propositions press... 2.0

rest in power and for the rest of us

General Baker, Ernesto Laclau, Maya Angelou. Sam Greenlee. Lately Yuri Kochiyama and most recently Ruby Dee. The ranks of the movement ancestors grow by the week. As I write, I wonder who of the radical generation’s s/heroes will make for an earthly exit next?

As we accelerate into a remaining decade’s worth of fiftieth anniversary observances, those faces of the Sixties who have managed to survive into elderhood will pass with regularity from here on out. That is what it felt like when the world rolled through all the WWII 50th anniversaries. The commemorations were also an extended elegy to the passing of a generation.

As for the rest of us, we really are the ones we have been waiting for, simply because we are the ones who remain. So it  is, the surprising turn of time, for generations ascending a new position vacated from above and pushed into from below. 

In my boxes of old letters I found a nearly twenty year-old note from by Yuri Kochiyama concerning the wrongfully convicted worker David Wong. The letter gives a feel for what an experienced and enthusiastic organizer Yuri was, reaching out to people one by one. Shortly after receiving this I learned of Yuri's long history and of her association with Malcolm X. The postscript is pretty funny. The scribbles at the bottom are from when I grabbed a pen and tested its flow on the nearest paper, probably to take a message while on the phone. It is a habit.

She included with the letter blank petition sheets and leaflets for events. One event was titled The David Wong Case: a forum on the history and political issues held at Art In General. Another leaflet carries an excellent summation of the case on one side and on the other a notice for a "luncheon" event at the Asian American Writers' Workshop.

*

Being what is conveniently called a Gen X-er, my political education leaned heavily on the half generation ahead of me, those of Baby Boomer age. As they finished with their formal, political, and cultural educations and the Seventies wore on, young people joined the general workforce, many of them as educators. Education underwent a mutually tempering dynamic. The idealism of new teachers whose values were forged in the struggles and social shifts of their youth met with the rigidity and structural dysfunction of the institution. If cynicism crept ever more surely into the attitudes of the teachers who had entered the job with invincible belief, the distortion went both ways. The institution was softened, classroom by classroom. People of my age benefitted. In our childhoods we had adult role models who were halfway closer to me in age than were my parents. Going into my teens I related to them like older cousins or young aunts and uncles. They spoke a culturally familiar language but came of age before my consciousness arose. They owned a counterculture by producing it, whereas I came to claim it by studying it. 

What Boomers and Gen X-ers have in common is the homogeneity of generational experience. Millenials, by contrast, can be broken down into a plethora of sub-groupings, subcultures, extremes of privileged or disadvantaged experience, and even different generational lineage—in the Millenial generation there are quite commonly persons of the same age for whom one set of parents are Boomers, another Gen X-ers, and another early Millenials, kids having kids. All social spectra are wider, the menu of consumable culture is as vast and as flat as the culture-scape of YouTube, the matrices of identity are endlessly fluid, and the scale of the world’s problems are unprecedented. As the last of the Civil Rights s/heroes fade—perhaps the final generational upholders of an old-skool reverential dignity, so foreign to most who were raised in the age of irony—I wonder about taking a seat as an elder in the future in relation to the youth of today, for whom a generational identity may no longer make sense.

I see comrades a generational rung above me move into their top steps and I feel my childhood finally slipping away. This is the pre-death, the warm-up for the final act in the mortality plays we are all fated to perform. 

*

Of the recently departed radicals, the closest to me was my artist hang-out pal David McLimans. He was an illustrator living in Madison with a talent for making political commentary come to graphic life. He lived the narrative of his time—he went from an outstate Wisconsin youth to a go in the military in the Vietnam era. Incapable of getting with the imperial mission, Dave went disciplinarily limp, passively forcing the Navy to discharge him. From there it was back to the land, settling a corner of the Driftless Area with a group of lifelong partners in idealism who have hearts for the non-human world. By the time I met him, Dave had been making it as an independent artist for many years. Though less well-known than the folks listed above, nonetheless Dave probably reached considerably more people through his prolific graphic contributions to national op-ed pages and magazines, and through his acclaimed environmentally-themed children’s books. 

