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How to imagine: a narrative on art and agriculture. Front Cover. Gianfranco Baruchello, Henry Martin. McPherson, - Art - pages. 0 Reviews.
Table of contents

The first type is based on the historical tradition of a European community oven in which people from the area would bring dough to bake in an oven. There is a very vibrant meet-up group called the Los Angeles Bread Bakers. Bakers of all levels show up for one of 3 or 4 time slots. Dough gets placed on the custom loader and then goes into the oven to bake.

People hang out, catch up, share recipes and techniques and get advice on baking problems while the dough bakes. He began by making a starter, baking every day, reading everything he could about bread and building a bread oven in his yard. It was during that time that he began to marvel at the way in which the oven served as an important, but quiet physical object around which to stage conversations.

One particularly street smart kid about ten years old listened to him explain why bread might be deployed to talk about art and the choices we make about the kind of world we chose to live in. He worked with an organic farmer friend, Richard Giles of Lucky Dog Farm in the Catskills, to plant 10 acres of winter wheat in the fall of , resulting in a robust harvest of bushels the following summer.

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In recent decades, the movement in art as social practice has been expanding in a myriad of expressions by working artists. We are not likely to ever return to ancient animistic beliefs and ways. Food will always be essential in the support of our bodies and biological life, and art to feed the human spirit.

When food and art are sculpted together into a loaf of bread and shared among people, a rite as ancestral as the earliest cultivation of grain in the Fertile Crescent is celebrated. There was a problem filtering reviews right now. Please try again later. Format: Paperback Verified Purchase.

I first encountered this book 30 years ago in the book shop of The Art Institute of Chicago while an art student, so I assume it was taken seriously by the art establishment back then. I probably wouldn't have abandoned my "studies" and the monumental architecture, underground transport systems and social inequality of the second city were it not for this book. True i was already aware of the philisophically paralleled "Small is Beautiful" by Schumacher and was homesick for the green of humble, even comparatively feeble New Zealand, but this book tipped the scales.

Now the idea of farming as art, as something both beautiful, whole, meaningful and practical does not seem so different to Illich's Conviviality, Schumachers Small is Beautiful , the anarchist idea of the "realm of freedom" "inhabiting" the "realm of necessity" in contrast with the communist division of the two Beuy's "Everyman an Artist". It is perhaps not even any different to how humans have seen things for most of prehistory "there is no distinction between work and play" said the anthropologist Richard Gould of the Australian Aborigines.

Basically Baruchello adds another tool to the arsenal of ways of reviving a meaningful way of living with nature, the conceptualism and aesthetics of Modernist art, especially the work of the giant Duchamp, a friend of his.

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For me Duchamp on his own along with the contemporary art world he still influences seems of little or no relevance now, but this book endures for it's substantial potential use in avoiding human self-destruction. Format: Paperback. The book, based on conversations that took place in at an Italian farm named Agricola Cornelia, was published in There is only one voice, that of Gianfranco Baruchello, an artist who also owns the farm. Henry Martin, the co-author, is described as more of a collaborator than a translator and editor.

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Baruchello tells the story of his life since the period of the late 60s in which he was a leftist radical to his disillusionment with that movement and his purchase and development of a farm in the s as a complex multifaceted work of art. Baruchello's hero is Marcel Duchamp, although he admits that Duchamp would have had very little interest at all in farmwork.

Even though edited, the book has a kind of stream-of-consciousness quality. Of special interest are various ruminations on the nature of art. People often ask Baruchello how his work can be art. At times he says that believing it is art is just a matter of faith.

He thinks that the problem of whether Agricola Cornelia is art is like the problem of whether Duchamp's ready-mades were art if they had not been shown in public.


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For him, the essence of art is a certain way of being. This is not to say that there is little of what is traditionally recognized as art here.


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Although the book has no illustrations in the text, the front page shows one of Baruchello's farm-based paintings. We also learn that he has engaged in a number of other "works," including videos, books, staged events, and collections of artifacts, all of which are related in some way to the farm project. He tells us that he wants to make art out of something that is not art but is still full of "vital interior experience. None of these ideas seem to be "enough.

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Of course, this very book is a partial answer to that question. Indeed, towards the end, he suggests that the best way to present his work might be as a manual on "how to imagine One is reminded here of John Dewey's aesthetic masterpiece, Art as Experience, in which art in understood in terms of a closer relation to everyday life. Baruchello also speaks of his art as personal mythopoesis: a contemplative or ritual experience which is also an interior search for power.

Although it might seem that he is trying to weaken the definition of art so that it could finally include digging potatoes out of the earth, what he is really trying to do is "recomplicate" the idea of art, and affirm art and religion as something with its own dignity in opposition to science. Although he admits that his potatoes may not in themselves be intriguing, he insists that his way of talking about them begins to make them at least a bit disquieting. In the end he defines art in a way reminiscent of Kandinsky when that artist derides materialism and "art without soul.

And anything that isn't isn't.

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How to Imagine also provides an exploration, or perhaps just a caring description of the aesthetics of farm-life, from the sounds of water on the roof, to descriptions of the removal of a bee colony from within the house walls. There are also some humorous passages about mistakes one can make as a novice farmer, and some interesting asides about the author's reaction to feminism. I recommend this book for artists who wish to think about art in the post-Duchampian era and who refuse to think of art is somehow dead or at an end. See all 2 customer reviews. Write a customer review. There's a problem loading this menu right now.