I taught university level courses in sociology and criminal justice for over 30 years but I'm retired now. Still, I'll always be a sociologist, engaging in discussions about learning and teaching sociology, commenting on current events and offering book, video and website reviews.
For some time now I’ve subscribed to Maria Popova’s website called Brain Pickings. I get her weekly email newsletter. Her website provides a fresh view on many things including emotions. In this episode of her newsletter Popova focusses on the philosopher and poet David Whyte.
It’s worth subscribing to her newsletter.You won’t be disappointed.
Click on her name above for her take on David Whyte and his refreshing view on anger, forgiveness and maturity.
Alright, so I’ve written a little bit about teaching and writing in my last two blog posts. If I decided to, I could write a book about teaching and writing. In my last two posts I didn’t touch on my philosophy of teaching nor it’s sociological and economic dimensions. I just introduced you to my practice. In a later blog, I want to address my intellectual development in all of its many manifestations, permutations and stages. Now, in this fourth post in this series I come to art.
The act of creating or making art, in my humble opinion, should be called arting. If I can teach and write, I should be able to art. I know, as a verb it doesn’t work in the English language. It should. I’ve been arting for a long time. It’s never been a way for me to make a living nor do I have much formal training in art, like I had in teaching and writing. Still, it’s been an important part of my life.
When I was a kid I’m sure I played with crayons. I may even have drawn stick people on the wall of the bedroom, but I can’t recall. What I vividly remember maybe at the ages of five or six is watching my older sisters, Thérèse in particular, drawing what I can only describe as fashion figures, always young women with elaborate hairdos, flowing gowns and elegant arms. Thérèse would not consider herself an artist now, but I thought she was amazing. Some of my other sisters probably did it too, but I don’t recall. If they read this, they could maybe jog my memory. A little later in my life I clearly remember my uncle Denis paint a kind of small cartoon character on the side of my brother-in-law’s car. It blew me away. How could anybody do such a wonderful thing? I’m sure these events had something to do with my compulsion to paint and draw later in my life, but I don’t recall actually making the connection at the time. I don’t think I ever said to myself: “Boy, I want to do that too!” It wasn’t like that. Then I went off to boarding school and art was not on the curriculum. Music and theatre were taught to some extent, but sports dominated extra-curricular activities.
When I left boarding school before completing grade twelve, it took me some time to adjust to life on the outside. After some time I took an informal painting course with a nun I had not previously known. (I was taught in elementary school by nuns but she wasn’t one of them.) My sister Lucy and my uncle Denis were also involved. Lucy painted like a dream as did my uncle. I had already tried to paint. I bought some cheap oil paints, a rickety easel (which I still have), a couple of brushes, canvas boards and eventually some canvas and stretchers. I put together a few paintings, some quite large but none very good. Well, I was just starting out, but I was impatient. I wanted to paint a masterpiece. I bought some how-to-paint books (I still have those too). One by Robert Wood, a California landscape painter caught my fancy as well as a book of photographs he took that could be used to inspire paintings. I used that to paint a sunset and it turned out pretty well. (I’m not sure where that painting is now. Maybe long gone after a short stint in a dumpster) I was encouraged. I didn’t draw well at the time so I stayed away from painting figures. That came much later. This painting is based on a Ringo Starr album cover. I don’t know why I wanted to paint it but I did and I realized that I could have some control over my paints and brushes.
The kids were scared of this painting for a long time. They still may be for all I know. The grandkids probably are too. Who knows why.
I also painted this little boat. I still have this painting. It’s 16 X 20 and hangs in my studio in the corner. It’s a reminder of what I did in the far distant past. Yes, far distant past.
I think it’s okay for what it is and when I did it.
This covered bridge painting I did in 1971 while I studied with the nun I mentioned before (Damn, I wish I could remember her name!)
