The 2013 Black Mountain College conference, held at UNC-Asheville, covered much ground, as always, with reflections and insights regarding the methods, influence and legacy of the experimental college that is both revered and obscured in the history of 20th century education and art. I always come away with one or more real breakthroughs in my thoughts about these topics, and this year the BMC farm program really came to light in the presentation of David Silver. Tom Murphy spoke of the print shop and letterpress operations, and both of these sessions offered rich, practical examinations of the processes and their implications. As always, the foundation of factual knowledge and interpretation laid down by Mary Emma Harris in her 1987 book, The Arts of Black Mountain College, is acknowledged and utilized by all presenters. Ms Harris continues to lead BMC research efforts, and presented this year about BMC approaches to material studies. She showed how the low-budget humble materials used by Anni Albers and others provided a freedom and at the same time an enforced discipline on the students. “You mustn’t forbid the possibilities of the materials,” and in the notes of Ruth Asawa from Josef Alber’s class, “the whole cosmos is entertaining”. These topics were applied to Asawa, BMC sculptural artist, by Jason Andrew, who showed how Ruth Asawa’s zero-based explorations of the culture of handicraft, and her highly artistic use of negative and positive space, helped lift craft into the perceived realm of art in the mid twentieth century. Christopher Benfey, the featured speaker whose ideas I discussed in the previous post, gave a keynote speech which emphasized a similar theme: “Starting at Zero!” Get your hands involved with available material. Then make an honest response to the materials, including the industrial process involved. The conference highlighted the synergy and profound influence derived from the joining of the design philosophy of Albers and the progressive education ideals of John Rice. Experiential education and the approach of design as a “form of justice between man and material” made BMC the birthing place of many new currents in American art.
The BMC farm was a rich source of experiential education, surely, and its operations offered many practical lessons in form and design. David Silver of the University of San Francisco described how students, with Ted Dreier’s supportive oversight, had a huge influence on the development of the farm. From Harris’s book: “In the first year  a vegetable garden was started by Norman Weston [BMC student and “treasurer”] and other interested community members. The college leased a 25 acre farm with a vineyard and apple orchard…” John Rice was not enthusiastic but didn’t mind as long as faculty obligations were not needed. In 1938 the farm went to the future Lake Eden, was expanded in 1941 and by 1944 “was producing most of the beef, pork, potatoes, eggs, dairy products and some vegetables used by the college” (Harris again). Last year and this, Silver offered rich detail into how the farm emblemized the integrated systems, the balance of discipline and freedom, and the “use what you find” attitude that characterized much of the college’s history. His research anecdotes, from local farmers such as Bass Allen, who taught the students how to farm, to the very Albers-like egg lists that recorded every oval, both entertain and enlighten. Mistakes, both horrible and hilarious, were made. But students gained invaluable experiences, including the closest thing BMC offered in the way of physical education. Molly Gregory, who taught woodworking and maintained the mechanical shop, took over the farm in the later years of the college and operated it at a profit. Silver’s admiring portrayal of her BMC work showed that, like Asawa, she helped create an atmosphere that bridged the gap between artisan and artist, that found a space for sublime work of the hands.
Of particular interest to me was my own arena of artisanry; the letterpress printing and other book arts that were pursued at BMC. Tom Murphy from Texas A&M Corpus Christi recounted printing efforts that were of practical help to the college but eventually played a role in the establishment of literary forces and the Black Mountain Poets as important threads in the history of BMC. Again with the support of Harris’s history, he described how Xanti Schawinsky, a noted graphic designer, helped obtain type and a press for a print shop in Lee Hall on the first Blue Ridge campus. The bulletins printed were “not flashy’ and in fact were conventional products that advertised the best face of the college to outsiders. Students like Ed Dorn and John McCandless received hands-on learning and were able to design and effect their own projects. The print shop had a long hiatus before and during the war, but in 1946 was resurrected as part of the wood shop and used in writing projects involving Jimmy Tite, Harry Weitzer, and Ann Mayer. A visit by Anais Nin in 1947 was the catalyst for new literary publications, including Poems by M.C. Richards in 1948. This set the scene for the Olson years, when BMC nurtured energies that traveled to the west coast, Paris, and North Carolina’s own Jargon Press, published by Jonathan Williams. (A fun footnote to the latter is that the BMCM+AC has acquired the imprint and publications of the Jargon Society!)
