how you high you can jump as we get off." Each child grabbed one of their father's hands and, when the subway doors opened, they shrieked with delight as the father stepped out of the subway car and raised his arms up and out, lifting the young boys several feet off the ground. The doors closed behind them.

I thought again of childhood in Union Square, where the rich smell of the Greenmarket's composting station roused amusing memories of the indignation I felt whenever asked by my parents, those years ago, to empty the compost. The sun was bright in the cold air and, as I walked south from the park, an invigorating chill slipped under my coat collar to quicken my step, broaden my smile and stir a contemplative inclination. At 11th Street, as I admired the Gothic revival architecture of Grace Church School, I slipped into a reverie about Earth's stray moons.

NASA researchers now believe that Earth once had three or more moons. The lost moons, or moonlets, were smaller than our existing satellite and, after orbiting Earth for up to 100 million years, they either crashed into our surviving moon or broke free from the planet's gravitational pull. In the latter scenario, the moons may have been drawn into and consumed by the sun; alternatively, they may have drifted into deep space. I prefer this last option, a vision of the moonlets soundlessly sailing through distant reaches of the universe. It's a lonely thought, but it is also serene, even happy.

Thinking about these content cosmonauts, it occurred to me that everything that morning seemed gratifying. After further consideration, I estimated that I'd been afflicted with this hearty disposition for at least two weeks. Although I generally characterize myself as an upbeat person, this bout of optimism seemed remarkable in both duration and degree. What gives?

Perhaps my wonderful girlfriend is responsible for these good vibrations, or maybe my renewed investigation of theology and philosophy is fulfilling some latent need? Maybe my acting on the long-ignored impulse to use half of all my art profits to support humanitarian and environmental work has made me more honest (and happy)? Perhaps, as some friends have suggested, I'm merely feeling the effects of Obamatism, optimism fed by the election and inauguration of Barack Obama. Whatever the cause or causes, the cumulonimbus clouds over yonder are dispersing.

But what a time to feel hopeful and appreciative! Today's global and domestic prospects aren't good, even when viewed through a rosy prism, yet I've emerged from the Bush oughties convinced that Aristotle's conception of eudaimonia is valid.


Rembrandt van Rijn
"Aristotle with a Bust of Homer"
1653


Broken down to its Greek etymological roots, eudaimonia means "good spirit." Although I don't explicitly agree with the paleontologist and Jesuit priest Pierre Teilhard de Chardin, who believed in ethical and moral orthogenesis, a progressive, goal-oriented evolution of both the physiological and the conscious toward perfection (de Chardin dubbed the end point of orthogenesis the Omega Point), I'm amenable to Aristotle's less pious faith in goodness. The great philosopher wrote that "every art and every scientific inquiry, and similarly every action and purpose, may be said to aim at some good." He believed that eudaimonia is the ultimate goal of humankind, that we strive above all to be good creatures.

In "The Meaning of Life," Terry Eagleton's terrific (and fun) investigation of meaning, doubt, religion and postmodernism, the critic points out that Aristotelian happiness, "bound up with the practice of virtue," might be problematic in our postmodern, plural age. He asks if eudaimonia is fit only for colonialists or neo-conservatives, thinkers convinced that rectitude can be enforced by the sword and not generally given to consideration of "the other's" perspective. But we - that is, the rest of us - need to reclaim Aristotle's faith in essential human goodness. Despite Eagleton's playful nitpicking, there is no reason that compassion and moral progress should not (or can not) coexist. Call it Obamatism, call it naive idealism, call it what you will...but it's time to participate, to put aside our generation's infantilism and get to Aristotle's happy work.

Admittedly, it's egocentric and philosophically naive to believe that "your moment" is any more significant than the countless moments that preceded it, but precisely because it is your moment, such short-sighted thinking is natural; it can even be beneficial, because it compels us to participate more fully. In some respects, individual action is more important than its group counterpart. If that suggestion sounds wrong-headed, it is because the individual, as a concept, is much maligned by the ideological left. But the variety of individualism they decry is not the sort of individualism presently called for.