So, anyway, this is some of my earlier work. By 1974 I was doing more drawing but I was in university and that put a cramp in the time I could dedicate to my art. And besides, we got married in 1973 and that also took up some of my time…in an entirely good way, I might add.
It took me ten years to get back into arting after we had moved to the Comox Valley the year before. That’s when I read Betty Edwards’ book Drawing on the Right Side of the Brain. It inspired me to draw again, but this time in a more realistic style. I wanted to be able to draw what I saw when I wanted to. So, I started doing this kind of thing:
These two last images of derelict boats (the pencil drawing and the acrylic painting) came from some photographs I took on River Road in Delta, BC, I can’t remember exactly when, but it would have been in the 1970s sometime. Over the years I did three more acrylic paintings incorporating two boats from the photographs I took in the 70s, the Elcay and the VR 280:
I also did a pencil drawing of the same two boats in the mid 90:
That drawing and a course I took in printmaking at North Island College with John Hooley changed my direction to some extent. I was still interested in painting and drawing, but now I would add printmaking to my repertoire, a medium I very much enjoy. This drawing became the first intaglio print I did. I used a zinc plate that was etched in nitric acid to get the effect I wanted, which was this:
I really need to take a better photograph of this piece. I have an edition of 30 of these prints (I do believe) that are now for sale. I’ve already sold a couple.
During my course with John Hooley I also learned how to do relief printing and silkscreening. I need to take a silkscreening course again because the techniques and materials have changes so much in the last 25 years.
After moving to Cumberland in 2002 I had a large studio available to me:
That allowed me to set up a painting and leave it on the easel as long as I needed to instead of having to take everything down every time I finished a session because we needed the space for something else. I’m now working on some prints and have a printing set-up in my studio for relief printing. I also have a large acrylic painting on the go…which I WILL finish soon because I want to finish up an oil painting I started 10 or 15 years ago at least. Me in my studio ten years ago:
Five years ago I did this from a photograph one of my former students who was a new mom at the time allowed me to use. She has this drawing. I’ve always meant to do a painting based on this drawing. It’s still my intention, but I have stopped pressuring myself to do this kind of thing. It will happen if it happens. One thing is certain, I have no shortage of projects. My only limitations are my aging body and time.
Over the past 25 years I’ve done a number of realistic pieces but I tend more to the impressionistic side of things and I even do what some people would consider pretty kooky works. I’ve copied the works of some of the masters including Vermeer and Schiele. I can’t say that I’ve been overly influenced by any one artist of the past. I just do what comes to mind.
I love to doodle and sometimes I’m astonished by what comes out:
I often carry a drawing notebook with me but don’t always use it. Sometimes I just sit and think about painting or drawing subjects. Art is never far from my thoughts. Neither is writing. They tend to compete for brain space. Carolyn knows all too well what this means for my lack of attention to other things I could very well be attending to in my environment, social and natural especially as they concern her. My brain is a busy place. If a subject attracts my attention in a particularly forceful way I’ll sit and draw it if it’s possible given time and place. Drawing people on the ferry and sitting at picnic tables in parks has been fruitful for me in terms of drawing subjects. I’m finding too that I’m increasingly drawn to ink rather than pencil for my doodles and mini sketches. My ink drawings tend to be less precious and more spontaneous. I like that.
A group of printers and I associated with the Comox Valley Printmakers Association just last weekend had a pop-up exhibition and sale in Cumberland. We had some 500 people come through in my estimation. Some say more came through. Now I have to finish up some flooring upstairs in the house and some window and door trim. Art has to be set aside for a bit. That said, I never stop thinking about it. But, you know what? I have to clean up my damn studio. I may want to be on a studio tour sometime soon.
That’s enough for now. I’ve already started to plan my next blog post. It will be a about my intellectual development.
I haven’t written in these ‘pages’ for a while because I’ve been working on my ‘art’ blog and getting ready for a printmaker’s show on October 27th and 28th in Cumberland at The Convoy Club where 10 printmakers including me are showing our works and offering them up for sale. Check out my other blog at: https://rogeralbert.blogspot.com. There’s a page on it that includes most of my prints.
