An Email To David, My Trump-Voting Friend

George Magalios

Note: This email was written in response to a link ( sent by my friend David. 

Hi David, Great seeing you and Silvia Friday. I really enjoyed it. 

Thanks for this article. I say thank you because the article inspired me to think about you and my other friends who voted for Trump and who continue to be swept up in the false bravado and cynicism of so-called Conservative beliefs. 

Let me start by addressing the article you sent. I usually just delete links from you and my other friends when I realize they are going to garbage websites that try to stoke the worst values in people. I dismiss them like I dismiss misguided beliefs of people I love. But this time I felt compelled to write you a proper reply and to convey my truest emotions and thoughts. I hope you will take this reply as a genuine act of respect and friendship. 

Apart from being inflammatory and baseless, the article is an example of nonsense, untruth, and very poor writing. It is not based on fact in any way and I imagine its sole purpose is to stoke the paranoid, angry flames of those who find comfort in death and destruction, for the type of person who would rather by guns to prepare for the apocalypse then give to a charity or support a neighbor in need. 

 The website in which this article appears is a gigantic garbage dump of paranoia, empty political hatred and weak thinking masked with the racist and neo-pseudo-apocalyptic ramblings of the terrified little child in all those who wallow in the thought that the end is near.

First, the French government are not planning or currently tracking everyone. The USA does this with our smartphones. There is no privacy. The only way to be off the grid is to live off the land in a 19th century way without technology. The days of privacy are gone. Second, the French, British and other countries have a national identity card to give all citizens an easy way to be identified and to have their records registered. I really like this idea and the USA should implement it too. The driver license is a bogus form of identification since pretty much anybody can get one and it does not distinguish between citizens, resident aliens, and illegal immigrants. 

Third, this website and article are simply examples of truly horrible attempts at news that feed into the biases and fears of the financial elite. While I do not agree with the French tax structure for the wealthy, this is not a website you or any self-respecting and honest person should be reading. All it does is feed into the bullshit and lies of the right and the libertarian mindset that is based on empty quasi-macho anger and offers no real solutions. 

Articles like this:

are examples of what I mean. No self-respecting scientist denies climate change is caused by humans and technology. It appears to be an irrefutable fact. Even it if is only a belief, it is one I abide by as I witness the ridiculousness of our weather patterns over the decades. Two days ago, on February 22, it was 70 degrees in New York city. This is matched by hard scientific data in terms of the melting of the ice caps, the increasing rise in average annual temperatures for the whole planet and much more. 

Even if Global Warming were refutable, what is wrong with energy conservation, renewable energy and living in balance and in tune with the planet? 

How can the political stance and lifestyle that values ecology and environmental protection be objectionable to anyone who loves nature, clean water, clean air and who wants their children and grandchildren to swim in clean seas and live without fear of water shortages and air pollution?

I love you but your right wing, semii-Libertarian angry white man politics are tiresome, insulting and quite frankly, very predictable. I hope you can evolve and push yourself to question your assumptions and beliefs, which I find infused with the racist resentment and bitterness of the stereotypical gun-toting libertarian living in the woods bemoaning the fate of his country and hating everyone and everything. 

I know you are not hateful person but all the links you send me and all your political beliefs are suffused, infused, and undergirded with animosity and venom toward so-called liberals, African Americans, environmentalists, the French, etc…

Do you see a patten here? 

I implore you to analyze the tone and source, the agenda and origin of this hate. 

Any website that puts up articles like these is pure junk and demeans anyone reading it. 

Photos of Al Gore breathing fire? Really? Is this where you get your news? 

This brings me to the revelation that you heaped upon me recently: your vote for Trump. That you voted for a madman and sociopath for President leaves me dismayed. This past election was arguably the most unusual and problematic of any American election in the past 100 years. The stakes are always high but never in our country’s history has there been a more despicable and humiliating excuse for a candidate as Donald Trump. How can anyone who loves this country and who claims to be educated and enlightened support this man? 

