Showing posts with label Making Meaning. Show all posts
Showing posts with label Making Meaning. Show all posts

Saturday, November 24, 2007

O. J. Simpson Coloring & Activity Book – Colin Quashie



“Using the medium of art in the form of the O.J. Simpson Coloring & Activity Book, the intent is not to rehash the merits or legal strategies employed during the trial, but rather to assess the social impact by surveying the extent of the cultural divide it exposed…we hope to communicate across social, racial and cultural boundaries in an effort to foster a greater awareness and understanding of each other.”

Insightful discussion questions are presented for each page of the coloring book.

To download a full size version (pdf format):

On his website, Colin Quashie states, “The Coloring Book operates on three different levels. 1) It allows me to skewer social inconsistencies in the most cynical of terms. 2) It looks at these situations from a child's perspective. How? With television being the preferred baby-sitter of choice, children are bombarded by advertisers and programming which affect them in ways we may never understand. Without the benefit of experience that comes with age, their developing sense of values are ripe for the shaping. 3) The most important component of this piece is the fact that actual children colored the images. After sketching and inking the originals, I passed out copies (minus the text) to friends with children and told them to do whatever they wanted. I chose the ones that appealed to me and used their pictures to color in the final painting. Though not seen on the picture, the children's names are signed below my name along with their age. I did this to underscore the first two points. It is by far the most compelling feature of this series.”

Vist Colin Quashie's web site to learn more about him and his art:


Friday, September 28, 2007

Dottie Moore Interviews Hollis Chatelain

"Precious Water"
85" x 77"
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The work of Hollis Chatelain is evocative and emotional, mesmerizing by its beauty – compelling in its message.
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Working deeply, Hollis Chatelain infuses her art with power and meaning speaking elegantly and eloquently about many difficult and pervasive social, political and environmental issues that occur worldwide.
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In her work, Hollis also provides us with a glimpse into the richness and traditions of other cultures, evoking a sense in the viewer of the inherent dignity and worth of each person portrayed.
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A 36-minute audio interview of Hollis Chatelain by Dottie Moore on the LadybugLive! Internet Radio website can be accessed via: http://ladybuglive.com/audio/gallery9.wma
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To learn more about Hollis Chatelain and
to view more of her art, visit her website:

Tuesday, July 24, 2007

Making Meaning - The Art of Virginia Harris - Post # 5

WE HAVE TO BE CAREFULLY TAUGHT
49 X 54.5 inches. Hand dyed and commercial fabrics, beads, twine and findings. Original design. 2001
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Artist Statement
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After September 11, 2001 hate speech ruled the airways and conversations. I wondered why the questions that I had were not being asked. So to answer my own questions I decided to find images of hate symbols to mount on the “jail of hate.” Words printed across the top are synonyms for “other” and fear.
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The triangles on striped background were the various Nazi designations for inmates in concentration camps during World War II.
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Row 1: Black for asocial, mental cases, lesbians; Britain; Shackles for slavery/incarceration; K is the 11th letter of the alphabet and there are three in KKK; Judaism; Purple for Jehovah Witnesses.
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Row 2: Communism; Green for “professional criminal”; Iran; Christianity; Red for “political prisoner”; Confederacy.
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Row 3: North Korea; Klan badge designates the “purity” of white blood; Biohazard (quote from William Trent’s diary dated May 24, 1763.); Yellow for Jews; Islam; silhouette of Stealth bomber.
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Row 4: Cruise missile; USA; Gavel for justice with quote from G. W. Bush (“WE know he’s guilty”); Lynching; 9/11.
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Row 5: Blue for immigrants; Nazi; Pink for homosexuals; General Custer’s personal Guidon; Syria.
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Row 6: Iraq; Executive Order 9066 authorizing “internment” of the Japanese during WW II; Little Boy – the atomic bomb dropped on Hiroshima; Brown for Roma (Gypsies).
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Printed on the bottom are the words from Rogers and Hammerstein’s “You’ve Got To Be Carefully Taught” sung by Lt. Cable in South Pacific. I changed them as follows:
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We’ve got to be taught to hate and fear,
We’ve got to be taught from year to year,
It’s got to be drummed into our dear little ear –
We’ve got to be carefully taught!
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We’ve got to be taught to be afraid
Of people whose eyes are oddly made,
And people whose skin is a different shade –
We’ve got to be carefully taught!
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We’ve got to be taught before it’s too late,
Before we are six or seven or eight,
To hate all the people our relatives hate –
We’ve got to be carefully taught!

A DVD documentary of Virginia's work along with video of her commentary is available for $20.00 + S&H. It contains three sections: biographical, political (with artist commentary about each piece), and a retrospective set to music.
To obtain a copy, email her at:
vhquilts@sonic.net

Making Meaning - The Art of Virginia Harris - Post # 4

THIS LITTLE PIGGY WENT TO MARKET
3O.5 inches X 35 inches. Commercial cotton and synthetic fabrics, leather. Computer printed on commercial and treated fabrics. Machine pieced and quilting. Original design 2004
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Artist Statement
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Conflict of interest is the watchword in Washington these days. With the war in Iraq offering a windfall to many corporations, the feeding at the government trough has reached epidemic proportions. The Congress and Whitehouse are already in the trough. Globalization will soon have the world gobbled up by these same corporations. Many of the corporations have unfamiliar names, are law firms that protect corporations, lobby congress and are the conduit for a lot of money that gets to the politicians as they get a lot of money for their clients.
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In the meantime, death, war, poverty, destruction, terrorism, and environmental degradation happens all around.
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A DVD documentary of Virginia's work along with video of her commentary is available for $20.00 + S&H. It contains three sections: biographical, political (with artist commentary about each piece), and a retrospective set to music.
To obtain a copy, email her at: vhquilts@sonic.net