[Just a note about printmaking: the works offered up in this show include relief prints (woodcuts, linocuts), intaglio prints (drypoint and etchings), collographs, and serigraphs (silkscreening). All of the prints are hand made. No digital prints allowed. All of the work is complex, but some is more complex to execute than others. For example, one of my pieces called Van Duesen Dead Ivy is multi-stepped in its making. It starts with a drawing I did of ivy that I was particularly struck by on a trip to Van Duesen Gardens in Vancouver. It had been growing up a large fir tree and got very large before someone cut the vines off at the bottom of the tree in order to save the fir tree from being choked by the offending ivy. My pencil drawing was then transferred to a 15X20 inch copper plate that had been coated with resist. Resist is a material that prevents the areas covered by it from being etched by ferric chloride. I had to transfer every line, every feature of my drawing to the copper using a variety of sharp metal tools. It’s not necessary to dig into the copper at this point, just remove the resist from selected lines and areas so that the ferric chloride can etch the copper. Once the copper has had its bath in the ferric chloride, it’s ready for printing. Printing itself is a very physical activity. It requires spreading ink on the plate then wiping all of it off again. Well, not all of it. Only the ink that has not settled where the acid has etched away the copper and where the plate needs to remain white. The ink is wiped off the plate with newsprint, a physically demanding task for a plate this big. Once that’s done, the plate is placed on a press bed, paper is placed on top of the print followed by a sheet of newsprint than three blankets. If all goes well, a print is born. If all does not go well, it’s back to the drawing board… The ‘art’ cards I’ve made for this show are very simple linocut prints but each is still made by hand. I should do a YouTube video showing the process of etching but there’s a lot of them out there already. Still, that’s no excuse. There’s a lot of blogs out there too yet I still do this.]
Printmaking, particularly intaglio printmaking, requires heavy presses so I didn’t start printmaking until I had access to a printmaking studio at North Island College. Most of the ‘art’ work I have done over the years involves painting. I have done many paintings and drawings over the years. I make prints now, but I also draw using pencil and pen, I paint in oils, acrylic and watercolour and I’ve done a bit of sculpting in wood. I’ve been drawing and painting since the 1970s; printmaking and sculpting are more recent additions to my repertoire. I’ve been printmaking for a mere 30 years or so and sporadically at that. Art work has not been a central part of my life until recently.
My main adult occupation was as a college sociology instructor. That paid the bills. Writing has been a large part of my career too. I wrote television scripts for two Knowledge Network telecourses for which I was the instructor. I wrote all kinds of research reports and manuals. My ‘art’ has been with me a long time, and now that I’m retired from teaching I can spend a lot more time at it, but I could never have made a living as an artist. I’m mostly self taught although I have taken courses over the years in the art department of my college and with independent artists. I don’t hesitate to call myself a sociologist (I have the credentials). I do hesitate to call myself an artist even though I do a lot of things that artists do. I need to explain this further in another blog post. I’ve read many books on art and art history but the nature of it still eludes me. It’s clear to me that looking at a painting I’m not always looking at a work of art. Oh, I have some sense of what it is, its origins and connections to other aspects of culture, but I’m still not convinced I fully understand it.
I was not destined to be a teacher, writer, and artist. In fact my social class at birth almost precluded access to those adult pursuits. My father was functionally illiterate although highly intelligent and capable. My mother had a grade eight education in a rural school at a time when academic achievement was not considered very important for girls. As she entered adulthood, she was too busy raising children (I have fourteen siblings) to engage in any sustained artistic activities even if she had wanted to. We had very few books in the house as I was growing up. We got a television set in 1956 and that became the centre of family life after church and cards.
