Grunge Art, James Martin & Greg Lukens: Neo-Luddism, Surrealism, Locality & Twisted Humour
Grunge paintings ‘’eschew any sense of elegance and thumb their noses at at…well, just about everything and everybody’’ - Alec Clayton
Neo-Conceptualism became prominent throughout the 1980s and 1990s, which was heavily influenced by the Postmodernist theory, seeking to prioritise auteurship or the social analysis relating to race, gender, or social class. As seen through Sherrie Levine, Barbara Kruger and Jenny Holzer`s work. All these concepts are significant in the context of Seattle art as the movement had criticized the consumerist American society of the 80s. However, 90s artists became introspective. They focused on people and everyday objects. This also applies to graphic design and is evident through the poster art by Art Chantry. There has not been any large recognition of the Pacific Northwest artists significance or critical acclaim of their artistic style.
However, Alec Clayton in As If Art Matters: Modern And Post-Modern Art Reviews And Commentary (2008) gathers unifying themes in Pacific Northwest artists. He highlights artists from the Seattle area such as James Martin, C. Blake Haygood, Hannah Corbett and Greg Lukens. He calls it the ‘Seattle Grunge art’, as from his observation it started to emerge with the musical genre. He argues that aspects of grunge art can be identified through the works of Jean Michel- Basquiat, Susan Rothenberg and Leon Golub.
Grunge paintings often portray ‘’fantastic machines, instruments of war and vintage vehicles’’ (Clayton, 2008, p.55). Anti-war messages and protests are common in Seattle rock music. For example, Pearl Jam`s ‘‘Yellow Ledbetter’’ which Eddie Vedder explains was originally written about the first Gulf War (2 Aug 1990 – 28 Feb 1991):
‘‘I'd created this image of a young guy with long hair and grunge-wear clothes who had just got a yellow telegram telling him that his brother had been killed in action. He's walking by these conservative- looking, older folks on a porch, flying an American flag, and he waves to them in a show of solidarity, and they brush him off and give him the finger. So, you know, what did his brother die for?‘’ (Pearl Jam LLC and Monkeywrench INC, p.280).
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In music and art [and film if we consider Neo-Luddism in David Fincher`s Fight Club (1999)], this is a reflection of the rise of Neo-Luddites in the early 1990s, originating from the: '’British labour movement that resisted the rise of factory system by attempting to destroy industrial machines''(Friedman, 2005. P.182). Neo-luddites of the 90s were not protesting the use of all technology but were concerned with rejecting exploitative uses of technology. This is a strategy that Art Chantry uses, as he has: ‘’resisted the use of digital technology, which number of designers feel has led to repetitive, homogeneous graphics in the recent years’’ (Reyes, 2000, p.374). At the same time, resisting the use of digital technology and protesting it`s exploitative side, is a protest against globalisation. Clayton argues that grunge art is characterized by sarcastic and twisted humour with messages regarding climate change or social issues. However, these messages are created with personal iconography.
James Martin : Neo-luddism, Locality and Surrealism
There is a difference in grunge art. Clayton divides grunge art into two categories: one is: ‘’typified by coloured-in drawings in a cartoon style and relates historically to painters such as Nutt and Basquiat’’; Whilst the other is: ‘’more painterly and relates historically to Rothenberg and Guston’’ (Clayton, 2008, p.55). Both categories share the essence of a working-class look: ‘’that eschew any sense of elegance and thumb their noses at at…well, just about everything and everybody’’ (Clayton, 2008, p.55). It depicts imagery of every-day life scenes turned into destructive forms, whilst being reminiscent of ’’Depression-era scrappiness’’(Clemans, 2011). Critic and historian Gayle Clements described it as: ‘’fantastically separated from our realities just like a circus, one of Martin’s motifs’’ (Clemans, 2011). He was referring to the Seattle painter James Martin.
Through surrealism and ‘‘circus’’, Neo-luddite ideology has been reflected through James Martin`s artworks Art Deco Engine (2010) and Jack Black (2011). Both illustrate the importance of technology however it is comical. Especially, through the constant references of submarines and bathtubs. Indicating the: ’’vehicle of unity and possibility, cut off from the vast sea, incapable of getting anywhere, but taking us along for the ride’’ (Clemans, 2011). Likewise, suggesting the desire for power of mankind and the misuse of technology, serving as criticism of the rise of technology in the 90s. This is also reflective of 90s fears as a study supported by Dell Computers in 1994, illustrates that: ‘’55% of Americans suffer from technophobia’’ (Szewczak and Snodgrass, 2002. p.212).
