At the time of the attacks of September 11, 2001, I was living in NYC and was working on a series of animal paintings: the animal alphabet. When I got back into my studio, a week afterward, I wondered what the hell I was doing --working on such lightweight material when there was so much serious material out there. Serious issues to be dealt with. It seemed, at the time, that the very act of making art was a ridiculously frivolous pursuit and I felt a little rudderless.
Then I realized that maybe artists and other creative people could help strengthen America's defenses and sent a letter off to Homeland Security. (Which at that point was a brand new office with none of the associations that it has now.) Nothing came of the letter, but I still felt good having sent it.
Then I started thinking about and making art about the attacks. About New York and America and the world. And our place in that world and where we had been and where we were right then and where we were likely to go. Art about my feelings about the attacks.
After I'd made a couple of pieces, I had the idea of organizing a show of work about 9/11, a big group show in which different artists would contribute pieces they'd made about the attacks. I spoke to a couple of artists I knew and asked them to participate. I told them of the pieces I'd made or planned and explained the idea of the exhibition. Both of them said the same thing: the show would be more interesting if it traced the feelings and thoughts of just one artist: me. I listened. And got busy making art.
In the midst of this, I ended up at a party at my friend Andy's house. Andy is an "idea man", a beautiful mind, and he had an idea to create an installation at the offices of his company, Kate Spade, about the attacks. Many of these pieces are ideas I came up with for that installation that never happened. Props to Andy for encouraging this body of work.
That art became this exhibition, "After the 11th", which was exhibited at Bridgewater Fine Arts in Soho in August and September of 2002, on the one year anniversary of the attacks that changed everything.
Tuesday, September 6, 2011
Artist’s Statement (from August 2002)
In “After the 11th,” I’ve identified the psychological, emotional and intellectual states I’ve gone through since September 11, 2001 and have created a piece of art corresponding to each one.
The first piece I completed was in late September: “Resentment,” a noose made out of approximately 180 U.S. dollar bills. Next came the word painting “Shell shock,” which reads “Airplanes going over has become the new sound of screeching tires,” followed by an enormous ransom note from terrorists to us entitled “Violation.”
Having completed these three pieces, the overall concept for this body of work started to become apparent to me. I began thinking about the psychologist Elizabeth Kubler-Ross and her 5 now-famous states of grief for those faced with the death of a loved one: “denial,” “anger,” “bargaining,” “depression,” and “acceptance” and I realized that I was following a similar path. So using Kubler-Ross as a conceptual springboard, I began to identify all the feelings I was having in the aftermath of this defining moment in American history and in my life as an artist living in downtown Manhattan. The list grew and grew, encompassing all the feelings I had as a New Yorker, as a father, as a political skeptic, as a liberal, and as someone who truly appreciates the rewards and responsibilities of being an American.
The one thing that each of these pieces have in common is sincerity: “Admiration of bravery” is a sincere admiration for the bravery of those who gave their lives attempting to save others in the World Trade Centers. “Dread,” “Patriotism,” and “Confusion” are just as sincere as “The feeling that capitalism is perversely indomitable” and “The feeling that the war effort is being marketed to us.” Having a critical view of my government has never stopped my from loving my country, a sentiment that can be found in “A feeling of suppression,” a t-shirt stamped with the motto “dissent keeps America strong.”
As I near completion of this very personal body of work and prepare to exhibit it, a question pops into my head “who is this show for? who is the audience?” And I’ve realized that the ideal audience to appreciate it to its fullest are my fellow New Yorkers. I hope that they will come and appreciate this show and maybe even do as I have and understand a little better some of the feelings we’ve all experienced after the 11th.
The first piece I completed was in late September: “Resentment,” a noose made out of approximately 180 U.S. dollar bills. Next came the word painting “Shell shock,” which reads “Airplanes going over has become the new sound of screeching tires,” followed by an enormous ransom note from terrorists to us entitled “Violation.”
Having completed these three pieces, the overall concept for this body of work started to become apparent to me. I began thinking about the psychologist Elizabeth Kubler-Ross and her 5 now-famous states of grief for those faced with the death of a loved one: “denial,” “anger,” “bargaining,” “depression,” and “acceptance” and I realized that I was following a similar path. So using Kubler-Ross as a conceptual springboard, I began to identify all the feelings I was having in the aftermath of this defining moment in American history and in my life as an artist living in downtown Manhattan. The list grew and grew, encompassing all the feelings I had as a New Yorker, as a father, as a political skeptic, as a liberal, and as someone who truly appreciates the rewards and responsibilities of being an American.
The one thing that each of these pieces have in common is sincerity: “Admiration of bravery” is a sincere admiration for the bravery of those who gave their lives attempting to save others in the World Trade Centers. “Dread,” “Patriotism,” and “Confusion” are just as sincere as “The feeling that capitalism is perversely indomitable” and “The feeling that the war effort is being marketed to us.” Having a critical view of my government has never stopped my from loving my country, a sentiment that can be found in “A feeling of suppression,” a t-shirt stamped with the motto “dissent keeps America strong.”
As I near completion of this very personal body of work and prepare to exhibit it, a question pops into my head “who is this show for? who is the audience?” And I’ve realized that the ideal audience to appreciate it to its fullest are my fellow New Yorkers. I hope that they will come and appreciate this show and maybe even do as I have and understand a little better some of the feelings we’ve all experienced after the 11th.
1 “American Symbol” 1998 Acrylic on canvas 71 x 75”
This piece predates 9/11, and represents the kind of work I had been doing: using animals as symbols for human conditions. In this case, it’s an American Bald Eagle, flying high over the purple mountains being attacked by smaller birds. In researching the bald eagle, I found it very interesting that they frequently get attacked by smaller birds or flocks of smaller birds. In this painting, each of the foreground attackers is an actual bird, native of a specific country that might have any hostile feelings toward the U.S.. As a result of these frequent attacks, we sometimes lose sight of our goals, or drop our prize. In this case, the fish being dropped is a native North American species, the Muskegee, or Muskie.