Our contemporary zeitgeist is dominated by me-centered iCulture, a globally traded, commodified version of individualism so clouded by consumerism that most of us struggle to identify our own significance, much less the significance of everyone and everything surrounding us. It's hard to rally to the call of the moment, to feel as though individual human agency has any bearing on what will come tomorrow, next week, next year or next millennia, when faith in yourself and others is so obscured. The apathy of Western culture is a bottom-to-top disorder, affecting the individual first and, then, society as a whole. But this apathy is a temporary side-effect of our rapidly globalizing and technologizing world. We will pass through our challenging stage of human social development but, fraught as it is, the need for an active and immediate commitment to bettering our world's future is great.


Poster for 1933's Chicago World's Fair


And what's become of that storied horizon? Michael Chabon eulogized "the Future" in his article, "The Omega Glory" (January 2006, Details magazine). "The Future was represented so often and for so long...that at some point the idea of the Future - along with the cultural appetite for it - came itself to feel like something historical, outmoded, no longer viable or attainable." The vision of the future also soured; the early twentieth century West's faith in the imminent invention of the flying car and the transition to a "benevolent, computer-assisted meritocracy" had mutated by the 1970s. "If nuclear holocaust didn't wipe everything out, then humanity would be enslaved to computers," Chabon observes. These dystopian scenarios were favored by fin-de-siecle science-fiction writers, but the fear that spawned such stories wasn't new; cries of impending collapse have sounded since civilizations began bumping into one another. The global dissemination of dystopia, however, was new, and it gave rise to a pandemic waning of confidence in the steady progress of man. Enter the doomsayers, those thoughtful folks who would see my eudaimonia wilt.

Saturday evening, after spending the afternoon ensconced in my studio, drawing and listening to NPR updates on the continuing violence and sorrow in Gaza, I sat down to read Ben McGrath's article, "The Dystopians." (The New Yorker; January 26th) McGrath profiles three of today's most popular doomsayers, Dmitry Orlov, James Howard Kunstler and Nassim Nicholas Taleb. The three men are intelligent, considerate and not at all lunatic, but they share a tragically bleak vision of our society's future. All "begin with the certainty that a side effect of globalization is 'fragility'" and conclude that our precariousness has carried human civilization to the verge of another dark age.

Orlov describes his audience as,
"belonging to three basic cultural categories: 'back-to-the-land types,' united in their opposition to industrial agriculture; 'peak oilers,' who worry about the shock effects on energy markets of reaching the maximum global crude-extraction rate; and all around Cassandras, or 'people who sometimes derisively are called doomers.'...In the past few months, Orlov has acquired a fourth audience, composed of financial professionals."
Orlov's list, however, is incomplete. I don't fit neatly into any of his categories, yet I was a devotee of Kunstler's predictions for some years. Indeed, the ideas put forward by these prophets of collapse appeal to many environmentalists. McGrath writes that,
"[the] Malthusian movement has expanded with time into a kind of peaknik diaspora. Peak oil and peak carbon (i.e., global warming) are the heavies, with the most obviously compelling claims on our attention, and the greatest number of advocates; their relative standings swing in rough accordance with the price of gas and the latest hurricane news. Smaller contenders like peak fish and peak dirt have their devotees as well...The bailouts in the wake of the subprime defaults, however, have arguably thrust a new concern to the front: peak dollars, or the point at which the system breaks down through the simple printing of paper money."
McGrath overlooks the granddaddy of all peaknik fears, peak population. But whatever your principal concern, once you find yourself wringing your hands about one of these anxieties, you'll find it easy to latch onto another. Trafficking in dire forecasts is often addicting; as McGrath puts it, "triumphant pessimism can be fun."


Albrecht Durer
"The Four Horsemen of the Apocalypse"
c. 1497-98
Woodcut


But the dystopians are given to worst-case readings of just about everything. McGrath tells us that "Kunstler [sees] degeneracy everywhere." Rising rates of obesity, the increasing popularity of tattoos and the prevalence of shoddy architecture are cited by Kunstler as signs of our cultural end times and he expects "the social contract [to break] down" in short order, resulting in "the hardier ones among [the poor and unemployed to] venture out to Easthampton with long knives and matches." He tells McGrath that "he keeps a sixteen-gauge shotgun in the closet, and he recently applied for a pistol permit."