I came to know Dave in the last four years, spending frequent Thursday nights in the company of an artist brotherhood simply referred to as The Lodge, of which Dave was a beloved member. Lodge discussions usually hover around current events, political rants, and field reports so I only saw Dave’s work on the occasional non-Lodge visit. Usually I would interrupt him working at his desk in the front room of his International Style house. He would talk me through the various in-progress designs of cut paper and maybe complain about feeling rusty in the hand after weeks of screen time. Having to shake off the stiffness is something I can relate to, but even at my most dexterous I have never had the evident hand skills that he did. He was truly gifted.

Part of living means moving ever closer to death. For artists, builders, and other people who make things, one’s creations usually outlive the maker. Inanimate objects and material artifacts last many times the length of a human life. Artists live in a kind of dual space-time, being trapped in our perishable bodies but putting our life energies into the careful creation of things that will be around long after. Dave seemed to stretch in both directions of this paradox, thinking through in his creativity the ephemeral and the permanent. He produced hundreds of images for the fleeting attentions of the daily newspaper reader. But he also assembled dozens of sculptures out of found materials resistant to disintegration—bits of detritus with no meaning other than as eternal trash, to which he granted renewed life as art, decoration, and ritual object. Dave, gone before he could fully inhabit his elderhood, created art for a globe that unceasingly spins a new day somewhere at every instant, as well as for the world to be, when humans stop counting days.

* 

These scans are of Dave’s spreads included in the book Graphic: Inside the Sketchbooks of the World's Great Graphic Designers. 

 

 

 

tales of pain from a winter's amble

Nighttime is the right time, says the neighborhood Great Horned Owl with the hoo hoo hoo call. On still, cold nights its call travels quickly through the air, with a clarity only possible when the air is dense, the trees bare, and human traffic at its nightly ebb. The owl seems at once near and far. Distances collapse. Winter ether renders live sound an expansion of itself, an aesthetic of season, weather, and time of day. 

For me the most spook-inducing sounds are to be found on frozen Lake Mendota. On nights with no breeze to whistle, the energy of ice more than a foot thick bowing according to the push and pull of late winter temperatures fills the aural void. Echo-ey pops and deep groans traveling along fissures supply moonlit ice strolls an abstract soundscape, without meaning, except that you are walking on this ice that is momentarily contained in an unbelievable tension.

Tonight I’m not worried about that, ice creaks and all. This time my stroll is interrupted by an intruder from within. Specifically, a toenail grown just long enough to irritate. The sharp corner of the nail (always trim toenails straight across, I was told growing up) digs painfully into the soft side of its neighboring digit with each push off the right foot. Each step is a wince. We have high quality of life expectations here in Madison, so this is a real downer.

Then I thought about Andy Murray. I watched him a couple weeks earlier in the Australian Open final. The cameras caught him changing socks between sets. His toes were taped, having blistered in a five-set match against Roger Federer only about forty-eight hours earlier. Ouch. I thought about my daughter, whose first injury as a dancer was a hurt toe at camp last summer. I thought about my own foot rot episode from when I was younger, on a long canoe trip. Once it set in it consistently worsened, going in a few days from nusiance to a jaw-clenching torture.

But the end of that trip was in sight. What is more, I was at an age when the pain provided a focus, lifted clouds of teenage confusion, and actually felt good because that. Enjoying acute pain is a young person’s sport.

Then I thought about my grandmother. And then my other grandmother. And my great aunts. They knew about pain around the toes, and for them there was no end in sight. They had small feet, the kind that come from binding. They were members of the last generation of women, already elderly in my childhood, to experience the binding; their daughters were not put through it. When I read mention of the foot binding process, it is usually described as a breaking of the arch. But the toenails also were sometimes left to grow, curled into their own flesh, after horrible pain to be finally crushed as well, or for the lucky, to be simply pulled out. Imagining the actual experience generations of Chinese women went through, “bound feet” seems too cozy an expression. It is one of those terms that sounds better than what the practice is in fact. Kind of like “extraordinary rendition.”

I wonder, did my grandmothers, as the lively girls they must have been, at times relish the pain? Men serving hard prison time speak of going into endurance mode, taking episodes of dissociation for the sake of mental survival. Sentenced to an indefinite duration of pain and permanent hobbling, a prison of their bodies, their families and social values, girls with small feet must have mastered the whole spectrum of coping psychology, including the mentality of the young athlete or disciple who learns to put pain into a box. But then to live with the new reality of small feet, small steps, and an eternally unsteady walk—what extremes of feeling or better yet unfeeling are necessary to manage the daily realities of such a fate? I will never know.