2 “Disbelief” 2002 Computer prints Dimensions variable (Photo courtesy of Robert Clark)
This is one of the most enduring feelings to come out of the events of September 11. I can’t believe it happened. I do believe it, but perhaps one part of my brain won’t give up the feeling that it simply couldn’t have happened. I wanted to use a million copies of this image, to represent how many times I saw it on tv and in print media, but it simply wasn’t practical. I thought maybe I’d do one for each person who died, but had another piece that dimensionalized that number. In the end, I put as many as I could fit on the gallery wall.
This is one of the most enduring feelings to come out of the events of September 11. I can’t believe it happened. I do believe it, but perhaps one part of my brain won’t give up the feeling that it simply couldn’t have happened. I wanted to use a million copies of this image, to represent how many times I saw it on tv and in print media, but it simply wasn’t practical. I thought maybe I’d do one for each person who died, but had another piece that dimensionalized that number. In the end, I put as many as I could fit on the gallery wall.
3 “Admiration of bravery” 2001 Acrylic on wood 30 x 37”
What can I say? Here are a group of people dedicated to saving lives, not taking them. A group of people for whom fear doesn’t get in the way of doing their jobs. I admire them greatly. “5” was my local fire house and 343 is the number of brave souls from the fire department who perished that day. I wanted to make this painting like a woodcut, unemotional, strong, enduring and heroic.
What can I say? Here are a group of people dedicated to saving lives, not taking them. A group of people for whom fear doesn’t get in the way of doing their jobs. I admire them greatly. “5” was my local fire house and 343 is the number of brave souls from the fire department who perished that day. I wanted to make this painting like a woodcut, unemotional, strong, enduring and heroic.
4 “Magnitude of loss” 2002 2,801 empty hangers, 2 coat racks each 60’ long
This piece made me cry repeatedly. It successfully dimensionalized the number of dead. So many empty hangers. Something about the mundane tools that would no longer be needed to hold the coats of the dead seemed both mundane and profound. Moving in an ordinary way.
The idea of this piece was that visitors to the gallery would be invited to write the name of one of the deceased on a “remembrance tag,” a claim check. They would place the large part of the tag over the hanger and take the claim tab with them as their own remembrance.
The poet T.S. Eliot said “I have measured out my life with coffee spoons,” and the connection between the mundane objects and the days of our lives has fascinated me ever since.
I bought the pipes and fittings at the Home Depot in Brooklyn and my local dry cleaner ordered me the hangers.
This piece made me cry repeatedly. It successfully dimensionalized the number of dead. So many empty hangers. Something about the mundane tools that would no longer be needed to hold the coats of the dead seemed both mundane and profound. Moving in an ordinary way.
The idea of this piece was that visitors to the gallery would be invited to write the name of one of the deceased on a “remembrance tag,” a claim check. They would place the large part of the tag over the hanger and take the claim tab with them as their own remembrance.
The poet T.S. Eliot said “I have measured out my life with coffee spoons,” and the connection between the mundane objects and the days of our lives has fascinated me ever since.
I bought the pipes and fittings at the Home Depot in Brooklyn and my local dry cleaner ordered me the hangers.
initial sketch of this piece:
5 “Sorrow” 2002 Mixed media dimensions variable
My friend Andy Spade suggested this idea to me. He had conceived of an eternal dripping of water. Like an eternal flame, but with water. Flowing outward eternally. I dubbed it the sculpture of a million tears and paired it with another piece, “Forgetfulness,” feeling that forgetfulness is how time heals all wounds.
My friend Andy Spade suggested this idea to me. He had conceived of an eternal dripping of water. Like an eternal flame, but with water. Flowing outward eternally. I dubbed it the sculpture of a million tears and paired it with another piece, “Forgetfulness,” feeling that forgetfulness is how time heals all wounds.
6 “Violation” 2001
Poster pieces on canvas 110 x 84”
This was the second piece I thought of. It was not too long after the attacks that I started feeling as if I were being held captive. Held captive by fear, held captive by CNN, held captive by terrorists. This ransom note itself was written and rewritten to get it just right. The repetitive use of “give us” was meant to be a simple demand. It wasn’t until after I had finished the piece that my friend Josh pointed out the similarities to Emma Lazarus’ famous inscription at the base of the Statue of Liberty, “Give me your tired, your poor.... I feel the note's main point is in the logical paradox at its conclusion: “Give it to us now or you’ll never see it again.” Trust and optimism and security are ours and the power rests solely with us to hold onto them. Without our acquiescence, terrorists are powerless to effect change.
Poster pieces on canvas 110 x 84”
This was the second piece I thought of. It was not too long after the attacks that I started feeling as if I were being held captive. Held captive by fear, held captive by CNN, held captive by terrorists. This ransom note itself was written and rewritten to get it just right. The repetitive use of “give us” was meant to be a simple demand. It wasn’t until after I had finished the piece that my friend Josh pointed out the similarities to Emma Lazarus’ famous inscription at the base of the Statue of Liberty, “Give me your tired, your poor.... I feel the note's main point is in the logical paradox at its conclusion: “Give it to us now or you’ll never see it again.” Trust and optimism and security are ours and the power rests solely with us to hold onto them. Without our acquiescence, terrorists are powerless to effect change.
7 “Loss of innocence” 2002
Paper weaving 36 x 54”
I think it was September 12 that the New York Times published an article written by an American who had lived in Israel for many years. His main point was “now you know.” Now we know what the rest of the world deals with. Now we know what it’s like to feel vulnerable. Now we know. Ah, the sweet fleeting bliss of ignorance. Now we know. This piece is a paper weaving of a map of the U.S. and a map of the world. September 11 made us a part of the world. Our psychological separatism fueled by geographic isolation was over. Our innocence was lost.
