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It seems that I am an anti-talent to drawings and paitings in a traditional manner. I even disregard this kind of art, wich can easi ly be replaced by mechanical reproduction. Therefore, I gathered nearly a quarter of my "anti-art" art-work done in Turkey, USA (here I got in touch with tbe straight art., in bright basic colors - yellow for the sun, blue for the sky, red for the fire, and black for the night somehow naive, of Navajo, Zuni, Apache, Hopi and Pima Indian tribes), and Mexico, beTWeen 1988 - 2000, in a paradoxist way: - paiting for non-paiting sake - not drawings. but OUf every day's scribblings - paiting overlapping another paiting - found art in the wasting basket of the art - fine ugly an - para-an and contra-an - art without an - scientific an. All of the ahove procedures become, after a period of maybe sbocking time. 'normal' (please read 'traditional') art. Which later would be classified, in their turn as supcrnuated. And again they come back to life wi~h a '"neo" prefix art. because an is cyclic. Let's catch the paradoxism in an - an avante-garde movemcot I set up in 1980's, which is focusing on contradictions (an...

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In the history of thought and creation, the decisive events, the great and significant moments, the strongly affirmative stages - then the imposition of the optimizing novelties - have depended on the name and prestige of a personality. Referring to those, we personalize further on. The examples are extremely numerous, even in our nearest past. When we mention a creation - in the largest sense of the term - with the name of the personality who illustrates it most extensively at a given time, we state precisely the specific importance of it; we give it, with other words, the identity to which we can refer continuously with full knowledge and without causing any confusion among the receivers. The facts are called with the name of the man who produced them, and in this way we can compose a parallel onomastic dictionary, in which the work is included in the person’s space, keeping its content. The consecrated proper names evolve through quickly imposed habits, a large range of increments that announce the essential outline of their peak production. No space for ambiguity remains when we address to readers or listeners who are...

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In aesthetics, the paradox means the apparent resolution of an enigmatic situation (the result of such a process is the satisfaction of a distention), the emotional moving force being the unforeseen, the unexpected (which generates and also perturbs a new tension). Therefore, the paradox is simultaneously a conclusion and a provocation, consisting in the concomitance of the opposites, which gives it a real specificity. The paradox is of the nature of an explosive nucleus resulting from the fusion of satisfaction and anxiety. The first situation, during an instant, is derived from the appearance of something with a convincing meaning; the second one, that comes immediately, is the perception of something concealed and absurd. Something, that is dissimulated under the level of the logical acceptance, jumps out abruptly in the main point to consider and constrains to acknowledgment. It looks as if it were an error, but not so big as to take alarm and not even to be clearly inhibited. It is a mechanism of exception in thought, that will accepted with the complicity of a total sympathetic tolerance. The aesthetic behaviour of ...

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Spanning periods spent in a vast range of locations, an identifiable style begins to crystallize, which links seemingly disparate expressions, heedless of media employed. A forthright, earnest, and earthy vein courses through the works of Jesse Waugh, as he endeavors to deliver pulchritude manifest. The compendium concludes with The Pulchrist Manifesto, which should serve to define the art movement which has been inaugurated by Jesse Waugh....

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I first noticed Jesse Waugh as a young student at L.A.City College in 1995. He would sit in the History of Cinema class, on the right hand side of one of the front rows of the college movie theater, with his roaring twenties-style, buzzed-on-the-back-and-sides, neatly-combed-on-top haircut. When I saw him working at the Temporary Contemporary Art Museum downtown I approached him to model for some photos, not realizing how well my offer fit into his particular style of self-expression. The intention behind Jesse’s art, while it can’t be pinned down in a few words, has a lot to do with exploring—or a more precise word might be celebrating—the self and the ego. His work is informed by his religious upbringing in a California church with a doctrine based in Hinduism. While riffing on the church’s mythology and iconography, Jesse’s art is in part a howl of dissent against its core ideas, or at least the way they have become codified. There’s a concept I once heard expressed by Guru Singh of Yoga West—one of the pre-eminent American teachers of Kundalini Yoga—that rather than suppressing the ego, we should work to expand it out to infi...

Table of Contents Details
FOREWARD 4 INTRODUCTION 5 FILM 7 OBJECTS 23 IMAGES 43 PERFORMANCES 63 MUSIC 71 ARCHITECTURE 79 GALLERY 93 LOGOS 113 PUBLICATIONS 115 PRODUCTS 125 THE PULCHRIST MANIFESTO 141...