Making Meaning - The Art of Virginia Harris - Post # 3

NO CHILD LEFT BEHIND
41.5 inches X 28.5 inches. Cotton, plastic, Photoshop printed fabric. Machine pieced and quilted. Adapted from a photograph. 2004

Artist Statement

The phrase sounds good. Would that the intent was as good. As learning and education are put on the back burner while test scores have been made the primary concern of school administrations. Low test scores equal less money. In the meantime, money is being diverted from schools to other pursuits. The result is schools are closed due to lack of funds. No child left behind takes on a totally new meaning.
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A DVD documentary of Virginia's work along with video of her commentary is available for $20.00 + S&H. It contains three sections: biographical, political (with artist commentary about each piece), and a retrospective set to music.
To obtain a copy, email her at: vhquilts@sonic.net

Making Meaning - The Art of Virginia Harris - Post # 2

Coup d’Etat
30 inches X 46 inches. Photoshop manipulated photos printed on fabric. Machine pieced and quilted. Original design. 2004
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Artist Statement
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On November 7, 2000 of the approximate 156,421,311 registered voters 105,405,100 people voted. Of those votes Al Gore got 50,456,002 and George W. Bush got 50,999,897, meaning Gore won the popular vote.
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On December 12, 2000 The Supreme Court voted 5 to 4 to stop the recount of under counted votes in Florida. The basis of the decision to stop the recount was the 14th Amendment’s equal protection clause. It was found that George W. Bush would suffer “irreparable harm” if the count continued. The justices stated that their ruling to stop the recount was intended to preserve the “fundamental right to vote.” Isn’t it ironic that by not counting all the votes, the right to vote was protected? The irony continues when this decision was to only apply to the 2000 election. It is the first time the Supreme Court has rendered a decision that was not supposed to become the law of the land.
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In the final analysis, five people selected a president in a supposed democracy. By doing so every vote cast in 2000 and this so-called democracy were totally negated.
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A DVD documentary of Virginia's work along with video of her commentary is available for $20.00 + S&H. It contains three sections: biographical, political (with artist commentary about each piece), and a retrospective set to music.
To obtain a copy, email her at: vhquilts@sonic.net

Making Meaning - The Art of Virginia Harris - Post # 1

21st CENTURY ROGUES GALLERY
32.75 inches X 39.25 inches. Adobe Photoshop manipulated images printed on special fabric treated for Inkjet printers. Machine pieced and quilted. Original design. 2004
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Artist Statement

Here are one hundred forty four people who are in the movers and shakers of the present administration and its policies along with those who are supported by them. I drew the line at 144 even though I could have added that many more.
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A DVD documentary of Virginia's work along with video of her commentary is available for $20.00 + S&H. It contains three sections: biographical, political (with artist commentary about each piece), and a retrospective set to music.
To obtain a copy, email her at: vhquilts@sonic.net

Quotable Quote - Jacob Getlar Smith


"The artist should be a seeing-eye dog
for a myopic civilization."
Jacob Getlar Smith