What I am complaining about, again? That toenail, the clipping of which I can already envision, only minutes away.

The irritation now respectfully ranks strictly at the low end on the pain spectrum signs you see at the clinic. Corrected in my thinking, the sensation feels more like a prompt than a sting, a reminder to me of the willingly and unwillingly experienced pains of the past and present world, even from within my own family history. It is a reminder that those considerable smarts and unfathomable sorrows have essentially no association with what small troubles I contend with. A toenail tonight only highlights the fact that in this mild life I am living I am mostly brutalized with music and other external forms of beauty—as long as oneself keeps from getting too cocky over thin ice. 

Finally, I realize that this is no pain-free zone in the world of our local owl, either. On the contrary, if the owl gets its way tonight some creature will feel all the wrenching unpleasantness of a full assault, to its limit, beyond which lies only numbness and shock–the anaesthetic, those short moments of a living death. In Desert Solitaire Edward Abbey wrote about the dread of the rabbit, surrounded by the voice of its hunter. My beauty is some other creature's pain, just as my grandmothers' pain was somebody else's beauty.

 

it's messed up, and i'm feeling at home

After six years of living in Madison, more or less, I have taken a liking to this town. I found an excellent community of activist intellectuals, a cell of radical designers and picture-makers, a reliable and enjoyable network of neighbors. I live about 150 yards from Lake Mendota, where our street ends with a primitive landing at water’s edge. The lake is recreational hell in the summer, but on a chilly still fall night one can meditate on the rocks and catch a whiff of the North Woods. There are always bands on the calendar worth seeing. The produce, cheeses, and meats available around here are among the best the nation has to offer. The many bike paths ensure safe coasting.

Great quality of life stuff is what bothered me about living here. Thankfully, the easy living is dying, and not just because the restaurant scene is overhyped to the point of embarrassment. The days—and decades—of being clueless and content in Madison are over.

The beginning of the end was signaled by the attacks on the public sector in February of 2011, to which the massive Wisconsin Uprising was a response. Wisconsin labor had been a victim of a previous generation’s success. Current workers enjoy standards of living hard-won by earlier struggles, lifestyles that had allowed workers to nearly forget that they are labor. But since the Uprising things are different, and working families in Madison know that from now until the end of their working lives and probably beyond, it will be a fight against Wisconsin’s right wing wrecking crew, currently led by the inimitably rodent-like Scott Walker. Walker and his lieutenants won their battles in the legislative halls but in the process woke the population. Austerity will do that.

The final shattering of Madison’s paradisiacal illusions comes from a different direction. Rather than from the stroke of an elected leader’s pen but in some respects seemingly as rapid, this blow takes the form of a demographic tidal wave, brown and black, surging via the late Millenials generation. One does not see it at the farmers’ markets, nor in the Overture Center lobby, nor in the crowds at the Badger football games. The Establishment class and culture in this town remain largely white.

But this complex future already resides in the public schools of Madison. The four general high schools range from 1500 to 2100 students. Various alternative programs serve another 400 high school-age students. The city as a whole is 7% African American and 7% Latino while the high schools are in aggregate 19% African American and 15% Latino. Along with the 9% Asian Americans, 8% self-described as mixed race, and the 0.5% Native Americans, the high schools serve a population only about 48% white. It’s California in the tenth grade.

Socioeconomic diversity is beautiful in the abstract, a make-believe harmony invoked by those flakey coexist bumper stickers one sees around the white neighborhoods of Madison. But in the flesh, the mixing of races and ethnicities brings with it a complicated set of problems, particularly when racial and ethnic groupings correspond to lines of class stratification and spatial segregation, as they do here. Because the dysfunctions of poverty are racialized and there is a generation gap on top of that, Madison’s aging white liberal establishment class is about to face its biggest test. Coexist, or turn reactionary.

Where are all these children of color coming from? The Latino kids are mostly of Mexican origin, but beyond that, I do not know of any pattern—whether they predominently are from another US city and/or whether most of them can trace lineage back to a particular set of places in Mexico. There probably is a pattern, but I do not know if any data has been collected. The Asian American kids seem to fall into three groups: children of East Asian/Asian-American professionals, children of South Asian/Asian-American professionals, and children of Southeast Asian-Americans, generally a working-class segment. It would make geographical sense for the Native kids to be mostly of Wisconsin tribal origins, for example Menominee, Ho-Chunk, or Oneida, but I do not know of any statistics regarding tribal membership.

