Art Without Meaning

a discussion on the possibility

with Jim Stamper and Corinna vanGerwen

In the spring of 2000, during critique sessions, which
have become standard practice in arts institutions
throughout the world, artist and Emily Carr student Jim
Stamper, found that changing accepted philosophies
about art is a feat that is perhaps beyond our
capabilities.
Many artists at the beginning of their careers fight
against ideas of embedded content, and yearn to be able
to just make art, without talking about the metaphors
and meanings it conveys. As artists develop their
practice, they learn and accept that every stroke they
make, every shape they create, every colour they
choose, communicates their ideas and feelings to their
viewers; that they reference hundreds of years of visual
history; that their work does not stand alone, devoid
of any meaning.
Well, Jim has reverted to believing that art can be
visceral. Not an entirely new idea, art without
meaning, without political or social commentary, is
an idea abnormal in our contemporary world of
cerebral art. It is an idea which may belong to the
past era of modernism, replaced by postmodernism
and deconstructionist thinking. Yet, unlike
modernist thinking, which believes that art can
exist devoid of external influence, Jim Stamper
believes that it's just a matter of stopping before
you get there. In an effort to have artists enjoy art
only as a form and forget about it's implications,
as an exercise Jim presented his work; with the
request that no meaning be read into it. Perhaps it
is the meer explorations of one man, perhaps it is
the start of a new wave.
So, on a late Friday afternoon, Jim Stamper and
myself met on a sunny patio and, over a few
pints, discussed philosophy, nothingness, and
art. What follows are some selected excerpts
from a very long conversation.

It’s about believing in the infinity.
f you believe in infinity

nen you have to believe in nothingness.

ght?

Art Without Meaning

a discussion on the possibility

with Jim Stamper and Corinna vanGerwen

In the spring of 2000, during critique sessions, which
hhave become standard practice in arts institutions
throughout the world, artist and Emily Carr student Jim
Stamper, found that changing accepted philosophies
about art is a feat that is pethaps beyond our
capabilities.
Many artists at the beginning of their carcers fight
against ideas of embedded content, and yearn to be able
to just make art, without talking about the metaphors
and meanings it conveys. As artists develop their
practice, they learn and accept that every stroke they
‘make, every shape they create, every colour they
‘choose, communicates thei ideas and feelings to their
viewers; tha they reference hundreds of years of visual
history; that their work does not stand alone, devoid
of any meaning.
‘Wall, Jim has reverted to believing that art can be
visceral. Not an entirely new idea, art without
‘meaning, without political or social commentary, is
an idea abnormal in our contemporary world of
cerebral art It is an idea which may belong to the
past era of modernism, replaced by postmodernism
and deconstructionist ig Yet, unlike
modernist thinking, which believes that art can
‘exist devoid of external influence, Jim Stamper
believes that it’s just a matter of stopping before
you get there. In an effort to have artists enjoy art
‘only as a form and forget about it’s implications,
as an exercise Jim presented his work; with the
request that no meaning be read into it. Perhaps it
is the meer explorations of one man, perhaps itis
the start of a new wave.
So, on a late Friday afternoon, Jim Stamper and
myself met on a sunny patio and, over a few
pints, discussed philosophy, nothingness, and
art. What follows are some selected excerpts
from a very long conversation.

It’s about believing in the infi nity.

you believe in in

then you have to Believe in nothin: nie
tv?