Alternatives to Talk Psychotherapy
NOTE: Nothing in this blog is intended to diagnose, treat, prevent, or cure illness. This blog is one woman’s opinion, and my opinions are constantly evoluting as I grow, learn, experience, and change my mind.
TRACI L. SLATTON
Author Blog
NOTE: Nothing in this blog is intended to diagnose, treat, prevent, or cure illness. This blog is one woman’s opinion, and my opinions are constantly evoluting as I grow, learn, experience, and change my mind.
I have blogged before on this issue: I am not a fan of contemporary psychotherapy. I’m not the only one who sees it as distorted; take a look at Bert Hellinger’s work.
The Art of Life: How and Why to Look at Sculpture
by Traci L. Slatton & Sabin Howard
My husband Sabin Howard (www.sabinhoward.com) and I are writing a book about sculpture together. He is a working classical figurative sculptor–think Michelangelo–and I am NOT a PhD.
I want to write this book precisely because I am not a PhD. I want to write it for the purest reason: because I love sculpture and it enhances life and I want to share this passion, and its uplifting effect, with everyone. Sculpture is too beautiful, too innately healing, too richly resonant of what it actually means to be human, to be monopolized by a few people with advanced degrees.
I stand for the democratization of art. This is precisely why I have such a strong aversion to post-modern art, which, with its emphasis on ugliness and alienation, has begged to be rejected by the ordinary person and embraced by the few who either 1, make money off it, or 2, get a PhD out of it.
I am here to tell you: art is not dead. Neither is God, for that matter. There’s a burdgeoning movement that is rediscovering both. Beauty, too.
Why do I call this book ‘The art of life’? Simple: when you pause and breathe and take in a sculpture, it brings you back into alignment with your deepest core self. It renews your Self. It deepens your experience of this moment now, of the presence, and Presence, in this perfectly imperfect moment of space-time. And isn’t that the practice of the art of life? It is for me.
NEW REVIEW OF IMMORTAL, COMING IN JULY TO RENAISSANCE MAGAZINE
In a recent National Public Radio spot on Dugald Steer’s Dragonology: The Complete Book of Dragons and other books in the Myth(ologies) series, an enthusiastic fourth-grade fan of those books remarked, “There’s sorta like a fiction way to learn real stuff.” How true—and for adult readers wishing to plumb renaissance Italy while being thoroughly entertained, there is Immortal, Traci L. Slatton’s stunning debut novel set primarily in the majestic heart of Florence. Immortal sweeps across the fourteenth and fifteenth centuries as it follows the tumultuous life of Luca Bastardo, a beautiful blond-haired orphan boy who is kidnapped from a wretched life on the streets and plunged into an even worse existence as a prostitute by a murderous brothel-owner who surely ranks as one of the most vile characters in literature.
Blessed with unnaturally keen senses, Luca’s salvation is his ability to free his mind and soar to calming places while he is forced to “work.” As time passes, others age, but not Luca Bastardo, who at twenty-seven still looks about thirteen. Inventive and lush in the manner of author Anne Rice, Immortal explores the dividing line between the real and unreal, following Luca’s journey across time as he struggles to unravel the mystery of his birth and his ageless beauty while facing a difficult choice: immortality or the chance to find his one true love.
Along the way, Luca survives the Black Death and the Inquisition and becomes intimates with such giants of the Renaissance as artists Giotto di Bondone and Leonardo da Vinci—150 years apart—not to mention Savonarola and Sandro Botticelli. A mix of art, religion, alchemy, and historical intrigue, Immortal is original and beautifully written, a true gift to the senses and an uncommonly good read.
Post Modern Irony isn’t worth the toilet paper to wipe it off our collective tushie…
A sub-title could be, “How to make money off people who are afraid to appear stupid.”
There is an art movement afoot. It is a movement to bring back values to art. It is a movement to bring artistry back into art, artistry founded first on an aesthetic of beauty and truth, second on real craftsmanship, and third on an extraordinary grounding in, and comprehension of, the history of art and the great, seminal problems of form that were last faced with integrity by the likes of Gauguin. By “craftsmanship” I mean years of training, apprenticeship, focus, and hard work.
An artist should be better trained than a lawyer before he or she starts selling his creations.
The art movement is tentatively called “the new realists.” My husband Sabin Howard is one of them. There’s an off-shoot called “the slow art movement,” patterned on the “slow food movement,” which affirms the quality of food and the dining experience in a restaurant that doesn’t take shortcuts but takes the real time required to make the ultimate reduction, for example.
You can eat at MacDonalds, if you wish–but we all know it’s going to make you sick.
Speaking of MacDonalds. We’ve all been victimized by the scam artists of post-modernism. One hundred years ago, Marcel Duchamp did us all a disservice by foisting a urinal on us. Okay, for 2 seconds, there’s a surprising juxtaposition, a shock. Intellectual chicanery. But “they” are still doing urinals, one hundred years later. Shock value is over, guys. I guess it’s just hard to leave the ponzi scheme.
All these post modernist pieces that have garnered acclaim–Piss Christ, Dung Madonna, anything by Julian Schnabel–they have a few seconds of shock value. And nothing else. They have no sub-stratum of meaning or value, no connection to a historical continuum and the crucial dilemmas of composition and structure and light, to rest on. HOWEVER, art critics, PhDs, and museum curators like post modernist pieces because they can blather on about how important they are and RACK UP SALES. Folks, it’s about money–scam art–not real art.
Koons worked at the Met and saw how the trend was going. He’s a smart businessman, I’ll gladly give him that. But he’s no artist, and he’s not creating art. And not just because he doesn’t actually make the stuff, he hires NY Academy students and kids in Italy to do it, either. (I hear he pays them $15 – $18 an hour.) It’s because the expensive chotchki’s he’s putting out there aren’t art.
Is it big business? Yes, but so was Bernie Madoff.
I congratulate Mary Boone and that ilk on their rat-like street cunning; I can admire a pickpocket with the best of them. They created a movement that they were able to perpetrate on people who were afraid to say, “The emperor has no clothes.” So many people have been afraid to denounce this crap for the crap that it is because those gallery owners and PhD students could BLAH BLAH BLAH them under the table. No one wants to look ignorant. And boy oh boy them salesmen and dissertation wonks can really talk! But the impact of visual art is visceral. The point is–the silent truthful ones weren’t ignorant. They were being railroaded by mercenaries.
Yes, your five year old kid can do something equally worthy.
There are no masterpieces of post modern art because the stuff isn’t worth the cardboard, dung, condoms, or lucite case that are used to make it. It’s ugly and valueless. The banal is only worth about five seconds of our time; Marcel Duchamp took up those five seconds. The fact that the National Endowment for the Arts funded this junk on the basis of freedom of expression is one of the great idiocies of our time.
Freedom of expression does not validate the ugly, the meaningless, the valueless. It’s still junk. It’s just junk that the NEA funded–to the shame of the USA.
Specifically, post modern art lacks beauty and truth. It lacks transformational power. It lacks the capacity to vault us out of the coma of our everyday life into a state of heightened awareness, heightened consciousness, greater compassion for the human condition, increased seeking for what is higher. Yes, it makes money for the brokers and museums who pawn it off on people. (I heard that the director of the Brooklyn Museum got a kickback for showing some of the junk; can’t say if it’s true, but it was told to me by an art critic who runs a foundation in Manhattan.)
Look for the new realists. Look for the guys like my husband Sabin Howard, and I guess Jacob Collins is one of them, and I really love John Morra’s work, who are taking the long road around to create something meaningful and real, something that addresses art with integrity. Something founded on an aesthetic of beauty and truth. They may not be the most popular people around, but hey, the doctor who told everyone to wash their hands before delivering babies got railroaded out of medicine. Go look at Frederick Hart’s work on the National Cathedral. I admire Burt Silverman’s portraits, too. Check out Daniel Sprick. I personally find Judy Fox’s sculptures cartoonish, but they’re cute. Worth looking at. She seems to be engaged in it and she’s competent.
Go find the artists who have studied their crafts for years, who are engaged in what art means on a daily basis. They’re there. One thing is for sure: your five year old can’t do anything REMOTELY like what they do.
These are the guys who deserve millions of dollars. I am convinced they will reach those heights–Michelangelo died a millionaire–and that the tide will turn as people get sick of meaninglessness and search again for values, meaning, beauty, and truth. We’ll find the Koons balloons in the garbage where they belong.
Last note: my husband looked at this blog and exclaimed, I’m not a realist. Then he said, Oh lord, they’re going to sue you. Just to clarify, this blog contains my personal opinions.