The Middle Way

Zen Spot #153 - Mindfulness, meditation and gestalt in the Bowery January 23, 2015 19:15

The exterior wall of a music club in Philadelphia

CBGB OMFUG

The art and trash left behind by a culture's unconscious acts measures that culture's truth. Cave paintings, investment banks, chapel ceilings and landfills all occupy the same portion of the conscious and contrived. They are controlled, reflecting intent and method.

When a collective of people act and improvise individually according to their respective desires, but do so with similar intent, like water molecules acting together as the tide, the result is, at once, random, calculable and awe inspiring. 

The walls of CBGB, the Punk music club in New York City's Bowery, were true and unconscious. Control that could have been exercised was turned over to the gods and chance. That never-ending, unanswerable, existential question -- that palpable question without a name -- floated and hovered in the air while musicians, artists, writers and thinkers tried to grab it like reaching into a swarm of flies. Philosophies, schools and ideas smashed together and were stapled to plaster.

The New York School of Abstract Expressionists

Jackson Pollock was the most famous abstract expressionist painter. His iconic drip paintings combine chaos with intent -- an unusual amalgam.  Free form improvisational jazz was wooed into a free-for-all by the sirens of Japanese calligraphy. And, as much as I like that idea, the disparity between the concept and the execution leaves much to be desired. Pollock's work, at the end of the day, is just pretty. 

Willem Dekooning is different.

His best work -- the "Woman" series from 1948 - 1952 -- is stunning. So much so that, if one first sees the work in print, one might expect the paintings to be the size of a building. They're that powerful. The atmosphere in each painting is a broken fly wheel, still spinning at five thousand rpm, throwing off bits and teeth at the world, around a single frontal female form.  

Some critics and viewers consider these paintings to be a violent statement expressed against the female model. I don't. Instead, I believe that Dekooning's paint renders the violence in the atmosphere around the female form. Here, the Buddhist concept of interdependence applies. The air around a cup is as much a part of the cup as is the clay from which the cup is made. The female forms in his paintings are serene; the world is violent.

I imagine that, when Dekooning was painting, he smashed a few paintbrushes and slashed a few palette knives across the canvas. But, much like the aftermath of a dog or bear having picked through the trash -- slowly and methodically -- the mess left behind leads one to believe a bacchanal transpired. In fact, if captured on film, the trash-picking usually appears to take place in slow motion.

Thus the interdependence.

Pop Art

Andy Warhol built his art empire around celebrity, mass communication, print reproduction and, if nothing else, the grit and grime of New York City in the 50s, 60s and 70s. He defined techniques for the sculpting of an artist's public image and opened the door for crass self promotion to transform one's life. Warhol sandwiched cheapness, vanity and a profound superficiality between two invisible slices of charismagic.

Craftsmanship meant nothing; fame was the grail. Without ever having bent a small piece of metal, it's as if Warhol actually invented the staple. 

Dada's Daddy and the consummate Neo-Dadist

Marcel Duchamp liberated Dada from the children and the absurd. He captured that unsettled weirdness that occupies a small piece of every soul. He picked facts out of silence and contrived the usual into art. Stories with completely unrelated beginnings, middles and ends were never told but easily found. The broken, the obvious, the powerless and the nude were among his most interesting paintbrushes.

Robert Rauschenberg took Duchamp's foundation and had fun. He introduced time, circus and toys into the world of Dada -- with roller skates, flags, taxidermy, goats, trash and smears. He found art in a place where it hadn't been found before...and hasn't since.  

Confluence

With the exception of Duchamp, each of these artists lived and worked at the same time; all expressing themselves intimately and publicly through their art. They pushed boundaries like five gigantic bulldozers moving a mountain of dirt toward a sunrise or a cliff; dragging the culture behind them on a warehouse skid.  Each virtuoso playing an instrument in a silo, never having moshed, but sharing a gestalt. 

The rancid public art of CBGB

The walls of CBGB, and the space in between the walls, defined Punk interdependence by standing on the shoulders of the greatest 20th century artists, and did so completely by accident. Trash was stapled to trash that was stapled to the walls. In places, it was two inches thick. Playbills, posters, band stickers, pop manifestos, sheet music, socks, underwear and staples -- millions of staples -- were all jammed on to the walls. The collective ego and unconscious of every Joe Schmoe channeled the orchestra of the bulldozers. Vulgar, violent, commercial, artful crud begged for attention and was torn down almost as quickly as it was posted. The bands and musicians were blind baby birds, necks extended to the heavens, with beaks wide open, screaming and waiting to be fed.

In print or in electronic form, like the image above, the walls of CBGB were an orgy of Pollock, Dekooning, Warhol, Rauschenberg and Duchamp. A trash skeleton, fully alive with the stench of stale beer, rebirth, past lives and chance. The sum total of charisma, energy and serendipity offered proof that life is truly unfair. Chaos reigned. Soaked with performance, music, circus, epiphanies and desire, CBGB is missed and dead.

OMFUG.

>

About DharmaMechanic

An artist, entrepreneur and writer walking the Buddhist path, his art focuses on the Dharma Wheel. The four wheels shown above are among over 600 DharmaMechanic has created over the course of his career. Each has a unique story. If you’d like to read the story of these wheels or purchase a framed 20" x 20" ready-to-hang print, visit SilkDharma.com.

What are The Four Noble Truths?

  1. The truth of suffering
  2. The truth of the origin of suffering
  3. The truth of the cessation of suffering
  4. The truth of the path to the cessation of suffering

What is The Noble Eightfold Path?

  1. Right view
  2. Right intention
  3. Right action
  4. Right speech
  5. Right livelihood
  6. Right effort
  7. Right mindfulness
  8. Right concentration

What is a Dharma Wheel?