Paper weaving 36 x 54”
I think it was September 12 that the New York Times published an article written by an American who had lived in Israel for many years. His main point was “now you know.” Now we know what the rest of the world deals with. Now we know what it’s like to feel vulnerable. Now we know. Ah, the sweet fleeting bliss of ignorance. Now we know. This piece is a paper weaving of a map of the U.S. and a map of the world. September 11 made us a part of the world. Our psychological separatism fueled by geographic isolation was over. Our innocence was lost.
8 “Shell shock” 2001
Acrylic on canvas 72 x 48”
Every New Yorker who saw this piece remembers it. I think I mentioned this thought to my friend Greg one day and he loved it. I refined the writing a little bit and made it into a large painting. The coloration was a no-brainer. I wanted both the letters and the background to be sky blue. I wanted it to be something that could be read, but not without trouble. The thing about screeching tires is that no matter how many times you hear them, you’re always waiting for the crash at the end of the screech. That’s how it had become with airplanes going over New York City. Now people were nervous. After planes started flying over Manhattan again, you could see the blasé citizens of NY stopping on the sidewalk and looking up it the engine was too loud. Another attack?
Acrylic on canvas 72 x 48”
Every New Yorker who saw this piece remembers it. I think I mentioned this thought to my friend Greg one day and he loved it. I refined the writing a little bit and made it into a large painting. The coloration was a no-brainer. I wanted both the letters and the background to be sky blue. I wanted it to be something that could be read, but not without trouble. The thing about screeching tires is that no matter how many times you hear them, you’re always waiting for the crash at the end of the screech. That’s how it had become with airplanes going over New York City. Now people were nervous. After planes started flying over Manhattan again, you could see the blasé citizens of NY stopping on the sidewalk and looking up it the engine was too loud. Another attack?
9 “Patriotism" 2001 Acrylic on canvas 46 x 68”
The outpouring of patriotism and flag-waving after the event was enormous. Everyone wanted to show their support. My younger daughter was in a 3 year old class at the West Village Nursery School and I thought it would be nice to make a flag using the kids’ hand prints. I prepared the canvas with underpainting and on one fine Saturday, brought it over to the school’s annual Fall Fest. Blotting their hands onto a kitchen towel soaked with red paint, the kids then placed their hands on top of the pale red stripes. For the white of the stars, they dipped fingers into a small jar of white paint. The whole project was great fun, collaborating with 2-4 year old kids. As we were nearing completion, someone came up and said they had just seen a flag like this in front of a nearby firehouse, proving that good ideas are rarely unique.
The outpouring of patriotism and flag-waving after the event was enormous. Everyone wanted to show their support. My younger daughter was in a 3 year old class at the West Village Nursery School and I thought it would be nice to make a flag using the kids’ hand prints. I prepared the canvas with underpainting and on one fine Saturday, brought it over to the school’s annual Fall Fest. Blotting their hands onto a kitchen towel soaked with red paint, the kids then placed their hands on top of the pale red stripes. For the white of the stars, they dipped fingers into a small jar of white paint. The whole project was great fun, collaborating with 2-4 year old kids. As we were nearing completion, someone came up and said they had just seen a flag like this in front of a nearby firehouse, proving that good ideas are rarely unique.
10 “The desire to help” 2001
Paper, ink 11 x 8 1/2”
I wrote this letter about a week after September 11. Like most people I knew in the arts, I wanted to help, but didn’t know how. Then it struck me. “I’m a creative guy,” I thought, “I could help come up with potential terrorist scenarios.” This made me very happy, it was something I could do, and it would be very useful.
Initially, I sent it to Jessica Stern, formerly of the National Security Council and at that point a professor at Harvard. I found her email address online and sent it off. Hers was the best email address I could find for someone who was in a position to pass this idea along.
Paper, ink 11 x 8 1/2”
I wrote this letter about a week after September 11. Like most people I knew in the arts, I wanted to help, but didn’t know how. Then it struck me. “I’m a creative guy,” I thought, “I could help come up with potential terrorist scenarios.” This made me very happy, it was something I could do, and it would be very useful.
Initially, I sent it to Jessica Stern, formerly of the National Security Council and at that point a professor at Harvard. I found her email address online and sent it off. Hers was the best email address I could find for someone who was in a position to pass this idea along.
A week or so later, Tom Ridge was appointed director of Homeland Security and I emailed it to him c/o the governor’s office while President Bush was still making the announcement. Within an hour, I received an email back, asking for my resume, and I promptly forwarded that. If the letter and resume were forwarded to anyone, I can only imagine the head-scratching that resulted faced with my resume: solo shows, group shows, museum collections, reviews, not the typical resume to arrive in a governmental office.
A couple of months after I sent this letter off, the Homeland Security office announced that they were enlisting the assistance of Hollywood screenwriters to help envision possible terrorist attacks. Friends called and said they stole my idea, but it seemed like such a simple and obvious idea, that I could never truly embrace the notion that my letter had resonated enough to be the genesis for their move. Regardless, I’m sad I didn’t get to be of assistance.
A couple of months after I sent this letter off, the Homeland Security office announced that they were enlisting the assistance of Hollywood screenwriters to help envision possible terrorist attacks. Friends called and said they stole my idea, but it seemed like such a simple and obvious idea, that I could never truly embrace the notion that my letter had resonated enough to be the genesis for their move. Regardless, I’m sad I didn’t get to be of assistance.
11 “Adulation of leaders” 2001 Printed bumper sticker 3 x 10”
Like most liberal New Yorkers and like just about everyone in the arts community, I could not stand Rudolph Giuliani. Hated him. Changed the channel if he was on, because I couldn’t even bear to hear his voice. He had been involved in several art-related imbroglios that were heavy-handed and raised first amendment issues. Ick.
Shortly after the attacks, Giuliani was my man. He was exactly the leader New York needed at that time and I couldn’t get enough of him. He handled the crisis with honesty, sensitivity and strength and to this day, he wears that halo, no matter what I think of his politics and political machinations.
During the next mayoral race, the democratic candidate stated at one point that he felt he could have done just as well as Giuliani, dealing with the aftermath of Sept. 11. Whatever. Giuliani was spectacular, and why even make such a statement.
Like most liberal New Yorkers and like just about everyone in the arts community, I could not stand Rudolph Giuliani. Hated him. Changed the channel if he was on, because I couldn’t even bear to hear his voice. He had been involved in several art-related imbroglios that were heavy-handed and raised first amendment issues. Ick.
Shortly after the attacks, Giuliani was my man. He was exactly the leader New York needed at that time and I couldn’t get enough of him. He handled the crisis with honesty, sensitivity and strength and to this day, he wears that halo, no matter what I think of his politics and political machinations.
During the next mayoral race, the democratic candidate stated at one point that he felt he could have done just as well as Giuliani, dealing with the aftermath of Sept. 11. Whatever. Giuliani was spectacular, and why even make such a statement.
12 “Desire for retribution” 2001
Collected commentaries
“Nuke ‘em back into the stone age!” was a sentiment heard even from some of my more peace loving friends. It wasn’t a feeling I was comfortable with, but I did enjoy many of the pithy emails that filled my inbox in the months after the disaster. Not a feeling I was proud of having, I decided to collect these internet ditties of vengeance and put them on display. There’s a lot of creative people out there and when creative people get angry, sometimes the results are wonderful.
Collected commentaries
“Nuke ‘em back into the stone age!” was a sentiment heard even from some of my more peace loving friends. It wasn’t a feeling I was comfortable with, but I did enjoy many of the pithy emails that filled my inbox in the months after the disaster. Not a feeling I was proud of having, I decided to collect these internet ditties of vengeance and put them on display. There’s a lot of creative people out there and when creative people get angry, sometimes the results are wonderful.
13 “Resentment” 2001
Dollar bills, pine box 37 x 18” (edition of 3)
This was the first piece I did. There was no show planned at the time I did this piece; the thought just came to me and I made it. At the time, I was thinking about America’s generosity, regardless of what percentage of gross domestic product we share, the actual dollar amount of U.S. foreign aid is staggering. This piece is about what we send out in the world and how it comes back to us, it’s about jealousy and its next generation: resentment. When I first finished this piece, I called it “Pétard,” as in the phrase “hoisted by your own pétard.” That what I felt had just happened to America.
The noose used about 180 dollar bills. Everybody asks. I folded them in half lengthwise, folded each edge in to the middle and slipped the folded dollar bills together and into each other, overlapping and underlapping by about an inch and a half, and used this as one strand in what became a braid of dollar bills. Once the braid was done (about 60 feet of braid), I folded it over on itself and twisted it round and round until it resembled a rope. Once the rope was complete, I tied it into a noose, complete with the traditional 13 loops.
When I was a kid, my sister used to know how to make a weaving out of chewing gum wrappers. This noose has reminded a lot of people of that craft.
Dollar bills, pine box 37 x 18” (edition of 3)
This was the first piece I did. There was no show planned at the time I did this piece; the thought just came to me and I made it. At the time, I was thinking about America’s generosity, regardless of what percentage of gross domestic product we share, the actual dollar amount of U.S. foreign aid is staggering. This piece is about what we send out in the world and how it comes back to us, it’s about jealousy and its next generation: resentment. When I first finished this piece, I called it “Pétard,” as in the phrase “hoisted by your own pétard.” That what I felt had just happened to America.
The noose used about 180 dollar bills. Everybody asks. I folded them in half lengthwise, folded each edge in to the middle and slipped the folded dollar bills together and into each other, overlapping and underlapping by about an inch and a half, and used this as one strand in what became a braid of dollar bills. Once the braid was done (about 60 feet of braid), I folded it over on itself and twisted it round and round until it resembled a rope. Once the rope was complete, I tied it into a noose, complete with the traditional 13 loops.
When I was a kid, my sister used to know how to make a weaving out of chewing gum wrappers. This noose has reminded a lot of people of that craft.
14 “Xenophobia” 2002 Mixed media 36 x 24”
Racial profiling was an issue before Sept. 11. I think New Jersey had recently passed a law banning the use of racial profiling by state police. After the 11th, racial profiling reached a whole new egregious level. Anybody with even a vaguely middle eastern profile was an object of suspect and fear. And not just by the authorities, but by the public at large. Stories of Arab-Americans getting strip searched and pulled off airplanes were legion.
I made this piece as an absurd commentary on racial profiling. I wrote it and printed it out on colored paper, distressed it and dirtied it and stapled it a piece of posters collected from around town.
Racial profiling was an issue before Sept. 11. I think New Jersey had recently passed a law banning the use of racial profiling by state police. After the 11th, racial profiling reached a whole new egregious level. Anybody with even a vaguely middle eastern profile was an object of suspect and fear. And not just by the authorities, but by the public at large. Stories of Arab-Americans getting strip searched and pulled off airplanes were legion.
I made this piece as an absurd commentary on racial profiling. I wrote it and printed it out on colored paper, distressed it and dirtied it and stapled it a piece of posters collected from around town.
15 “Learning” 2001 Paper, ink 11 x 8 1/2”
Every new disaster around the world brings new vocabulary to the linguistically isolated shores of America. These are the words that popped up shortly after the attacks.
Every new disaster around the world brings new vocabulary to the linguistically isolated shores of America. These are the words that popped up shortly after the attacks.
16 “Sympathy” 2002 Mixed media on canvas 20 x 26”
This piece comes straight out of an internet email that I sadly did not save. The email was forwarded by liberal friends of mine and pointed out the sorry state of daily life in Afghanistan, making a counterpoint to the prevailing sentiment of “bomb ‘em back into the stone age.”
This piece comes straight out of an internet email that I sadly did not save. The email was forwarded by liberal friends of mine and pointed out the sorry state of daily life in Afghanistan, making a counterpoint to the prevailing sentiment of “bomb ‘em back into the stone age.”
17 “Confusion” 2002 Mixed media on canvas 36 x 70”
This piece was made with pretty much the same technique as “Sympathy.” I pasted pages from an Arabic language newspaper onto canvas, painted them with a thin coat of yellow, sanded them down and transferred two passages from the Koran onto it. They were the two “thall shalt not kill” passages I found in online copies of the Islamic holy book.
The two passages are:
....anyone who murders any person who had not committed murder or horrendous crimes, it shall be as if he murdered all the people. (5:32)
"You shall not kill any person - for God has made life sacred - except in the course of justice. If one is killed unjustly, then we give his heir authority to enforce justice. Thus, he shall not exceed the limits in avenging the murder, he will be helped."(17:33)
Not having any idea if there was some protocol for using passages from the Koran, I sent an email to a man whose name I had found in a New York Times article about all the newfound interest, curiosity and confusion about Islam. Here is the exchange:
From: MOSSMAG@aol.comTo: almaeena@arabnews.comSubject: Question
Date: Mon, Mar 18, 2002, 7:25 PM
Dear Khaled Al-Maeena,
God bless your peace-making soul; I loved the piece in yesterday's NY Times.
I have a question I hope you can help me answer: I am an artist creating a show entitled "After the 11th," in which I have identified the emotional and intellectual states I've gone through since Sept. 11 and am creating a corresponding artwork for each. (Disbelief, Sorrow, Shell shock, The feeling of a changed world, etc. 34 pieces in all.)
One of the pieces is called "Confusion," in which (against a background of an Arabic language newspaper) I will paint (in Arabic) two passages from the Koran (5:32 and 17:33) that proscribe the "Thou shalt not kill" sentiment.
I would like to do this without transgressing the protocol for quoting the Koran, but have no idea what that protocol is. If you have a minute to inform me of the proper protocol vis-à-vis this particular painting, I would greatly appreciate it.
Thank you,
Sincerely,
Norm Magnusson
NYC
Dear Norm: Greetings,
Thanks for your e-mail. There's no such protocol. You may use it.
Regards,
Khaled A. Al-Maeena
Editor-in-Chief, ARAB NEWS
This exchange illustrates the idea behind the piece, confusion about the Arab world and the Islamic world.
This piece was made with pretty much the same technique as “Sympathy.” I pasted pages from an Arabic language newspaper onto canvas, painted them with a thin coat of yellow, sanded them down and transferred two passages from the Koran onto it. They were the two “thall shalt not kill” passages I found in online copies of the Islamic holy book.
The two passages are:
....anyone who murders any person who had not committed murder or horrendous crimes, it shall be as if he murdered all the people. (5:32)
"You shall not kill any person - for God has made life sacred - except in the course of justice. If one is killed unjustly, then we give his heir authority to enforce justice. Thus, he shall not exceed the limits in avenging the murder, he will be helped."(17:33)
Not having any idea if there was some protocol for using passages from the Koran, I sent an email to a man whose name I had found in a New York Times article about all the newfound interest, curiosity and confusion about Islam. Here is the exchange:
From: MOSSMAG@aol.comTo: almaeena@arabnews.comSubject: Question
Date: Mon, Mar 18, 2002, 7:25 PM
Dear Khaled Al-Maeena,
God bless your peace-making soul; I loved the piece in yesterday's NY Times.
I have a question I hope you can help me answer: I am an artist creating a show entitled "After the 11th," in which I have identified the emotional and intellectual states I've gone through since Sept. 11 and am creating a corresponding artwork for each. (Disbelief, Sorrow, Shell shock, The feeling of a changed world, etc. 34 pieces in all.)
One of the pieces is called "Confusion," in which (against a background of an Arabic language newspaper) I will paint (in Arabic) two passages from the Koran (5:32 and 17:33) that proscribe the "Thou shalt not kill" sentiment.
I would like to do this without transgressing the protocol for quoting the Koran, but have no idea what that protocol is. If you have a minute to inform me of the proper protocol vis-à-vis this particular painting, I would greatly appreciate it.
Thank you,
Sincerely,
Norm Magnusson
NYC
Dear Norm: Greetings,
Thanks for your e-mail. There's no such protocol. You may use it.
Regards,
Khaled A. Al-Maeena
Editor-in-Chief, ARAB NEWS
This exchange illustrates the idea behind the piece, confusion about the Arab world and the Islamic world.
18 “The feeling we’re entering an era of prophesies” 2002
Wood, book, nails 72 x 12 x 4”
As soon as something of great importance happens anywhere on the world stage, people begin looking back to their favorite soothsayers to find the vague predictions that match the specific event.
After 9/11, the numerologists had a field day, the Nostradamusists raved and mystics everywhere pointed out that the attacks had been predicted. These paroxysms of prescience usually leave me flat, but this time they resonated just a bit. Maybe we were entering a foretold era. I didn’t believe it, but this time, I didn’t just write it off, either.
I think my mother gave me this copy of “The complete prophesies of Nostradamus.” The piece of wood is a beam from the apartment I was living in NYC at the time of the attacks and the nails were found all around the city.
Wood, book, nails 72 x 12 x 4”
As soon as something of great importance happens anywhere on the world stage, people begin looking back to their favorite soothsayers to find the vague predictions that match the specific event.
After 9/11, the numerologists had a field day, the Nostradamusists raved and mystics everywhere pointed out that the attacks had been predicted. These paroxysms of prescience usually leave me flat, but this time they resonated just a bit. Maybe we were entering a foretold era. I didn’t believe it, but this time, I didn’t just write it off, either.
I think my mother gave me this copy of “The complete prophesies of Nostradamus.” The piece of wood is a beam from the apartment I was living in NYC at the time of the attacks and the nails were found all around the city.
19 “A dream of peace” 2001 Found sticker 4 x 5”
Posters with this saying on it popped up all over New York in the months after. I have no idea who made them or who wrote the line, but I like it. In the process of creating all these souvenirs of September 11, it was nice to collect a few, too.
Posters with this saying on it popped up all over New York in the months after. I have no idea who made them or who wrote the line, but I like it. In the process of creating all these souvenirs of September 11, it was nice to collect a few, too.
20 “Unity” 2002 Photographic color print 40 x 30”
I didn’t go to ground zero for months and months. I guess it was March or April of 2003 when I finally went down. A couple of reasons: first, I generally didn’t go to that neighborhood before the attacks; second, I did not at all respect the urge to gawk. People who visited said they were paying their respects, but mostly they just wanted to see where it all happened. In my mind, it was an enormous mass grave and only the passage of time would make it not that.
When I finally did go down, it was to photograph this wall, that my wife had told me about. She had worked a block away from the trade centers and, though the windows in her building had been blown out and her office was covered with the most disturbing dust, she was allowed in there to collect some files and personal effects, before being transferred to other accommodations across town. But not until after she’d had three or so months off. Three or so months when her office ceased to function.
She told me about this wall of patches and notes posted by rescue workers who had responded to the attack and I just had to have a photo of it to illustrate the idea of unity. I took my little digital camera and shot a bunch of crummy shots, then I enlisted the assistance of my good friend, the photographer Baard Henriksen to actually take a good shot. This is it.
I didn’t go to ground zero for months and months. I guess it was March or April of 2003 when I finally went down. A couple of reasons: first, I generally didn’t go to that neighborhood before the attacks; second, I did not at all respect the urge to gawk. People who visited said they were paying their respects, but mostly they just wanted to see where it all happened. In my mind, it was an enormous mass grave and only the passage of time would make it not that.
When I finally did go down, it was to photograph this wall, that my wife had told me about. She had worked a block away from the trade centers and, though the windows in her building had been blown out and her office was covered with the most disturbing dust, she was allowed in there to collect some files and personal effects, before being transferred to other accommodations across town. But not until after she’d had three or so months off. Three or so months when her office ceased to function.
She told me about this wall of patches and notes posted by rescue workers who had responded to the attack and I just had to have a photo of it to illustrate the idea of unity. I took my little digital camera and shot a bunch of crummy shots, then I enlisted the assistance of my good friend, the photographer Baard Henriksen to actually take a good shot. This is it.
21 “Fear” 2001
Acrylic on canvas, wood 58 x 56”
I never liked flying, from the time I got to be about 30 years old. But now, the fear of being in a plane when it crashes was subsumed by the fear of being on the ground when a plane crashes into you.
I had planned to do two of these paintings, one for each of the types of planes that was crashed into the towers. A Boeing 767 and a Boeing 757. I wanted to make a painting in the style of the old warplane silhouette posters that sat at the front of the briefing rooms in World War II flying ace movies of my youth. All of a sudden, the silhouette of these passenger aircraft seemed menacing.
Acrylic on canvas, wood 58 x 56”
I never liked flying, from the time I got to be about 30 years old. But now, the fear of being in a plane when it crashes was subsumed by the fear of being on the ground when a plane crashes into you.
I had planned to do two of these paintings, one for each of the types of planes that was crashed into the towers. A Boeing 767 and a Boeing 757. I wanted to make a painting in the style of the old warplane silhouette posters that sat at the front of the briefing rooms in World War II flying ace movies of my youth. All of a sudden, the silhouette of these passenger aircraft seemed menacing.
22 “The desire for rescue” 2001 Mixed media Dimensions variable
This seems a very natural response for people when their world is suddenly turned upside down. Somebody, anybody, please, rescue me.
I thought of people climbing out of a burning building on a rope ladder made from tied-together sheets, a fairly common sight in movies. Only here, the ladder that was thrown down was the ladder of patriotism.
I consider myself a great patriot, loving this country a great deal, but the sudden surge of patriotic sentiment and flag-waving post 9/11 seemed a little artificial, manufactured, even.
This seems a very natural response for people when their world is suddenly turned upside down. Somebody, anybody, please, rescue me.
I thought of people climbing out of a burning building on a rope ladder made from tied-together sheets, a fairly common sight in movies. Only here, the ladder that was thrown down was the ladder of patriotism.
I consider myself a great patriot, loving this country a great deal, but the sudden surge of patriotic sentiment and flag-waving post 9/11 seemed a little artificial, manufactured, even.
23 “The desire for protection” 2001 Mixed media on canvas 52 x 54”
Very similar to “The desire for rescue,” but this piece represents the more mystical steps that people took. There were a lot of articles at the time about people going back to church to find answers and solace. I envy those people their faith.
I am not a superstitious person, so I found this path curious. Especially when religion seemed to be such a big source of the enmity between the Muslim extremists and America.
I researched superstitions on the internet and found an interesting array to use in this piece, ranging from the ancient to the current. I put 8 of them into this painting and two of my own commentaries.
George Bush said repeatedly in the months after the attacks that Americans should get on with their lives, go out and buy something. I appreciate his desire to keep the economy flowing, but nevertheless, it seemed a bit trite in light of what had just happened. In keeping with the theme of the piece, I subtitled his exhortation “voodoo economics,” which is what his father had called Ronald Reagan’s supply-side proposals when he was campaigning against him.
The second commentary was the American flag and the words “wrap yourself in it.” The way it popped up after the attacks, you’d think it had magical powers.
A man of no faith, my desire for protection was unquenched.
Very similar to “The desire for rescue,” but this piece represents the more mystical steps that people took. There were a lot of articles at the time about people going back to church to find answers and solace. I envy those people their faith.