Monday, July 23, 2007

Making Meaning (Continued) - Eric Maisel

This post is third in a series of three articles for artists on "Making Meaning" or "Working Deeply" by writer and creativity coach, Eric Maisel. The series was originally published in his Creativity Newsletter. This one was published August 1, 2006 in Creativity Newsletter # 165
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In this month’s newsletter I wanted to continue our intermittent discussion of the idea of “meaning-making” and the implications of living a life based on the idea of passionately making meaning. I would love your feedback on this month’s piece and I would be pleased to share some of your thoughts in next month’s newsletter.
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Donning the Mantle of Meaning-Maker
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“What man needs is not a tensionless state but rather the striving and struggling for some goal worthy of him. What he needs is not the discharge of tension at any cost, but the call of a potential meaning waiting to be fulfilled by him.” -- Victor Frankl
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It isn’t at all easy to say, “I am a meaning-maker.” First, it sounds a little pompous and arrogant. Who am I to make meaning? How self-important that sounds! Second, it flies in the face of tradition. Most traditions ask you to blend in, serve, and bow to the common will. Third, it isn’t that clear what the phrase means or what you might be agreeing to. For these and other reasons, at least ten of them and each significant, you stop on the threshold of announcing that you are a meaning-maker and take an involuntary step backward. The mantle of meaning-maker is there for you to don but you refuse, consciously or unconsciously objecting.
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TEN OBJECTIONS TO DONNING THE MANTLE
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Let me try to meet your objections one by one. First, here are the ten main objections as a list.
Then we’ll examine each one in turn.
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• Meaning-making is an arrogant idea
• Meaning-making flies in the face of tradition
• Meaning-making is an obscure phrase
• Meaning-making demands too much personal responsibility
• Meaning-making is too much work
• Meaning-making involves too much choosing
• Meaning-making increases core anxiety
• Meaning-making is an invitation to make big mistakes
• Meaning-making guarantees that meaning will never be settled
• Meaning-making is as artificial and subjective an idea as any other idea about meaning
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1. Meaning-making is an arrogant idea
A first objection is that donning the mantle of meaning-maker is somehow an arrogant, pompous, self-important thing to do. At the heart of this objection is a misunderstanding of the difference between standing up for your own cherished beliefs and principles, which you know is not an arrogant thing to do, and acting like you are better than other people, a position you are right to condemn. “I am living by my principles” is not the same thing as “I am better than you are.” Does it feel arrogant to say, “I am living by my principles?” I think it feels exactly the opposite: I think it feels grounded, humble, sincere, and honorable.
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Still, it may feel arrogant. We have so many injunctions against saying “This is what I believe and I wish you wouldn’t try to bully me with your beliefs” that, instead of speaking and acting bravely and sincerely from a place of personal conviction, we retreat to a familiar place of common agreement. Becoming accustomed to that place and feeling safe in that place, taking even a small step into the territory of personal belief feels arrogant and scary. We laugh with the other sophisticated parents about our children’s drinking—only after three of them are killed in a car accident do we say what we believed all along that there was too much drinking going on.
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Yesterday it felt too difficult to say what we knew to be true and today it is easy to say it—but it took a tragedy to unseal our lips. It is not arrogant to speak your truth. It is, however, difficult, and for many reasons. It is difficult, first of all, because it must actually be your truth and not some piety or opinion you are mouthing because it serves you, masks some hatred, avoids responsibility, or in some way pays lip service to principles or ideals while actually only protecting your ego and your self-interest. That is arrogant, to speak as if you were being truthful and feign righteous indignation when in fact you have gone to no deeper, more honorable place than self-interest. Making your own meaning is very different from that, and not arrogant but heroic.
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2. Meaning-making flies in the face of tradition
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A second objection is that to don the mantle of meaning-maker is to break with tradition. Most traditions do indeed point a finger at anyone who announces that he knows what he knows and believes what he believes and you must indeed break with that part of a tradition. Even in a tradition like Zen Buddhism, where a central tenet is that no one should claim more knowledge than anyone else, the very hierarchy that produces Zen Masters supports the unspoken core principle of every institution, that some people are on top and that everyone else should defer to them. So you will need to choose what part of your tradition you can accept—if any.
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We do not like to fly in the face of tradition—the very phrase makes us a little squeamish. Tradition is what we know and it may feel like the glue holding a fragile world together. We say to ourselves, “Yes, it is just a tradition, but no doubt it serves some purpose, so although I don’t really believe in it, I can live with it and, more than that, I need it.” Since donning the mantle of meaning-maker involves choosing where to invest meaning and where to divest meaning, a position that would force you to look at your group’s traditions with a new, more critical eye, and since the possibility of losing those traditions makes you sad, scared, and squeamish, you back off from donning that mantle.
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However the smarter, braver part of you knows that a tradition is only of value if it is of value. It may be your group’s tradition to abort girl fetuses, burn witches at the stake, or damn everyone but members of your group to hell. Even the more innocent-seeming family, community, or religious traditions may exist solely as a function of the ability of some authority (like a father, a President, or a God) to make demands. As an honest person, you know how unrighteous that seems as a reason to honor a tradition. Part of you feels that there is something deeply right about tradition and part of you knows that a given tradition ought to be honored only if it ought to be honored. Be brave and look at your tradition with open eyes. If you must reject it, because you no longer can accept its central tenets, bravely do exactly that. If you wish to retain it, look for the existential thread in your tradition that supports personal meaning-making.
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3. Meaning-making is an obscure phrase
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It is easy to throw up your hands and cry, “I don’t get the idea of meaning-making. How can you make meaning? Either there is meaning or there isn’t. You can’t just make meaning like you can make a car or a violin. No, I don’t get it—so I think I’ll pass!” This objection is at once reasonable and fully disingenuous. It is disingenuous because each of us follows a path of complete mystery already, buying concepts like Holy Spirit, karma, or nirvana without blinking and, more tellingly, knowing in our bones what the phrase “making meaning” signifies. We know perfectly well that it is comprised of ideas like personal responsibility, courage, engagement, and authenticity.
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However, part of the objection is not at all disingenuous. It is the part where we cry out in pain. What we are objecting to is not the obscurity of the phrase but the nature of the universe the phrase posits. We object to a universe where meaning has to be made. We object to a universe that is meaningless until we force it to mean. We object to nature pulling this dirty trick and making us a partner to it, giving us exactly two choices, to not look this reality square in the eye and live as a coward, or to see what is required and live as an absurd hero. It is not the obscurity of the phrase “making meaning” that disturbs us but what it says about life.
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It is hard to meet the objection that we would like life to be other than it is. The way we meet it is with a certain maturity of being, by asking ourselves to face this central reality, that meaning must be made, and all the peripheral realities, that meaning can be lost in the blink of an eye, that meanings change, and all the rest. We understand what this maturity of being feels like and we understand that it is available to us. All we need to do is stand up and embrace it.
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4. Meaning-making demands too much personal responsibility
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How can you smoke two packs a day and claim to be making meaning? How can you kick your dog as a stand-in for your boss and claim to be making meaning? How can you watch television four hours every night when your pet project remains untouched and claim to be making meaning? You can’t—and you know it. As long as you prefer not to take personal responsibility for your life, you will sprint rather than stroll away from the idea of making meaning.
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To protect all the places where we want to abdicate personal responsibility, we create a worldview where personal responsibility is minimized. We cast blame, announce that everything happens for a reason, invoke fate, consult our chart, submit to God’s will. In a host of ways we protect our desire not to take personal responsibility for our thoughts, feelings, and behaviors. This is natural—but it does not make us proud. We would love to take that responsibility and make ourselves proud, but we know ourselves too well and doubt that we are equal to the task. We have drifted off too many diets, left too many books unwritten, squandered too many hours, and failed to rise to the occasion more times than we care to remember. Fine. You can leave it at that, remain disappointed in your efforts, and throw in the towel, or you can take a deep breath, locate that place inside of yourself that relishes effort and that takes pride and joy in trying, and cast aside this objection. You can say, “I accept responsibility”—because that is exactly what you’ve always intended.
