“Rufus Stone believes it is essential to find new ways of thinking about art, its peripheral characteristics, and the power of art to incrementally change the world."

Rufus Stone helps people re-imagine and recalibrate what art means in their lives and what art looks like.

 

Rufus Stone believes that people should express their creative selves on their own terms.  

 

Rufus Stone privileges the autonomous individual vs. the institution.

 

Rufus Stone believes it is essential to find new ways of thinking about art, its peripheral characteristics, and the power of art to incrementally change the world.

 

Rufus Stone has grave misgivings about current stereotypes and paradigms that define or describe “art” and the process of making it and presenting it, but has every intention of subverting these structures when it is in Rufus Stone's interest.

 

Rufus Stone enables artists and non-artists to produce art that that is not easily defined, commoditized, or located in existing or expected places.  

 

Rufus Stone introduces "non-artists"to ways of working they might not have considered including; sound, food, installation, temporal sculpture, performance; identifying opportunities, venues, audiences, and providing the contextualisation and logistics which make it possible for "non-artists" to do their work.

 

Rufus Stone blurs the boundaries of authourship to the point where the label "non-artist" comes into question.

 

Rufus Stone believes in artists enabling artists, artists creating opportunities for themselves and other artists, artists defining for themselves what they want.

 

 

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About Rufus Stone

Manifesto of the month::

 

I am for an art that is political-erotical-mystical, that does something

other than sit on its ass in a museum.. I am for an art that grows up not knowing it is art at all, an art given the chance of having a starting point of zero. I am for an art that embroils itself with the everyday crap & still comes

out on top.I am for an art that imitates the human, that is comic, if necessary, or violent, or whatever is necessary.

 

I am for all art that takes its form from the lines of life itself, that twists

and extends and accumulates and spits and drips, and is heavy and coarse

and blunt and sweet and stupid as life itself.I am for an artist who vanishes, turning up in a white cap painting signs or hallways.I am for art that comes out of a chimney like black hair and scatters in the sky. I am for art that spills out of an old man's purse when he is bounced off a passing fender.

 

I am for the art out of a doggy's mouth, falling five stories from the roof. I am for the art that a kid licks, after peeling away the wrapper. I am for an art that joggles like everyone’s knees, when the bus traverses an excavation. I am for art that is smoked, like a cigarette, smells, like a pair of shoes. I am for art that flaps like a flag, or helps blow noses, like a handkerchief. I am for art that is put on and taken off, like pants, which develops holes, like socks, which is eaten, like a piece of pie, or abandoned with great contempt, like a piece of shit.

 

I am for art covered with bandages, I am for art that limps and rolls

and runs and jumps. I am for art that comes in a can or washes up on

the shore. I am for art that coils and grunts like a wrestler. I am for art that sheds hair. I am for art you can sit on. I am for art you can pick your nose with or stub your toes on. I am for art from a pocket, from deep channels of the ear, from the edge of a knife, from the corners of the mouth, stuck in the eye or worn on the wrist.

 

I am for art under the skirts, and the art of pinching cockroaches.

I am for the art of conversation between the sidewalk and a blind

man’s metal stick. I am for the art that grows in a pot, that comes down out of the skies at night, like lightning, that hides in the clouds and growls. I am for art that is flipped on and off with a switch. I am for art that unfolds like a map, that you can squeeze, like your sweety's arm, or kiss, like a pet dog. Which expands and squeaks, like an accordion, which you can spill your dinner on, like an old tablecloth. I am for an art that you can hammer with, stitch with, sew with, paste with, file with.

 

I am for an art that tells you the time of day, or where such and such

a street is. I am for an art that helps old ladies across the street.

 

I am for the art of the washing machine. I am for the art of a government

check. I am for the art of last war's raincoat.

 

I am for the art that comes up in fogs from sewer-holes in winter. I

am for the art that splits when you step on a frozen puddle. I am for the

worms art inside the apple. I am for the art of sweat that develops

between crossed legs.

 

I am for the art of neck-hair and caked tea-cups, for the art between

the tines of restaurant forks, for the odour of boiling dishwater.

I am for the art of sailing on Sunday, and the art of red and white

gasoline pumps.

