Unfinished Bridge Already Covered in Graffiti, Ottawa Citizen, July 17, 06

An almost completed foot bridge elegantly floats above the Rideau Canal as Ottawa is about to offer us our very own little "Seine" happening. Alas, before the ribbon is cut, "graffiti artists", have once again grabbed the headlines. Like spoiled three year olds they spit on the city they live in and the population that endures them. It is revealing that we crown such destructive people "artists". Graffiti sprayers set out to make ugly, to deface, mar and destroy simply because they want to and because they can with impunity. . . That’s anarchic, not artistic. The title of "Artist" has always been a universally bestowed crown - bestowed upon those who are so talented that even their extensive technical ability is overshadowed by the genius of their visual statements. This being so, there are very few amongst us today who have a right to that exalted crown. And none you may be assured are graffiti sprayers. But then, when something is so freely bandied about as the title "artist" - is it not a reflection of how the visual arts and creativity are perceived in our society?

     If I take on the title of dentist though I am not, I will be jailed within the week. Dentistry is respected and therefore the title not easily absconded with (without legal ramifications). Such is not the case with the visual arts. They are considered so low on the totem pole of consideration and respect, even vandals, destroyers and anarchists use the title of artist openly.

     Not so long ago, one of the most arrogant graffiti vandals in our fair city stated that as an "artist and visionary" he was disappointed that his freely imposed "gifts" were being rejected. I have difficulty perceiving "imposed gifts" as anything more than bullying so bear with me if I don’t consider that artistic. That every Tom, Dick and Harriet seem to call themselves artist, today, is irrelevant. That vandals consider themselves visionary is delusional. That they impose their unsolicited and unwanted attentions on the rest of society is tantamount to fascism and that we endure it with nary a reaction is collective folly.

     Rather than associating graffiti with vandalism and considering it a criminal offence, we too often connect such behaviour with adolescents and young adults. It is perceived as normal that young people will act out, at one time or another, in unacceptable and even destructive ways - so we universally endure delinquency as a by-product of hormonal instability. How insulting it is to consider whole generations thus. Most adolescents and young adults rarely act out inappropriately. If we would bother to take notice, the great majority consistently prove themselves to be responsible, positive and productive - and most find the concept of and defacing caused by graffiti wrong and distasteful.

     Graffiti painters, if they aspired to artistry, would be buying their own surfaces at the same time they buy their spray paints. Their refusal to do so is evidence that their ultimate goal has nothing to do with creativity or the arts and everything to do with scorn, vandalism and "getting away with it".

     A new and beautiful addition to the canal and overall Ottawa landscape? No. Just another surface to highlight the cult of ugly that we all seem to have embraced simply because it is too much trouble to deal with it.  

     The public image projected by a city reflects its soul and either attracts visitors or repulses them. From what I can see, the once beautiful Ottawa, is hurting. - 17-07-06

The jealousy of unsuccessful painters will be the thermometer of your success. - Dali

It takes courage to be a critic, intelligence and knowledge to be a good one and a humble soul to be a great one. - 04

An "art jury" which refutes the possibility of objectivity in crtitiquing and judging is simply emphasizing their ignorance of craft and technical skill. How so much easier it is to be elevated to the high position of judge when the nasty bits - the research and knowledge components of one's exhalted position, can be pooh-poohed or elegantly negated. . . . - 03

As your career in the arts evolves, believe not the compliments nor the criticisms which come your way. The first are often uninformed adulation and the latter born of envy. Yet, the evidence of both in relation to the mention of your name may indicate that you are "possibly" worthy of note. - 02

You will always know the result of an interview before it begins: After substantive research, a master interviewer creates a memorable event by following in the direction the answer to the first question takes him or her. A ordinary interviewer, it quickly becomes obvious, has done little if any research, briefs his guest before the interview and follows a predetermined list of questions - 00

Being correct in this day and age is too often a matter of self-righteousness than of being right. - 99

Re: “You Call That Art?” article: Globe and Mail, round table discussion, September 5, 1998

This conversational article in the Globe & Mail was definitely clear about two things: There is merit in the adage: Children should be seen and not heard. Gopnik and Magor were no match for Nemiroff’s intellect, professional training and artistic maturity. Despite the fact that there is nothing like negative space to give credence to positive space, it would have made for better reading had a group of Nemiroff’s equals been selected to discuss this important topic. No man of his stature needs to be surrounded by ignorance in order to rise above the fray. - 98

The most courageous act is to create despite criticism. - 98

The painter will always be remembered for what he did; even if it is only by his children or his mother. . . the critic, for never having accomplished much at all except to point out what he didn't like about what others did. - 98

Good critics are often angry people. And well they should be. Their words are the very reason why the artists they write about are remembered and they, on the other hand are forgotten. - 98

Despite our chronological age or our honestly earned recognitions, there will always be those who remember us only for our failings. - 98

The perception that something or someone is archaic or inferior is most often expressed by those who know well that which is archaic and inferior. - 98

The self-centered are rarely capable of thought not tinged with criticism. - 98

Far too often critics seem to have been the children of disappointed parents. - 98

Vingt minutes après son arrivée à Venise, le touriste en a “plein son casse”. Le voyageur continu à en rêver 20 ans après. - 98

On est expert dans la recherche des défauts lorsqu’on ignore la source des talents - 96

How frustrating it is to be a painter. . . To realise that one’s life’s worth will eventually be summed up in the jargon-filled obituary of a self-annointed critic. Better to die completely ignored than to have one’s simple desire (to paint the second painting better than the first) sullied. - 96

How much easier it is to talk the talk of art than to walk the walk. - 95

After I am dead, “they” will decide who or what my sources of inspiration were; “my muses”, the one thing or person who supposedly encouraged, motivated and stirred creativity in the once prolific observer that I was. . . And once more, and forever more, “they” will get it wrong... - 95

Critics, if history is to be believed, often back a losing horse. . . If your work is rejected or ignored by the press, praise the powers that be. . . chances are your work will be remembered far longer than the name of those who have made a habit of ignoring you. - (lecture comment) - 95

Critics have implied that the eerie appearance of an etched skeleton found at the right of Rembrandt’s self-portrait refers to the artist’s preoccupation and/or reference to his own mortality. This esoteric stuff fails to take into account the use and re-use of papers and or etching plates which were not immediately successful. By picking up a semi-used plate for a bit of practice and or whimsy, Rembrandt simply made use of a conservation technique more commonly known in this day and age as ecological awareness. He didn’t want to waste a perfectly good, though previously etched plate. Picasso did the same in his etching of Rembrandt on a cracked plate. Critics should spend less time “creating” stories and more time on the history and art of creativity. Much too much of what passes as research is simply opinion based on "creative ignorance" - 92 

Les gifles des critiques sont souvent moins douloureuses que les compliments nés d’ignorance. - 92

To paint with insight a person must strive to avoid judgements and absolutes. - 91

There is a world of difference between the art of observation and the act of staring. The former is born of curiosity and admiration, the latter of criticism. envy, jealousy and\or judgement. -91

Oh the pleasure of being a critic’s worst nightmare, to not follow their sacred established rules, limitations or expectations and best of all. . . to invite them to a party celebrating your success. - 91

La vulgarisation est un domaine complexe. La description d’une technique se veut simplifier assez pour clairement informer - tout en ne traîtant pas le public de niais; ça, les critiques le font tres bien déja. . . - 90

Too often, critics are no more than eunuchs in a harem; pretending at expertise in an area in which they are completely impotent. - 78

Bury me between two critics so that whenever I feel the need to roll over in my grave for a scratch, none other shall be crushed. -76

A painter is neither a high-priest, nor a judge nor a moralist. A painter paints what is observed and reports the findings. A painter is not there to judge to subvert or to impose retribution for naughty behavior. - 74

Critics exist to assure investors that those who dare be popular will never be famous. . . at least not during the critic`s journalistic tenure. - 74

The children of those who say: “My kid could do that” never do. - 73

The artist's role is to observe and to take note... not to judge or denigrate. - 72

Il y a des gens qui sont nés pour se plaindre, d’autres pour chanter les louanges des possibilités, des découvertes et des miracles. -71

"Rare are the times when reading about the art world is informative, intelligent insightful, learned and enjoyable." (Rob O’Flanagan - Sudbury Star) It is the rare critic who can differentiate between the objectivity of critiquing and the subjectivity of criticising. - 70

To be true to himself an artist must try to avoid judgements and absolutes. A critic can do what he wants. . . - 69