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5. Meaning-making is too much work
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You want to kick back—you don’t want to make meaning. You want to get the items on your to-do list checked off and be done with work—you don’t want to make meaning after work. You want the company picnic, the Saturday movie, the visit with friends, the things that you do to be just what they are without adding on the taxing matter of whether they are meaningful or not. You don’t want everything you do to come with this added task, of judging its meaningfulness. You don’t want every passing second to come with this added demand, that you invest it with some meaning. Yikes! It makes a person exhausted just thinking about it.
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Fair enough—if you think that ease has value. But no existential person really does, nor do most of the world’s traditions. In the Judeo-Christian tradition, you aren’t offered six Sabbaths and one day of work. It is a tenet of the authentic person to work at the project of life, as that work is life, it is the very way we justify ourselves, create ourselves, and make ourselves proud. It is our obligation and the way we express our love of life. As Ernest Becker put it, “When we understand that man is the only animal who must create meaning, who must open a wedge into neutral nature, we understand the essence of love.”
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We accept that meaning-making is work, but it is the loving work of self-creation. It isn’t slave labor or a life sentence but rather the choice we make about how we intend to live our life. Even if it were slave labor and a life sentence, we might still be able to smile and accept our lot. That is the message in Albert Camus’s famous essay “The Myth of Sisyphus,” in which the narrator discovers that he can retain his freedom of attitude even though he is sentenced to an eternity of pushing boulders up a mountain. But, for us, it isn’t slave labor: it is only and exactly the loving work we choose to do to make our life as meaningful as we can possibly make it.
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6. Meaning-making involves too much choosing
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It is a simple truth, though not very well understood, that choosing provokes anxiety. It can—and often does—make us anxious choosing which new car to buy, whether to accept or reject a new suitor, even whether to go for the cereal that tastes good or the cereal that is good for us. To hurry along all of this choosing, so as to get past the feelings of anxiety that attend to each choice, we make snap decisions (and often call that “using our intuition”). Many of our actions in life occur simply because we will do almost anything not to think too hard about the choices in the front of us.
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Given this ubiquitous dynamic, of avoiding choices at all costs, it is natural that we will not want to make meaning, which amounts to making one choice after another until the end of time. If it is hard enough choosing which cereal to buy, how much harder it will be choosing where to invest your meaning minute after minute and day after day! Better to stay with a simple routine, keep your head down and your clothes clean, move another day closer to retirement, and not think too much about meaning. Better anything than a mountain of choosing!
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This is entirely understandable. But it isn’t authentic. Freedom equals choosing: there is no intellectual freedom, no personal freedom, no human freedom without a commitment to lifelong choosing. When a value that means something to you is involved, you must make a choice—or fail yourself by not choosing. When work that means something to you is at stake, you must choose to do it—or fail yourself by not choosing to do it. Yes, you can orchestrate a way of being that minimizes choosing, rather than frankly and forthrightly considering the countless meaning choices that confront you. That would be far easier—only dishonest.
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7. Meaning-making increases core anxiety
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Isn’t our goal to reduce our experience of anxiety, not increase it? If dark tunnels make us anxious, are we really obliged to explore them? Can’t we just avoid them? How you answer this question determines how you will live your life. If you decide that reducing your experience of anxiety is one of your paramount goals and that avoiding experiences that might provoke anxiety is obviously the wise course, then you might as well sit yourself down in front of the bonbons, the pulpit, or the television set right now and wave meaning-making goodbye.
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Our goal is not to reduce our experience of anxiety: our goal is to live authentically. In order to live authentically, we must consciously and completely embrace anxiety. We must invite anxiety. Our system says that this is irrational but our heart knows that it is exactly right. If we intend to make meaning by writing a great novel, we can’t also hope to flee from the experience of anxiety. If we intend to hunt down a life-saving herb in a mosquito-infested jungle, we can’t also hope to flee from the experience of anxiety. If we intend to stand up for a principle that our whole town rejects, we can’t also hope to flee from the experience of anxiety. In order to accomplish these meaning-making tasks, we are obliged to say, “Okay, anxiety. Bring it on!”
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We tend to lose our taste for roller coasters the older we get. At fourteen we can’t wait to get on the Wild Monkey or the Ultimate Plunge. At forty, we can wait. Likewise, our taste for anxiety does not increase. We mind our grandchildren with an even more watchful eye than we minded our children, we move our money to safer investments, we take fewer risks and invite fewer heart palpitations. This is the natural way. And still, in order to live authentically, we must risk anxiety, brave anxiety, embrace anxiety, and invite anxiety every single day. For a meaning-maker, as much as he might wish for one, there is no retirement from anxiety.
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8. Meaning-making is an invitation to make big mistakes
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What is so soothing about seeking meaning, as opposed to making meaning, is that you can’t make a mistake—by definition. You can go off to India for a year, study with a yogi who turns out to be a fraud, get dysentery, and come home poorer and no wiser, and still you get to call your year excellent, because, although you didn’t find any answers, you were a good, honorable seeker. Nothing is a mistake to a seeker—not banding with bigots, not turning your child over to a guru, not chanting things you do not believe—because every such sin gets washed away in the warm water of innocence in which the seeker fancies himself bathing. A meaning-maker is not so self-servingly innocent. He knows that the thing he is about to embark on may prove a mistake: he owns up to that possibility. He recognizes that he does not need to locate principles and values, that he has them already, and that if he violates them he is making a mistake by his own lights. He doesn’t get to say “I didn’t know,” “I didn’t understand,” and “I was just following.” He knows better than that and is more truthful than that.
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It is not only all right to invite in the possibility of making mistakes, it is the honorable thing to do. Fearing mistakes is a sure road to smallness. To not make a large meaning investment in fighting some injustice because you fear that your time may be wasted, that others may fail you, that others may turn on you, or that it may prove some other sort of “mistake,” is to end up not fighting that injustice and not making meaning. You avoided the “mistake”—but at what cost? Better to accept that life comes with countless missteps, wrong turns, and dead ends. Our desire to don the mantle of meaning-maker should not be extinguished because we fear pratfalls.
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9. Meaning-making guarantees that meaning will never be settled
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When we think about the sort of task that meaning-making is, we conclude—rightly—that our meanings are bound to change as we decide to invest meaning here, remove meaning there, and carefully monitor our meaning investments. How unsettling to be for a war one day and against it the next, as our subjective sense of the war’s meaning changes, or against it one day and for it the next. We know in our bones that these are among the worst sorts of feelings, having our sense of the world turned completely upside down overnight.
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We do not want this—which is why people adopt overarching positions, like always being for their country’s war or always being against their country’s war, so that they can avoid having their meaning equilibrium disturbed. If you fear that meaning will never be settled if you agree to don the mantle of meaning-maker, you are exactly right. You will have opened yourself up to some of the worst feelings imaginable, including feelings of foolishness and despair. But what you lose in safety, you gain in righteousness.
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You can live a settled life, existentially speaking, but only at the cost of your authenticity and integrity. It is really much better, albeit more dangerous, to accept that meaning will never be settled, that meaning is always at risk, that meaning is a problem and a challenge and not a foregone conclusion. Agreeing to this is like agreeing to live in a place like Los Angeles or San Francisco, where small earthquakes occur regularly and the big one is a real threat. It is to agree to earthquakes. There is no reason why you should do this with a smile and no reason why you feel sanguine about surviving all this tumult. It is simply the right course, as to settle meaning for all time is to kill the self.
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10. Meaning-making is as artificial and subjective an idea as any other idea about meaning
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It is quite correct to argue that meaning-making is just an idea and no more valid, true, verifiable, or interesting than other ways of construing life. Maybe there are seventy-five gods, all squabbling, and our best bet is to try to appease them. Maybe greed, ambition, and satisfaction are the answers and the goals of life are to make millions and to sleep with lots of sexy partners. There is no lack of constructions: in fact, there are billions, one for each person. That is exactly the point.