My grandparents migrated from Québec and New Brunswick in the early 20th Century to homestead in north-eastern Alberta. They weren’t farmers by training, but free land had its appeal. They were tradespeople and entrepreneurs. My paternal grandfather was an accomplished blacksmith and my maternal grandfather was much more inclined to start a small business than farm. He eventually ran a bakery in Bonnyville, Alberta and later, after moving to British Columbia, he owned a grocery store. Later, he returned to agriculture to some extent with a quite successful blueberry farm in Abbotsford. My father, in spite of his illiteracy, was able to rise to management positions in the lumber industry, nothing high level, but still, he became a foreman and operations manager of a fair sized wood remanufacturing plant. More important, he was a virtuoso with tools, both creating them and using them. I have no idea how he did it, but without any formal math or engineering skills, he could grind planer knives to very demanding specifications and in a variety of profiles.
I grew up in a small three bedroom house in Coquitlam. I never felt poor but I knew that we weren’t rich either compared to our doctor and dentist or even some of our neighbours like the mayor (reeve) of Coquitlam. Of course, they weren’t wealthy either on the order of a Jimmy Pattison or other corporate magnate. As I grew older, however, I came to fully understand my class position. More on that later.
So, in terms of employment my family life did nothing to prepare me for my life as a college teacher. Higher education was not a consideration in my early teens. In fact, I actually started working in the lumber industry during the summer when I was fourteen years old when my father got a job in a picket fence manufacturing plant in South Surrey, BC. and continued to work in mills and lumber yards for a few years. In a sense I was much better prepared to work in the lumber industry than at a university or college. Partly what turned me away from the lumber industry was an industrial accident requiring lower back surgery. Fortuitously, after I recovered from my surgery, I undertook a one day occupational and psychological testing program as a means of figuring out what my aptitudes might be. A couple of weeks later I got the results of the day’s testing and one of the results was that I had the aptitude to become a writer and maybe an anthropologist. Well, then, I had something to go on. I applied to attend Simon Fraser University but was turned down because of my poor high school record. So, I turned to Douglas College in New Westminster where I was accepted. I did very well there in terms of grades and after a couple of years applied to SFU and got in. Both of my degrees are from SFU.
Strangely enough, although my family had no way of relating to my career choices, it did prepare me for a sensitivity to art. Some of my siblings are wonderful at drawing and painting and one of my uncles was a brilliant artist but made a living painting street signs for a couple of different municipalities. What my family did for me without doing it deliberately at all was show me that art could infuse my life even if I couldn’t make a living at it and that artistry can be found in the studio, in the darkroom, but also at the forge, in the garden, and in the woodworking shop as well as in the kitchen.
In many ways I have had an idyllic life. I’ve had the privilege and opportunity to do so many things. Of course I’ve had my share of trauma being human and all that, but I’ve also had the privilege of learning and studying with some very fine teachers over the years and my years of teaching have been a wonder. I’ve read thousands of books, mostly in sociology and related disciplines, but I’ve also read many books on art and art history as well as novels and stories from which much learning can be had. I’ve been able to travel, canoe and hike in some of the most beautiful places on earth. I have a beautiful home. I have my family. What a gift my family has been. Nothing I say about my family can be enough. No words can express the love I feel for everyone, Carolyn, my children, their children, my brothers and sisters, their children and their children. We don’t always agree on everything, but that’s okay. Everyone’s road is different. Sometimes we do share the road. At other times not so much, but that doesn’t diminish the deep connection I feel for everyone in my family. They give meaning to everything that I do every day. On top of all that, I have my community in the Comox Valley, especially in Cumberland. I feel firmly connected to it and the natural environment here. I know about evolution and the temporality of life; I know that my life is meaningless in the cosmic sense, but I don’t live in the cosmos, I live here and now. I know that it’s a bit of a waste of energy, but I get angry at the utter disrespect some people show towards others and the natural world in which we live. Yes, I do feel love but I also feel anger. I’ve thought about this a fair bit because sometimes I feel anger welling up inside of me and I have some trouble explaining why. Anger is a very complex emotion and it is not easy to explain or dissect. I’ll give it a try though in a post coming soon to a computer near you!
Finally, in future posts I want to explore teaching, writing and art in turn as aspects of my life. I want to explore the processes involved in each activity and my journey in learning how to teach, write and ‘do’ art. As well, I will reflect on the philosophical and social underpinnings of each activity. I’m basically embarking on a bit of a retrospective examination of some major parts of my life but, like a good teacher, I expect some of you might just learn a little something by reading my work. It’s a hope I always had as a teacher with respect to my students, and that hope hasn’t died just because I’m no longer getting paid to teach!
Or, they ‘commune with the devil’, i.e., have sex with him. That’s not much better.
For men who dream of immortality, women, who are so clearly associated with Eros, with the pleasure principle (as psychoanalysis would have it) are a clear and present danger. God is always associated with light, the devil with darkness. It’s a sad state of affairs that men, as long as they’ve been men and not ‘merely’ animals, have felt that women are a major source of their downfall. In fact, Aristotle and many others considered that the ‘vital’ factor in making children rested solely with the male. Women were simply the receptacle for the fully formed life in the sperm. The sperm was where it was at. Aristotle never considered the fact that women might have eggs, embryos that are at least half of the picture in fertilization and mitosis. We can forgive people in the past for not understanding how babies come about but it’s still a mystery for some people apparently.
And procreation is all mixed up with pleasure and sexual desire. Sex is not just about making babies even if the Abrahamic religions denied the notion that orgasm or pleasure were anything more than a distraction from the main goal of sex. Pleasure in sex was always bad, evil, because it drew attention away from the ultimate goal of humankind in bartering with God for access to eternal life. Symbolically, God is spirit, the Devil is body, earth, dirt. Spirit leads to eternal life, the Devil leads to death, eternal death. Our bodies are our own worst enemies. Women just add a double jeopardy to the situation. The equation of women with the devil is clearly derivative of the kind of logic behind original sin, a logic that has prevented equality between men and women for as long as we know.
Historically, artists have not shied away from depictions of women consorting with the devil or as the devil themselves. Look at this image. It’s from a book called On Ugliness edited by Umberto Eco (Rizzoli, 2007).
It’s on page 190 in a section called The Demonization of the Enemy. The image is from Thomas Murner and is entitled: The pastors of the Lutheran Church make a pact with a buffoon or a madman and the devil. (in Von der Grossen Lutherischen Narren, 1522). Now, that’s pretty weird in itself, but the image contains one representation that is of specific interest to me here. Look at the picture of the devil. Do you see what I see? Breasts and a vulva?
It’s pretty hard for me to escape the idea that Murner had it in his mind that the devil is a woman, dragging men into sins of the flesh by her vile seductions. Poor men! How can we resist the temptation? Well, we can’t. Why? Because we’re animals. No matter how stridently we try to deny it, we are animals and we have all the animal urges needed for a sexually reproducing species, urges that can be diverted to aims of pure pleasure in any number of ways. Simple. Well, not so simple for a species that wants to live eternally. We see or know of animals dying all the time, hit by cars, in slaughterhouses, on farms. That couldn’t possibly be our fate. So denying our animal nature is, well, kind of natural for a big brained animal like us. To gain access to heaven we need to deny our animal nature.
According to Murner (and he has a lot of company), women are the source of the fall of man. Original sin was perpetrated by a woman when she convinced poor Adam to eat forbidden fruit. Seductress! Devil woman who leads man into sin, into death, the death of all living things! The only way ‘man’ can convince himself that he deserves eternal life is by denying earthly existence and by putting all his energy into cultural forms of death-denial often in the form of institutions that depict nature as dangerous and deadly to be dominated and tamed at all costs. Include women in the definition of nature in the previous sentence and you have the perfect recipe for misogyny.
The photo below also from Eco’s book reproduces a painting by Franz von Stuck. It’s called Sin and was painted in 1893. The painting is of a young woman wrapped in a huge snake, an obvious reference to Satan, the same one who was the culprit in all the nastiness that went down with Adam and Eve. So, in one stroke, von Stuck clearly associates women with the devil. The snake is a most consistent symbol for the penis in all of human history. So, Von Stuck, the consummate misogynist suggests that this woman may very well be having sex with the devil. So bad! So evil!
Well, it’s all fine and dandy, but in my world, the devil doesn’t exist, making it difficult for women to have sex with him. That didn’t stop The Doors from putting out a song called Woman is a Devil or Mitch Ryder and the Detroit Wheels from releasing a song called Devil with a Blue Dress On.
That said, there’s no way I could even begin to scratch the surface of historical and modern depictions, in the visual arts, literature, poetry, and other cultural forms, of women as devils, as evil temptresses, out to seduce us poor men thereby denying us a life of eternal bliss in heaven with God.
More to come. Stay tuned. Why aren’t men and women equal?
Enough of politics for a bit. This post is about my mistress, art, and Matt Rader, of course.
One of my favourite poets is Matt Rader. Not only because I know him personally, but because of the evocativeness of his poetry (and his prose) and the stunning imagery with which it teases and challenges me.
I’ve been re-reading his book of poems called Desecrations which he published in 2016. It’s a delightful acid trip of a romp through the brush strokes of words and sentences that eventually come together in his poetic evocations.
I’m a painter. I put paint on canvas, paper or wood sometimes with the intent of producing an image that is recognizable, sometimes I stretch my own imagination, pushing the viewer to see the world in ways that challenge long held pathways of recognition and understanding. But, whatever my intent, I cannot control the viewer’s experience of my work.
In the same way, Rader’s intentions in writing his poems are essentially outside the reader’s remit. The reader must read Rader’s poetry just as he or she might gaze upon the images that are the realm of the visual arts.
I’ve attended a few readings by Matt Rader. They’ve always been a challenge for me. I’d think to myself: “What does he want to say with this poem? Where does his imagery come from? What do his lines, as evocative as they are, mean in relationship to one another?” I think that I might have provoked him occasionally to inwardly give his head a shake with my questions which, I admit, were coloured by decades of teaching sociology. I hadn’t realized that his poems, his words, his lines are akin to strokes of the brush on one of my paintings or pencil marks on one of my drawing. I myself have sometimes bristled when a viewer of my work questioned my use of colour or line or imagery. I often don’t know why I’m drawn to certain subject matter or approach and why I would use acrylic paint or watercolour rather than oil paints, or why, on occasion, printing appeals to me more than simply producing one off works.
Matt Rader paints poems with exquisite brush strokes, modelling and carving design, energy and landscape in much the same way I create a drawing or painting. There is no need to explain things to me anymore, Matt, not the juxtaposition of incongruity, not the process by which you carefully craft images, not the incredible research you undertake to bring historical moments, characters, places and events to a life they could never previously have known. You especially don’t have to explain to me the sources of your choices. I get it. At least I think I do.
Part of my epiphany came from my reading of Denis Dutton’s The ART INSTINCT: Beauty, Pleasure, and Human Evolution (2009). Reading Dutton it came to me that I was being too analytical in my assessment of poetry and maybe of art in general. Instead of riding the waves of imagery and luxuriating in the richness of expression, metaphor, simile, and characterization, I was losing myself in my frontal cortex, judging rather than enjoying. Now, reading Matt’s Desecrations again I can simply feel the words as they interweave and congeal into images and sensations, much as I l did in the Orangerie museum in Paris a decade ago surrounded by Claude Monet’s majestic paintings of his beloved Giverny water lilies. Thank you, Matt.
I’ll be visiting this exhibition next month. A colleague of mine on the board of the Comox Valley Art Gallery who has an art school for young children in Comox raves about this exhibition. Can’t wait to see it.