Are the bleak pictures painted by today's doomsayers the products of too much science-fiction or are they rational, if frightening reckonings of our species' excesses? A bit of both, I think. Though we celebrate the democratic and humanitarian legacy of the West's exuberant colonialism, itself a product of the Enlightenment, we must also recognize that empires, past and present, value most highly the accumulation of material wealth and the acquisition of social rank. According to cultural critic Morris Berman, the variety of democracy exported by the First World may be the most poisonous of all. Although extolled by Thomas Friedman in the pages of the New York Times, today's global, democratic economies are hierarchical and often brutal; in at least this respect, they are little different from early agricultural societies. Berman writes, "global-democratic-consumer culture is defined by acute social and economic inequality, declining marginal returns, and spiritual-intellectual disintegration."

As a result, in our imperfectly globalized world, calls for democracy, human rights and environmental stewardship are heard, but are often confused in the great din of reactionary, hateful yelling. The only universal myth is one of wanting. Berman calls this the "'democratization of desire,' the notion that all [have] equal rights to the world of comfort and luxury, and that this [is] what life [is] ultimately about." All of our contemporary tribes (religious, racial, ethnic, national and so on) vie for the same illusory zenith rather than agreeing that there are more sensible, generous uses of our energy. In the industrialized First World, the victor's spoils have created a poverty of abundance. And, yet, in the world's poorest places, they long for our affliction. Complicating matters further, we're constantly copulating, producing more mouths to burden already over-extended resources (and cry of want).

Modern man is not far removed early agricultural societies and, like our predecessors, we are subject to post-boom catastrophe. In fact, collapse is understood by anthropologists, sociologists, biologists and historians to be inevitable, a natural result of civilization's tendency to become increasingly complex and hierarchical. As Berman writes in 2000's "The Twilight of American Culture,"
"The whole statist configuration of hierarchy, specialization, and bureaucracy emerged fairly recently - about six thousand years ago - and has to be constantly reinforced and legitimized. It also requires an expanding material base and a constant mobilization of resources, and the trend is always toward higher levels of complexity. There is the processing of greater quantities of information and energy, the formation of larger settlements, increasing class differentiation and stratification, and the development of more complex technology. Collapse, which involves a progressive weakening of the political and administrative center, is the reversal of all this, and a recurrent feature of human societies...Thus, collapse is built into the process of civilization itself...[it] finally becomes an economizing process, the best adaptation under the circumstances."
Berman, Kunstler, Taleb and Orlov believe that we are on the brink of such a collapse. Because I survey the same landscape, I don't begrudge the dystopians their opinions and predictions - perhaps we need the Cassandras to motivate us? - but I no longer feel that their pessimism suits me.

There are some of us who, though we may own shotguns, rifles or pistols, trust that we will not march on the houses of the wealthy. We accept the list of lamentations laid out by today's dystopian observers, yet remain realistic optimists. True, the comforts and excesses of the First World are endangered, and we doubtless face drastic social hemorrhaging following Berman's "economizing process," a necessary and natural correction, but, knowing these things, I still count myself among the Sisyphean hopeful.

The poet and essayist Christopher Cokinos wrote in a May/June 2007 issue of Orion that extinction should be accepted as an eventual given and, therefore, that civilization should be understood as a temporary exception. This perspective "nurtures sanity," he tells us. So, too, does an acceptance of social collapse and renewal. Acknowledging our species' precarious position is not defeatist; on the contrary, accepting the inevitable nourishes the individual's desire to contribute. Faced with an impossibly difficult prospect, only individual effort can sustain us. As Albert Camus concluded in "The Myth of Sisyphus," "The struggle itself is enough to fill a man's heart. One must imagine Sisyphus happy."


Titian
"Sisyphus"
1549
Oil on linen


Of course, not all those who face Sisyphean prospects are happy. Aldo Leopold, a famous American ecologist and conservationist, bemoaned the fact that "one of the penalties of an ecological education is that one lived alone in a world of wounds." This melancholy observation was true in 1949. Today, however, the global populous is at least tangentially aware of environmental ills and, although we are not yet heeding the call for stewardship on a grand scale, the contemporary environmentalist is no longer "liv[ing] alone." Sadly, exposed as they are to a near constant stream of bad news from around the globe, our ecologists and environmentalists remain residents "in a world of wounds." It's damned hard for them to be upbeat.

Similarly, a little knowledge of geo-politics will greatly distress most people. Alexander Pope's maxim has it that a little learning is a dangerous thing. True, and it can also be a depressing thing. Sheltered ignorance is relative bliss, but we can no longer afford that variety of comfort. We are instead obligated to witness the stresses, the horrors and the excesses of our world, and then work, in whatever way we can, to alleviate those ills, to replace the painful with the promising. Our choices may not always be right and there will be many "ups and downs," but the human spirit and species can not afford to succumb to apathy, complacency or Kunstler-like negativity.