 

I am for the art of bright blue factory columns and blinking biscuit

signs. I am for the art of cheap plaster and enamel. I am for the art of worn

marble and smashed slate. I am for the art of rolling cobblestones and

sliding sand. I am for the art of slag and black coal. I am for the art of

dead birds. I am for the art of scratchings in the asphalt, daubing at the walls. I am for the art of bending and kicking metal and breaking glass, and

pulling at things to make them fall down.

 

I am for the art of punching and skinned knees and sat-on bananas. I

am for the art of kids smells. I am for the art of mama-babble. I am for the art of bar-babble, tooth-picking, beer drinking, egg-salting, insulting. I am for the art of falling off a barstool.

 

I am for the art of underwear and the art of taxicabs. I am for the art

of ice-cream cones dropped on concrete. I am for the majestic art of

dog-turds, rising like cathedrals.

 

I am for the blinking arts, lighting up the night. I am for art falling,

splashing, wiggling, jumping, going on and off.

 

I am for the art of fat truck-tyres and black eyes.

 

I am for Kool-art, 7-UP art, Pepsi-art, Sunshine art, 39 cents art, 15 cents

art, Vatronol art, Dro-bomb art, Vam art, Menthol art, L & M art, Ex-lax

art, Venida art, Heaven Hill art, Pamryl art, San-o-med art, Rx art, 9.99

art, Now art, New art, How art, Fire sale art, Last Chance art, Only art,

Diamond art, Tomorrow art, Franks art, Ducks art, Meat-o-rama art.

I am for the art of bread wet by rain. I am for the rat’s dance between

floors.

 

I am for the art of flies walking on a slick pear in the electric light. I

am for the art of soggy onions and firm green shoots. I am for the art

of clicking among the nuts when the roaches come and go. I am for the

brown sad art of rotting apples.

 

I am for the art of meowls and clatter of cats and for the art of their

dumb electric eyes.

 

I am for the white art of refrigerators and their muscular openings

and closings.

 

I am for the art of rust and mould. I am for the art of hearts, funeral

hearts or sweetheart hearts, full of nougat. I am for the art of worn

meathooks and singing barrels of red, white, blue and yellow meat.

I am for the art of things lost or thrown away, coming home from

school. I am for the art of cock-and-ball trees and flying cows and the

noise of rectangles and squares. I am for the art of crayons and weak

grey pencil-lead, and grainy wash and sticky oil paint, and the art of

windshield wipers and the art of the finger on a cold window, on dusty

steel or in the bubbles on the sides of a bathtub.

 

I am for the art of teddy-bears and guns and decapitated rabbits,

exploded umbrellas, raped beds, chairs with their brown bones broken,

burning trees, firecracker ends, chicken bones, pigeon bones and boxes

with men sleeping in them.

 

I am for the art of slightly rotten funeral flowers, hung bloody rabbits and wrinkly yellow chickens, bass drums & tambourines, and plastic phonographs.

 

I am for the art of abandoned boxes, tied like pharaohs.

 

I am for an art of watertanks and speeding clouds and flapping shades.

 

I am for US Government Inspected Art, Grade A art, Regular Price

art, Yellow Ripe art, Extra Fancy art, Ready-to-eat art, Best-for-less art,

Ready-to-cook art, Fully cleaned art, Spend Less art, Eat Better art, Ham

art, pork art, chicken art, tomato art, banana art, apple art, turkey art,

cake art, cookie art.

 

I am for an art that is combed down, that is hung from each ear, that is

laid on the lips and under the eyes, that is shaved from the legs, that is

brushed on the teeth, that is fixed on the thighs, that is slipped on the

foot.

 

Claes Oldenburg

I Am for an Art (1961)

 

Initially composed for the catalogue of the exhibition ‘Environments,

Situations and Spaces’ at the Martha Jackson Gallery in New York, 1961; revised for the opening of the large-scale environmental work The Store, in his studio on East Second Street, New York, in Dec 1961. Published in Store Days: Documents from The Store (1961) and Ray Gun Theater (1962).

 

Rufus Stone has decades of experience working in various roles: educator, curator, writer, artist, arts administrator, activist, volunteer, project manager, facilitator, film-maker, parent to name a few.

 

Rufus Stone has more than one degree, including an MFA.

 

Rufus Stone has lived in the US and the UK, as well as South East Asia, South Asia and Eastern Europe. Currently Rufus Stone is based in the UK ( having been based in Chicago) and travels often, esp. to the US.

 

Rufus Stone has evolved-- from having a solo practice, towards collaborations, participation and enagement and is now interested in working with partners, facilitating thier production/creation.  Rufus Stone sees this as a logical progression. .  

Excerpt of the Month

 

Saul Alinsky’s 12 Rules for Radicals

 

RULE 1: “Power is not only what you have, but what the enemy thinks you have.” Power is derived from 2 main sources – money and people. “Have-Nots” must build power from flesh and blood. (These are two things of which there is a plentiful supply. Government and corporations always have a difficult time appealing to people, and usually do so almost exclusively with economic arguments.)

 

RULE 2: “Never go outside the expertise of your people.” It results in confusion, fear and retreat. Feeling secure adds to the backbone of anyone. (Organizations under attack wonder why radicals don’t address the “real” issues. This is why. They avoid things with which they have no knowledge.)

 

RULE 3: “Whenever possible, go outside the expertise of the enemy.” Look for ways to increase insecurity, anxiety and uncertainty. (This happens all the time. Watch how many organizations under attack are blind-sided by seemingly irrelevant arguments that they are then forced to address.)

 

RULE 4: “Make the enemy live up to its own book of rules.” If the rule is that every letter gets a reply, send 30,000 letters. You can kill them with this because no one can possibly obey all of their own rules. (This is a serious rule. The besieged entity’s very credibility and reputation is at stake, because if activists catch it lying or not living up to its commitments, they can continue to chip away at the damage.)

 

RULE 5: “Ridicule is man’s most potent weapon.” There is no defense. It’s irrational. It’s infuriating. It also works as a key pressure point to force the enemy into concessions. (Pretty crude, rude and mean, huh? They want to create anger and fear.)

 

RULE 6: “A good tactic is one your people enjoy.” They’ll keep doing it without urging and come back to do more. They’re doing their thing, and will even suggest better ones. (Radical activists, in this sense, are no different that any other human being. We all avoid “un-fun” activities, and but we revel at and enjoy the ones that work and bring results.)

 

RULE 7: “A tactic that drags on too long becomes a drag.” Don’t become old news. (Even radical activists get bored. So to keep them excited and involved, organizers are constantly coming up with new tactics.)

 

RULE 8: “Keep the pressure on. Never let up.” Keep trying new things to keep the opposition off balance. As the opposition masters one approach, hit them from the flank with something new. (Attack, attack, attack from all sides, never giving the reeling organization a chance to rest, regroup, recover and re-strategize.)

 

RULE 9: “The threat is usually more terrifying than the thing itself.” Imagination and ego can dream up many more consequences than any activist. (Perception is reality. Large organizations always prepare a worst-case scenario, something that may be furthest from the activists’ minds. The upshot is that the organization will expend enormous time and energy, creating in its own collective mind the direst of conclusions. The possibilities can easily poison the mind and result in demoralization.)

 

RULE 10: “If you push a negative hard enough, it will push through and become a positive.” Violence from the other side can win the public to your side because the public sympathizes with the underdog. (Unions used this tactic. Peaceful [albeit loud] demonstrations during the heyday of unions in the early to mid-20th Century incurred management’s wrath, often in the form of violence that eventually brought public sympathy to their side.)

 

RULE 11: “The price of a successful attack is a constructive alternative.” Never let the enemy score points because you’re caught without a solution to the problem. (Old saw: If you’re not part of the solution, you’re part of the problem. Activist organizations have an agenda, and their strategy is to hold a place at the table, to be given a forum to wield their power. So, they have to have a compromise solution.)

 

RULE 12: Pick the target, freeze it, personalize it, and polarize it.” Cut off the support network and isolate the target from sympathy. Go after people and not institutions; people hurt faster than institutions. (This is cruel, but very effective. Direct, personalized criticism and ridicule works.)Insert body text here ...

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