The African-American kids are the most contradictory in terms of collective identity. Apart from a handful with African immigrant parentage, most of them moved to Madison from Chicago. A smaller number relocated from Milwaukee, Racine, Kenosha, and Beloit.

Chicago, as a place of origin, is the contradiction because it is shared, but not. What I mean is, of the Chicago migrants, an individual student might have moved to Madison from the West Side, the South Side, Uptown, or one the inner ring suburbs such as Evanston, Maywood, Ford Heights, or Blue Island. Or from the pockets of poor and working-class African American residence that dot the suburbs, even the largely white western suburbs like Willowbrook or Lombard. Whatever “Chicago” means to an African American student relocated to Madison cannot be assumed as shared with another “Chicago” kid in its details because Chicago and its sprawling environs are themselves widely variable in terms of local character, even when narrowed to one socioeconomic class.

And yet, in relation to the other students, “Chicago” becomes a convenient group identity, threaded together through superficial commonalities. The condition of many African American youth, therefore, is one of being caught between the assigned identity of “Chicago” and a substantive meaninglessness of the same. What shared experience there is comes only after their relocation to Madison, primarily through the spatial segregation that results when the black folk without much money —and in Madison that is the vast majority—end up living in the parts of town offering the most affordable rents. Apart from the exceptional affordable rental building here or there, most African American residents of Madison end up in the concentrations of cheap rentals in segregated neighborhoods, parts of town where the streets don’t end at the lake. For example, the Owl Creek neighborhood of the far southeast, in the clusters of apartment complexes along Schroeder Road in the southwest, or the rentals around Allied Drive south of the Beltline. In a city built around four large and irregular lakes, being away from all of them may be the truest measure of isolation.

I do not know what Madison becomes as the town’s Sixties-descended liberal establishment runs its course as the dominant culture, but I am quite sure the city will look different than Madison of the Seventies, Eighties, and Nineties. What kind of a progressive formation steps up to defend what the earlier generation built—civil, middle-class, rational—as the right wing assaults on the public sphere sharpen, and the dysfunctional social dynamics perfected in our neighboring big cities threaten to reproduce themselves here? More to the point, how do we of the older generations and the youth who embody this emerging society together build the necessary progressive formations? There are few models and no certain paths forward, but failing to try is not an option.

What I see is a town long accustomed to a comparatively equitable distribution of modest affluence becoming a city not unlike others around the Great Lakes, separated into first, second, and third classes of citizens, colliding segments that enjoy the healthiest, best educated, and most tasteful lifeways against those made up of families trying to get by in the least hopeful of times.

But I must say I prefer living in a place that bundles external but proximate anxieties instead of allowing the space for endless indulgences in self-absorbed neuroses, high-brow escapist distractions, or views to faraway countries for reasons to decry imperialist policies. Post-Uprising life in Madison serves up global problems on a local platter, and that is a specialty we would do well to appreciate. 

interviewed by 小雨

Xiaoyu XIA, an astute student from Shanghai taking classes at the University of Chicago only for this summer, conducted an interview with me by email. It was in fulfillment for an assignment in Rebecca Zorach's summer course on Contemporary Art and Community. Xiaoyu wrote up the interview so skillfully, I had to share it. The section on Mess Hall is long because Rebecca had used one of my descriptions of Mess Hall as an assigned reading. Anybody seeking info on Mess Hall now would best be served by getting in touch with keyholders directly. 

＊

July 21, 2012

A Maze and a Map: A Conversation with Dan S. Wang

“The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live every day, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of inferno, are not inferno, then make them endure, give them space.”

― Italo Calvino, Invisible Cities

One the night of his trip back to an ancestral hometown in Shandong province, China, Dan S. Wang, the independent artist who was born in the American Midwest in 1968 to immigrant parents, drew a sketch in his hotel. Later, as a printer, Wang turned it into an experimental printing, which looks like a map and a maze as well. Also, a series of printings then repeated these elements and patterns. See at http://prop-press.net/experimental.htm. Together they remind me of the novel by Jorge Luis Borges, A Garden of Forking Paths, in which the maze set up by Borges not only deludes a Chinese Professor to kill an eminent foreign Sinologist, but also, in an allegorical way, utters a question: who can represent China? Even more allegorically, the way to claim one’s identity is also the forking path of otherness– just like a map sometimes is also a maze?