In the preface to his book "Emerald City: An Environmental History of Seattle", Matthew Klingle writes, "Perhaps [Aldo Leopold was right], but one of the gifts of a historical education is knowing that some wounds heal in time or can be endured, and that we do not have to go it alone. History is no panacea, but thinking historically can help us live with the consequences of being imperfect creatures in an uncertain world." Cokinos shares Klingle's fatalistic, yet hopeful outlook.
"Too much grief for the world means less energy to help it along. [When] you find yourself free of the poisons that too much angst can cultivate, then something marvelous happens. You can sense how very old the planet is, how very old life and death are, and you can keep going on, you can keep doing the work you do in this universe, feeling despair when you feel despair, feeling - amazing - joy when you feel joy."



President Barack Obama's January 2009 Inaugural Address


Last week, the new President of the United States proposed that Americans (and, with them, all citizens of the world) return to joyous work.
"[There] are...indicators of crisis, subject to data and statistics. Less measurable but no less profound is a sapping of confidence across our land — a nagging fear that America's decline is inevitable, and that the next generation must lower its sights....We remain the most prosperous, powerful nation on Earth. Our workers are no less productive than when this crisis began. Our minds are no less inventive, our goods and services no less needed than they were last week or last month or last year. Our capacity remains undiminished. But our time of standing pat, of protecting narrow interests and putting off unpleasant decisions — that time has surely passed. Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America....All this we can do. All this we will do....Now, there are some who question the scale of our ambitions — who suggest that our system cannot tolerate too many big plans. Their memories are short. For they have forgotten what this country has already done; what free men and women can achieve when imagination is joined to common purpose, and necessity to courage."
Indeed, we are fortunate to live in a "now" when idealism and necessity intersect, in a now when I can trust in the happiness of wandering moons, can be grateful for my chance to work in this imperfect, wondrous world and can look forward to the continued expansion of the universe...and of our future.

Wednesday, January 28, 2009

Mapcidy

A new website named Mapcidy has materialized online. It bills itself as "a blog, hyperlocal guide, and social utility."

I'm honored to be included in Mapcidy's list of "Best Art Blogs in NYC," even if the editor's accurate observation that "people are more eager for news than for truth" saddens me.

I am a blogger, but the "up-to-the-minute" nature of most blogs is not a draw; in fact, it's a major reason I read so few of them. Call me a conservative dinosaur, but I continue to prefer the thoughtful, edited writing published in major periodicals. But as more readers turn to the Internet for their reading and news, more conscientious and talented writers will provide the content. The blogosphere, so easily pilloried today, will evolve into an online equivalent to the heyday of print publication. The role of future William Randolph Hearsts, however, remains in doubt.

Anyway, I'm honored that Hungry Hyaena was included on "a list [of the best art blogs] culled from some of the best art schools in NYC," and that one of those MFA candidates described my writing as "insightful." You made my day, unknown young artist. Thank you.

Tuesday, January 27, 2009

Dreamtime



Last night's fitful sleep granted me a remarkable number of dream vignettes. One of them haunts me.

+++

Dressed in a suit and standing alongside an unknown companion, I contemplated the soil at my feet, made hard by winter's bitter touch. I thought particularly about the difficulty of digging a grave in frost baked ground.

Looking up to survey the landscape, I realized that my macabre musing was only appropriate. My mysterious friend and I were in a vast cemetery; headstones freckled the gently rolling topography. My gaze returning to the hard soil in front of me, I recited the closing words of James Joyce's short story, "The Dead."
"It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead."
As if the Joyce lines were an invocation, snow began to fall.

+++

Over the course of fifteen years, I've read "The Dead" several times. Never have I been especially moved by the story's mundane events, but the closing paragraphs stay with me. Even after reading my favorite of Joyce's works, "Portrait of the Artist as a Young Man," and later happily slogging through the rather self-conscious "Ulysses," it is the final words of the short story that first come to mind when someone mentions Joyce.

It's a curious thing that the art most significant to our unconscious is not always held in high regard in waking life.

