Yarn & other bombs

Someone very successfully yarnbombed this prominently placed signpost in the neighborhood. The spot gets a ton of foot traffic & also a perfect captive audience as people stand around waiting for the bus or the ATM. After running my post office & bank errands, I thought the yarnbomb would provide a good co-subject for a photo shoot.

Unfortunately, this shoot was a bomb in other ways:

(1) It was kinda forced; I broke my own rule about only doing this when I feel like it, & therefore (2) asked the wrong person to shoot, he said no & I couldn’t even get excited about someone finally saying no, because he was so obviously in a hurry, of course he was gonna say no. This is kind of interesting though: if you’re paying attention, you know who will say yes, & so that’s who you ask.

(3) Asked a second person, he shot a couple & then actually grimaced when he looked at them. I immediately blamed the screen blotches (what was one blob along a skinny line has now become two blobs with no line, go figure), but he was actually concerned about (4) the flash on the reflective street sign.

(5) Nevertheless the blobs confused things just enough so that I went home & ordered a new camera. What can I say, my will was weak & cameras are cheap. So much for the idea that this project wasn’t supposed to cost anything, but I had to remind myself that I’ve come a long, long way as far as the economic sustainability of artmaking: the $158 I dropped on the camera (including, incredibly, its 4GB memory card) is miniscule compared to the thousands I used to spend on projects & equipment back when I was young & foolish.

The whole early dusk, rain & cold, flash photography thing is not so great. I am wondering if this might be a fair-weather project. (After all, seasonal is one of my new core artmaking values.) Or maybe the new camera will help morale; or maybe I’ll figure out a more winter-appropriate way of doing this.

One thing’s for sure: breaking rules really lights up in bright neon the soundness of the rules & the values behind them—in this case, how the energy/vibe/flow aspect of this project is almost the whole thing. If I don’t wholeheartedly want to do it, if I’m not actually available for it, why & how on earth would it work?

Hopefully you get what I mean by “energy/vibe/flow” & “available”; I’m sure some clever art writer has coined a specific academic term for this, something that sounds intellectual & serious & just not so Berkeley, but I don’t happen to know it, & anyway, I fucking live here. The locavore aesthetic for me includes talking local; if I’m making art in Berkeley it doesn’t make any sense for me to talk about it like a New Yorker. (You can if you want, especially if that’s how you actually talk. Despite my posturing I actually am academy-friendly & curious to know what the terms are, so don’t be scared to comment!)

Well. Apparently I do feel like getting up on my navel-gazing soapbox, even if I don’t feel like doing my little photoshoots. It might be a long winter….