FOR SALE!!

 

FOR SALE! !

Some "Play-doh"

Play-doh

 Marinated by J. Urban Roberts Bauer

Know what is what is is what is

what is? What is is what is. Is is what is? Is is what what is.

What what is? What what is is what what is. Oh-so…

Is is what? No what is is. What is is. What is is?

Is is what. Is is is what? What is is is what. Get it?

No. what’s up?

Another word. 

Concept is Layman

No one understands.

and how could they?

No one holds with my hand

and why would they?

They are not I

and I are not they

Why should we be-switched

into the light of a rattling bulb?

Let learning be in turning of our

Elementary to a

Contemplative Community

Which will bring about utter maturity,

Less masculinity,

and Balance to turn the light on

Our luminosity

Will be our content

and we will be spent,

Now Equally

Ted,

I’ve Stopped. But,

I’ve been in Struck—

                Ted.

To be—

Construct, Destruct, and re-Struck—

                Ted,

I’ve Stopped. But,

I can’t help it.

The Wiser Artist

The wiser artist is

A monk within us

With draw

I am experiencing withdraw.

Every thing I do has to be stepped on.

We are not careful. Too head—hearty

to think at all. O well. I am

experiencing a withdraw. A conclusion

to the movement of my pen.—

Ink the dream.

Pencil me in.

Output

You are a projector

And the world

Is input upon you

Quietly Striping

Don’t look behind you

Somebody’s listening

Catching and fishing

For ideas—quietly striping

Away from you

all-in-all in all-in-all...
it's the future, it's the future, it's the future...
conclusio

Furnace and Cullet

don't be a fuck up.

CAUTION!

Caution!

It’s raw.

I believe a piece is never finished; there is only the choice to stop. I leave work purposefully “raw” in order to argue against our acquired nature of expectation. I believe reality is not pampered and human nature is forever fluctuating between careless and careful. The choice to leave my work unpolished, unframed or “unfinished” is intentional and, therefore, urges you to be more careful, calm, and collected if you so choose to handle it. If the dangers and seemingly unprofessional aspects of my work influence your opinion negatively, I apologize. I am aware of the dangers and regardless, its nature to inflict conflict only creates a more intriguing piece of artwork in the end.

Boxes with Boxes.
fill your box with boxes
cause everyone we know
has something he or she needs to show
and there will come a time
when every little piece
of them knowing
comes into
play. 


this is time to let go
hold on, not yet
ok, now just forget about it


donate money to the luxury
and uncompany of pie
will piece you off

Automatism

Source: Oxford University Press

Term appropriated by the Surrealists from physiology and psychiatry and later applied to techniques of spontaneous writing, drawing and painting. In physiology, automatism denotes automatic actions and involuntary processes that are not under conscious control, such as breathing; the term also refers to the performance of an act without conscious thought, a reflex. Psychological automatism is the result of a dissociation between behaviour and consciousness. Familiarity and long usage allow actions to become automatic so that they are performed with a minimum of thought and deliberation. Pathological automatism, also the consequence of dissociative states, ensues from psychological conflict, drugs or trance states; automatism may also be manifested in sensory hallucinations.

During the late 19th century Pierre Janet, a French psychiatrist, treated mental disorders with hypnosis, as did other practitioners of dynamic psychiatry. In particular, he studied the automatic behaviour of mediums to determine the degree to which the subconscious interacts with the conscious during a trance. A medium, while in a self-induced trance, performs spontaneous physical acts with no conscious control. Psychiatry suggests that their apparent messages from a spirit world may actually be subliminal thoughts or feelings, released and given free expression.

While psychiatry considers automatism reflexive and constricting, the Surrealists believed it was a higher form of behaviour. For them, automatism could express the creative force of what they believed was the unconscious in art. Automatism was the cornerstone of Surrealism. André Breton defined Surrealism in his Manifeste du surréalisme (1924) as ‘psychic automatism in its pure state’. This automatism was ‘dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern’. Breton’s formulation of automatism borrowed ideas from the practices of mediums and from dynamic psychiatry, which emphasized the interplay among conscious and unconscious forces in directing behaviour. Although related to Freud’s free association, the automatism of the Surrealists required only one person and was written rather than spoken. Automatic writing served as the Surrealists’ first technique for tapping what they believed to be the unconscious; subsequently, hypnotic trances and dream narration provided other routes to the unknown.

Automatism in the visual arts can arise from manual techniques that involve chance in the creation of the work ( frottage, grattage, decalcomania) or from psychological experiences (hallucination, intoxication, hypnotic trance, dream narration). André Masson’s automatic drawings, such as Furious Suns (1925; New York, MOMAstartend), Joan Miró’s paintings from the mid-1920s and Max Ernst’s frottages are examples.

By the mid-1940s the American painters known as the Abstract Expressionists (in particular ‘Action Painters’; see Action Painting) had adopted automatic methods in their work. Influenced by Surrealism, these artists introduced the appearance of automatism even when their pictures were deeply deliberated. They included Arshile Gorky, Jackson Pollock, Franz Kline and Willem de Kooning. Between 1946 and 1951 les Automatistes, a group of Canadian Surrealist painters, painted in a technique based on automatic writing. In post-war Europe, the artists grouped under the label Tachism produced paintings with swiftly registered, calligraphic signs and broad brushstrokes, which had the spontaneity associated with automatism.

Jennifer Gibson
From Grove Art Online

© 2009 Oxford University Press