TJ Norris (me): No jive turkey in the haus this T-giving. Here’s to free time chatting w/art bud Scott Wayne Indiana. Hi there….

Scott Wayne Indiana (Scott): Hello Mr. Norris, that’s what you told me to call you, right?

me: Easy does it. It’s only mister if yo nasty! So, 2007 has been a big year in your world…yes?

Scott: I guess so.

me: Well, you’ve done your Braille Project, the stick figures, ‘M_US__EUM‘, the Portland Art Coloring Book, and your recent solo painting gig in Los Angeles.

Scott: And American Testimonial. Do a Google image search on “Hope Atherton.” Yes, Los Angeles is a nice city. I like it there. Most people say they abhor the traffic. Me? I adore it. Take out hor and add a door. Abhor becomes adore. (Sorry, I’m trying to be witty for the google chat interview, and I guess I’m failing.)

me: I will get to that…yes, I saw one of those pieces up in Seattle on a public street pole. Your work is often in the streets. I’m interested in the feedback you get from folks, from stangers.

Scott: I do get feedback. Mostly on the horse project.

me: Besides from the media, what do the people in the street say…any common responses, any crazy ones?

Scott: Hmm….actually, nothing out of the ordinary. Mostly it’s people who love horses and are from the country, so when they saw a horse in the city it made them feel at home.

me: Fair enough, horses are cool. I only came a few feet close to one, face to face, since I’ve been here in Oregon. They are so docile. So, the horses gallop still?

Scott: It does. I put 10 or so out with my mom a few weeks ago. It was some nice bonding time. She was really surprised and enjoyed the connections that we made with pretty much every who walked by. However, I don’t put many horses out these days. The project has taken on a life of its own, and most of the horses that are out and about now have been installed by other people.

me: Very cool. I enjoy the domestic cross between art and leisure. Well, it’s great to see the attention given to the lil’ guys. Very much in keeping with the whole concept of ‘relational aesthetics’, yes?

Scott: Ok.

me: Speaking of which, didn’t you just recently meet up with Harrell Fletcher’s class?

Scott: Yes. Harvest and I took a few orders of nachos to Harrell and his class of grad students in the new MFA in the social practice program. That was great. Then it somehow prompted Harrell and his undergrad class to ask if they could come observe a math class at the high school where I teach. The Nachos were the third event in a project Harvest and I are doing called, “The Nachos Project.” We have a date in December with Steph Snyder.

me: Can you say anything about this ’spicy ritual’?

Scott: The first two were with Joe and Annette Thurston, and Bruce Conkle and Marne Lucas.

me: Is this a potluck with friends?

Scott: It’s a wide open project. Very loose with no real rules aside from 1) we take nachos and 2) we all talk and 3) they have to come up with some form of documentation. We’re going to invite a lot of people in the new year to let us bring them nachos.

me: On this eve of thanks, knowing that my Tofurkey Day will be filled with sushi, I must note that I heart nachos.

Scott: We must bring you nachos Mr. Norris. January?

me: Ba-ring it!

Scott: Cool, you get to request where you want them from too.

me: Oh, you don’t make them?

Scott: No. We buy them.

me: Wow, that’s wild.

Scott: We are wild.

me: Special orders don’t upset you?

Scott: No, not in the slightest. It’s all good. Just don’t send me to Beaverton.

me: Bonified! Now, how was LA? You had a show with Harvest? You worked on the GEO Chain?

Scott: Yes and yes. It went well. It was my first show outside of Portland, Harvest’s second.

me: Where at?

Scott: Little Bird Gallery is a pretty sweet space down there and I felt lucky to get to show down there. Or, fortunate.

me: Tell me about your work?

Scott: The paintings are sort of an evolution, I hope, from abstractions I was working on a few years ago. I’m interested in composition, and basically creating an expression of something that I inherently feel is within me that I either can’t express with words, or am too scared to express with words, even to myself.

me: Was this a two-person show?

Scott: Yeah, 2 person show, me and the H Bomb.

me: A first?

Scott: Our very first show was at an Everett Station space called Pepper run then by Daniyel Hicks, a good friend of ours. That was a 2 person she, her and me as well. Nothing since then. That’s, a 2 person show

me: Oh yes. Is Pepper still around? I saw Daniyel playing a live music show recently.

Scott: No, it’s not. He plays in a band called Cicada Omega comprised of his pals from Kentucky.

me: Yeah, there was also a guy in his band who I used to see who works at OHSU - steel guitar and all. Anyway, I digress. How was your work received down yonder?

Scott: There were something like 65 openings that night across L.A., but we still had a pretty good turnout. TJ, I’m going to be honest with you, people loved the work.

me: Figures! What was the word? Like did people buy them up…were they chatting you up? Did they talk deep psycho analytics with you til dawn?