And this leads to the theme of our conversation. But before that, I would like to apologize for not being able to have this interview in person and extend my appreciation for the support from Wang, who is now in Michigan for Ox-Box a summer artists’ camp.

Self Identity: “I have always been Chinese”

My questions mainly focused on the theme of “identity.” Inspired by those prints, my first question was still about that trip: is it root-seeking, a way to reclaim the self-identity as a Chinese person? By reclaiming this identity, to what extent do you think you can represent China as a overseas Chinese artist?

“It is not about ‘reclaiming’,” said Wang, “because I don’t feel that I have ever lost anything. I have always been Chinese, just a particular kind of Chinese. Insofar as I have a personal journey embedded in my work, it is only ‘claiming’ in the sense that, as one of the infinite variety of Chinese peoples around the world, I am taking part in the work of determining the spectrum of possibilities available under the identity category ‘Chinese.’ That is what I personally and professionally claim to represent, one possibility for what it means to be Chinese.”

And then, to answer my doubts on his intentional use of Chinese elements and its potential “danger,” he said, “[in claiming and representing this possibility], this of course requires a level of engagement with a variety of elements of culture that are shared broadly across the many Chinese peoples, ie language, value systems, relationship with the land, family relations, etc. I have always had differing levels of engagement, but enough to be secure in my identity as a specific variety of Chinese. My entire graduate school art output used signifiers of Chinese, Asian, Asian-American, and Chinese American culture and experience. I made a conscious decision in 1997 to end the use of those vocabularies exactly for the reason of exoticization, art world ghetto-ization, and other ways of being marginalized based on identity. On the positive side, I had also by then accumulated a backlog of concerns that had only peripheral connection to issues of identity, and I was anxious to create work about them. Since that time (about fifteen years ago) I have been very careful about when and where I emphasize ethnic identity, but because I work in a largely white art world, I do have occasion to make the emphasis regularly.”

The Identity of a Space: “Problems” are not necessarily unhealthy

When asked about his preference among the titles, Wang gave a short answer: “I would choose the title Independent Artist, because it allows for including within it the other two as roles and activity.” It seems that he kindly neglected the latter part of my question, which is about “the tension between these vocations, between the theoretical/academic thinking, the realistic concern and the aesthetic creativity”–but perhaps, he had already answered that.

However, my questions then are more relevant to his identity as an organizer. To outline the formation and identity of Mess Hall, Wang said: “Mess Hall is much more participatory than a conventional art space, meaning one that is modeled on commercial galleries, non-profit organizations, and even community art centers. Mess Hall was founded as an experiment informed by a wider spectrum of models and precedents. Anarchist infoshops of the 90s, antiwar drop-in centers of the 60s, communal settlements of the 70s, art collectives of 80s, Spanish and Italian social centers of 90s…these are some of the sources for how Mess Hall developed its culture of governance and management. In this way, Mess Hall departs from the artist/audience dichotomy enforced by art world institutions. I would say it has been a literally successful departure given that a number of people who simply participated regularly eventually became keyholders who helped to manage, maintain, and direct Mess Hall.”

True, but is there any problem in the process for nominating keyholders? “There were several intense arguments in my time as a keyholder, and I know that there have been some since.” Wang admitted, “The process for nominating keyholders was not systematic, at least that was my experience. Many factors went into the invitation and recruitment process, foremost among them the confidence in a nominee’s potential dedication to the work of internal dialogue, task-fulfillment, and efficient communication. At the same time, it was an informal process—there was never any formal application procedure, interview process, or time frame for adding keyholders. One’s professional or reputational status held little sway, and that is a good thing, quite at odds with art world tendencies, but one’s personal reputation mattered a great deal. The process was always somewhat contradictory, but it seemed to function. I cannot speak to the process as it is currently conducted.”

Then, presumably this “internal circularity” of Mess Hall does claim its self-identity as an art space, but could it be possible that, on the other hand, it also suggests the egoism and the possibility that it is but part of the culture industry which it should have been against to?

