Why I Think the New York Mosque Near Ground Zero is Good

Today, I found out, purely by accident, that I am connected to the ‘ground zero’ mosque in an unexpected way.  First of all, ‘ground zero mosque’ is a terrible name.  The building is not on ground zero.  It’s a couple of blocks away.  It’s simply a New York Islamic center.  I lived in New York for many years and I know perfectly well that lower Manhattan is tiny.  Everything is near ground zero!  For weeks, I have been reading articles about the plans for converting a building in lower Manhattan into an Islamic center and the accompanying controversy, based in large part upon the notion that an Islamic center close to ground zero somehow insults the memories of the 9/11 victims.  I have made my thoughts on the virulent anti-Muslim bigotry spreading across the United States and Europe very clear in an earlier post.  This form of bigotry is going to be seen eventually as one of the great shames of the early 21st century.

During my web travels this morning, I came across a Salon article about how all the fear-mongering surrounding this Islamic center got started.

Here’s a quote from the article:

Dec. 8, 2009: The Times publishes a lengthy front-page look at the Cordoba project. “We want to push back against the extremists,” Imam Feisal Abdul Rauf, the lead organizer, is quoted as saying. Two Jewish leaders and two city officials, including the mayor’s office, say they support the idea, as does the mother of a man killed on 9/11. An FBI spokesman says the imam has worked with the bureau. Besides a few third-tier right-wing blogs, including Pamela Geller’s Atlas Shrugs site, no one much notices the Times story.

Well, as chance would have it, Imam Feisal Abdul Rauf is the older brother of my very best friend throughout my teenage years.  I grew up in Washington, D.C. where Mr. Abdul Rauf’s father was the director of the Islamic Center.  It is a beautiful mosque located on Massachusetts Avenue in Northwest D.C.  I spent many of my days there in the seventies and early eighties because my friend’s family had their apartment inside the center.  Those were days filled with the adventure of young minds trying to explore and figure out what they were going to do in life.  I was – and still am – a non-religious liberal-minded fellow, more interested in riding bikes than attending services.  My friend was the youngest of three brothers and he was very intelligent, rather sensitive, but always an irritatingly persistent arguer on almost any topic we could find.  We’d argue on buses, in cars, walking through D.C., watching TV, going to movies, playing football – just about anywhere was a good spot for an argument.  I spent many weekends there at the Islamic Center playing soccer with my friend and the young men who worked there.  They tried to teach Backgammon to me down in the basement of the mosque where they smoked in secret because if Mr. Abdul Rauf found out about it they would have been in a little trouble with him.  The father took his work seriously.  But he was a gentle and kind man.  He treated me like his son.  I had many dinners at home with the family and Mr. Abdul Rauf never once tried to make me feel bad for not being a Muslim.  He would answer my questions with simplicity and understanding.  He would tell some little stories in order to illustrate a point.  I was always told that he spent much of his time studying the Holy Qu’ran and writing books about it.  I was amazed by his library of books.  His office was a quiet place where books were piled and papers were spilled across his desk.  I liked this man.  He was reserved and slightly imposing, but profoundly kind and he took care of everyone I ever saw him come into contact with.

My friend’s father knew that his son and I had developed a keen interest in Super 8 film cameras.  He invited us to come into the mosque for a wedding ceremony and he said we could film it.  We were to be the chroniclers of a real Muslim wedding!  We prepared for this over several weeks.  My friend taught me the ways of showing respect in a mosque.  He showed me the beauty inside a mosque.  I felt comfortable there even though I didn’t have a religious bone in my body.  Frankly, I felt more comfortable there than I’ve ever felt in a Catholic church.  Much more relaxed.  And the beauty is of a much less imposing and ostentatious nature.  The beauty is subtle and serene.  Like water.

So my best friend and I filmed his father performing an Islamic wedding.  We felt very much in charge of what we were doing and we did the best job we knew how.  I always felt proud that I had this connection to the mosque and its activities.  There were plenty of other occasions the family invited me to.  I even helped them prepare for some of the big feasts and celebrations.  I’d haul dessert trays and pile foods onto tables out in the courtyard.  I’d help clean the family apartment after some big gathering or dinner.  Then my friend and I would sneak into all the leftovers when his parents were asleep.  I believe that this was where I had my first taste of a magnificent dessert called baklava.  It was a good time then and I had experiences that are very rare for an American boy who doesn’t worship a god.

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Film: Sweetheart

Here’s a music video made entirely out of illustrations, photos, and text from second-hand books! I never watch music videos all the way through. But I watched this one and admired its clever associations of images to lyrics. It’s all spelled out for you in the most charming and humorous way.  Good song too!  Ben Reed made this for a band called The Wave Pictures.

Art: Don’t Look Now!

This is the latest version of a print I’ve been working on that’s loosely based on my Yellow Plastic Raygun film. I printed what I thought was my final version on a large canvas and looked at it for several weeks until I decided that it was timid and boring. So I went back to work and tried to let loose with the image and not worry about mooring the thing in some kind of reality. So this is what I’ve got to show for the effort. I like it much better this way.

I also renamed it from Don’t Turn Back to Don’t Look Now!

Here are the first two versions of the print.

Art: John Baldessari Designs iPhone App to Rearrange Crappy Dutch Painting

Artist John Baldessari has designed a curiously dopey iPhone app that allows a user to rearrange most of the objects in a 17th century still life painting called Banquet Still Life, by Abraham van Beyeren.  Looking at this mess of a Dutch painting is like being beaten about the eyes with a hammer.  But Baldessari is promoting his huge current retrospective, Pure Beauty, at the Los Angeles County Museum of Art.  The show is extraordinary.  If you are in L.A. between now and September 12, you should certainly go see it.

The app is called In Still Life 2001 – 2010.

This is the still life I came up with on my iPod Touch.  I got rid of all the annoying little objects and just kept the good part of the painting. But my main question is, who painted in the parts of the background that are hidden in the original? Baldessari? That would be mildly amusing. Frankly, it would be more interesting than the app. Original missing parts of 17th century paintings by John Baldessari!

Here is the horrific original painting:

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Can a Video Game be Art?

Here’s a relatively uninteresting article by Grant Tavinor called Video Games and the Philosophy of Art.  Can video games be art?  I don’t know.  Can a tree be art?  Can a car be art?  Can a rear end be art?  Certainly, under certain circumstances they can all be art.  But forgive my asking why do people spend so much time discussing a question that is equivalent to, ‘Can a hairbrush be art?’

In most cases I think a video game can only be art because of the player.  Any video game, no matter how crappy, can be art in the hands of… well… an artist.  Artists make art.  If you ain’t an artist you can’t get no art.  An artist can load up a copy of Grand Theft Auto on their Xbox 360 and walk into that gigantic world of violence and stand perfect still on a virtual street corner doing nothing but stare at a lamp post for days on end and turn that video game into art.  It’s magic.  Not theory.  Magic.  You know it when you see it.

Here’s a film with my own use of a video game as art.  Well, I think it’s art, but you may think it’s idiotic.  Check it out.  You’ll know it when you see it.  It contains extreme violence and nudity (just like video games!).  It’s intended for an adult audience. There’s my disclaimer.  Here’s the film.

Art: Don’t Turn Back (Two Versions)

Don’t Turn Back (Final Version)

Don’t Turn Back (First Version)

Here’s the little art problem I’ve been working on for the past few weeks.  It’s one of those things where I have no theory or rule to fall back on in order to make the decision.  Aside from some small touches like removing the Sergeant stripes from the figure’s shoulder, I was mainly trying to decide whether the right side of the image should be dark or light.  Ultimately, after scrutinizing the picture from a distance time after time, I decided that it was more dramatic if it depicted a night scene and if the figure was moving away from a more painterly zone toward a more digitized one.  I also made the road on the left a little more defined.  But canvas isn’t that expensive and I might just decide to hang both versions right next to each other in a gallery.

My own favorite part of the picture is right around the figure’s legs where you can see through to the landscape with that slight glow on the ground and how the shrubbery overlaps the neon line of the leg.  The image is about fear.  It is also connected directly to Jean Cocteau and the myth of Orpheus.  The figure looking back is from a single frame of video I shot of a store sign while walking along Hollywood Boulevard at night.  The road is a sharp bend in Laurel Canyon Boulevard near Mulholland Drive above Los Angeles that I shot through a windshield.  The background landscape is a shoreline I shot from a moving car near Rehoboth Beach, Delaware.  The dark palm fronds hanging down are from some throw-away footage I shot in high winds.  The pixelation is the product of blowing up a frame of a digital copy of decomposed celluloid film until the digital artifacts became pronounced.  I made all of these things individual layers and then went in with a digital pen and worked on a trial and error basis to make things come out the way they did.  What is interesting to me about making such an image is how I begin with an initial image – the glowing figure – and shuffle parts of other images on top of and underneath it to build a new image.  It requires an extreme confidence that you will know what you need exactly when you see it.  So you start going through piles of video or photos both on screen and in your head and pull out the pieces that snap into place for a new picture.  It’s like walking up to a leaf on a tree and taking it as the basis for a painting.  You know that from the leaf you will be able to connect to other things and end up with exactly the right final result.

This print measures 68″ x 38″. It’s an original work created from elements used in my film Yellow Plastic Raygun.

Art: Don’t Turn Back

Don’t Turn Back

This is my next large canvas print.  I’ve been making original artist prints through a gallery in Los Angeles. They measure 68″ x 38″. They are original works created from images used in my film Yellow Plastic Raygun.  They are not exact frames from the film, but rather artworks based on segments of the film.

Art: Digital Prints on Canvas

I Was Thinking

I’ve been making large original artist prints of these images through a gallery in Los Angeles. They measure 68″ x 38″. They are original works created from images used in my film Yellow Plastic Raygun.  They are not exact frames from the film, but rather artworks based on fragments of the film.  I make the film, then I mine it for artworks that will stand on their own.  So the film becomes a sort of a paintbox or a scrapbox that I dig through and manipulate.  I could go on working like this forever.  It’s an endless trove to explore.

Wave Rider

I Was Thinking hanging on a wall:

Film: Yellow Plastic Raygun

Well I’m just very pleased about this. The Downtown Film Festival Los Angeles has given my film, Yellow Plastic Raygun, the award for Best Experimental Film. I was having quite a nice week attending various parties and screenings at the festival. Its use of multiple locations in the heart of downtown Los Angeles gives one a real sense of taking part in the life of the city and being involved with something that’s helping to foster the exploding art and film scene in downtown. Most of the short films were screened in the new Civic Center Theater at the intersection of First and Main Streets, in the shadow of the famous City Hall tower that has appeared in so many crime shows and film noir classics. I attended the screening of my own film this past Saturday evening and was amazed at seeing it large since I had put so much work into it on small monitors. What’s great about the Downtown Film Festival is that it shows a wide range of filmmaking styles, crew sizes and budgets. They show films made with lots of production resources right alongside films made by individual artists working with inexpensive HD cameras and even cell phone cameras. I am very proud to have won this and I look forward to more great festivals in downtown Los Angeles from the people who put this together.
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