My latest piece is up on-line at The Comics Journal. Here’s the link:
A painter who proves his ability to render the human form competently has flashed me a valid passport.
William T. Vollman. Imperial.
Vollman had asserted this in, it had seemed to Goshkin, a digressive discussion of the work of Mark Rothko, about one-sixth of the way through a 1200-page study of the exploitation and ruination of the land and people in and around a geographically inexact region encompassing both sides of the California-Mexico border. This study itself had seemed primarily digression, though digression as an all-encompassing, all-swallowing, all-explaining miasma of fact, fiction and surmise. His point, Vollman’s, that a painter who hadn’t mastered this basic aspect of drawing could not be trusted when he elected to communicate through “blotches and squiggles” seemed a bit close-mindedly retrograde but perhaps held a truth. We were all but human, Goshkin knew from 77-years of being, the last eight of which having been particularly instructive since his badly damaged heart had made every day of them a constantly informative surprise; and if a painter, whose job it has been since the Renaissance was to get us on canvas, could not be bothered to learn to render limbs and noses, he might arguably lack the connection to deliver any knowledge worth sharing about our cradle-to-grave existence.
And it seemed a matter of near-divine cosmic connivance that Goshkin had come to this passage only the evening before Ruth and he were to visit an exhibition of the “micro-paintings” of Guy Colwell at Berkeley’s East Bay Media Center