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How to Imagine: A Narrative on Art and Agriculture, by Gianfranco Baruchello, Henry Martin
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"How to Imagine" is an unusual meditation about the intersection of personal space — the imagination — with the natural spaces and forces that surround and nurture it. An artist and a writer collaborate here to examine the meanings, the images, and the fantasies implicit to digging into the earth. For a number of years Gianfranco Baruchello — on the of the great poly-artists to emerge from Italy in the 1960s — operated a farm outside Rome, a farm which may be said to have produced paintings, films, photographs, and books, as well as more common agricultural products. With his friend Henry Martin, Baruchello undertakes an investigation of that farm marked by the engaging wit and attention to detail of a natural raconteur. The narrative proceeds along its way to unravel many of the philosophical and formal assumptions that underlie contemporary art. "If you can imagine Marcel Duchamp as a farmer, you'll begin to catch the flavor of this wry, idiosyncratic work, in which the day-to-day concerns of husbandry are wonderfully intertwined with a series of intense, insightful meditations on the possibilities of art."— Donald Barthleme
- Sales Rank: #1790354 in eBooks
- Published on: 2016-02-17
- Released on: 2016-02-17
- Format: Kindle eBook
Most helpful customer reviews
5 of 5 people found the following review helpful.
How to make farming into art.
By Thomas Leddy
The book, based on conversations that took place in 1980 at an Italian farm named Agricola Cornelia, was published in 1984. 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. 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 1970s 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. 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. 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." In one of the most interesting passages he explores various wrong ways in which his project could be made art: putting on a show, making a collaged text, and so forth. None of these ideas seem to be "enough." He asks: how does one deal with experiences so that they survive the fact of having been dealt with? 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 ... how to take anything at all...and make it become an experience..." That is what art (true art) is always doing. (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." For Baruchello, "Anything we can think of as the source and mother of our feelings is art. And anything that isn't isn't." The book ends with a defense of "speaking out of wisdom" which is described as statements coming from a fully conscious individual. 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.
1 of 1 people found the following review helpful.
A Personal Review
By Dg. Batt
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. I would return to New Zealand & pursue farming as art, a goal I haven't swayed from in 30 years (though results have been mixed that's another story)
30 years on the book is still very interesting, back in the Subways of Chicago it was utterly riveting. 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. As "How to Imagine" concludes "wisdom is never chic & it's never original.
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. 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.
P.S. I recommend this edition with the Baruchello artwork on the cover & larger print & more pleasing layout. There's another edition with a tree on the cover with small print & cheap paper which I found annoying but better than nothing.
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