The Studio Q Show LIVE! September 4, 2024 at 1700 MST

Join Quinn on Wednesday evening (September 4, 2024, at 1700 MST) for a talk with Dr. Sheldon Solomon, author of The Worm at the Core: On the Role of Death in Life. Quinn and Sheldon will talk about how artists differ in their response to death anxiety. What can an artist do to harness this powerful psychological phenomenon? Can the knowledge of our impending deaths make us more creative?

Homomortalis

Homomortalis” The eternal man.

Ernest Becker - 1924 - 1973

Ernest Becker - 1924 - 1973

Cultural anthropologist Ernest Becker asserted in his 1973 book The Denial of Death that humans, as intelligent animals, are able to grasp the inevitability of death. They, therefore, spend their lives building and believing in cultural elements that illustrate how to make themselves stand out as individuals and give their lives significance and meaning. Death creates an anxiety in humans; it strikes at unexpected and random moments, and its nature is essentially unknowable, causing people to spend most of their time and energy to explain, forestall, and avoid it.

Have you ever wondered why human beings can’t stop killing each other? Why is there war? Why is there genocide? Those are the most violent acts of death denial (death anxiety quelled). If your beliefs are challenged or threatened, you will lash out or attack those that are threatening your system of beliefs that are keeping the death anxiety at bay. There are many other ways this anxiety manifests itself; wealth, material stuff, physical fitness, sports, heroes, etc. Most of us have what Becker calls immortality projects. Work we do so that some part of us lives on after we die. Please take a few minutes and watch Dr. Sheldon Solomon’s video at the bottom of this page. He explains Terror Management Theory very well.

I’ve contemplated what I’ve spent over 30 years doing, photographing marginalized communities and ideas, and never really understanding WHY I was doing that. Does that ring true for you? Graduate school provided a method for me to connect the dots about who I am and my work. However, that did not answer the bigger question for humanity. Why do we have marginalized communities and ideas?

Have you ever considered what meaning or purpose your life has? Of course, you have. We all have had those moments of self-reflection, or as Socrates would say, “self-examination”. Did you find any answers? I bet you had a difficult time finding good reasons for your existence. And I’m sure this topic rarely comes up in conversations that you have on a day-to-day basis. I feel confident that I have some answers, or maybe a better way to say it is that I’ve found some very powerful theories that have explanatory power.

That’s what I’m most interested in - exploring and trying to answer the question(s) of human behavior and belief. Why do we do the things we do? And, moreover, what can we do (if anything) to control or mitigate the bad stuff.

We have an epistemic crisis going on right now in the world. People are so influenced by social media and the press, they cannot, or refuse to, think critically. Most have no clue about what they believe or why, they only repeat tropes as they hear them. Confirmation bias, the Dunning-Kruger Effect, cognitive dissidence, all in full effect today; look around.

Dr. Sheldon Solomon sums it up like this, “The idea of death, the fear of it, haunts the human animal like nothing else. It’s a mainspring of human activity: activity designed largely to avoid the fatality of death; to overcome it by denying, in some way, that it is our final destiny.”

How do you deal with your impending death?

My Mother: Nov. 8, 1929 - Sept. 1, 2008

Dear Mom,

I love you very much and I'll miss you a lot.

I'm sorry I couldn't be there when you left for Heaven, but I know you understand. I have sweet and precious memories with you, and of you. Jeanne and Summer send their love. God bless you and goodbye for now. I know I will see you again.

Mom in her casket - September 8, 2008 - Utah

Ida Juanita Gardner (Mom) 2005 Wet Plate Collodion Ambrotype. 

Mom, me and Dad - Mom's 39th birthday - 1968
  Mom and Dad - photo booth 1959

Considering Creativity

What does it mean to be creative? Does it mean you are witty, fun and different? Or that you can make tiny flowers from pieces of bread? Play cover songs in a band? How about writing an incredible document like Thomas Jefferson did? How do you define it? What are the qualities and how do you recognize them?

I've been spending a lot of time traveling and teaching wet plate collodion workshops all over Europe. In between the technical and the fun, I've had my ear, my mind and my heart bent toward the creative spirits I've met along the way. I'm not saying that I gave a lecture or an artist's talk and requested feedback, but rather that I've quietly observed and listened to the words and ideas behind the people in my travels. It's difficult to explain, but there are a lot of passionate people making art out there. We rarely get to see it, it's rarely in galleries and it's never the latest craze (which sickens me anyway). It's usually found in unknown, unpretentious artists that are honest and authentic. Not perfect in anyway, but at least accessible and real. This is the kind of thing that excites me. Knowing that there are people like me, driven to make art and asking questions about ourselves and one another. It's all about narrative for me. Making art that is generative and allows the viewer, if they are present, to wander to explore and ask their own questions – it’s open to reverie.

The poet/writer C.K. Williams said that the poet (artist) has, "the right to vacillate, to wobble, to shillyshally, be indecisive in one's labors, and still not suffer from a sense of being irresponsible, indolent, or weak." It feels good to read that. It's one of my greatest weaknesses, I'm rather insecure as an artist (all artists are, if they are honest). I've done a bit of that "shillyshallying" lately.

My work has taken a nice turn recently. At least I think it's nice. After considering that the Kristallnacht project is almost impossible (read: almost) to complete (time, money and cooperation), I decided that I wanted to blend it with my personal interests and make it less pedantic and more authentic and, in my opinion, interesting. So, I'm blending Kristallnacht, Portraiture Work and both historical and contemporary theories of difference into my images.

My latest incarnations:

Carmen the Putzfrau and Heidelberg Brown Shirt Street

Heildelberg Synagogue Arc (Memorial) and German Man With An Axe