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The philosophical tradition known alternately as structuralism and postmodernism has explored this territory with great energy and perversely difficult language. In one of its less obscure passages, the French structuralist Jean Baudrillard opined, “Everywhere one seeks to produce meaning, to make the world signify, to render it visible. We are not, however, in danger of lacking meaning; quite the contrary, we are gorged with meaning and it is killing us.” This is Baudrillard’s way of saying that, since the contemporary person has “seen through” the idea of absolute meaning, he is left with billions of meanings, all equally fragile, all equally subjective, all equally fugitive. That is true.
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To say that meaning-making is artificial and subjective is only to say that whatever you choose to believe has the built-in flaw of not being “the absolute truth.” You can’t get around this problem, except by asserting that there is absolute truth. Therefore it is no greater risk to nominate yourself as the sole arbiter of meaning than to take any other position with respect to meaning. That meaning-making is an arbitrary way of naming your life’s path amounts to no objection at all and is entirely met in the following way: “Yes, that’s right.”
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IN THE TRADITIONS
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Throughout human history a majority of people have believed in some sort of divine presence. Many people today still ardently believe in a concept of the divine. Even if you do not want to abandon your religious or spiritual beliefs, there is still ample reason for you to decide to create your own meaning. Teachers in each of great traditions have argued that personal meaning-making in fact demonstrates a believer’s genuine, heartfelt desire to be involved in the world and to take God and life’s mysteries seriously. As the presence of God is a matter of faith and faith provides a background coloration but nothing as simple as a blueprint to follow, you must take it upon yourself to make the meaning in your life.In the Catholic tradition, for instance, Saint Augustine asks believers to don the mantle of meaning-maker in the following passage: Pray as though everything depended on God. Work as though everything depended on you.
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St. Augustine demands that you actively participate in your life as a dedicated meaning-maker. Not only must you do the work of life and not shirk doing that work, you must figure out what that work is. Even if God has a plan for you, you are not privy to that plan, and so you must operate for all intents and purposes as if you are constructing the plan of your life, in the hope that God’s hand is guiding your personal meaning-making. If you wait for whispers and signs, you may be getting that whisper and that sign from below and not from above. Better to think through where you want to be good, productive, and righteous and invest your meaning there, trusting that God has placed his hand on your shoulder as you made your own choices.
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In the Islamic tradition, it is written in the Koran: “God does not compel a soul To do what is beyond its capacity: It gets what it has earned, And is responsible for what it deserves.”
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This excerpt from the Koran is relevant to our discussion because it reiterates in no uncertain terms that a believer must take responsibility for his actions. You cannot use a divine presence as an excuse or a scapegoat: you earn your righteousness and must think through, and then take responsibility for, your meaning choices. It also addresses the objection that meaning-making is too much work. The Koran articulates great faith in the individual, assuring each one of us that we are capable of doing the work that our meaning intentions lay out for us.
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In the Hindu tradition, widely held to be the most pluralistic of the major world religions, the Hindu Saint Ramakrishna explained, “Let each man follow his own path. If he sincerely and ardently wishes to know God, peace be unto him! He will surely reach Him.” Ramakrishna, a teacher believed to have attained Enlightenment, announces with no hedging that there is no external power who is making decisions about what is the “right thing” to dedicate yourself to and no single way to make meaning. Any activity can become meaningful to you when you decide that it should be so—and will take you in the direction you hope to go, that of meaning and righteousness.
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To the lingering question always posed to existentialists, “Well, what if I decide to invest meaning in kicking puppies and eating babies?”, Ramakrishna is again clear: all will be well “if he sincerely and ardently wishes to know God.” That is, all will be well if you sincerely and ardently put into play your best principles and highest moral sense. Creating pain and suffering in puppies and babies is not likely to strike you as positive and so you would foreswear those activities, because your moral sense is built right into you. When you actively make meaning, you are tuning in to that moral sense. You do not have to worry that personal meaning-making will lead to your immorality, unless you fear that you are intrinsically immoral or inherently unable to tell a right thing from a wrong thing.
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In the Buddhist tradition, the following passage from the Buddha (in the Kalama Sutta) is telling:“Yes, Kalamas, it is proper that you have doubt, that you have perplexity, for a doubt has arisen in a matter which is doubtful. Now, look you Kalamas, do not be led by reports, or tradition, or hearsay…. But, O Kalamas, when you know for yourselves that certain things are unwholesome and wrong, and bad, then give them up... and when you know for yourselves that certain things are wholesome and good, then accept them and follow them.”
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The Buddha puts it simply and clearly: You must decide for yourself what you want to believe and where you want to invest meaning, and then you must commit to what you have chosen. The work you choose will not be beyond you; as the excerpt from the Koran insisted, you have been given the capacity to sufficiently choose and commit. Nor should you be afraid of taking a wrong step, because, as Ramakrishna explained, any path has the potential to be the right path. Yes, you will be uncertain at times. Yes, there will come moments when you need to reevaluate your individual meaning investments.
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But the existential threads in every tradition suggest that you have faith that what you choose for yourself is right for you and that you have the ability to accomplish the arduous work of personal meaning-making. It may be scary, but this cycle of committing yourself and reevaluating your commitments is, according to every tradition, living!
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DONNING THE MANTLE
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If you want to don the mantle of meaning-maker but feel reluctant, one or more of these objections are likely at play—and maybe all ten of them. These are worrisome objections and it is perfectly understandable that you might find yourself unwilling to set off on a course of constant choosing, earthquake meaning shifts, unmitigated personal responsibility, and all the rest. Still, you know your own truth. Isn’t this the path you always envisioned for yourself?
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If it is, you might try to meet these ten objections one by one, simply and forthrightly, in your own language. This is how I might meet them. What arguments or language would you use?
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• Meaning-making is an arrogant idea
.......“I am just living as I see fit.”
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• Meaning-making flies in the face of tradition
.......“Yes, it does.”
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• Meaning-making is an obscure phrase
.......“No, I understand what it means.”
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• Meaning-making demands too much personal responsibility
.......“No, being responsible appeals to me.”
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• Meaning-making is too much work
.......“Yes, it is a lot of work, but it is the right work and the only work.”
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• Meaning-making involves too much choosing
.......“It does! I don’t know if I am equal to all this choosing—I can only try.”
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• Meaning-making increases core anxiety
.......“It does and it doesn’t. In a way, it actually reduces it.”
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• Meaning-making is an invitation to make big mistakes
.......“Yes, it is, I suppose.”
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• Meaning-making guarantees that meaning will never be settled
.......“I always knew that about life.”
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• Meaning-making is as artificial and subjective an idea as any other idea about meaning
......."Of course it is. And I embrace it as the way that makes the most sense to me.”
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If I have met your objections—or if you have met your own objections—it is time to don the mantle of meaning-maker. You can do this by saying out loud, “I am a meaning maker, with all that entails.” You might make your commitment more real by going out and purchasing some absurd garment, donning it, and feeling different. You might make your commitment more real by walking up to people and, by way of introduction, announcing, “I make my meaning!” Or you might do nothing fanciful: you might just stand up.
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That is the essential action and the essential position.
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© Eric Maisel, 2006. All rights reserved.
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You can subscribe to Eric Maisel’s Creativity Newsletter and learn about his creativity coaching trainings and workshops sessions on his website:
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Eric Maisel is also the author of many books on creativity. Information about them is available:
.
A listing of creativity books by other authors recommended by Eric Maisel is available:

Sunday, July 22, 2007

Making Meaning - The Art of Eva Henneberry - Post # 3

Tears for an Ailing Planet

28 x 29", 2004

Artist Statement:

"Tears" started out as an experiment with hot water soluble fabric! I made the "fabric" which turned out to be wonderfully 3-D and then wondered what I could do with it. So I wound up cutting it into these drop shapes, and then the idea came to me. I followed it with "Tears 2" (Endangered!) and "Tears 3" which is "Habitat Encroachment" in which I merged a cityscape with a landscape, then them made the city "creep metastatically" into the landscape...

“While I love and enjoy creating aesthetically pleasing pieces, I feel truly most balanced when they also make a statement about the world I wish to help create. I believe that artists can participate actively in helping to shape a better world.”

For more information about Eva and to see her full range of art:
http://www.evahenneberry.com

Making Meaning - The Art of Eva Henneberry - Post # 2

Vulture of War
40 x 80", 2006

Artist Statement:
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Vulture of War is my second Anti War Quilt - sadly as pertinent today as "Peace Quilt" was when I made it a few weeks before we originally invaded Iraq.

“While I love and enjoy creating aesthetically pleasing pieces, I feel truly most balanced when they also make a statement about the world I wish to help create. I believe that artists can participate actively in helping to shape a better world.”