Again, this is a short but powerful answer: “I would say that the ‘problems’ of egoism and personality are not necessarily unhealthy, that a project like Mess Hall must include space for strong voices, for a fluid group dynamic rather than one made static through a fixed decision-making system, even if that means there is the potential for serious internal disagreement.”

The Identity of Art in Our Time: “Critical”, not “Radical”

After the last two layers of the theme, I assumed that our conversation might have touched on its third layer, that is, the identity of Art in modern society. Still, I am concerned about the intrinsic demarcation between “insider” and “outsider” within the so-called “identity”.

My next question may sound too idealistic (well, as idealistic as I always have been): “Could Art, especially the radical art, truly have the power to be oppositional to capitalism apparatus, or is it just another specimen of the apparatus itself?”

This is Wang’s answer: “There can be no ‘inside’ and ‘outside’ of capitalism, only degrees of enclosure by capitalist logics and degrees of attention by capitalist entities. Whatever its potential for offering usable paths less constrained by capitalist logics, critical art consistently performs the service of exposing the workings and depth of historical capitalism. Even as attached to the apparatus itself, critical art can do this.” And after this, he added, “Note that I do not use the term ‘radical art’, but instead prefer the term ‘critical art’, which makes a reference to the critical theory tradition.”

To Wang, the difference between “radical art” and “critical art” really matters. At first, I thought this was just his accuracy on terminology as a researcher or probably his respect for the academic tradition from Frankfurt School. But his answer to my next question might have indicated something more profound.

In this question, I treated Mess Hall as a case study for the relationship between people and questioned its potentiality in “breaching capitalism's definition of social relations” as Wang had pointed out in his article. Wang gave a very detailed description and explanation: “Social relations as cultivated by Mess Hall represent a very small but nonetheless meaningful divergence from capitalist social relations, beginning with the landlord-renter relationship. Mess Hall owes its landlord very little in monetary terms, but quite a bit in terms of gratitude and respect. So it is different than the standard landlord-renter relationship, and even though there is a legal structure that codifies the power inequality, the informal economy of attention and reputation provides the keyholders with a power of their own, equal to or perhaps greater than that of the landlord. This is only one aspect of changed social relations at Mess Hall. ”

“Obviously, it is not about changing capitalism as a whole.” he added, “Nothing will outstrip capitalism but its own terminal contradictions—if the worldwide social revolutions of the 20th century could not, then any kind of art will not, either. But those contradictions are now taking the form of proliferating crises, at all scales and in all places. The instability we see all around us is a new norm. Projects like Mess Hall contribute by offering small examples of new stabilities, new forms of social security, a new aesthetics of governance and group decision-making. No matter how small, these realities will grow in value as the world we have inherited continues to crumble.”

Isn’t this the true meaning of being “critical”: always keep the acuteness to reality and never give up the patience and promise for future? At certain points, we may find the modernity just like a maze, so well-designed and so self-sufficient that embraced all of us, erasing our identity. But a maze also means a space pre-designed in itself, a possibility for us to escape. Isn’t this the true meaning of “critical”–isn’t this the true meaning of “art”–that the maze given by the reality is also a map for the future?

 

the dying art of hitchhiking

Traveling the Madison-Chicago expressway corridor is all about routine. Lots of people do it on a regular basis. In other words it can be very boring, as predictable as zipping across concrete at 70 mph can be.

So it was a treat when the other day I picked up a hitchhiker for the first time in quite a few years, as much for me as for him. This man was sitting on the side of the road at an entrance to a South Beloit truck stop with a sign that said I-39 South. He and his dog rode with me for about fifteen miles, to where our temporarily common paths diverged.

It had been years since I had given a lift to a thumb-traveler, mainly because I do not see hitchhikers very often anymore, even though it seems that I drive more frequently than ever. Hitchhiking is a mode of travel that seems to have declined markedly in the last fifteen or twenty years. You would think that with the rise in gas and automobile prices and unemployment among the young we would be seeing an uptick in hitching. But no. These days the culture of Fear, now as American as apple pie, trumps even the once-powerful national longing for adventure and the irresistable draw of a free ride. Instead of hitting the road and exploring this vast land our young men (not sure hitching was ever that imaginable for women) are sitting on couches, scared of what is over the horizon, brave enough only to do battle in make believe video worlds. Do we need any more evidence of the empire in decay? 

