Stories of Earth Keeping, Gary Snyder and Ellen Davis

The Sanctified Life

ink, gesso on text, 2000

Dan Callis

Today I listened to a really interesting podcast with Gary Snyder: poet, environmental activist, and Zen Buddhist. Over all the Snyder interview was a good overview of the last 50 years of American Environmentalism punctuated by Snyder's lyrical, free verse poems. I did take issue with one pint Snyder makes which is a small one within his interview but it is a theme that comes up again and again in the Deep Ecology writings.

Snyder talks about how his Buddhist world-view informs his practice as an earth keeper. He states that the first ethical precept of Buddhism is to "cause the least possible harm." He then equates that to the Judeo-Christian Ten Commandments: "Thou shall not kill." He then states, "but in the Abrahamic tradition, ie, Judaism, Christianity, and Islam, thou shall not kill applies only to human beings and there is absolutely no concern for the rest of life." He strongly implies that these traditions have a deep responsibility for our current environmental problems.

I am mindful of the scholarship of Dr. Ellen Davis, Hebrew scholar and Old Testament professor from Yale, now at Duke Divinity School. She has been writing on this issue for years and more recently she has been collaborating with Wendell Berry on issues of environmental stewardship and earth keeping grounded within faith traditions. She states, "According to the Judeo-Christian scriptures we are part of an intricate web of physical relations that are at the same time moral relations." "We are placed creatures, we are placed within an order." She speaks of the first book of the Hebrew bible, the Tanoak, the book of Genesis. According to Davis the narrative account of the fifth day of creation God offered a blessing to the creatures of the sky and the creatures of the sea. It was the very same blessing God offered the created man of the sixth day: the same. She states, "So we are living amongst creatures that are blessed before we even come into existence." According to the Genesis account, Davis says, "Humans occupy a special place of power, privilege and responsibility in the created world...a condition of "skilled mastery" (the Hebrew interpretation of Gen. 1:26) It is set by the precondition of the blessings of the creatures of the sea and the sky. The human can not undo the prior blessing of the creatures by God." "How we see the world is how we value it", Davis says, "and according to the Hebrew Scriptures, "God saw the world and said it was good." In the Christian New Testament John 3:16 states, "For God so loved the world that he gave his one and only Son...God did not send his Son into the world to condemn the world, but to save the world through him." The world. All of it.

Let us not so easily place blame based on an impoverished understanding of the Hebrew Scriptures where the care of the land is considered a sacred task. Let us admit more quickly that we have more then likely arrived at our current dilemmas from a post-enlightenment, materialistic form of consumerism then by our religious traditions. If I am honest with myself it is my own selfish appetite that brings me to this place of environmental mourning not some ancient religious narrative. Perhaps it is in these narratives we can find some applicable wisdom for a more sustainable way of living.

In Praise of Burton Blatt

wait, graphite on paper, 1989, D. Callis

I was going through some files and came across a paper I presented on the work of educator and reformer, Dr. Burton Blatt. In 1965 Burton Blatt, then director of the Division of Special Education at Syracuse University and his friend, photographer Fred Kaplan, visited a number of east coast residential facilities for the developmentally disabled and documented the visits with a small camera mounted in Kaplan's belt buckle. the images were first published in Look magazine and later as a book entitled Christmas in Purgatory. As Kaplan's images profoundly disrupted the psyche of the American imagination with visuals that aggressively denied the mid-century believe in the goodness and compassionate care of our medical and education institutions, particularly as it provided for our most vulnerable citizens.

Blatt spent the rest of his professional career reconstructing an American imagination that concerned the developmentally disabled using his skills as an educator, writer, poet and Catholic layman. As an educator he served on several presidential committees on educational reform, he is credited with establishing most of what we now teach in our universities concerning educational mainstreaming. As a Catholic writer and poet he worked from a cosmology that could confront evil and suffering and at the same time locate grace, celebration and profound joy. In his novel, The Revolt of the Idiots, he asks us to imagine a peaceful revolt in which disabled residents shed their label of patient and take on the role of citizen, demanding their civil rights and simply walking out of the institution and into a small town which had realized the value and worth of these odd people. In the story one of the townsman argues with compassion, "each man's life means everything, or it means nothing. He is the only man or no man exists. Each life and each death is a profound event, or no life - not a single life ever - was of any consequence. Everything matters or nothing has mattered.

