Sunday, August 09, 2009

Mile 197 on 1-80 in Wyoming

Kris and I are excellent singers; loud and excellent like an overstuffed dryer or a bandsaw. I sing in violent break outs while Kris has been buzzing through audible wood slabs since I met him.

Kris is excited by everything. I often find myself wishing I knew the things I know now when I was a kid so that I could have been informed while still gazing through the awe-filled eyes of a child. "I wish I knew that when I was a kid," is a mantra Kris doesn't know; instead, he points out every plain and purple mountain.


He uses different voices when he sings: Scratchy Dylan voice, pseudo brit rocker voice, squealy- breathy Ween voice. He dances and collapse through each of them as I slip in and out of love with him. Big rocks excite him, red buildings are note worthy, and everything coming from the stereo is celebrated. Kris looks at the world through the eyes of a god he doesn't even believe in. For those who can see this way, everything is fascinating, brilliant, and inherently perfect. People with eyes framed by glorious-god-goggles can see the world as new while knowing all along the origin of everything. These people, people like Kris, not only have eyes that can see like god, but hands that can make anything, and chests burning with adventure though they are in no hurry to get any place.

I read him my writing about the god goggles and he says, "Wow baby you say some damn nice things about me."

"Well, I have been stuck in a car with you for a long, long time."

"And then you don't."

We laugh. He gets anxious and asks to return to Purple Rain. I am feeling introverted and am happy to see him go. "I would die for you" complete with hand motions, and I am annoyed that I am not annoyed by this. Instead I am fascinated, and secretly wish that the children we have not yet made, are as strange and beautiful as Kris.

In the slew of our curly-haired, make-believe offspring we'd inevitably produce one like me. A conflicted--baby. She would be born with a terribly conflicted name like Blanch or the feminine Michael. She would always want to scream and cry and shake her miniature cankled appendages at God, then feel bad for thinking it, or too lazy to actually follow through with it.

So, she'll brut. She'll watch her brothers and sisters in the front of the car, Dad's monster arm around the lot of them, pointing out stars , hills, windmills, contrasting colors, pitched roofs, phone lines, birds on phone lines, epic guitar riffs, construction and car crashes, grey factories, a forgotten piece of furniture, a thirsty landscape littered with the red block letters A-D-U-L-T, stray dogs, authentic american antelope, and stupid and beautiful people. Blanch- Michael would watch as her siblings smother each other with explanations about the root system of an oak tree or philosophy. Small Blanchy will sit on her prune hands as the kids in the front drop bombs on each other; bombs with plumply hand-pained ladies on them. The children of the front of Dad's car reined bombs of ethics and time/ space travel on each other until their brilliant child-minds burst all over, leaving the inhabitants of the car sick with the cancer of inquiry.


Our smug little daughter would sit in the back seat, arms folded over her fiery little chest, loving and hating her family for loving and gushing over one-anothers imperfections. Then I would touch her back, I would push my fingers in her brittle, baby spine until her mussels exhaled. She'd scowl at me like a cat and I will smile. I will show her how to reach her cubby arms up and stretch them behind her thumpy little head. I'd show my daughter how to lean into her own folded hands like a tiny wicker pillow. I will teach her to relax, I will teach her what her father first taught me.


I read this to Kris and he cooed and gushed as he always does, my lumber-jack cheerleader. I returned to my computer screen and gave in to the introverted me. Kris returned to his precious Dylan.

Then suddenly between some consonant and vowel we were parked, Kris was crying, and then, there at mile 197 on 1-80 somewhere in yellow-gray Wyoming we were engaged.

There was no one knee, no audience, no white horse. There was only Kris's red and naked face and my chubby ring finger wearing this strange metal like an itchy sweater. I had said yes. Kris was resting now. It was finished. What the hell does one say now? Just a moment ago he and I were so exposed: crying and laughing, cut open and bundled up. He asked me to marry him in a Wyoming ditch, among the wrappers and empty water bottles hogging the interior of my car, he looked me in my face and asked me to be his wife while I was still wearing my DEVO energy dome. It was the proposal of a working man, the wedding song of the everyday, we were two people sitting in our road-trip people filth and he asked me an inherently Kris question and I answered a very, very Jamie answer.

West coast to Elko



Under two trees growing on the side of I- 80 sat several banana-yellow filing cabinets full of bees. I could hear them humming as we buzzed buy in my pregnant hatchback. The yellow-jackets sleeping in their road-side files spoke to the throbbing hive in my gut.

Today I feel as fat and low to the ground as my sad, red car. Earlier, Kris checked the mirrors as I glanced up from my own thighs; my thighs thick, meaty, and looking back at me as if to ask when the hell we became a woman. I glanced up over the dash to see a blue thing, a hive in its own right, hurling down the freeway pitching grey bees in every direction. Some part of me, probably my thighs, pronounced "oh shit," at which point kris calmly maneuvered our ship through the astroid field of explosive coke cans zipping from a blue ice chest that had abandoned it's truck.

The blue hive was miles behind us before I came out of a vision of road covered with blood and soda; everything equally sweet and sticky. Kris and I laid out on the road, we were dead but at least I wasn't 3,000 miles away. I wasn't in school, nor in my new empty studio. I had never moved into the tiny room in Alice's grandfather's house. I never shook a new palm, or laid in bed alone, or struggled with displaced learning disabilities. There on the pavement with Kris I was swollen and red, rested and still in love. I could still taste the familiar; the stark window of the unknown had been slammed shut by the violence of my death.

When the coke cans came for our car, Kris didn't even flinch; he became focused for a split second then returned to picking at his ever-in-tune air guitar. We were alive, and I was made aware of a new sort of violence. A burning ferocity grandpa Steinbeck and crazy uncle Bly spoke of so calmly in their own controlled rage. The sour smell of a shirt or a beard, the mumbling, the wretched air-guitar, the filthy bathroom, the explanations, the grandfather, the lover, the father, the god of Sodom, of Cane, Jesus Christ turning over a table and Sidhartha under a tree; all the instinctive calamity of a man calming reacting as the smaller violence of something else looked the both of us in the face. I had accepted death, let myself open up to the fear of it all, fantasized about the dark and the disappointment. It was all red and sex, thrill and fright for me and all the while the placid violence of Kris's manhood just kept on.

Friday, July 17, 2009

Month O' art: Cool happenings in central California

Friends,

Greetings! I just wanted to launch into cyberspace some cool stuff that is going on around the peninsula. So, brace yourself...


Paper cutter, pop n' locker, and all around nice guy Kevin Miller had his opening at MMA last night, sending the message to artists everywhere that you don't have to be a 75- year- old landscape painter to show at MMA.

Kevin's work is whimsical glimpse at real life around the peninsula. I loved this show, I love Kevin, I'm so proud to know him and you all should go check out his work . Kevin Miller's montereyNOW runs July 16- November 8th.


Tonight! My favorite redhead is showing at my favorite cafe. Michelle Magdalena is showcasing some very personal work at Cafe Lumiere. The opening starts at 7pm, and I am sure the show will run for at least a month.

Michelle is also the mastermind behind a HUGE nude photo workshop. Imagine this: you and your camera, a bunch of good food, a slew of naked models, and personal lessons- care of Magdalena and Kim Weston. Interested ? You should be.


Jen Fry, my friend/ boss/ aunt, has a shop in Monterey called Never On Sunday and they are having a massive sale. 15% off everything in the store July 16th- the 25th. Never On Sunday is my favorite gift shop in town, and not just because Jen owns it and my cousin, Diane, works there! Go get yourself something nice while scoping out my attractive relatives.

ALSO...

Call for submissions. Our friends at fine art base are hosting a Found Object Art contest. This is a great way to get your work out there, win some prizes, make connections, make some art, and all that fun stuff.
Found Object Art Contest

deadline for submissions
sunday 16.aug.09
$15/member or $20/non-member
members only preview
friday 21.aug.09
Sand City's West End Celebration
saturday 22.aug.09
fine art base is a super cool organization on the peninsula; if you are into art, or interested in supporting the arts at all become a member.
___

And yes, I am currently showing at fine art base. Thank you everyone who came out to see the final performance of the Fear Out Front Project ! The work is still up, if you are interested in seeing it please contact me [for a personal showing, hehe].

I am also in a group show at the National Steinbeck Center that opens August 7th. This group show has some awesome art in it. Featuring works by Michelle , Margo , Paul, Nic , Taylor, Kelly and myself our curator Cristiano has put together a really beautiful and contemporary exhibition.
___

Wow, if you have read this far I commend you for your lengthy attention span.

Thanks!- J.R.

Other cool stuff:
PainterMargo has shows all over the place...check out her blog
Pho wednesdays at Cafe Lumiere . The food is always great and the waitstaff is always hot.
This has been kicking my ass lately.
ELLY's back!

Sunday, July 12, 2009

thank you


Fear Out Front: sing is over for now. Thank you to all out came out to the performance...video coming soon....

Wednesday, July 01, 2009

Upcoming event


Fear Out Front: sing
The final performance of J.R. Uretsky’s Fear Out Front project.

fine art base
652 Redwood Ave, Sand City, CA 93955

Saturday, 11 July 2009 ; 7-10 pm

The culminating performance of the Fear Out Front project will showcase the works of over 15 different local artists who have collaborated with J.R. Uretsky in four performances on the subject of fear. Uretsky worked with local actors, visual artists, and poets in creating artistic environments where the artists could respond to, connect with, and create artworks about fear. You are invited to come and see what Uretsky and these local artists have come up with at a one night event, entitled Fear Out Front: sing, that begins at 7pm on 11 July 2009 at fine art base.


for more info:
Monterey County Weekly
Arts Council
The Herald

Sunday, June 07, 2009

Why Biola Rocks?



Sigh. I haven't trashed anything on my blog for a while, but when the opportunity arises- I just can't help it. This video frustrates me the same way Bill Maher's film "Religulous" did. Both flicks are shot with specific intentions that come through more obnoxious than beneficial. In Maher's case, he's Bill Maher- he knows he's an asshole; the unfortunate thing about the Biola video is that the students in the flick have no idea.

At this point I have to say two things: First, I actually really enjoyed Religulous, once I got used to Bill Maher. The film had a point of view and I appreciate Maher's call to agnostics and atheists to speak up in regard to their religious views. Second, I graduated from Biola and had a difficult yet, life changing experience there. This critique on the "Biola Rocks" video should be taken as... oh, what would the Christians call it.... loving accountability?

That being said, the Biola Rocks video was the most unfortunate pile of bullshit I have seen in a long time. For those of you who put the video together I want to acknowledge some rather artistic shots and good pacing. It was also very professional; the students who made the film actually won a contest put on by the US News and World Report, and in my heart of hearts I am kind of proud.

Unfortunately, like the Maher film there was too much time spent on idiots doing idiotic things rather than, smart people saying and doing interesting things. The video was supposed to be fun, I get it. College is fun, Biola is fun, everyone is having fun but come on... A topless, rippled, blonde guy exclaiming "oh hey, what's popping?" followed by him tossing a football to himself? And this all from a school that proudly takes a stand against masturbation.

One commentator said, "Some of the students seemed really sarcastic in their interviews." Another comment was, "I have to say, I found it to be a little cheesy, and not really all that funny."

That is my issue. The cheese-ball antics of trying to make Biola something that it's not. Biola is not a normal university. For over a hundred years Biola has taken a stand against the norm by being at the forefront of Christian education. Biola scholars have every right to be taken seriously because, regardless of what I or the rest of the world may think about it, they stand up for what they believe in. Another confusing aspect of the video is that academically Biola is no joke. One has to be somewhat intelligent to attend Biola University; therefore, I have a hard time rationalizing the scholastic achievements of the student body with: "Dude, Biola rocks cuz' we can ride scooters... scooters!"

The thing is, it would be simple for me to write this video off as just some stupid youtube flick that is pretty easy to avoid. Yes, the video is easy to avoid but the stereotypes of Evangelical Christianity are not. It is not fair for people like Bill Maher to deem all christians idiots; however, the important things the video said such as, "I love the people," "the teachers are actually involved with the students...it's great to see such a huge family," and "everything we stand for...our core beliefs...are integrated into our classes," are befuddled by a tall asian boy giving hopes to other guys out there, as he confidently pronounces with three hot brauds on his arm, "Biola rocks because the guy to girl ratio."

More links:
yes and yes

Fear Out Front pt 2



come check it out.

Monday, June 01, 2009

come and participate


8 pm
Wednesday, 3 June 2009
East Village Coffee Monterey, CA

come participate. participants will not be asked to perform, but rather artistically respond to the performance in the medium of their choice.

Wednesday, May 27, 2009

sup? yo.

Working from Jen's house has been a blast. Her home is a hand always giving. Gifting: productivity, walks, and strange and beautiful tan lines. This year, in this very house I found love in a dog, a man, and cancer. Here, in her house on a hill, I have become soft again.



This week I have been working on the Steinbeck installation; the project hasn't been timid about letting me know what it wants to be, and thus it grows-and grows.

I have also been working on this collaboration- yet another beast.



"...they are, like desire itself,
born without mouths."
-Sean Nevin

Tuesday, May 19, 2009

sculpting again



At night make me one with the darkness
In the morning make me one with the light.
-WB

This morning I woke up wanting to follow my cat to the kitchen, but I went to the studio instead. In the end I'm pretty happy.

Sunday, April 19, 2009

Artist date night: Fiona Banner "words as a ready made"


While every other artist out there seems laden with the concept of meaning (that is, to understand the work or having their work mean something), Fiona Banner, a contemporary British artist, cannot help but keep her head above the murky waters of understanding. That's not to say that Banner's work is easy to "get" but rather, her works seems to be the product of an art practice that is constantly rethinking the means of meaning. Banner arms herself with the written word, using it to create vortexes of visual meaning.


For example, "Life Drawing Drawings" are a series of drawings/ sculptures in which Banner recreates the covers of drawing books by hand...i.e. drawing the drawing book.


Two of my favorite Banner projects are her written descriptions of films and her performance works about the nude. "Banner investigates the limits and possibilities of written language, drawing on source material from military hardware and films to pornography and the tradition of the nude."

In her work "Apocalypse Now," Banner gives in her own words, a rundown of the entire film production of Apocalypse Now. She does this with several other war moves as well as a porn entitled "Arsewoman in Wonderland".

I see Banner as an artist who is taking the way viewers typically see something, say an epic hollywood film, and runs the viewer's understand of the film's subject matter through the machine of language by using the written word and thus changing the meaning. Banner then recycles the subject matter again through the form her words take and the various histories that are attached to that form; "Arsewoman in Wonderland" is silk screened while "Apocalypse Now" is graphite on paper. By changing up her media, Banner is introducing different histories to her version, of a filmmakers rendition, of war or sex; thus, giving them a sense of permanence despite the continual reinterpretation of their original meanings--or even the original act.

Banner then took her crafted-text-interpretations to the nude by preforming her literary descriptions in the gallery, as if she were in her studio drawing a nude model.

What interests me most about this body of work, is that the multidisciplinary nature of Banner's projects seems to bleed into her collaborative efforts with her models. Banner's work entitled "Mirror" illustrates this best, in that the performative aspect of this piece was done by the model rather then the artist.
View Mirror here!
Mirror, 2007 
Performance with Samantha Morton, 4 minutes, Whitechapel Gallery, London
The actress (Samantha Morton) came to the artists studio where she posed for a nude portrait.
This resulted in a piece of writing.
Never having read the text the actress performed the portrait, in front of a
large audience, at the Whitechapel Gallery the following evening.


Check out more from Fiona Banner at her website and also on itunes.

Monday, April 06, 2009

Sunday, March 29, 2009

thank you







Aimee Buffum
Zach Buffum
Kristofer Cowen
Renee Infelise
Daniel Kelley
Carri Newhouse
Elizabeth O'Malley
Marla Polk
Yvonne Polk
Alisha Ragland
Amber Renee'
Duncan "The Wizard" Russell
Greg Schroeder
Julie Uretsky
Tom Uretsky
David Wilkinson

Saturday, March 28, 2009

art opening tonight



come check it out...

art + environment

Exhibiting Artists:
Margo Mullen
Tracy Parker
J.R. Uretsky
David Wilkinson

The opening reception is Saturday March 28, 2009 from 7 -10 pm. Fine Art Base is located at 652 Redwood Ave, Sand City, CA 93955 .

Sunday, March 01, 2009

February and March shows



My work is currently being shown in two art exhibitions; one in Monterey and the other in San Francisco. If you are in the area it would be beyond awesome if you checked them out.

"Carnal" a group exhibition at East Village Coffee in Monterey.

and

"The Octopi Collective" (featured Monterey Bay area artists) showing at the Kathleen McMahon Fine Art Gallery in S.F.

Sunday, February 22, 2009

artist date night: Janet Biggs



When I think of Janet Biggs I think of juxtaposition... and that she is damn good at it. Her videos, performances and installations use large scale projected images of uncommon relationships to create an undeniable intensity among her viewers.



Because intensity seems to be an undercurrent throughout all of Biggs' work, from form to film, I will refer to her subject matter as "powers" rather than people or places or animals. These video projections put the viewer in the middle of two powers (be them a highly trained athlete or a running horse) and by way of interesting shot framing and good pacing, cause the viewer to join Biggs in celebrating aspects of the individual powers surfaced by the juxtaposition of the the two.



Rather then exposing the human condition, Biggs celebrates human connections and obsessions.



Janet Biggs' lettuce bowl of odd pairings are the result of her having a great talent for cross- disciplinary collaborations, and this is what really excites me about her.


Friday, January 30, 2009

on grad school...on life really.

When I rise up
let me rise up joyful
like a bird.

When I fall
let me fall without regret
like a leaf.

-Wendell Berry

Thursday, January 22, 2009

Saturday, January 03, 2009

artist date night: Brian Dick



Brian Dick is a contemporary artist who lives and works in San Diego. Elly and I ran across his work in a gallery but couldn't spend too much time observing Dick's projects because Sydney's apartment was being engulfed by burnt bagel smoke... it's true. I had seen Dick's work before in the San Diego Museum of art and was intrigued by his whimsical look at self by way of ritual...sound familiar? His sculptures and performances are wonky and hard to talk about without using words like 'fun' or 'weird'. One critic had this to say about his work, and I thought it was a pretty interesting comment:

The work suffers though from too much open ended and fill-in-the-blank interpretations to be successful. Instead it relies on the inherent iconic and bas culture attraction of the materials used which is in sharp contrast to their real-life non-art meaning and existence. The piece is not subversive enough to be critical, not kitschy enough to be catchy and not humorous enough to be satirical – it’s just fun. Art can be fun – or a totem to one’s life.


Dick's work seems to be one of those telekinetic influences of mine: we are both looking at self-identity while being self-conscious about doing so. Check out Dick's video entitled How to Impersonate Myself



Dick's sculptures are haphazard and ritualistic...

"playful temporary sculptures (surrogates) created out of bedding-blankets, quilts and pillows-that serve double-duty documenting his daily ritual of making his bed differently each day ("Making My Bed")."

"Dick’s photographs documenting his daily ritual of making an artwork out of bedding"

Brian Dick's Nationwide Museum Mascot Project is one of projects I saw and the Museum in San Diego. Dick collected items from the community surrounding the Museum where his exhibition was held, and then created a mascot for the Museum.



One Free Corn Dog for the Price of Admission at San Diego Museum of Art
a museum 'mascot' created from secondhand materials found at local thrift stores ("Nationwide Museum Mascot Project")

The following work is from the show Elly and I saw. The show was weird; the immediate highlight of the show was a video of a woman making faces. The work has been bouncing around my head sense I left San Diego and thus, has grown on me. There was "a self-portrait of Brian standing in a field wearing a 10 foot air-filled balloon on his head with a giant caricature of him on it" in the show and the image itself I found rather unappealing. However, Dick's work sparked my fancy in that he seems to be capturing a sense of self through embodying characters of himself that he has created. This concept is something I attempt to do in my own performance work.


"by embodying the essence of his subject (Tim Robbins) through facial memory, or what he terms ‘muscle mimicry'. These and other works illustrate Dick's continuous dissection of the varying ways the self can be generated and represented. Each can be seen as an experiment-a playful, humorous excavation into his true identity that continues to unearth endless possibilities."

yay Brian Dick!