Photo credits: Old Jewish cemetery from Bygning's Flickr photostream

Wednesday, January 21, 2009

Sensation



The Chilean-born artist Marco Evaristti is best known for his 2000 work, "Helena." Inside Denmark's Trapholt Art Museum, Evaristti installed ten electric blenders, their power cords visibly connected to electrical outlets. He filled the blenders with fresh water and placed a live goldfish in each. Foolish, disturbed or sickly curious museum visitors might choose to turn on a blender, thereby taking the life of a goldfish. Two people did just that. Public outcry followed and law suits were brought against the artist and the museum.

When I first read about "Helena," I thought it a puerile stunt. Most artists, critics and viewers reacted similarly, but these condemnations and dismissals were perhaps what Evaristti sought. Because the piece attracted so much derision, "Helena" transformed a little known sensationalist into an international art circuit commodity.

In time, however, I forgot Evaristti's name...but I didn't forget about "Helena." Despite my initial censure of the work, the disdainful tone of those who condemned Evaristti forced me to revisit the controversy. After all, what had the artist or the museum director done wrong, really? Evaristti presented a scenario in which another person might harm the goldfish. He provided museum goers with the necessary tools to kill a fish, but he didn't encourage them to do so. Still, he was smeared by animal rights groups, religious organizations and artist collectives.

I believe that the outcry over "Helena" was so vitriolic because Evaristti positioned himself as a public moralist. The mirror was turned to face art viewers in a difficult moment, and we didn't like what we saw there. While I may not hold Evaristti's risky installation in high regard, it is the art world's angry response that worries me. Indeed, the protests and the criminal charges suggest that many people (perhaps the majority) lack faith in the moral fiber of their fellow man.

Do most people believe that ours is an innately murderous species? Do most of us feel that moral calculus is irrelevant when another person or power has pointed you to a certain, dark end? I can not (and do not) accept such pessimistic attitudes. If I were to hand you a frog and a bat, would you think it okay to play frog baseball? I doubt it. And what are we to make of the vast majority of automobile drivers, those of us that don't opt to direct our vehicle into pedestrians, bicyclists or road-crossing chickens?

As Evaristti put it, he aimed to create "a dilemma" in which people might "do battle with their conscience." Because the artist included no signs or other directives instructing museum visitors to turn on a blender or blenders, I do not believe that the fish killers could fall back on the Stanley Milgram defense; visitors were not "good Germans," recklessly obedient to some unseen authority. (Indeed, only two visitors have ever "flipped the switch," a nearly negligible minority of the work's many viewers/subjects.)

A more convincing criticism posits that the museum setting is one of institutionalized safety; visitors therefore feel that their turning on a blender will not, in fact, bring a goldfish to an untimely, gruesome end. This is a valid supposition, but I maintain that only visitors with a sick curiosity would cross that final threshold, committing to the loaded "What if I do this?" (Again, it is instructive that just two visitors went so far.)

Whatever you think of "Helena," Evaristti's most recent project ups the ante. The work is sure to generate plenty of negative publicity in the coming months...and, of course, that's exactly what the Denmark-based shock artist wants.

2008 MyArtSpace Undergraduate Scholarship

An occasional contributor to MyArtSpace>Blog, I thought it worth mentioning that the results of the 2008 MyArtSpace Undergraduate Scholarship Competition are in. Most members of the growing MyArtSpace community are early to mid-career artists, and this generous scholarship befits MyArtSpace's mission to support the development of young artists.

Thursday, January 15, 2009

Coasts


Steep Ravine Trail, Mount Tamalpais, December 29th, 2009
"The deepest level of communication is not communication, but communion."
Elizabeth and I devoted the afternoon of my thirty-first birthday to striding down (and then huffing back up) the aptly named Steep Ravine Trail in Mount Tamalpais State Park. During our descent, we paused for a few minutes on a stocky wood footbridge spanning a shallow gully stream. I leaned against the bridge's handrail and appreciated the subtle play of sunlight on the forest's understory, then tilted my head far back to admire the towering canopy. A bird call punctuated the stream's casual susurration.

The impressive montane forest brought to mind a quotation I copied into one of my commonplace books some years ago. In his account of an interview with a Venezuelan native, the celebrated 19th century German naturalist Alexander von Humboldt claims that the Indian critiqued the Christian God of the European explorers and conquerors, observing, "Your god keeps himself shut up in a house as if he were old and infirm. Ours is in the forest and in the fields and on the mountains when the rain comes." Although no rain graced Mount Tamalpais this December 29th, the Indian's god was also mine.