Turns out this fellow was a brother of the road, a modern day vagabond, what Hunter S. Thompson would have called a Road Person. John was his name, shabby but very polite, looking weary after ten years of hitching and tramping. The story he told me was that he had to reach Missouri to apply for a new ID card, the last state from which he’d had one issued. His wallet had been stolen a year earlier and since then he’d had nothing but trouble finding work and a stable living situation. Even when he could find the work (he had all his construction worker tools with him), he’d have trouble getting hired.

Starting out from Florida at age 21 and now 31, having gone through his young man’s period of deadhead drifting and numerous cross-country sojourns, John was ready to stay put for a while in Green Bay, where he’d found a steady job with a builder friend. He wants to get an apartment of his own but that was all on hold until he could show Somebody Who Matters a proper ID.

We spent our short time together trading thoughts about hitching rides, how things have changed since I hitched a few trips back in the 1980s. Together we bemoned the security state and what it has done to relations between strangers. He said what irks him the most are the strapping clean-cut white dudes driving pick-ups who never stop to let him catch a ride in the box. It would not bother him, he testified, except that he still gets a fair share of rides from little old women driving alone. I said it is ironic, but perhaps unsurprising. Sometimes the people who have the least reason to fear are the most fearful. 

John likes to draw. When I dropped him off he took the time to pull out a couple of his drawings, pieced together from notebook paper and rolled for travel. The first he calls Dragon and Harlot, based on an episode from the Book of Revelations. He explained to me that he was scared out of his wild phase through the harsher parts of the Bible.

The second is a Sponge Bob Jerry he did as a gift for his niece who is a young, post-Jerry deadhead. Imagine growing up with Jerry Garcia as a departed mythical figure but having Sponge Bob Square Pants as a very present television companion. Considered in that way, I suppose this picture makes sense.

So, where is all that dark matter of cultural production that Greg Sholette talks about? Some of it, at least, is on the side of the road, waiting for a ride. As soon as I pulled away, John went back into an undetectability in relation to me and most of modern America—he has no email address, phone number, street address, or cyberpresence. John is still in that other America, the one I passed through every now and then in younger years, but that has become largely invisible to not only the mainstream, but all of the mediated cultural spheres we live and work in–the art world, academia, creative industries, "alternative scenes." Though I feel for his exhaustion, I am gratified to know that it still exists.

 

from the archives, our first site specific work

I found this old slide the other day. It is from the spring of 1990.

Miyo Kachi, Dan Froehlich, and I were students at the time. We rented the lower flat of a house in Northfield, west of the Cannon River, almost exactly between the two campuses. We (and our frequent guest Sarah Van Orman) called our home Pineapple House.

The house didn't come with a compost bin and the idea of household composting was still kind of a subcultural thing at the time. But we were all former Farmhouse residents, so composting had already become second nature to us. I remember that we can been "saving" our kitchen waste over the cold Minnesota winter, ie collecting it in a can or bucket out back, leaving it frozen until the spring thaws. As it warmed, we had to build a bin for it.

As it happened, Miyo and I were in a sculpture class together that spring. She had scavenged this cyclone fencing material and a clump of chicken wire. So we collaborated on this compost bin project in satisfaction of one of our assignments, the site specific project. We planted the bin on this little slope that ran across the property like the step into a sunken living room, about the only distinguishing feature of the backyard; you can see the brick supports on the back end, keeping the hardware cloth bottom level. For the critique we christened the bin with a banana peel, also visible.

I'm not sure if it was used much–the end of the school year came and we all moved out in a matter a few weeks. But it is funny to see this pic now, before I knew about all the different currents among artists that this project relates to. It just goes to show, often artists find their way to where they are through modest beginnings of intuition and immediate needs, without worrying about the formalities of discourse, art history, and proper theorizing. We had non-academic reasons to be creative. What mattered in this case, and what I am concerned about now even as I look at this image, is how the bin performed. It still strikes me as nice looking and a clever reuse of found materials, especially considering our somewhat limited skills at that time. But obviously it is not going to facilitate a hot compost, or be very convenient for turning.

Maybe Miyo and I could plan on designing an improved version for the project's 2015 25th anniversary.