All of these insights need fuel themselves to become realized. The first session of the conference highlighted the newly emerging resources for such work. UNC-A’s Ramsey Library is digitizing and organizing web pages for several BMC collections. The Western Regional Archive continues to add collections,including the BMC Project papers, generated and collected by Mary Emma Harris. The state archive has selected BMC documents in their online archive. The Black Mountain Studies Journal offers ongoing scholarship in the field. Rich resources indeed!
Design is not decoration, design means an understandable order. It is understandibility. It is not beauty. If it is understandable, it is beautiful. Josef Albers
Book arts came up in one last surprising setting – Julie Thomson‘s highly stimulating talk on Ray Johnson’s commercial design work. She offered the quote above and astounded the audience with images of standard New Direction titles whose covers were designed by Johnson and one of his mentors, Alan Lustig. She pointed out that Ray J had done prize-winning poster work back in Detroit, was a perfectly competent graphic designer – and helped promote the idea of integrating typography with visual art and design.
Congrats to the BMCM+AC for another great conference!
I never got around to posting about the wonderful BMC conference in 2012, but I’m getting a head start on this one! Above is a small souvenir/artwork which I will be distributing at the 2013 event October 11-13, a project inspired by Anni Albers’ fabric art entitled “Red Meander,” and also by the book in which I encountered the image, written by Christopher Benfey. Benfey is keynote speaker at this year’s conference, which as always includes a rich array of scholarly and creative responses to the legacy and spirit of Black Mountain College,from the dissection of BMC/Bauhaus connections to the performance poetry of Ted Pope.
Benfey’s book is called Red Brick, Black Mountain, White Clay, and is a unique family memoir that ranges far and near in exploring the connections of art, craft, and history to be found in his family history and connections. Anni Albers was Benfey’s aunt, and figures largely into his take on the relationships among artisan craft, creativity, and authenticity in artistic processes. I was very impressed with his insight regarding a productive tension Benfey discerns in the threads of influence to be found at Black Mountain College – that between calm, disciplined and reflective approaches and the unfettered spontaneity made famous by the Happenings at BMC.
This year’s conference promises to cover that same range of possibilities, with presentations on archive resources, technical poetics, action painting, transcendent pottery, the BMC print shop, and multiple assessments of the importance of Anni Albers and her husband Josef Albers. Looking forward to it.
The 2012 BMC conference, held at UNC-A and organized by The Black Mountain College Museum and Art Center, centered on Buckminster fuller and the ways his ideas, many generated at BMC, have influenced our world. I would love to write about the ideas presented eventually, but above are thumbnails of a big highlight of 2012 – the outdoor technology fair that offered hands-on experiences of some of Fuller’s concepts. Click to enlarge, and be sure to check out this wonderful annual event sometime!
The BMC conference in October 2010 at UNC-A offered a wide range of wonderful BMC nuggets, but having put off posting about it so long, I’m sticking with the Ray Johnson material which is always my main priority. A big highlight was John Held’s mail art show and talk about mail art and the early days of the NY Correspondance School.
Ray’s inscrutable, radical but disarming approach to art has clearly led to a rich but fairly specialized body of critical writing and thinking about his work, immeshed but not entangled in the large “fan” following evident online. The main points of the former relate to Black Mountain College influences, the main thrust of the latter is mail art and performance art. Ray did not appear to observe such distinctions, but one thing I gained in the last two years of learning from BMCM+AC venues for Ray J work is that Ray Johnson was a major artist in the tradition of DuChamp, Miro, and Klee. Slowly, a body of academic work is relating his truly astonishing accomplishments both in the mainstream tradition of painting and his unique and irresistible gift and mandate: “Steal beauty from the mundane.”
The conference presentations offered delicious details about Ray’s process. Sebastian Matthews provided the quote above as he compared Ray’s obsession with found images to the “image collage” of Frank O’Hara poem “A Step away From Them.” Sebastian also elucidated with great insight about Ray’s Moticos, the secret embeddings and abrupt juxtapositions that Ray created in response to his environment. For Sebastian, Ray is a zen master of art, always indirect though immediate, balancing inward and outward by being aware of the act of being aware. Like O’Hara, a New York School poet, Ray scoured the city for images that enabled him to subvert and reconnect meanings.
Louly Peacock described how Ray subverted Pop Art (and pre-dated Warhol with celebrity portraits), teasing the major figures as in labeling Pollock “Action Jackson,” a nomiker that stuck. Her survey of phallic imagery in Ray’s work made her yet again the most entertaining speaker at the conference. Julie Thomson helped frame Ray’s performance art in showing the relationship between Ray and George Brecht of Fluxus fame, who” began to imagine a more modest, slyly provocative kind of art that would focus attention on the perceptual and cognitive experience of the viewer.” Brecht created “instructions for a toward event,” and along with Alan Kaprow paved the way for the Happenings – not to speak of Ray’s Nothings. Johanna Gosse portrayed Ray as a renegade of the gallery art world, deliberately obfuscating the market process, living in the “osmotic fluid flow” of daily aesthetic experiences, where the experience is the end, the process is the product.
Kate Dempsey revealed more of her discoveries about Albers’ fascination with pre-Columbian culture and how the Mayan hieroglyphs – still mysteries at the time- helped develop Ray’s sensitivity to text as an image source. Ray retained a geometric precision even as he evolved out of painting, and his love of codes, puns and multiple meanings ties together his early and late work.
The best insights into Ray were to be found at the talk by John Held while sorrounded by his mail art show. He walks the walk with mail art to this day and had much to share. He confirmed something also mentioned in the panel discussions – Ray’s moticos were featured in the very first Village Voice in 1955. He also described the importance of the 1970 correspondence art exhibit at The Whitney. He made it convincingly clear that Ray’s correspondence art was “not about the postal system,” but about “how you communicate aesthetics over a long distance.” Held stated that “Ray was building a community,’ and used no judgment or selection with his mailing lists.
The mail art show he exhibited had 170 entries from over 40 countries. It was impressive, entertaining, and a great tribute to the ongoing spirit of the NY Correspondance School. Ray Johnson continues to generate not only interest and academic attention, but exciting participatory tributes and art directly tracable to his genius.
One fun event I should share about from last fall is the presentation of a new BMC Wall in downtown Asheville. A large mural and several interesting installations grace an alley just off Broadway.
Several of the writers mentioned above are featured with Ray Johnson articles in an upcoming issue of the
Sebastian Matthew’s Ray J show essay with lots of Ray J images!
Denis Wood is an old friend who played an important role in nurturing The Paper Plant into existence in the early 1980s. He was an engaging and innovative professor during that tenure of his life, and now has turned his intellectual charms to the theory or philosophy of cartography, writing numerous books and just completing a lecture tour in Germany. His most recent publication, Everything Sings, is a book of radically different maps, illustrating his unique take on what a map can be and how it effects us. It is also a wonderfully quirky portrait of Boylan Heights, and the book’s success shows how interesting and important Denis’ work is, as well as how hot Raleigh is, and how treasured is that neighborhood in its history. The book cover, seen above, displays the location and carving pattern of Boylan Heights pumpkins on a Halloween. Pecan tree locations, utility services, and lot sizes all became subjects of innovative maps created by graduate students under Wood’s tutelage.
Denis spoke and presented this fall at the Boylan Ave Brewery to celebrate the publication of the book. It was well attended and Denis entertained quite well with the amazing story of how his book came to be – an interview for background information with Ira Glass for an NPR story on maps, his casual mention of a long term project with NCSU design students, and the subsequent segment of This American Life which brought the project to the attention of book publishers. The actual production of Everything Sings involved many winding turns, but now that it’s finally out, it is not only selling well, but been nominated for the University of Iowa’s The Essay Prize.
Denis is such a creative thinker and enthusiastic cultural worker. His talk presented small samples of the ideas in his major books – that maps represent not just a set of places but a representation of the way we think about places, if at all. Maps can take many forms, and the formats of our maps shape the way we think about the world. Maps can enhance, shift or corrupt our view of the world. We can also enlarge our sense of the world through creative use and creation of maps, and that is at the core of Denis Wood’s work.
The book that helped promote and elucidate these concepts on the national scene is The Power of Maps, his 1992 book, co-authored with John Fels, that helped literally turn everyone’s concpetions of maps upside down. Last year, they published the title pictured above, which updates and enlarges their approach.
