It has been a busy few weeks. As usual, I have more topics than time. At this point, I'm going to just accept that my blog sometimes functions as an open access journal. Here is the bullet point version of what I've been up to. We'll do art first, then archaeology.

The Jasper Artist of the Year Is . . . Not Me

As I wrote in December, I was one of three finalists nominated for Jasper Artist of the Year (in the visual arts category). The awards ceremony was last Friday. I did not win the award: that honor went to Trahern Cook. I met some new people, drank some wine, and had a good time (the picture above was taken there). Congratulations to all the winners!

New Pieces Over the Holidays

In addition to "Desire," I completed several other smallish pieces over the holiday break. 

I'm still working to finish up editing the student videos from my Forbidden Archaeology class last semester. I finished one on Atlantis last week and one on pyramids today. You can find them on my YouTube channel, along with videos about my archaeological fieldwork and my art.

New Grant For Collections Work

I'm happy to announce that I have received grant monies from the Archaeological Research Trust to continue inventorying and preliminary analysis of chipped stone projectile points from the Larry Strong Collection. You may remember me writing about working with the Early Archaic materials a while ago. I'm still working with those (more on that later), but now I'm going to move on in time and process the Middle and Late Archaic stuff. Part of the rationale is that I'll be dealing with those time periods in the materials we've been excavated at the field school.

South Carolina Archaeology Class: We're Making a Movie

I'm teaching South Carolina Archaeology (ANTH 321) this semester. The class is bigger than in years past. That's good from an enrollment standpoint, but a challenge from a teaching standpoint. In the spirit of experimentation, I decided to build in a class video project. We'll be making a video attempting to showcase the archaeology of this state. I've divided the students up into groups and given them topics (mostly organized chronologically) that they're responsible for. They're going to research their topics and develop proposals about what issues, artifacts, sites, and people should be included the video. Then we'll take it from there.

Go Deep!

Today I submitted  a grant proposal for systematic exploratory work on the deep deposits at 38FA608 (the field school site). We know now several things about the sediments below the Middle Archaic zones: (1) they're deep; (2) they're Late Pleistocene/Early Holocene in age; and (3) they contain artifacts. I don't believe I've mentioned it publicly, but I submitted a sample for OSL data from the deepest stratum we've documented so far (about 5m below the original surface) and it returned a result around the Last Glacial Maximum.  Also, we've found an Early Archaic Kirk point in a disturbed part of the site. What all that means is that the landform did indeed exist at the end of the last Ice Age and (minimally) Early Archaic peoples were using it. In other words, there's a really good potential for some very high integrity buried archaeology there. Fingers crossed. 

Other News

In other news . . . our 2003 4Runner finally suffered a terminal injury. And I'm tearing out our rotted deck. And I've started working a rabbit sculpture that's big enough to sit on. It will have a tractor seat. And a gear shift. And a dashboard.

And now you are up to date.

Flavia Lovatelli and I have several things in common: (1) we both live in Columbia; (2) we both do art using discarded junk; and (3) we're both finalists for the Jasper Artist of the Year award. We also both ran "summer selfie" contests last that were largely ignored by the public. The result is that we won each other's contests, which means we're making each other art.

We decided that we'd make each other the "same" thing. Flavia picked the subject: crows. I picked the title "Desire." I don't know when they'll be done, but I do know we've both started. I settled on an idea and started putting pieces together earlier in the week. I know that Flavia's got a least a couple of coats of paint down. That's about all I can say at this point. Maybe we can exchange the pieces at the awards ceremony.

In other news: the domestication of the dog continues unabated. Have a nice weekend!

One of the most gratifying personal aspects of moving to Columbia has been having the time, space, and resources to do art. I've got a notebook, some tools, a supportive family, a half of a garage, plenty of ideas, and a bunch of neighbors who give me their junk. In the last couple of years those ingredients have let me go places I never thought I'd be able to go. I've won things, sold things, met some great people, and had a lot of fun in the process. 

