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Vessel, John Jordan, 1997, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture
tall, bulbous vase shape with short ring foot; smooth, rounded mouth; textured body with dark streaks and inherant pits and knots Size: 12 1/8 x 9 1/2 x 9 1/2 in. (30.8 x 24.13 x 24.13 cm) Medium: Red maple
https://collections.artsmia.org/art/61935/
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Untitled vessel, John Jordan, 1989, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture
vase with wide bottom and tapering body on small ring foot; fluted shoulder; body is light-colored with pink streaks; black cover with teardrop-shaped finial Size: 13 1/2 x 5 3/4 x 5 3/4 in. (34.29 x 14.61 x 14.61 cm) (overall) Medium: Box elder wood, ebony
https://collections.artsmia.org/art/61934/
Vessel, John Jordan, 2000, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture
very small, flat, flower-shaped foot; rounded, lobed form with eight-lobed opening; textured overall with vertical incised lines; grey, very light brown and medium brown with lines and blotches; some inherent holes Jordan is a self-taught wood turner and teacher who travels both nationally and internationally to demonstrate his craft. He enjoys working with discarded, often damaged wood that he finds at landfills and construction sites. He turns his pieces on the lathe while the wood is still green, using tools of his own design. This piece shows the textured surface treatment that is Jordan's trademark. He creates the rough texture by hand, using small tools in a process that can take up to three weeks to complete. Jordan finds inspiration in nature and the arts and cultures he experiences on his travels; his lotus flower form here could be seen as a reference to Asian art. Size: 5 3/8 x 5 15/16 x 6 1/16 in. (13.65 x 15.08 x 15.4 cm) Medium: Red maple
https://collections.artsmia.org/art/106755/
“Between what is a home and what is a barricade.”
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It [the barricade] is a fantastic insurgent vernacular architecture.
John Jordan, Barricading the Ice Sheets, Graz
John Jordan, "The art of necessity: the subversive imagination of anti-road protest and Reclaim the Streets," in DiY Culture: Party & Protest in Nineties Britain ‘Since the beginning of this century, avant-garde agitational artists [1] have tried to demolish the divisions between art and life [2] and introduce creativity, imagination, play and pleasure into the revolutionary project.’ p.129 (Ownness and everyday resistance, prefigurative politics)
‘I don’t pretend to be objective; in fact the whole gist of my argument is against the notion of objectivity and calls for a society where the personal and the political, the passionate and the pragmatic, art and everyday life, become one.’ p.130 (Autoethnography and reflexivity) ‘5. When art remains a tool of representation, art about political issues, it fails.’ p.284 (Art as transformative and empowering) ‘Art has clearly failed historically as a means to bring imagination and creativity to movements of social change. Present political conditions require a shift away from all categories, be they art, politics or science. What makes DiY protest powerful is that it ‘clearly embodies a rejection of the specialised sphere of old politics, as well as of art and everyday life’. Its insistence on creativity and yet the invisibility of art or artists in its midst, singles it out as a historical turning point in the current of creative resistance. By making the art completely invisible, DiY protest gives art back its original socially transformative power; as Dubuffet said: ‘Art... loves to be incognito. Its best moments are when it forgets what it is called.’ p.131 (And The Death of the Author) A new breed of ‘artist activist’ emerged whose motto could well have been creativity, courage and cheek.[9] Their art was not to be about representation but presence; their politics was not about deferring social change to the future but about change now, about immediacy, intuition and imagination.’ p.132 (Urgency amidst global crises. Now) ‘Direct action is by nature deeply theatrical and fundamentally political. The performance of climbing a crane on a building site has many different functions—pragmatism, representation, theatricality and ritual coalesce in direct action.’ p.132 (Theurgy: Micah White) ‘Its representational function is that these acts provide powerful news images, images that have enormous audiences and can bring the issues to public consciousness. Its theatrical function is that it is enacted in front of an audience, not only the media, but for local passers-by, who are often awestruck by what they see and are thus brought into dialogue about the issues.’ p. 133 (Epic Theatre: Bertolt Brecht) ‘To engage in direct action you have to feel enough passion to put your values into practice; it is literally embodying your feelings, performing your politics.’ p.134 (Protect Our Farmland zine, Performativity with Olympic protest torch) ‘Yet these [M11 Link Road protest on Claremont Road] creative constructions were not just site-specific sculptures which resonated with and reflected the architectural structures of the houses, they were creative social transformations, imagination rigourously applied to real situations, art embedded into everyday life.’ p.136 (La Grée and Lighthouse) 'Turning to proactive, instead of defensive, direct action enabled us to expand our remit into a wider cultural critique.’ p.139 (Prefigurative politics) ‘Raoul Vaneigem wrote that ‘revolutionary moments are carnivals in which the individual life celebrates its unification with a regenerated society’.’ p.140 (Jackfruit Festival) ‘[...] the Situationists’ ‘THE SOCIETY THAT ABOLISHES EVERY ADVENTURE MAKES ITS OWN ABOLITION THE ONLY POSSIBLE ADVENTURE.’’ p.144 ‘Green and red make black’ p.146 ‘RTS [Reclaim the Streets] believe that ... change will be brought about, not through the mediation of professional politicians, but by individual and collective participation in social affairs. In short—by direct action.’’ p.148 (Community building and publishing as direct action) ‘Perhaps this movement has sown the seeds of new forms of struggle for the twenty-first century. Perhaps the twenty-first century will see the end of industrial capitalism and the return of some sort of social and ecological balance.’ p.151 (Smash capital-colonialism-patriarchy and all terrans—Donna Haraway)