Steep Ravine Trail, Mount Tamalpais, December 29th, 2009


Mount Tamalpais is located in southern Marin County, California, just north of San Francisco. The lush Douglas fir and redwood forests of the region are magical places. They served as inspiration for George Lucas's forested moon Endor and they call to mind the epic majesty of J.R.R. Tolkien's Middle-earth. (In fact, some "Star Wars" fans reasonably suggest that Lucas named his verdant moon in homage to Tolkien. Tolkien, a celebrated linguist and scholar, invented languages for his fantasy fiction and in the Quenya tongue, one of the elvish languages he created, the word for Middle-earth is Endor.)

Of all Tolkien's creatures, the elegant and noble elves of Lothlorien especially appealed to me when I first read "The Hobbit" and "The Lord of the Rings." The elves are wise, fair and gracious beings, but also wild, intimately attached to the world of the hunter and to Nature's ambivalent magic. Twenty years after my first reading of Tolkien's fantasy epic, I still proudly characterize myself as a Nature worshiper.

The economist and sociologist Max Weber famously said that the secularization of society and increasing specialization of methodological inquiry had led to a "disenchantment of the world." Indeed, they have, but Baruch Spinoza's brand of naturalistic pantheism allows for a happy marriage of the material and metaphysical worlds. The two spheres, like the taijitu's yin and yang, are complementary parts of a whole. Necessarily, then, exclusion or disparagement of one of these two realms is limiting.

Although the Enlightenment's separation of reason and imagination, and of science and religion, has yielded exemplary human achievements, it also alienates us from the integrated aggregate. We no longer conceive of the universe (or our experience of it) as coherent or unified; since at least the 17th century, the prevailing philosophical current is Cartesian, depicting the universe as a random assemblage of disparate parts. As a result, those individuals who, like the brilliant 19th century critic John Ruskin, strive to reconcile "the broken harmonies of fact and fancy, thought and feeling, and truth and faith" are considered naive or fey. Even Gershom Scholem, the renowned historian of Jewish mysticism, described his philosopher friend Walter Benjamin's work as "an often puzzling juxtaposition of the two modes of thought, the metaphysical-theological and the materialistic." I align myself with the philosophical dissidents because, like Ruskin and Benjamin, I feel that the material and metaphysical realms are locked in a harmonious, reciprocal relationship. Framed another way, I believe that the mundane is the sacred; I deny the divisive "and."
"My dear brothers and sisters, we are already one. But we imagine that we are not. So what we have to recover is our original unity."

Steep Ravine Trail, Mount Tamalpais, December 29th, 2009


That December evening, Elizabeth and I motored along Grizzly Peak's ridge line and, as the Pacific horizon took the sun, we admired the colorful strata deposited over San Francisco's hills, city lights and bay. Later, after a lovely dinner in Berkeley, we returned to Elizabeth's home and relaxed with her parents and brothers. It was a superlative day. Yet because I'm accustomed to spending my birthday in brooding solitude, it was also an exceptional one, and therefore I wasn't surprised when, driving to Grizzly Peak, I felt a twinge of regret.

To be sure, the day was nearly perfect, but I had to ignore the call issued by the deep blues and purples of twilight, an invitation to submerge myself in the gathering darkness. I remarked to Elizabeth that it felt very strange to observe my birthday without making space for rumination. We turned onto Grizzly Peak Boulevard. I watched the car's headlights rake across a stand of trees, frightening back the dark.


View of Berkeley and San Francisco Bay, December 29th, 2009


The Trappist monk Thomas Merton described his contemplative practice as "death for the sake of life." Merton may be guilty of rhetorical flourish, but one of contemplation's principal goals is the erasure of self or the death, if you will, of the self-conscious individual. I consider myself lucky; I once experienced release from the first-person, a rare gift in our culture of consumption and distraction. I consider those exceptional moments an ecstatic opening to The All, a glimpse of the integrated, infinite universe.