The artworks feature ideas of religion, anti-war and anti-capitalism, also a strong sense of regionalism, and locality. Just like in music, the locality of Seattle is important and the same is true in art. Notably through symbolisms of the very important fishing and timber industry in Seattle. This is seen through Martin’s ‘‘Ghost Town with a Human Seal’’ (1994) and ‘’Levitating Sailor and Seattle Floozies’’(1998). San Diego Union-Tribune in 1993 ran a story and expressed that : ‘‘Seattle school children learn how salmon spawn before they study the birds and bees’’ and "Locals eat salmon in every way imaginable and a large share of the population makes a living catching fish’’ (Godden, 1993)
Such local symbolism extends to contemporary artists even in the rap genre, when considering that Macklemore - a Seattle native mentioned Pike Place Market in his song ‘’Downtown’’ (2016). The song lyricises: ‘’Stop by Pike Place, throwing fish to a player’’. Locality is preserved in globalisation.
Outrage over social injustice and environmental destruction can be seen in ‘‘Ghost Town with a Human Seal’’ (1994). Seattle's high unemployment rate which resulted in migration from Seattle. More specifically unemployment: ‘’surged to 12 percent, and many people departed the area to peruse opportunities elsewhere’’ (Reiff, 2020.p.7). Prior to the grunge revelation, Seattle was an industrial city saturated with low income and blue-collar jobs. The city was known for it’s industrial extraction industry from timbre and fishing industry which all heavily declined in the 70s.
More detrimental was the fall of Seattle’s Boeing company as the company produced thousands of bombers during World War II. Boeing slashed: ‘’nearly fifteen thousand jobs from 1970-1071 after cancellation of their supersonic transport program’’ (Reiff, 2020. P.7). Critics have concluded that Ronald Reagan`s tax cuts for the wealthy did not create more jobs and instead focuses on creating manufacturing facilities in other nations. Resulting in Generation X to grow up in financial challenging times (This was only overcome with the birth of famous tech-companies in the 90s such as RealPlayer, T9, Amazon, Homegrocers). Whilst the 80`s Ronald Reagan administration : ‘’told it was all O.K., that we could spend and consume with no price tag attached’’(Heller and Vienne, 2003, p.3). You can find out more in this previous post:
Nevertheless, the area was put into a recession for nearly five years. In such, Seattle art portrays a pessimistic vision, when considering the brown and grey colour tone of the aforementioned artworks. Grunge colour palette consists of earthy, muted and muddy tones, creating a dark, blended, and depressed atmosphere. Orange dominates grunge art and significantly, is a: ‘’colour that celebrates the working class’’ (Bellantoni, 2013. p.112), partly by orange being associated with the orange working uniform. Applying the working-class characteristics and values towards the grunge aesthetic. C.W. Leadbeater noted that: ‘’Gray is to be associated with depression and fear’’ (Birren, 1950. p.43). Reflective of the previously mentioned financial instability in Seattle.
Marginalisation of the middle lower-class Americans is one of the factors which had shaped the Seattle movement`s anti-corporatism, anti-capitalist, and progressive leaning tendencies. Visually, the exemplified artworks reflect the troubles of the society and de-attachment from 80s, mainstream culture, by the use of colours not associated with wealth. In contrast, the use of muddy tones infers the opposite. The choice for subdued colours, rebels against the flashy 80`s designs, such rebellion making artworks of such style not profitable, capturing the essence of the movements anti-consumerist stance.
Greg Lukens: ‘‘Weissagung’’ (2005) and George W. Bush
Political comments are made by Greg Lukens ‘‘Weissagung’’ (2005), interpreting the conflict between the USA and Middle East. Through eccentric humour, the head of the opponent is given to the blonde American character (with the red Republican tie), who has the flag of the United States above him. Whilst a face which closely resembles George W. Bush, looks through the right window. Interpreting the situation after 9/11, when Osama Bin Laden was executed by The United States Navy SEALs. Concluding that G. W. Bush is not the brave saviour desired, in contrary, appearing cowardly behind the safety of the window. Likewise, ‘‘All God`s Children Got Time’’ and ‘‘Potential’’ further protest G. W. Bush.
What further characterizes these artwork as grunge is the fact that they alienate with the Republican values. Not only disagreeing with the President’s actions, but inferring idealistic, nationalistic, and patriotic ideas by the American appearing with blue eyes and blonde hair. Showcasing the issue of race relations in the American society. This can be further interpreted by the German tittle of the artwork ‘’Weissagung’’, further implying the ‘master race’ concept in Nazi ideology. Lukens explains that art cannot escape politics. Art which presents one idea that is easily interpreted and is agreeable is also dangerous:
Also, the anti-Bush stance can be identified in Pearl Jam`s song ‘’Bu$hleaguer’’ (2002), which criticizes President Bush invasion of Iraq in 2003. Likewise, Audioslave`s ‘’Wide Wake’’ (2006), criticises the President and his administration’s reaction of Hurricane Katrina in 2005.
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