Scott: I was sort of withdrawn. Some people said they saw motion in the work. Out of the 5 pieces in the show, only none sold. Harvest sold a piece though. We’re still somewhat optimistic. About sales. I’m not as excited about painting as I used to be. I am going to do an installation at Ogle in April, and I can’t wait.

me: Did you see Stephen Slappe’s show Character at Tilt this month? What does excite you?

Scott: Yes, love Stephen’s show. Also met him for the first time. I’m often saying to my class something like, “everyone think of an elephant right now,” and then I point out how they all have different pictures in their heads, yet we all agree on what an elephant is. Small time psychology or philosophy or whatever, but still fun. I thought Slappe’s show played that same game, only including a drawing test.

me: It reminded me of some ideas you shared with me is all.

Scott: What excites me: making people smile and laugh while causing a pause for reflection at the same time. Oh yeah, I forgot about those ideas! Yeah, I’ve abandoned those ideas for the Ogle show.

me: OK then. It was my first thought when I entered, as you would well imagine. So tell me anything else on the horizon…

Scott: Show at Ogle in April which I keep mentioning. And basically trying to get people to do the coloring book pics, nachos project, add to the geo chain, maybe a new project or two in the months ahead - - - someone named Mary Boone called the other day about something in Chelsea, but I’m not sure if I’m feeling up to it.

me: ok…aha…er…Well, any questions for me before I wish you a healthy feast?

Scott: Yes, of course.

me: Hit me.

Scott: This class you’re teaching that I wish I could take but can’t, what’s one or two personal goals that you have for it? And, do you think the cost of an art piece is fused with its meaning? Or, instead of an art piece, the cost of any object. (Think fake Rollex vs. real Rollex.)

me: Would you mind rephrasing the second part of that questions and reverse it? I think my goal is to get a larger dialogue going, whether it be through more quantifyable, academic writing (and thinking), as well as simply growing the cultural dialect, even if from scratch.

Scott: Ok, when it comes to an artist like Jeff Koons, do you think it’s relevant to discuss the prices of his art when discussing its cultural or philosophical value?

me: That certainly has something to do with it, yes. Value is a multi-splendored thing. It’s universal, the wallet that is.

Scott: You don’t think that detracts from it somehow? I agree with you in that I think an object is meaningfully placed in a culture, subjectively, and its value in the culture will largely shape its meaning.

me: We agree to agree then?

Scott: A counter argument is that bringing how much things cost into the discussion is not only irrelevant, but detracting from the more interesting discussion. But yeah, we agree.

me: I think a $3M photo is worth discussing from that perspective yes. It puts an artist in a different tax bracket after all. Perhaps radically alters lifestyles? I mean, I assume you have to give up food stamps at that point?
But the meaning and impact of the work is universally separate, yes. Anything else to share?

Scott: I’d like to thank Harvest for putting up with me all these years, and Abi and TJ for supporting me so much all this time. Also, I’d like to thank Harrell and Brad for responding to my semi-harassing emails, asking them questions because they are geniuses. I’d like to thank Gavin at the Portland Art Center as well as Joe and Annette Thurston. I’d also like to thank everyone in the coloring book. Also Mylissa down at Little Bird, and Andrea out at AZ West. Sofia with Current TV and Richard Speer for being such a rock star all the time. Thanks to the Pardue’s as well as P Middy and the Portland Horse Project Team. Thanks also to Bruce Conkle, Chris Brown, my agent Gella Dellar, also thanks to Jane Beebe. It’s been one heck of a ride and I wish to express that dreams really do come true. Thank you Portland.

me: peace, out.

Scott: Hah, ok. Bye

Aqua, Nada, Basel, Rubell, Flow, Pulse, Scope…..No, I am not cheerleading! Tis’ the season for the major Miami Art Fairs.

As the fog rolls in over the hills, here’s looking forward to traipsing along the warm sands of South Beach two weeks from today. This marks my first time ever to this part of the country. I’ve really become fond of the more cragged landscape of mountains and rivers, but it will be a wonder to be alongside the Atlantic Ocean once again. And since I’ve yet to reserve a place to stay in a nearly sold-out atmosphere of deluxe accomodations, I may just have to set up a pup-tent on the beach

There’s so much to see and do while there I will have to make an extra effort to actually take in the local color, and I know there’s a big Cuban population, so I will just have to force myself from the magnetic prongs of the contemporary art world to see and eat with the natives. When I travel I’m a bit of a purest, not one for a completely fabricated experience of a place, I like the nitty gritty (so, of course I will also bring my camera). I’ve heard much about this place, and am a bit curious about its austentacious side as a cultural explorer, not to mention I hear lots about kickin’ mojitos and expansive views. While in Miami I am pleased to announce that I am being interviewed by Miami Art Exchange editor Onajídé Shabaka for a related podcast. The plan is to attend many events with a few creative friends travelling from PDX, BOS and NYC with whom I will also take in some bright nightlife. I’ll also get to area museums and the highly regarded Margulies Warehouse as well. I’m intrigued to see Versace’s House, Casa Casuarina, on Ocean Drive. And though I travel rather light, I shall have my laptop in tow, so expect a transmission or two about my daily experiences from the other coast.