Denis is continually sharing his ideas. His recent presentation at a conference called Mapping Maps: What’s New About Neocartography, in Seigen Germany, was part of a media studies program, and involved people working at what seems to this layman to be right at the edge of cartography: Geo-annotation, The Rise of Aerial Photogrammetry, Performative Cartography, Playful Cartography, and explorations of web resources such as OpenStreetMap. Denis was the main evening speaker and presented his critique entitled The Challenge to Neocartography Posed by Guy Debord and Kevin Lynch. His workshops in Frankfort shared his ideas on the nature of maps with graduate students, and in Liepzig he presented to traditional geographers about “A Place Off the Map: The Case for a Non-Map-based Place Title.”
All this was and is very interesting but I must confess my favorite stories from Germany were about the European flavors and customs, along with some delicious gossip about European academic politics. Denis provokes you to consider new ideas, but he doesn’t press them – mainly because he’s quickly on to some other new ideas – plus the ones you’ve made him think of during the conversation! He is a treasure, he is doing great stuff, and I hope you keep an eye out for him.
Siglio Press on Everything Sings:
Denis Wood has created an atlas unlike any other. Surveying Boylan Heights, his small neighborhood in North Carolina, he subverts the traditional notions of mapmaking to discover new ways of seeing both this place in particular and the nature of place itself. Each map attunes the eye to the invisible, the overlooked, and the seemingly insignificant. From radio waves permeating the air to the location of Halloween pumpkins on porches, Wood searches for the revelatory details in what has never been mapped or may not even be mappable. In his pursuit of a “poetics of cartography,” the experience of place is primary, useless knowledge is exalted, and representation strives toward resonance. Our perception of maps and how to read them changes as we regard their beauty, marvel at their poetry, and begin to see the neighborhoods we live in anew. Everything Sings weaves a multi-layered story about one neighborhood as well as about the endeavor of truly knowing the places which we call home.
That a cartographer could set out on a mission that’s so emotional, so personal, so idiosyncratic, was news to me. IRA GLASS, host of This American Life, from his introduction to Everything Sings: Maps for a Narrative Atlas
Ira Glass interview with Denis Wood about Everything Sings:
Denis Wood website:
This book is featured on Places, the online journal of architecture, landscape and urbanism
Jeffery Beam’s rich and varied literary contributions have been recognized here before, but his recent reading at the UNC Botanical garden was a found treasure. He was surrounded by friends and presented not only botanical poems from his latest book, Gospel Earth , but sang, remininsced, and read favorite passages from the poets who have influenced him. Jeffery’s wonderful voice, his energy, and his exuberant love for natural beauty made his reading a meditation and a spiritual sharing.
Gospel Earth is described on the Regulator Bookstore site as a “a collection of monostitches, micropoems, American sentences, small stones, small poem sequences, & minimalist poetry.” It begins with a plentitude of short quotes, almost all gemstones of thought from many different sources. Just as he shared his influences in the reading, his book says up front: here I stand, the earth my image, love my fuel, all the beauty I have been given is part of me. Those are my words and show Jeffery’s effect on one: spiritual and mindful.
Gospel Earth moves from the quotes to extremely short responses to images, many one line or even two or three words. The literary devices are almost invisible behind the strong zen and monastic distillations of pure meaning. The natural images shine for themselves in Jeffery’s deft and delicate frames. The Botanical Garden says Gospel Earth is
“a big book of little poems, [it] has already received acclaim for its transcendent, lush beauty; its minimal sacrament; and its simplicity and physicality. Described by the poet as a work intended to “invigorate the startling propulsion of haiku’s accessible simplicity and minimalism, while creating a more active canvas.”
The book does contain larger pieces, including a prose meditation on birding dedicated to Jonathan Williams (more about him below). One of my favorite pieces is a poem with notes that constitute an essay called “The Green Man’s Man.” The poem finds Jeffery immersed in Nature but always open to the philosophical notes in her song: ” I open Nature’s book/finding:/The more I know/The less I know.” The notes were written specifically for a different Botanical Garden event, and delve into the mythological image of the Green man. Jeffery tells us
The Green Man is not separate from us, he is our source, emphasizing & celebrating the positive creative laws of Nature, the native intelligence that shepherds and protects this world, and the ecological rightness that guides us.
Jeffery continues to enact and support the spirit of Black Mountain College in many ways and I hope to learn more of his scholarship regarding Jonathan Williams. He has presented numerous times about him, and is working on a bibliography. He has also shared manuscripts and links that make it clear he is a leading authority on the man’s life and significance.
Parts of this book also existed in online and pamphlet versions: