Activism.

ESTABLISHING CIVIL RIGHTS FOR VISUAL ART, ARTISTS AND ART HISTORY BASED ON ART HISTORY. CIVIL RIGHTS FOR ART HISTORY = VISUAL ART

THE TRUTH MUST COME FIRST.

By chance I was educated by an unknown academia called occult and art metaphysical academia.

As a high school student graduating in 1974 I was given my choice to attend one of the then twelve accredited art colleges in the United States. My high school art teacher Dean Barber had talked my father into funding such an education for myself. I will be forever grateful to the late Dean Barber for his encouragement and dedication to visual arts instruction and from a strict and challenging but delightful and distinctly old school gay man in conservative Charlotte, NC. To prepare me for my future life Dad would ask me “how are you going to pay the rent” and tell me “you are not coming back home to live”. As a fatherless child during the Great Depression his mother and he had borne great hardships as many others of that time had also suffered. Art was irrational to my parents and was encouraged by my mother but because I was greatly limited in my expression of intelligence otherwise. At that time there was no sustainable art market and becoming an artist outside of teaching was an almost guaranteed path of poverty. After my graduation Dad drove to Atlanta to the Atlanta College of Art to denounce my education because the Atlanta College of Art had no alumni association and was not in a position to help me find a job. It was not until he was seventy eight years old that he accepted my path in life and which was a dramatic event.

Mother would say “art can be anything” and therefore art was nothing. Mom appreciated art a little but greatly distrusted it. In growing up Mom did enjoy drawing on our family chalkboard and we would add to each others drawings and laugh. Later in life she told me as a child I called my imagination “it”. “It” is what I experience in life.

My parents had IQs of 146 and 147, genius IQs with my mother on top. My father told me as a child he thought I could not be educated.

For my first memory I found myself sitting on the edge of my bed in the dark and delightfully watching three friendly fuzzy grey cartoony ghost like shapes flowing around in front of me. They had tiny glints of color and shape inside their bodies. When I found myself aware of this the three fuzzy shapes came inside my mind and being and filled me with joy and companionship that remains unbroken inside me to this day to this day. In art school I came to understand and name these shapes as “our friends, the elements of perception”. in 2019 CEO Sarah Owen of the Collaboratory told me she had never heard of someone who had witnessed the birth of their self awareness.

From infancy I developed seeing inside and outside my mind at the same time. This is infinite fascination for me and provides the basis of my relentless visual curiosity. Developing this way as a child made learning for me mostly impossible and there was no guide book for the parents of such a child as myself. I am attracted to and follow the light of people, places, art and ideas whose light presents itself as special to me. This is how I have always navigated and understood my life, it is a life of chance.

It was the care and affirmation I received at my through the week day care at Myers Park Baptist Church that nourished me and my artistic expressions and Christian experience. A Mrs. Harrison was one of my day care teachers and she lived up the street from me and later I mowed her lawn as a boy. She told me in kindergarden that my year older brother Lee and myself would paint and sing as we stood on opposite sides of the “A” framed easels where we used brush and tempra paints to make our art.

Child educator Edith Collins published “Sprouting Acorns” in 2015. This is her documented collection of select stories from her fifty years of experiences as a child educator for four and five year olds. After my father’s death in 2018 his minister told me the book is used in church ministry and is considered a metaphysical book of illumination. “Ground Up Chest Of Drawers” was her story of my year older brother Lee and myself painting the same abstract painting and naming it the same unusual title “Ground Up Chest Of Drawers” but one year apart. She had recorded that she had asked us if we wanted her to sign our names and title on the backs of the paintings, that was her policy apparently. Edith Collins recorded that she had asked mom to explane this unusual occurrence and mom reckoned it came from us boys watching my father refinish furniture during that period. Not to be critical of my mother, she was exceptionally rational. Mom’s speculation was just that, her account doesn’t take in consideration as to why we would express what we saw as an abstract composition and the same one. I saw my brother as light, we were together in delight and experience though he was also very cognitive and intellectually bright. Lee died by accident a month before I went to art college. I was cast into a long darkness but went forward to art school with joy and wonder.

Director Dellinger of the Bob Rauschenberg Gallery is interested in establishing the innate nature of human artists creating visual art and sound art and through a concept called “connectivity”. I gave him a copy of Sprouting Acorns to help him document and establish connectivity as a fundamental aspect of human identity and possible origin of innovation or inventive genius. On the edge of artificial intelligence establishing human connectivity is of fundamental importance.

In Jr. high school I was given an IQ test. I had no measurable intelligence in English or math. There was a section of abstract reasoning where you predicted the shape of a form after it was folded or unfolded. I scored 99 out of 100 correct. A man from the IQ test came to talk to me and he told me I was unusual but that I would be OK.

I graduated from elementary school, Jr. high school and high school by preforming special art assignments because otherwise I would not of graduated. Once I showed my family a drawing I had done but misspelled a word in the drawing. They all laughed enough to crush my spirit – or so it seemed at the time, otherwise the drawing shows remarkable maturity, control and innovation. To this day I do not come out in public due in part to such rejection and humiliation.

hard wax and @2 pencils, engineers gridded paper, stiff paint brushes. There were few people making art where I grew up, mostly it was eccentric and queer children who made art, mother arranged , take me around , woman , both man and woman

I was talented and dedicated enough to visual art that my high school art teacher Mr Barber would recommend that I go to a special college of visual art . I selected the art college that was the most experimental and mysterious to me and in which I felt I might learn the answers to the questions I had about my vision and visual art, I wanted to know what “it” was, I wanted to know what it was I experienced and was challenged by every second of the day. The other art colleges were outstanding but I was familiar with the visual cultures they represented and ACA stood out. That was one of the best days of my life, sitting on my bed with twelve catalogs from the accredited art colleges of my time and hoping for my future.. I am grateful my parents sacrificed to send me to the Atlanta College of Art. ACA was a museum college of visual art located on the top floor of the High Museum in Atlanta Georgia. We were prepared for critical engagement.

The Atlanta College of Art

Foundation Program Director Bill Nolan introduced himself to our class of 1978 as the academic warlock Bill Nolan of photographic memory. Nolan told us that he was the head of a secret academia called occult and art metaphysical academia. Nolan told us the academic occult had always worked for the powerful in power in western governments. Traditionally the academic occult had created cultures across the centures to suit the purpose of sustaining power for governance and societal elete. The academic occult had always programmed academia for these purposes. To demonstrated his photographic memory Nolan had a student pick out a collum from a random page from the Atlanta telephone book and which he looked over briefly then recited the collum to our class while the student checked off the list. Our class was astounded and I knew I was in the right place.

Nolan explained there was a form and function to visual art and a historic elements of perception. We were told there is a periodic table for visual art like there was for physics and chemistry. The historic elements of perception were composed of six elements, the circle, the square, the triangle, the red, the yellow and the blue. The knowledge of how these elements composed the artifacts of art history as human self awareness and how to manipulate the six elements and make art was called “white magic”. This meant the knowledge was either true or false, it was abject knowledge. The processes were based on chance, it was predicted that through chance operation of the elements of perception a new form could be invented. Inventing a new form is something that could change art history and how academia considers human identity and how civil rights were applied to the definition of human identity through artifactual history – art history. To Nolan it did not matter what your religious affiliation was as that it did not effect the truth of the elements of perception. My professor of English writing and Jungian studies was Christian and metaphysician, my religious studies professor was Buddist and conceptual Marxist, my painting instructor was Christian and modernist, my drawing professor taught Urantia and unknown metaphysics of Hindu visual prana.

Nolan told us that “white magic” was a metaphysical disipline and in six or seven months of study and practice we would enter a state of “creative consciousness” and be able to begin the psychological differentiation of all visual perception. Through the study of art history as valued by the academic occult and observation of nature (manmade or not) we would be able to measure one visual color vibration and texture from each other and for the chance of recognizing a new formation of color and texture and for the ability to create it. In this way we would know if we or any artist was expressing their own structure, their own truth, their own art history or wether they were derivative and unoriginal. This could be brutal truth and especially for a desperate struggling artist. We would come to understand the utility of art and how art had always been used for purposes of revolution or control, decoration and ornamentation or camouflage. For me the dawn of this perceptual state has given me continuous and evolving structure and utility for my innately visually curious mind .

Here I was born with an ability to visually predict shapes and then by chance going to an institution where this was instructed as the basis of human perception expressed as visual art. It would take me a lifetime of study and practice and belief until 2012 and I could more effectively begin to liberate myself from my disabilities . This is when I invented my first element of perception – Extracted Found Paint as Painting.

The beauty and accessibility of this knowledge has always been held in secret. The more aware I became of this secrecy the more outraged I became. What was our government doing with a secrete academic occult and hiding the fundamentals of visual perception? that question has been on my mind my entire adult life.

To illustrate the significance of this disipline of white magic I can relay this unknown story: the Guerilla Girls were admitted into the cannon of visual art in 2019 by Dr. Chase FSW and during the exhibition of Guerilla Girls: Rattling Cages at the Bob Rauschenberg Gallery and as curated by Director Dellinger. I had gone to the Gallery and Director Dellinger and I were talking and discussed that the Guerilla Girls were admitted into the cannon but not for inventing a new form in visual art history / painting. We discussed that it was unknown why the Guerilla Girls had been admitted into the cannon. As for now the Guerilla Girls are a new historic element of perception and as a necessary wild card. It does introduce subjectivity into the historic elements of perception but if the knowledge of white magic is made public this new wild card will be on solid ground. In 1979 the formlessness of quantum physics was applied to community development and the whole six historic elements of perception were distorted and broken – I will explain further later. Such a conversation would be impossible if I had not mastered the knowledge and broken the barrier of Rauschenberg’s “void” (formlessness of quantum physics was applied to community development ) and that was separating the academic occult and the citizenry. All of this knowledge is unknown and unknowable through any computer, book, academia , culture center or governance outside of the Bob Rauschenberg Gallery and Director Dellinger. Director Dellinger is currently not free to disclose this knowledge. Director Dellinger made me environmentalist at this time and during his exhibition and during a pop – up exhibition and by introduction to Fluxus member, JIMA environmental artist and FSU professor Sean Miller.

forty years

We are vibrations in space, no words – spacial contradiction

Leonardo da Vinci ‘s perceptions and inventions established the perceived necessity for secrecy and for capturing the power of his discoveries for an elite to rule by natural logic and establish occult natural law – the right of the enhanced to rule.

Nolan was very kind. I took his year long color theory class based on Joseph Albers color theory. I was his worst student, eventually i would master the knowledge and develop my own expression of color. Albers was at Black Mountain College with Robert Rauschenberg, John Cage, etc teaching them color theory.

ACA was acquired by SCAD (Savannah College of Art and Design) and became SCAD Atlanta in 2005. SCAD has been noted as the world’s leading institutional system of arts education. The library of ACA and the academic warlock Bill Nolan is stored in two separate institutions and is not available online.

As an interjection I will offer this story as a partial illustration of our broken culture : I had video recorded the former Director of the Bob Rauschenberg Gallery in 2013 in his final act as Director declare visual art to be an applied art. He separated the history and humanity from painting and gave them to a professor of history at FSW and declared visual art to be an applied art. It was decided the history and philosophy of art was not necessary for artists to be burdened with and such considerations should be left up to academia. How and why Robert Rauschenberg shaped this concept for our government I will explane later. In truth beginning in 1979 this policy of treating art, artists and art history as vocational has been effect in academic and civil culture direction and governance. I later gave the Bob Rauschenberg Gallery a copy of my video recording.

In 2012 when I introduced myself to the new incoming Director of the Bob Rauschenberg Gallery Jade Dellinger at a Meet and Greet at the Sidney and Berne Davis Art Center I told him I had recorded the former director separating the humanity in painting from painting and declaring painting an applied art . I told him I extract paint from forgotten cans to exhibit as painting. From his reaction I knew I had the basis of establishing American Revolutionary counter revolution to academic and civil culture direction and governance.

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