I am not a superstitious person, so I found this path curious. Especially when religion seemed to be such a big source of the enmity between the Muslim extremists and America.
I researched superstitions on the internet and found an interesting array to use in this piece, ranging from the ancient to the current. I put 8 of them into this painting and two of my own commentaries.
George Bush said repeatedly in the months after the attacks that Americans should get on with their lives, go out and buy something. I appreciate his desire to keep the economy flowing, but nevertheless, it seemed a bit trite in light of what had just happened. In keeping with the theme of the piece, I subtitled his exhortation “voodoo economics,” which is what his father had called Ronald Reagan’s supply-side proposals when he was campaigning against him.
The second commentary was the American flag and the words “wrap yourself in it.” The way it popped up after the attacks, you’d think it had magical powers.
A man of no faith, my desire for protection was unquenched.
24 “The desire to flee” 2001
Computer print out Dimensions variable
We did flee. By noon that day, the four of us were in the car heading north to the mountains.
This collection of dreamy abodes was one of the pieces in the exhibition that elicited the most appreciation. I think its a natural inclination of New Yorkers to dream of country homes. After the 11th, this inclination kicked into high gear.
A year and a half later, we finally cut our roots to Manhattan and moved the family to the Catskills.
Computer print out Dimensions variable
We did flee. By noon that day, the four of us were in the car heading north to the mountains.
This collection of dreamy abodes was one of the pieces in the exhibition that elicited the most appreciation. I think its a natural inclination of New Yorkers to dream of country homes. After the 11th, this inclination kicked into high gear.
A year and a half later, we finally cut our roots to Manhattan and moved the family to the Catskills.
25 “The willingness to trade civil liberties for protection” 2001
Mixed media 12 x 12 x 18 1/2”
I was at a dinner party of artists after the Patriot Act was passed by congress and they were up at arms. My feeling was whatever price our safety costs, it’s worth it and there will be enough checks and balances in place to prevent any agency of the government from abusing the powers contained in that act. I was in a small, reviled minority around that dinner table of libertarian alarmists.Gradually, as the details of the act came to light, I saw that my Chicken Little friends were right. The act impinges on numerous civil liberties and gives the government and its agencies powers that would have our founding fathers turning in their graves.With the Patriot Act, the Bush administration used fear to rush through sweeping diminishments of individual rights to privacy and increases to governmental snooping, even into the lives of ordinary citizens.This piece was made from a plaster cast of an Israeli gas mask for children. It has been covered with the American Constitution and Bill of Rights.
26 “Caution” 2001 U.S.P.S. flyer, tape 8 x 5”
A U.S. Postal Service flyer Shortly after Sept. 11, there were anthrax attacks through the mail and this flyer captures the paranoia that came with them.
A U.S. Postal Service flyer Shortly after Sept. 11, there were anthrax attacks through the mail and this flyer captures the paranoia that came with them.
27 “Preparedness” 2002
Mixed media 5 1/2 x 4 x 2”
A cross made of Cipro tablets. Cipro was the antibiotic of choice to treat exposure to anthrax and it was in high demand in those days. At the time, many people were turning to religion to help them prepare, too.
Mixed media 5 1/2 x 4 x 2”
A cross made of Cipro tablets. Cipro was the antibiotic of choice to treat exposure to anthrax and it was in high demand in those days. At the time, many people were turning to religion to help them prepare, too.
28 “A sense of economic loss” 2002 Acrylic on canvas 25 x 60”
A large painted portrait of a 20 dollar bill vanishing into the background. Pundits were quite worried that attacks such as those on the WTC would throw our economy into disarray and depression.
A large painted portrait of a 20 dollar bill vanishing into the background. Pundits were quite worried that attacks such as those on the WTC would throw our economy into disarray and depression.
29 “Examination of leadership” 2002 Acrylic on canvas 89 x 52”
Much of the artwork created around the time was critical of Bush in a clumsy and overt way and the country was becoming sharply divided on his performance. I wanted to do a piece that both sides could embrace, a piece that my conservative family could embrace and my liberal friends could jeer at.
Much of the artwork created around the time was critical of Bush in a clumsy and overt way and the country was becoming sharply divided on his performance. I wanted to do a piece that both sides could embrace, a piece that my conservative family could embrace and my liberal friends could jeer at.
The phrase "evil doers beware" captured it perfectly: supporters of the president took it as a legitimate rallying cry and show of strength and opponent of the president saw it as ridiculous posturing.
30 “A feeling of suppression” 2001
Silk screened t-shirt XL
Bush's press secretary Ari Fleischer addressed those who expressed their political outrage when he said: "There are reminders to all Americans that they need to watch what they say, watch what they do."
Silk screened t-shirt XL
Bush's press secretary Ari Fleischer addressed those who expressed their political outrage when he said: "There are reminders to all Americans that they need to watch what they say, watch what they do."
31 “Disgust at the commodification of ground zero” 2002
Mixed media (flour and dirt) 12 x 9 x 3 1/2”
Not long after the disaster, merchants popped up down near ground zero selling memorabilia, people flocked down there to get their pictures taken by the chain link fence. Mementos began appearing on eBay. People even offered me dust from the rubble for my show. It all seemed so disrespectful.
I love this piece because it disgusts me.
Mixed media (flour and dirt) 12 x 9 x 3 1/2”
Not long after the disaster, merchants popped up down near ground zero selling memorabilia, people flocked down there to get their pictures taken by the chain link fence. Mementos began appearing on eBay. People even offered me dust from the rubble for my show. It all seemed so disrespectful.
I love this piece because it disgusts me.
32 “The feeling the war is being marketed to us” 2002
Acrylic on canvas 20 x 16”
The government actually called our military response "Operation Infinite Justice" before quickly switching to "Operation Enduring Freedom." The whole thing reeked of manipulation and marketing.