If you make it down you may spy M_US__EUM lighting the way, as generously hosted by Quality Pictures at the Aqua Miami Hotel. Do stop by.

There is something about blue. What is it? A whole lotta something. Yes, even in this era of Bluetooth® and Blu-Ray™, I realized this as I spun a latent mix of New Order’s Blue Monday (I’ll never forget the 12″ wax cover art resembling a floppy disc or something neo-geo retro-futuristic). There was Miles Davis‘ indellible classic Kind of Blue, the Jet of choice, the toilet paper toting Blue Man Group, Yves Klein’s (IKB) inventive use of color, songs about the moon, G.I.s, a bayou, and suede shows, and of course the whole genre called the blues. And that obscure last film by Derek Jarman, as a filmmaker who had literally lost his vision. It makes me think about the lil’ dashed lines of DNA testing, and how it crept effortlessly and ambiguously into new drawing work (as in Species I and II), or like color bars in tones rather than primaries. It makes me think of the primaries (the red and the blue, if you know what I mean).

I GOT THE BLUES AGAIN
wav.2 (2007) has found a home. This large-scale photographic work (60×42) and particular favorite, went to a private collector this week. It’s a unique image (I am not much for editions, yeah - one of “those” photographers).The work in various shades of blue distinctively abstracts advertising campaigns of major corporations, in a montage using the power of nature (water). Of course the work is not about this blatant bastardization, rather it shifts the intent/focus of the original to simplify the subliminal macro of the everyday, focusing instead on a curvature of lines with an almost decorative mirror effect. Its title integrates my larger field interest in how sound and image are often experientially seamless, even when absent from each others’ sources, retaining a certain ambience. The two pieces I shipped to Artists Space, Plexus 8.0 and 8.1 use various shades of layered blue inks and gouache to dissect a supercollider in space. The work I am donating to the Portland Art Center in its time of need (you can do your part through a special WWeek promotion) is called The Forest (for the trees) and also employs the blues in a field of white and repetitious criss-crossing circles.

WHAT’S IN A COLOR?
You tell me. In this season of colors (”Blue Christmas” comes to mind), is it just another primary color? Huh? What do you think?

“This is only a test…” (testing the waters so to speak)

wave_test (image taken from Cracked Compass, w/Gallery Homeland)

The Washington Post reports…

Though I am a supporter of the visionary of Dennis Kucinich, you gotta give this man something for having the cahones (or at least a nod for spending the dough where the people eat it up, fried or raw cookie-style).

PS: No relation.

ArtNet reports on next year’s selectees for The Whitney Biennial, the single, most sought-after American survey of artists in our land. Attending for my very first time last year held a few surprises. It was exciting to discover Marilyn Minter and to see the master Kenneth Anger celebrated for his innumerable contributions to the fine art of cinema. A special kick to see some folks I have peripherally gotten to know like Jim O’Rourke and Momus finally getting recognition on this side of the fence. This upcoming year they chose my former hometown bud DJ Olive in the mix. But most exciting is that the early ‘07 visit to our humble studios produced some fine pickins indeed. The organizers have harvested from our very own crop in the form of M.K. Guth for this rendition. This is super exciting for many reasons, but take into account the final list of selectees (Sherrie Levine, John Baldessari, Louise Lawler, Spike Lee….) and the stakes seem quite high, especially since a very large majority of the selections come from either LA or NYC. Guth is the sole artist representing the entire Pacific Northwest, and with very good company here. As a bit of a chameleon, her work truly crosses the divide between relational aesthetics and conceptual, postmodern media hybrids (video, sculpture, photography). It gives me hope to keep tinkering away in the studio (after all, 2010 is the year I hope to make contact!). The NY Times also chimes in on how the show will spill outside its confines. PNCA released this PR.

Maybe I have been in earshot of much talk radio of late? Conservative or liberal, the partisan lines are always pretty clear. The din sort of shuts my brain down. To awaken it I made several trips to the studio this week. While there, among other things, I played Chris Watson’s new 7″ vinyl Pacificus Oceanus, recorded in the Galapagos. Watson, a notable sound recordist has been at it since the 70’s and was a founding member of two of my absolute top sound projects including Cabaret Voltaire and The Hafler Trio. The ending lockgroove can just play on infinitely, and it brings my practice into a very centered space after a week of politico talking heads. The studio time also brought about finishing touches to the works I am donating to two fundraiser events (I’ve been asked to donate for six events), Night of 1000 Drawings and PDX Panels. A bi-coastal debut of this work in December, and for a good cause. Of course, both efforts were specially made for these events, so the one piece for the Portland Art Center’s event (12/6, 6-10PM) is on a provided plywood square panel, and the Artist’s Space (12/13, 5-10PM) piece(s) are each small works on paper measuring approximately 11″ x 14″ - smaller than nearly all I’ve been making since early Summer. Both worthy causes, and great affordable opportunities to purchase something for collectors.

ACTION!: Earlier in the week I went to the cinema to see Michael Clayton. The film stars a down-on-his-luck George Clooney as a well-oiled criminal lawyer playing a ‘janitor’ who basically bails out people with power/money. He tries to find logic and justice in a very oddball case, involving a superior legal mind played by the brilliant Tom Wilkinson who’s gone slightly off the deep end. Separately their mission is to uncover truths well hidden and make up for lost time before a behemoth pharmaceutical company signs a bajillion dollar deal, sealing the fate of many of its former customers (and I mean former, like, ahem, dead). Tilda Swinton, always a favorite of the screen doesn’t disappoint as the icy CEO bi-atch of uNorth, the said drug dealer. There are more twists and turns than you would imagine while eating Twizzlers, sipping an appletini from a swirlie straw and driving downhill on SF’s Lombard Street with a cellphone in one hand during heavy fog. A must for crossword puzzlers and fans of all things Agatha Christie, just a tad darker.

During lunch just yesterday at the Side Door I was inspired to see three young artists all converging in the same space on a rainy Friday afternoon, Tim Dalbow, Kimber Shiroma and Troy Briggs. I love unspoken gathering spots and the place has a certain neighborly magic (save for the amped-up Retriever Towing in their backlot - don’t ever park there - this is their hotspot and the building owner must be in cahoots with them - it’s a racket as has been said). Speaking of magic, along with Paul and some friends, the PDX Movie of the Week group re-convened for the first time in three months to see the first G-rated movie in eons, Mr. Magorium’s Wonder Emporium. This is a perfect holiday flick. It’s got the spirit of Willy Wonka, and the sparkle of classic Disney. I really enjoyed it. It’s probably the best thing I’ve seen septegenerian Dustin Hoffman in since Rain Man (he wasn’t bad in Perfume, it was the NY accent that was terribly out of place). He is perfect for the lead role as the wild haired Tuscan leather shoe-wearing owner of a super magical toy store. It deals literary nostalgia quite well, bringing back memories of my first time stepping foot into F.A.O. Schwarz, many moons ago.

Yes, I may be travelling to Miami for the art fairs in early December, but how badly do you think I would like to make a left hand turn in St. Louis to head towards the largest contemporary arts center in America situated in Western Massachusetts? With Jenny Holzer’s Projections and the always amazing Kiefer - Very!

>>> CLICK <<<

SMELL YOU: Is that Chanel in your boudoir, or are you just unhappy to see me? Smells fishy…like teen spirit? No, try the scent of steel wheels - that’s right, some cocoction that ends in skid marks! Is that the new way to one’s heart? Yes, it would seem that the l’artisan parfumeurs of Aurélien Guichard have whipped up a purely stinky batch of Silver Factory with the supervision of The Andy Warhol Foundation for the Visual Arts and Bond no. 9. They are concocting a line of fragrances that come from favorites of Warhol’s own nose, this one including the spicy essences of grapefruit, wood resin, amber jasmine, cedarwood and violet. At $230 clams (good thing it doesn’t smell like em) for a stinkin’ 3oz. bottle I guess I’ll just have to get the drift upstream.

Jockohomo reports…

Laura Fritz’s current work has a certain biomorphic sensibility. Translucent and podlike, these rooted, sluglike objects are surrounded by walls of angular mylarplex that are situated inside library glass cases. The housing captures the spirit of a micro funhouse crossbred with hints at the endless duplicitousness in work by artists like Josiah McElheny. These showcases have been made to appear terrarium-like or some unfamiliar experimental bio-chamber. Fritz creates a stage for the audience to view from small square portals, one per each side of these ten foot vitrines. I found the adjacent, readily available library scientific periodicals, reference materials and biology monthlies in some way quite sly, if potentially unintentional. An in-situ appropriation, investigating the specificity of place. Fritz who has used video, magnetized kinetics and other manipulations to cause movement in the past repeats a series of immobile (or frozen) forms in her most pert and visually appealing work to date. If you are reading this, stop by Reed College’s Library (right by the Cooley Gallery) to check it out.