The word ecstasy is derived from the Greek word for "to stand out of place." On the dike at Heron's Foot, my conscious being was literally outside (or at least without) the self. For a time, the atoms, molecules, cells and organs that comprise "me" were undifferentiated from the greater web. Religious mystics usually refer to this variety of fundamental experience as "seeing God." That name bothers me less than it did in my militantly atheistic adolescence, but I prefer The All (or an apophatic counterpart, The Nothing) because the name possesses majesty and mystery but none of the unfortunate authoritarian baggage. Furthermore, the rituals of institutionalized religion and its "under God" subjects are no more or less valuable than the rituals of the heathen mystic. John Dewey's "live animal" might just as easily be awakened in the gropings of sex as in penitential prayer, and God is just as easily found in the forests of Mount Tamalpais as in the acolyte's cathedral. After all, there is nothing supernatural about ecstasy; it is only a mode of hyper awareness, a more immediate connection to the universe, or at least as much of one as our limited vessels can perceive.

Now, January already half gone, I sit at my day-job desk and look out on Manhattan's East River. The late afternoon sun's angled glow paints the 59th Street Bridge in peach-yellow and refracts off the west face of Citibank's glass obelisk in Queens. A herring gull flaps over Roosevelt Island and the river runs slack as it awaits the pull of outgoing tide. In "Rewriting Nature," an essay published in The New Yorker, Adam Gopnik wrote "[Charles] Darwin disenchanted believers in Heaven, but he reenchanted lovers of Earth."

I concur.
"What we have to be is what we are."

Office window view; East River, Roosevelt Island and Queens, January 2008


Note: all indented quotations, Thomas Merton

Photo credits: all images, Hungry Hyaena, 2008

Wednesday, January 07, 2009

Denise Bibro's "Winter Salon 2009"


Christopher Reiger
"Transmutation #1"
2008
Pen and ink, sumi ink and watercolor on Arches paper
13 1/4 x 11 1/2 inches


I'm including some previously exhibited works in Denise Bibro Gallery's "Winter Salon." This group exhibition opens tomorrow evening and I will stop by the reception around 7 PM (depending on what time I escape the day job).

Pertinent details are below.

"Winter Salon"
December 18, 2008 - January 31, 2009
Opening reception: January 8, 6:00 PM - 8:00 PM

Denise Bibro Fine Art
529 West 20th Street 4W
New York, NY 10011
Tel: 212-647-7030

Sunday, January 04, 2009

DIaBEtic DEW555 Interview


Christopher Reiger
"Constellation (however I moan)"
2008
Watercolor, gouache, pen and sumi ink on Arches paper
11 7/8 x 12 inches


Claudio Parentela, the Italian artist, art journalist and zine magnate, posted a brief interview with me on one of his many blogs, DIaBEtic DEW555.

Click here to read it. (On some browsers, you may need to scroll down the page.)

Saturday, January 03, 2009

New work


Christopher Reiger
"further murmuration"
2008
Watercolor, gouache, pen and sumi ink on Arches paper
12 3/8 x 13 1/4 inches


I've added some work to the 2008 section of my website.

Feedback is welcome.

Friday, January 02, 2009

Artist A Day, Flavorpill and Letters From the Inquisition


Christopher Reiger
"Sublime Revelation"
2006
Watercolor, gouache, and marker on Arches paper
27 x 32 inches


Welcome to 2009, everyone! I'm feeling very good about the year of the ox.

I have three quick announcements to make.

1) This past Tuesday (12/30/08), I was the featured artist on Artist A Day. The feature is something of a belated birthday present; I reached my 31st anniversary on December 29th. If you visit the site, please take a second to rate my work (on the right side of the page), as I'd like the feedback. Better yet, add a comment.

2) On the same day, Flavorpill used a detail of one of my earlier paintings - 2006's 'Sublime Revelation" - for it's New York edition banner (Issue 447, December 30th). Although some of the information included in the associated bio is a bit out-dated, this was another pleasant surprise.


3)
I will now be an (ir)regular contributer to Letters From the Inquisition. Michael McDevitt, a friend and professional peer for over a decade, invited me to contribute over a month ago, but I'm only now getting around to writing some posts. Michael and I met in 1996 at the College of William & Mary, in Williamsburg, Virginia. During our time at William & Mary, we co-founded Synoddity, a cross-disciplinary arts organization. Synoddity championed generalism over specialization but, acknowledging that our current body of knowledge is increasingly divided and sub-divided, encouraged conversation and exchange across fields. In many respects, Letters From the Inquisition is similarly inclined, and I'm pleased to be a part of it.