In another reforming work entitled, Exodus from Pandemonium he recounts his participation on an inspection team. The team has just toured one of the back wards of a state institution for the long term care of the mental retarded. He recounts, "I have seen it all too many times. A gust of fresh, clean air rushed around us as the front door was unlocked, but the relief at regaining my freedom was shattered by a scream from above, "Good-bye, you fuckin doctors!" A shirtless man, his face twisted in anger, was waving his fist from the second-story window. I smiled and waved to him. He waved back and, as anger gave way to a smile, he waved again, this time with open palm. This was Building 8, a "custodial dormitory" for people the institution has labeled "severely mentally retarded" and for people who label their keepers "you funckin doctors."

a few new things

yet to be titled, #3 & 6, oil on canvas, 14"x14", D. Callis

The autonomy of the painted experiential object. In these works I have introduced an indexed image or a fragment of an image that is trying to signify an additional, external meaning but it is in tension with the absorbing visual field.

Today I received the announcement for the next exhibition at CB1 Gallery in downtown LA. CB1 is a really exciting gallery space with a very strong painting program. The next show opening Friday, July 78th is a group show including Edith Beaucage, Alexander Kroll, Matt Lifson, and Lily Simonson. In the introduction of the show gallery owner Clyde Beswick quotes New York Times, art critic Roberta Smith. While discussing current trends in the "art world" Smith says, "What's missing is art that seems made by one person out of intense personal necessity, often by hand. A lot but not all of this kind of work is painting, which seems to be becoming the art medium that dare not speak its name..."

That's it, isn't it!

"Moments of pleasure are the remnants washed ashore from a shipwreck, bits of paradise extended through time. We must hold these relics lightly, and use them with humility and restraint. Never seize them as our entitlements." G. K. Chesterton

Jonathan Lasker

all images Jonathan Lasker, LA Louver, 2010

"over the last two years, there has been a gradual increase of interest in abstraction. During this time, I've puzzled over what this so-called return to abstraction could mean. I still cannot imagine it. For me, abstract painting finished with the black paintings of Frank Stella. The goal of a modern painting, which represented nothing but its own pure form, had been attained. When I began working, my objective was to find a way to make a painting discursive, rather than monotopical. I also wanted it to be discursive on its own terms, rather than in literary terms. Painting had already achieved this minimal monosubject, ie, the subject of its object reflexivity. To me, this existential objecthood was now ready to be depicted as subject matter in discourse with the additional component of the subjective psyche. It was possible to use our experience of the elements of painting for their associative powers, in a poetics of painting. A poetics which could also embrace broad topics, such as memory and presence, materiality and transcendence, and the flattening of high and low culture.

It is towards this end that I have painted unhappy marriages of the biomorphic and decorative, the mark of the "loaded brush" land the geometric, the psyche and popular culture. I want a painting that's operative. I'm seeking subject matter, not abstraction."

After Abstraction (1986), J. Lasker, Complete Essays 1984-1998

Semester is Over, Summer is Here

The Sea that has no ending, oil on paper, 2009, D. Callis

You can always tell when my semester is over because I get active on my blog again. It was great semester but I'm loving the full-time in the studio. I have been rereading G.K. Chesterton's Orthodoxy. Take a read at this:

"It is possible that God says every morning, "Do it again" to the sun; and every evening, "Do it again" to the moon. It may not be automatic necessity that makes all daisies alike; it may be that God makes every daisy separately, but has never got tired of making them. It may be that He has the eternal appetite of infancy; for we have sinned and grown old, and our Father is younger than we. The repetition in Nature may not be a mere recurrence; it may be a theatrical encore. Heaven may encore the bird who laid an egg. If the human being conceives and brings forth a human child instead of bringing forth a fish, or a bat, or a griffin, the reason may not be that we are fixed in animal fate without life or purpose. It may be that our little tragedy has touched the gods, that they admire it from their starry galleries, and that at the end of every human drama man is called again and again before the curtain. Repetition may go on for millions of years, by mere choice, and at any instant it may stop. Man may stand on the earth generation after generation, and yet each birth be his positively last appearance."

Rachel Whiteread @ The Hammer

a beautiful lesson in drawing; process, mapping, design, representation. see the show!