When I started messing around with sculpture about ten years ago (in the capacity that I could at the time), memory and sentimentality were core components of what I was interested in. Those remained central thoughts as I ramped up here in Columbia, and were the organizing theme of the "Afterburner" show I had at Tapp's in the spring of 2017.  Over the last couple of years I have continued chasing those feelings while trying to lean forward, pushing my vision, improving my technical skills, and expanding the range of materials I work with.

The end of this semester was a busy one for our family, and I found myself working more in the evenings than on the weekends. After I finished "Passenger" in November I worked mostly on two pieces I had started earlier during the summer: "Painted Swan" and a dancing fox I'm calling "Kiss Goodbye." It was while working on the fox over the course of several rainy evenings listening to the radio that I realized that I'm at a pivot point in my art: the Afterburner series is over. Fifty is a nice round number.

I based the posture of the fox on a line drawing I found online. I wanted the animal to be light, dynamic, and playful. And I wanted the base to be the opposite. The fox is springing off a dead weight (an engine block), saying goodbye to a heavy, broken mass that won't ever move again.

As an archaeologist, I take it as axiomatic that you can't understand the present without knowing something about the past. The past provides context, texture, richness, and direction. Memories of the past are important. But they can also be toxic. They can be limiting when they become an obligation. Sometimes it's best to let them be what they are and move on -- take the power but leave behind the handcuffs.

Over the last few years I have developed my own style, created a cast of characters, and scratched out -- though both creation and discovery -- a vague grammar of symbols, shapes, and colors. I have a lot of ideas and a lot of energy, and I feel like I'll be able to both harness and unleash a lot more of both if I let myself out of the memory box. And so I'm out. The memories are there, but I'm going to attempt to defang them. Let's see what happens next.

Here is a video:

I'm happy to announce that "Passenger," my 10'-story-bear-with-butterfly-wings, has been accepted into the 2019 ArtFields competition. It's an honor to be included, and somewhat of a validation of the amount of time and energy I put into the piece. The idea percolated for months (years?) before I began bringing it into reality last May. I sweated over it all summer and we went through several love/hate cycles together. I'm glad it's in.

Since I finished the piece in November it has been gathering leaves in the driveway behind my house. I walk by it almost every day and barely notice it. It's a strange feeling to go from thinking about and struggling with something almost every day to forgetting it's there. Especially when it's a 10' bear with butterfly wings. 

If you like art and you live in the region, I hope you'll visit ArtFields in Lake City this spring -- it's a really cool event and you'll see a lot of fantastic artwork. I hope "Passenger" ends up somewhere in town where you couldn't miss it if you tried.

​A final plug: voting is still open for Jasper Project Artist of the Year. I've been nominated in the Visual Arts category. If you like my artwork, please take a moment and vote for me!

I'm happy to announce that I'm one of three nominees for the Jasper Project's 2018 Visual Artist of the Year. It's an honor to be nominated, and a thrill to be among such good company. If you like my art, I invite you to click on the link above and vote for me. If you don't like my art, please click on the link and vote for someone else! 

​And now here's a picture of me with one of my recent pieces, just so an image will show up with the link to this post:

If you'd like to see more of my work, visit the gallery page on my art website.

​I'll have more art news in the near future, including whether or not my piece "Passenger" got into ArtFields 2019, an announcement of a major sale (hopefully), and some reflections on what I've done over the last couple of years and what I hope to do in the future. Stay tuned, and thanks for voting!

I spent most of my art time during the summer and fall working on "Passenger," a 10' tall sculpture depicting a bear with butterfly wings. It's my entry for ArtFields 2019, the submission deadline for which was November 5. It was a push but I got it done, got it photographed, and got it entered. I'll find out on December 18 if it made it into the competition. I'll let you know either way.

There are more pictures of the finished piece in the gallery section of my art website. I made five videos over the course of making it. It was easily my most ambitious art project to date. As with most things, it didn't turn out exactly how I had pictured it when I started. But it did come pretty close to my vision, and there are many aspects of it that I really like. 

I didn't realize until about halfway through making this piece that the posture I chose for the bear -- standing, head forward, with slumped shoulders -- is really similar to the posture I chose for a small plaster sculpture I made all way back in the early 1990's when I was living in Carbondale, Illinois. That posture, in turn, was based on the painting "Male Model" by Henry Matisse, which was the cover image on my copy of Henry Miller's Tropic of Cancer. According to my notes in the jacket, I read that book in 1992 and 1996. I carried my little plaster man sculpture around with me for years, unfinished, until one holiday spent alone in Ann Arbor (Christmas-New Year's 2008? 2009?) I went to work. I built him a set of wings from the odds and ends I had sitting around -- worn out clothes, tin cans, old screws, umbrella parts. I poured what was left of the enamel model paints I had over his shoulders. 

I can't really put my finger on why the pose appeals to me and seems to be lurking somewhere in my subconscious. And I don't think I could really dissect the piece and explain and assign meaning to all the different parts. It just doesn't work that way. Some of you may think it's frightening, or threatening, or ugly, or whatever. Maybe it's all those things to you. But to me it's much more than that. There's beauty and currents in it that, for me anyway, aren't just about aesthetics.  I guess that's why I don't paint pretty pictures with trees and sunsets and boats. No offense to those of you that do.

Anyway, this creature is now living in my driveway until further notice. I have no idea how ArtFields makes their decisions, but I'm hoping my lack of enthusiasm for delving into the meaning of the meaning of the piece in my entry doesn't hurt my chances of getting in. Ultimately, in my opinion, good art is about feeling something deep in your heart and in your bones (whether you're the creator or the audience). If I need to explain to you how the piece is supposed to make you feel, I didn't make good art. And if I can explain to you what the piece makes me feel, I didn't dig deep enough.

Here in Columbia, we're currently waiting to see what kind of punch Florence will still be packing when it gets here. We've had plenty of time to prepare (USC and the public schools have been closed since Tuesday), and we certainly won't get the kind of beating that the coast is getting. It does look like what's left of the storm will be coming straight for us, however, probably bringing a lot of rain. We've been under the clouds of Florence's extremities all day, and the wind has been steadily picking up.

City officials say that they're ready this time, and what happened in 2015 won't happen again. I hope that's true. I'm not betting on it, though. We stocked up on water. And bought a generator. We've got food, cash, extra gas, batteries, a sump pump in the basement, and a portable AC unit that we can use to keep a room cool to sleep in if we lose power for a prolonged stretch. Hopefully it will all be unnecessary. 

Stronger winds and rain from Florence should arrive in Columbia tomorrow morning, with the center of the storm not reaching us until Sunday. 

​Now onto the art news . . .

The Race Against the Bear

I've been working on a 9-10' bear sculpture since May. I have always intended it as my entry into ArtFields 2019, but I'm not sure I'll get it done in time. The entry deadline is November 5. I'm over the hump, but still have a long way to go. I've made three videos showing my progress so far. You can follow the bear more closely by following my Instagram account.

And the Winner Is . . .
​
Based on participation, my summer selfie contest -- my attempt at art branding -- was a flop. That's the bad news. The good news is that the few entries makes it easier to pick a winner.  And the winner is . . . . . .  Flavia Lovatelli! I chose a photo of Flavia with "Naked Flank" as the winner. Congratulations, Flavia, you rock!

My Fall Commitments are Low

I entered two pieces ("My Father's Hammer" and "Music Box") in the South Carolina State Fair this year. Other than trying to get the bear done to enter in ArtFields, though, I have little else on the horizon. I decided not to enter several local and regional shows and I turned down an offer for a show. I decided in June to take pressure off myself by not committing, and I've stuck to that. I wish I had more time for art than I do, but I'm happy with the pivot I've taken away from promotion and toward trying to find a groove to make what I want to make. 

As I was responding to yet another absurd comment on my review of the terrible book Species With Amnesia, I realized it has been over a month since I have written a blog post. I take that gap as a win for my struggle to take a summer pause from the world of academia, etc. Over the past month and change I have been on a family vacation to Edisto, SC, spent a lot of time with my kids, attended my first Comic Con (Atlanta), gotten a few things done around the house, done some art, and begun the long struggle to regain my proficiency at doing a cannonball off the diving board. I have paid relatively little attention to politics, archaeology, and the pseudo-archaeological fakers clamoring for attention. I am better off for it.

I have a list of things to write about when I start sitting down regularly at my computer again in a couple of weeks. I won't list them, because chances are good that I won't actually write about most of them.

I did want to take a minute to pass on links to some content related to the artwork I've been doing over the last month. I have completed several small pieces and have several other projects in progress. If you want to see what I'm up to as I'm doing it, I post regularly to my dedicated art page on Facebook and to my art-only Instagram account.

Here are some images and videos of some of my recent pieces (images will link to gallery pages on my art website):

And now I need to go get the towels and fill up the kids' water bottles.

I'm going to start with a point of order: my fascination with roosters goes deep into my childhood on an Ohio farm, and far predates any association with the University of South Carolina. I'm not a big fan of college sports, and over the last several years I've stopped paying any attention to any sports. So when I make a rooster it isn't out of any desire to cheer on the Gamecocks. And it isn't because I think cock-fighting is cool. It's because I find roosters to be intrinsically interesting.

I also like rooster art. And for a town where the gamecock is king, a lot of the rooster art falls somewhere on the spectrum between "bland" and "dumb." As Exhibits A and B, I present to you the sculpture that greets visitors at the Columbia airport and the $85,000 statue that graces the campus.

Eighty.

Five.

Thousand.

Dollars?

Moving on . . .

​"Pinwheel" started with trying to capture the lines and feel of a shape in motion. I used some arcs of round steel from an old outdoor table (curb find) to start outlining the crescent shape of a rooster back-pedaling into the air. The feel of the piece emerged over the course of the month as I triangulated what I envisioned with the materials I had and my technical abilities. It wanted a twirling, spinning, somewhat gritty, mechanistic-yet-on-the-edge-of-control feeling, like being on a beat-up carnival ride. I also wanted an out-of-balance display, part show and part genuine menace. "Pinwheel" is a summer evening's trip down the midway and through the gauntlet of posturing carnies trying to goad little boys into demonstrating their manhood. It's the perpetual motion machine of flashing lights, trampled grass, fried food, and the music of AC/DC blaring from the Matterhorn.

It's also for sale.

I think this piece turned out great -- it's perhaps the "best" thing I've created so far. I'm selling it because I don't really have the space to display it inside the house (it's an inside piece) and because I honestly think it is a piece that can be enjoyed and appreciated by a lot people. Of course it won't evoke the same basket of memories and feelings from everyone that sees it. That's okay. I did what I set out to do, so my job is done.

I think "Pinwheel" would look great over the bar in a high-end restaurant in Columbia or some other city. "Pinwheel" has a wingspan of 38," a height (from the base to the highest wingtip) of 41," and a length (from beak to tail) of 30." The base is a steel ring with a 16.25" diameter. The base could be changed but there would be engineering involved.

I'm asking $8000 for it and a display that includes my name. If you've got the cash, the space, and the desire to ditch your cartoon chicken and sit at the adult table, please send an email to my art account: ​andy.white.zpm@gmail.com.  I'm always ready to consider interesting trades or other offers, but please don't email me to ask if I'll take $200 for it.

I'm going to put two old radio tubes in the sockets of the light fixture after I apply a clear coat to the piece to lock in the patina.

Here are some more photos (and more here; video coming soon):

Update (6/22/2018): Yes, it's as dangerous as it looks.

Soundtrack.