For more information about Eva and to see her full range of art:
http://www.evahenneberry.com

Making Meaning - The Art of Eva Henneberry - Post #1


Oil Spill
30 x 60", 2006

Artist Statement:

I used my sludge-pot from silk screening for painting the sea, then appliqued the images and shells. One of the birds in the front I made separately as a little sculpture, and applied it. This is actually how the idea started. I saw a very simple, extremely touching sculpture at the gallery of the Di Rosa Preserve a couple of years before. It was wooden, and of "Shaker style" simplicity, with no details, no eyes....it very much impressed me and I felt it to be a statement from the world we "dominate" and abuse. I have since wanted to make a similar statement. So Oil Spill started in my mind with that simple bird.

“While I love and enjoy creating aesthetically pleasing pieces, I feel truly most balanced when they also make a statement about the world I wish to help create. I believe that artists can participate actively in helping to shape a better world.”
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For more information about Eva and to see her full range of art:

Friday, July 20, 2007

Quotable Quote - Amy Lowell

"Art is the desire of a man to express himself, to record the reactions of his personality to the world he lives in."
Amy Lowell, US critic & poet (1874 - 1925)

Thursday, July 19, 2007

The Astonished Apple - Eric Maisel

This post is the second of a series of three articles on "Making Meaning" or "Working Deeply" for artists by writer and creativity coach, Eric Maisel. The series was originally published in his Creativity Newsletter. This one was published December 11, 2005 in Creativity Newsletter # 121.

At the core of a creative act like painting or sculpting is the effort to make meaning (and not beautiful objects or money). We are very happy if we make objects we like and if we make money, but what we are really after as we create is the experience of making our life feel meaningful. Nowhere is the intersection of meaning-making and individual personality played out more idiosyncratically and more interestingly than in an artist’s choice of subject matter and his or her handling of subject matter.

Why do you choose the subject matter you choose? Why do you handle that subject matter in your particular way? Say that you put ten artists in a room—maybe Rembrandt, Van Gogh, Cassatt, Cezanne, Picasso, O’Keeffe, Pollock, Rothko, Tamara de Lempicka, and you—and said, “Paint an apple or whatever ‘painting an apple’ brings to mind.” We know the outcome: ten very different paintings, some of which might include objects that looked like apples, some of which might include images that somehow reminded us of apples, and some of which would include nothing apple-like at all.

Cezanne said, “With an apple I will astonish Paris!” What he meant was, “Using an ordinary apple as my starting point, a subject painted a million times before, I will make some new meaning because of my artistic vision, my facility with a brush, and my personal response to nature.” That is only a part of the story, however. What Cezanne could only know much less well—what each of us can only know in a shadowy, hazy way—are the historical, cultural, and psychological forces at play in a Cezanne (or ourselves) that provoked a given choice and a particular way of handling that choice.

Every painting is its own kind of mystery because it represents what the artist thinks she is doing and also what the artist can’t know that she is doing. In a real sense subject matter is never a completely conscious decision, because processes go on in the brain that the brain can’t stand apart from and witness. It is not possible to know if a trip to see glaciers last year caused you to paint this apple this way, so that we feel unbearable stillness as we view it, or whether it was both glacier-visiting and growing up in snow country, or nothing of the sort. We, the observer, can’t know—and you, the painter, can’t know either.

There are certain profound psychological consequences of not knowing where our subject matter comes from and why we are handling it exactly as we are handling it. The most important one is that we can always doubt the result. We look at the thing we’ve just made and, because it has arisen in part knowingly but in part mysteriously, we are apt to wonder, “Why did I make that?” On good days we answer that question with a hearty, “Just because!”, smile, and continue on our way. But on bad days we are pulled to answer, “I don’t know—and it may have been a complete mistake!”

If you have two pennies to the left and two pennies to the right, you are pretty sure that you have four pennies altogether. There is nothing very thrilling about that news, but at least there is nothing much to doubt. If, however, you’ve been painting desert landscapes, figurative nudes, optical paintings, monochromes, or anything else under the sun, there may be much to thrill you in the process and in the execution but also much to doubt. The answer we wish we could provide when a doubt arises is, “I have chosen this because I have thought the matter through and I know for certain that this is my surest way to make meaning.” The only answer we are entitled to provide, however, is the following absurd and provisional one: “I’m not exactly sure, but I hope I’m on track.”

When your subject matter or your handling of your subject matter gets you down—when a doubt arises that must be addressed—the first thing you must do is surrender to the fact that, whatever you decide and however you decide, you remain in the territory of mystery. There may be good reasons for you to move from desert landscape to figurative nude or from figurative nude to desert landscape, but good reasons are not the same as transparent certainty. All you can do is choose, wish yourself well, and enter the next unknown.

The beauty of this reality is that, while we know less about the sources of our subject matter choices than we wish we knew, we are also freer to experiment, play with a hunch, and follow an enthusiasm. Gauguin remarked, in that ironic way of his, “I have known, everyone knows, everyone will continue to know, that two and two make four. But this irritates me; it quite upsets my way of thinking.” He was joking, of course, because he knew that he had no need to be irritated: in the artist’s world, nothing like the logic of math obtains. It is much more about love, guesswork, and pure adventure.

Do not get down on yourself when you start to doubt the rightness of your subject matter choices. There really is no way to be certain. Just do your honorable best to feel through what next steps you intend to take and endeavor to astonish at least yourself with your next amazing Macintosh, Gravenstein, or Golden Delicious.

© Eric Maisel, 2005. All rights reserved.
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You can subscribe to Eric Maisel’s Creativity Newsletter and learn about his creativity coaching trainings and workshops sessions on his website: http://www.ericmaisel.com/
.
Eric Maisel is also the author of many books on creativity. Information about them is available:
http://www.ericmaisel.com/store/index.html
.
A listing of creativity books by other authors recommended by Eric Maisel is available:
http://www.ericmaisel.com/resources/library.html

Quotable Quote - Lori Haigh

"....If art doesn't make you think, it isn't doing it's job. But art, like life, isn't beautiful all the time." - Lori Haigh, Owner Capobianco Gallery (http://creativityjourney.blogspot.com/2007/07/could-this-happen-to-you-and-your-art.html)

Wednesday, July 18, 2007

Call for Entry - A Tear in the Fabric: The Conceptually Driven Quilt

California Polytechnic State University Art Gallery, San Luis Obispo, California

Exhibit Schedule: May 9 through June 14, 2008

ENTRY DEADLINE: February 1, 2008

ELIGIBILITY: Artists who are residents of United States

METHOD OF SELECTION: Slides or digital images

The history of quilt-making is filled with rich and complex narratives. This show at California Polytechnic State University reveals the layered nature of these narratives. Many times there is a social and political message that underlies the beauty of the piece and operates as a covert resistance or challenge to the social constructs of the time. Alternately, a quilt might contain a playful double entendre or ambiguity that lends itself to more than one interpretation that causes one to pause and adjust one’s thinking patterns.

Through the display of these quilts, the exhibition hopes to inspire viewers to pause a little longer, dig a little deeper, and look for meaning that may lie beneath the surface of public discourse, first glances, and initial judgments.

All works will be insured and return shipping paid by CalPoly Art Gallery. Quilts must be no smaller than 36” x 36” and no larger than 90” x 90”. Please include a brief explanation of quilt. Send your digital or slide images to:

Carolyn Mazloomi (independent curator)
5481 Oldgate Drive
West Chester, OH 45069
Phone: 513.755.3414
Email: CLM@carolynlmazloomi.com

Tuesday, July 17, 2007

Making Meaning - The Art of Carolyn Mazloomi - Post # 5

A Peacekeeper’s Gift
61.5 x 45.5, 2005.
Cotton, silk, machine appliqué, and machine quilted
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Artist Statement:
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Peacekeepers are currently deployed in Sierra Leone, the Democratic Republic of Congo, and in Ethiopia/Eritrea. Although the blue helmets (U.N. Peacekeepers) were initially welcomed by their hosts for their anticipated contributions to peace, they impact negatively on women's security in conflict countries, as they are often the perpetrators of acts of gender violence against the vulnerable populations they are mandated to protect. Peacekeepers have been accused of raping civilian women and promoting the illegal sex industry in those countries.
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For more information about Carolyn and to see her full range of art and publications:

Making Meaning - The Art of Carolyn Mazloomi - Post # 4


The Veil

36” x 27”, 2005

Cotton, silk, acrylic paint, oil paint stick, ink, college, and machine quilted.

Artist Statement:

The burqa, an all encompassing shroud, has become an international symbol of the Taliban's brutal repression of women in Afghanistan. Under the Taliban, a generation of Afghan women lived as second-class citizens hidden by burqas, forced out of school at age 8, and prohibited from working outside the home. Now, women’s rights are a priority for the new democratic government. The Taliban was been removed from power and slowly women are trying to regain their dignity and rights.

For more information about Carolyn and to see her full range of art and publications:
http://www.carolynlmazloomi.com

Making Meaning - The Art of Carolyn Mazloomi - Post # 3


Giving Comfort, Finding Pain
49” x 41”, 2005. Cotton, silk, machine appliqué, and machine quilted.
Artist Statement

Thousands of women were victims of a tragic crime committed by Japanese soldiers in World War II. Few know of the experiences these women or the "Comfort Women" endured on a daily bases because they were, and some still are, too ashamed to bring their stories forward. During the war, they were brutally forced to work as sex slaves to the Japanese soldiers. They lost their lives and any hope of leading a normal life after the war was over. The purpose of the comfort houses was to provide Japanese soldiers in the area with a way for them to "safely" satisfy their sexual needs during the war. The authorities believed the comfort houses would help prevent the soldiers from committing sexual assaults and contracting diseases from women in occupied territories. The amount of women that served as Comfort Women is estimated to be 80,000 to 200,000. A small percentage of them were from China, the Philippines, Taiwan, Indonesia, and Burma, while 80-90% were Korean. Many women became sterile from the repeated rapes. When the comfort women became useless because of their sickness, their milk was mixed with cyanide, their bodies taken to a cave and finally, the cave was blown up with a grenade.Giving Comfort, Finding Pain, 49” x 41”, 2005. Cotton, silk, machine appliqué, and machine quilted.

For more information about Carolyn and to see her full range of art and publications:
http://www.carolynlmazloomi.com

Making Meaning - The Art of Carolyn Mazloomi - Post # 2


Forever Faithful,
27” x 44”, 2005. Cotton, reverse appliqué. acrylic paint, machine quilted

Artist Statement:

Female circumcision, the partial or total cutting away of the external female genitalia has been practiced for centuries in parts of Africa, generally as one element of a rite of passage preparing young girls for womanhood and marriage. Often performed without anesthetic under septic conditions by lay practitioners with little or no knowledge of human anatomy or medicine, female circumcision can cause death or permanent health problems as well as severe pain. Despite these grave risks, its practitioners look on it as an integral part of their cultural and ethnic identity, and some perceive it as a religious obligation. Opponents of female genital cutting, however, emphasize that the practice is detrimental to women's health and well-being. Some consider female circumcision a ritualized form of child abuse and violence against women, a violation of human rights. In total it is estimated that two million women a year are subject to genital mutilation.

For more information about Carolyn and to see her full range of art and publications: