yes 2009 is already looking like it may be quite a beautiful year.
you see, i'm moving to new york in february. january in the meantime will be spent with various loved ones in the US and europe, and then it's off to 111th and lennox for me... to start a new life, once again.
i admit new york was always my dream, DC was a backup plan made out of prudence and practicality - i figured it was easier to find a job there (which theoretically it is), so i settled for post-oxford life in our nation's capital. i don't regret the decision, and being there did get me wonderfully connected in the fistula world, which i will now continue to work with (though more involved - or that's the idea) in new york. my largest reason for wanting to be in new york, however, is.... art. yes, pure and simple art.
many know that my initial aspiration when i was 17 and 18 was to be a contemporary art critic. i worshiped
art forum magazine and wanted to be one of their writers, dropping words like "the other" "public vs. private" "transient" "the politics of ____" and "post-greenberg aesthetics" in each paragraph i penned. as i grew older and my other passion (africa) took a larger role in my life, so i shoved lacan, jameson, and baudrillard to the side in favor of ferguson, soyinka, and de waal. i'm very happy where i am now, but admit i still loooooong for the unabashed pretension and self-absorption of the art world :) i don't want to be sucked into meaningless, cynical expressions of overly self-important artists (jeff koons, bleh), but i do want to feel challenged and enlightened by the hundreds of gallery/museum spaces in new york city...
my move away from art was in many ways due to my reading of robert hughes' book
the shock of the new when i was 18... he states boldly that "it is hard to think of any work of art of which one can say, this saved the life of one Jew, one Vietnamese, one Cambodian. specific books, perhaps; but as far as one can tell, no paintings or sculptures." i was thrown to pieces as to the point of studying art at all after reading this, and wanted to get away from the esoteric to the intensely practical.
BUT... i realized something quite the opposite after making my "practical" journey to mozambique: no, perhaps it's impossible to stop an entire genocide by painting a picture. but this is a very shallow way to look not only art, but also genocide itself. if we expect events to be only catastrophically massive and overpowering to be real, than we are living with a very false conception of reality. no genocide or war is anything more than minute, banal actions by individual people. all events in life can be reduced to the very act of daily existence - and it is HERE that art speaks to. yes some pieces (like
guernica) can seem entirely other-worldly in their scale, but even such a canvas had to be diligently painted moment by moment by picasso - and can only be viewed in the physical moment of standing in a room in madrid. global poverty is a massive problem, no doubt - but if we look at as this amorphous entity of sorrow we are quite literally useless. instead why don't we look at it for what it actually is: daily, minute struggles of millions of individual human beings. yes there are large political machines that dictate much poverty, but do those political machines function without individuals? no, nothing does. (remember hannah arendt's brilliant phrase "the banality of evil" - becuase that is all it is, truly.)
and so in this sense, art - which speaks on an individual level (no matter what you say about collective consciousness or culture or whatever) - IS useful, is beautiful, and must be continued to be made, explored, and sought after.
so yes, i am very very excited to be in the heart of such a city as new york. with its absolute infinite potential for artistic spaces and expressions. and at the same time to continue working on fistula - to blend the two worlds in my own daily life. and so yes, 2009 does sound incredibly promising to me.... i do hope it is the same for you :)