Acrylic on canvas 20 x 16”
The government actually called our military response "Operation Infinite Justice" before quickly switching to "Operation Enduring Freedom." The whole thing reeked of manipulation and marketing.
32A "Manufactured patriotism" 2002
Mixed media 36 x 12"
America's response seemed so rah-rah and so masculine. I made this piece in the classic shape of male genitalia with pompoms in place of testicles. It was not included in the exhibition, I'm not sure why.
Mixed media 36 x 12"
America's response seemed so rah-rah and so masculine. I made this piece in the classic shape of male genitalia with pompoms in place of testicles. It was not included in the exhibition, I'm not sure why.
33 “A sense of imperialism” 2002
Cloth dolls Various dimensions
Cloth dolls from maps of Afghanistan and Iraq. Bush said that it was not now nor had it ever been the policy of the U.S. to engage in nation building. I think it has always been our policy. These dolls were arranged in a little pool of sand on the gallery floor, pawns waiting to be played in the desert.
Cloth dolls Various dimensions
Cloth dolls from maps of Afghanistan and Iraq. Bush said that it was not now nor had it ever been the policy of the U.S. to engage in nation building. I think it has always been our policy. These dolls were arranged in a little pool of sand on the gallery floor, pawns waiting to be played in the desert.
34 “The feeling that the Homeland Security Advisory System is pointless” 2002
Acrylic on canvas 24 x 24”
I wanted to make a painting that was both mesmerizing and meaningless. If you stare at the middle of this painting, it starts to move. It's my op-art take on this silly and manipulative system.
Acrylic on canvas 24 x 24”
I wanted to make a painting that was both mesmerizing and meaningless. If you stare at the middle of this painting, it starts to move. It's my op-art take on this silly and manipulative system.
35 “Embarrassment” 2002
Mixed media
In an effort to help out the Afghani people, whose villages were being bombed by American planes, we sent other planes to airdrop Pop-tarts. I'm sure the locals were more baffled than nourished.
Mixed media
In an effort to help out the Afghani people, whose villages were being bombed by American planes, we sent other planes to airdrop Pop-tarts. I'm sure the locals were more baffled than nourished.
36 “The intrepid nature of New Yorkers” 2002
2001/2002 Phone book listings on wood 29 1/2 x 12”
Tower 1 of this piece is taken out of the year 2000 Manhattan phone book. It is the individual listings of companies who had offices in the WTC at the time of the attacks. Tower 2 is the same companies taken out of the 2002 Manhattan phone book. If a company that was in the towers at the time of the attacks was still in Manhattan a year later, they're there. You notice that tower 2 is not much smaller at all.
2001/2002 Phone book listings on wood 29 1/2 x 12”
Tower 1 of this piece is taken out of the year 2000 Manhattan phone book. It is the individual listings of companies who had offices in the WTC at the time of the attacks. Tower 2 is the same companies taken out of the 2002 Manhattan phone book. If a company that was in the towers at the time of the attacks was still in Manhattan a year later, they're there. You notice that tower 2 is not much smaller at all.
37 “Perseverance” 2001
Acrylic on found wood
This is wood that I found around my house, a mile and a half or so from ground zero. Pretty much as soon as the dust had settled, New Yorkers started rebuilding and so did I.
Acrylic on found wood
This is wood that I found around my house, a mile and a half or so from ground zero. Pretty much as soon as the dust had settled, New Yorkers started rebuilding and so did I.
38 “Forgetfulness” 2002
Water, hotplate (see “Sorrow” above)
Forgetfulness seems to be the flip side of sorrow. Little by little parts of us forget the terror. Maybe not all of it, but some of it. Going on about our daily business is a form of forgetfulness. It's not bad, it's just there.
Water, hotplate (see “Sorrow” above)
Forgetfulness seems to be the flip side of sorrow. Little by little parts of us forget the terror. Maybe not all of it, but some of it. Going on about our daily business is a form of forgetfulness. It's not bad, it's just there.
39 “The feeling that capitalism is perversely indomitable” 2001
Topps picture cards on wood 12 x 17 1/2 x 19
Shortly after the U.S. invasion of Afghanistan, the Topps Company issued "Operation enduring freedom" trading cards. I made them into a little temple of capitalism. This was one of the favorites in the exhibition.
Topps picture cards on wood 12 x 17 1/2 x 19
Shortly after the U.S. invasion of Afghanistan, the Topps Company issued "Operation enduring freedom" trading cards. I made them into a little temple of capitalism. This was one of the favorites in the exhibition.
40 “Fear that no meaningful lessons will be learned” 2001
Goldfish in bowl 22 x 14 x 14”
Swimming around in circles, no memory at all.
Goldfish in bowl 22 x 14 x 14”
Swimming around in circles, no memory at all.
41 “The desire to put it all behind us” 2002
Giclee on watercolor paper 24 x 36”
Manufactured loveliness. Like the big eagle painting, this is a piece I'd done earlier. It seemed to well-represent bygone carefree days.
Giclee on watercolor paper 24 x 36”
Manufactured loveliness. Like the big eagle painting, this is a piece I'd done earlier. It seemed to well-represent bygone carefree days.
43 “Dread” 2001 Cans, labels 3 x 3”
There was a pervasive feeling at the time that there would be more attacks. As a proud New Yorker, I was certain that we were the only target that mattered. This inverted stack of cans should be toppling over but isn't. I wanted to create a feeling of uncomfortable expectations.
There was a pervasive feeling at the time that there would be more attacks. As a proud New Yorker, I was certain that we were the only target that mattered. This inverted stack of cans should be toppling over but isn't. I wanted to create a feeling of uncomfortable expectations.
detail:
44 “Nostalgia” 1986
Photo 6 x 4”
A photo of the towers taken shortly after I moved to NYC in 1982.
Photo 6 x 4”
A photo of the towers taken shortly after I moved to NYC in 1982.
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