Artful Dodging

I have a close friend who is a career classical musician and teacher. She is, as many would expect, a professed liberal. She learned quickly upon meeting me as a student that I was conservative. In spite of this difference, we manage to have a great relationship. I credit some amazing folks I've met online with that fact. They taught me the correct way to handle political conversations; keeping it civil, staying calm and logical, and ending conversations when personal attacks begin. I'm thankful for their guidance, but that is a topic for another time.

My friend and I were discussing, as we do a lot lately, the state of arts in our city. The orchestra is yet again struggling with bankruptcy and the harsh possibility of job cuts. They seem to do this periodically. With donations down and interest in classical performances at a low, it's almost certain the orchestra will be changing, perhaps for the worse.

I sympathize with my friend and her sister, who is a full-time musician with the orchestra. I feel sorry for those who love what they do, have a passion for music, who now await what is likely a termination of their position. I've been there, I know how that feels. But our conversation soon turned to the happenings with NPR. We didn't go deeply into the subject, which was likely a good thing, but she mentioned a stereotype that I quickly had to refute; the belief that conservatives don't care about the arts.

It is a vast liberal stronghold, the thought they hold a monopoly on compassion, acceptance, and mercy. This monopoly consumed the arts in the 60's, when free expression and abstract thought became the norm. Art wasn't truly art unless it was difficult to understand and grotesquely provocative. Liberals fed on that resistance to 'the man' like a leech on the lifeblood of the creative. They manipulated artists and musicians into believing conservatives wished them squashed in the fiscal wheels of progress by donning condescending smiles and offering bribery in the form of government funds. The National Endowment for the Arts started in 1965, a way for Big Brother to subsidize what it saw fit for the insipid public to appreciate as art. A firm grasp on the reigns of expression would ensure the proper message came through. Politically backed art is one thing and one thing only: propaganda.

NPR and PBS are like the NEA. Their acceptance of public funds, no matter the percentage, make them susceptible to all kinds of whispered influence from D.C.. There are always strings attached, no matter what you're told. My friend seemed to believe the call for ceasing funds to NPR and PBS was an attack on the arts themselves and liberals want people to believe such rubbish. I had to set her straight by explaining this 'devil on their shoulder' concept. I also suggested she look deeply into the contributions made by private citizens and companies when it comes to the arts. I believe she would be surprised to find just how many conservatives there are on those lists.

I don't think conservatives hate the arts. Conservatives believe in things self-sustaining, work done the proper way. What better testament to freedom and ingenuity than an artist or arts organization succeeding on their own two feet? The truth may be that the arts have grown to hate conservatives. The lies have gone from backroom gossip to art-scene gospel. Conservatives love and support the arts as much as any self-righteous liberal. Stereotypes have trumped reality and it's time we started setting things straight. When opportunities arise, and they will, we must speak our minds, tell the truth, and be artists of grace. Only then will a more beautiful picture develop.

We Are All Socialists Now

"We Are All Socialists Now"
graphite on paper

"Do you know how it worked, that plan, and what it did to people? Try pouring water into a tank where there's a pipe at the bottom draining it out faster than you pour it, and each bucket you bring breaks that pipe an inch wider, and the harder you work the more is demanded of you, and you stand slinging buckets forty hours a week, then forty-eight, then fifty-six - for your neighbor's supper - for his wife's operation - for his child's measles - for his mother's wheel chair - for his uncle's shirt - for his nephew's schooling - for the baby next door - for the baby to be born - for anyone anywhere around you - it's theirs to receive, from diapers to dentures - and yours to work, from sunup to sundown, month after month, year after year, with nothing to show for it but your sweat, with nothing in sight for you but their pleasure, for the whole of your life, without rest, without hope, without end ... From each according to his ability, to each according to his need ..." - Chapter 10 'Sign of the Dollar' from Atlas Shrugged by Ayn Rand

Last week, I read an article at Big Government about an art student at Pratt named Steve DeQuattro. This student is experiencing the huge double-standard in the arts world. Artist, musician, actor, dancer, it doesn't matter. If you hold conservative beliefs, you could be the next Michaelangelo and the 'elites' would treat you like dirt. The arts are awash with prejudices. There is plenty of room for art for art's sake, as long as it's the sake of liberal propaganda. A work can be positively confounding and devoid of all skill and still be hailed as a masterpiece if it's making a 'statement' the art community condones.

As an artist, I know the culture can be tough. A few years ago, I began doing some political pieces, but I didn't publicize them. Most of them don't even feature my real name. Now, I find I am doubly careful. I've been an unemployed graphic designer for almost a year through no fault of my own. I'm desperate to find work in a town drowning in recession and graphic design over-saturation. Though I feel compelled to share my emotions through my art, I'm scared that a potential employer may find it. There is simply very little respect for creative dissent when it falls to the right of the middle.

Perhaps that feeling of being trapped helped inspire this piece. Two people, bodies strong, but faces gaunt, are chained together. They're blindfolded because it's so easy to lead the blind. He holds a hammer; she carries a sickle. They both drag a broken and beaten Liberty by a metal noose. Everything is lit from underneath, as if they tread on a bridge above a river of flame. I returned to my non-digital roots for this piece because the graphite is so visceral.

As someone who struggles with the dichotomy of belief and need for employment in a field that rarely shares my belief, I know what it's like to work in chains. I spent years wearing a blindfold, simply participating in the daily grind, hoping to make it another day. I'm inspired by Mr. DeQuattro's courage. It's not easy to defy something that seems so insurmountable. And if I manage to find employment again, I hope I can continue to express myself in pieces like this and not fear for my livelihood. I do not have the courage quite yet to spread this around under my real name. It will never be in my portfolio. I share it now in cautious solidarity. If I'm found out, which is distinctly possible, I suppose it will be for the best. But you're not alone Steve. You were never alone.