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- Sales Rank: #6720518 in Books
- Published on: 1991
- Binding: Hardcover
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1 of 3 people found the following review helpful.
"Wrought Iron Cactus" and other abstractions...
By ewomack
Don Van Vliet remains one of the few rock artists to really succeed, in any sincere way, at least, in the world of fine art. Critically praised for his adventurously dissonant and arrhythmic music that melded free jazz and atonality with rock instrumentation, his visual art exudes a different sort of pleasant cacophony.
Though by no means a major figure in the world of modern art, Van Vliet's drawings and paintings garnered enough attention to appear in solo exhibitions in well-known galleries worldwide. The Michael Werner gallery, for one, in New York featured his work on numerous occasions. The gallery printed catalogs for a few of these shows, one of which dates 1991 and features 12 paintings evoking the moods and colors of the desert. Van Vliet lived in a trailer in the Mojave desert for years and the landscape bled into his imagination. The limited earthy palate and titles such as "Wrought Iron Cactus," "Cactus Blaunch," "Circles Don't Fly, They Float" and "Ghost Lemon" suggest a playfulness that many fans of his music will recognize.
The included paintings veer toward the less anthropomorphic of his work. Abstract and indistinct figures inhabit most of these canvases, devoid of recognizable faces or human forms. A multicolored Rorschach of shapes slither over white space as though suspended on an absent limitless background. The images seem to emerge from an ambiguous and dreamy consciousness or from some amorphous level of the limbic system. But paintings such as "Wrought Iron Cactus," featured on the book's cover, also allow a direct connection to the world. Here an indistinct but recognizable cactus lurks just out of focus as though perceived stripped of all human rational categories. Van Vliet's work seems to thrive in this nebulous realm of abstraction that allows a distancing from the rationally controlled and systematized.
The book's opening essay does contain plenty of the inevitable artspeak, but it also contains many interesting observations about modern life and interpretations of Van Vliet's work. It speaks of our repression or socialization that produces convenient falsehoods and of art's purpose of depicting the world beyond human understanding. The author credits Van Vliet's work for embracing the contingent, which many have trouble comprehending or facing, but which these paintings take on wholeheartedly and without remorse.
The book is small in length, about 50 pages, and also in dimension. It probably takes up a little more space than the average mass paperback. Though it's also very well constructed in hardcover and the prints appear on thick, high quality glossy paper that look great despite the size. As elsewhere, here size really doesn't matter.
That Van Vliet managed to straddle the fringe of both musical and visual art remains a remarkable, and largely unappreciated, achievement. Though not all fans of his music will make an appreciative leap to his paintings, a definite continuity exists between the two realms. A naked and unabashed exploration exudes them both as well as a defiant but never self-righteous or pretentious confidence. No shame, just play. Many Beefheart fans will also instantly notice the verbal wordplay of his song lyrics in the paintings' titles. This feature in particular bridges the gap between the two genres.
This and many other books of Van Vliet's art remain difficult to find. Most of them accompanied exhibitions of limited time frame and audience and so were printed in correspondingly limited numbers. But of course the vast internet marketplace has made acquiring these books much easier. And since no single definitive retrospective has yet appeared of Van Vliet's artistic output, books such as this one remain an invaluable source for studying the visual side of this very unique and versatile artist.
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