How can you vote for someone who is a misogynist, serial liar, and a cultural ignoramus who is entirely devoid of dignity, good taste and even a hint of respect for others (except for Vladimir Putin)? 

What level of anxiety and angst in your life could possible make you think Trump is worthy of being President more than Hilary Clinton? There is no rational, moral, legal, financial, political or cultural basis to support the conclusion that Trump is worthy of the office of President.

What emotional trauma or rage are you living with that could cloud your intellectual and moral judgement so badly, so completely? 

Do you not respect kindness, goodness, women, and the right of all human beings to have a good job and healthcare? 

How could you support Trump’s brazenly racist, xenophobic, proto-fascist beliefs?

By voting for Trump you voted against all the good sense, righteousness, tolerance, love, humanity, and humility you display in your life. 

Did you really think Trump will defend us from the corporatism that has ravaged and savaged every aspect of our lives, from real estate and healthcare to insurance and education? 

Do you really believe Trump will best represent the working men and women just trying to get by and feed their families? 

Did you really believe his lies, bogus promises and insidious comments about our economy and political structure? 

Did you really think he is competent, intelligent, and emotionally stable enough to represent the United States and lead us in a time of crisis?

Do you really think he will lead this country into a prosperous and peaceful future with his unstable mental state, his belligerence and his gargantuan ego matched only in magnitude by the smallness of his mind and his confidence? 

Don’t you see that all narcissists like Trump are really small, feeble, fragile, and scared individuals living in constant fear? 

Don’t you see how dangerous such people are? 

Don’t you recognize the ultimate form of courage is humility, as demonstrated in the life and teachings of great people like Jesus, and your own family members?

Don’t you see that true confidence, greatness, and strength in a political leader does not breed antagonism and strives for kindness, peace and understanding in defense of the poor, the weak and those less fortunate than our political and financial elites? 

How can someone who calls himself a Christian support the hateful, violent, mendacious, racist, and perpetually insulting and degrading behavior of Donald Trump?

Don’t you see that truly strong people believe in empathy and compassion, and more importantly, practice it to all without regard to wealth, status, or skin color? 

Don’t you see that Trump represents the very antithesis of honest, hard-working, and welcoming Americans? 

How could you vote for someone who, in every phase of his business practices, was fraudulent, mendacious, evil, and incompetent? 

The David I know is a very righteous and kind man. You have always been a warm friend and example of the authentic earnestness of the MidWest American spirt that I have admired ever since I met you and ever since I traveled across the country. 

Don’t you see that your support of these websites and this President is an affront to your very own beliefs and dignity? 

Your Friend,


The Etymology of Color

George Magalios

The names of colors are stories in themselves. There is poetry in “burnt sienna”, “royal blue” or “payne’s gray”. The names of colors are also tied to subjectivity, perspective, and even something as banal as branding. The paint samples at your local hardware stores are filled with pseudo-literary titles for hues that range from the mundane to the sublime. The great irony of names for color is that everyone conceives of a specific hue as uniquely as we conceive of love or experience the taste of a peach.

It is true that colors play on our emotions. We experience different sensations with different juxtapositions. But what about the names? Does a name sway us? For a painter, colors are both fetish objects to adore and the very elements of the art of putting paint to a surface. For conceptual artists as varied as Yves Klein or Gilbert and George, color can be suffused with symbolic power (International Yves Klein Blue or the gold of the performance “The Singing Sculpture”).

There is mystery and poetry in the relationship between language and color. There is no limit to the historical and political implications of this relationship. Politicians wear their predictable dark blue suits and the environmentalist clothes himself in the green of photosynthesis.

In Praise of The Church

George Magalios

Dear Mr. Kilbey, Mr. Koppes, Mr. Powles, and Mr. Wilson-Piper:

I am writing to ask for your forgiveness. My sin was that of a lack of faith in the Church. After listening to your band faithfully since 1984, I had lapsed into other musical tastes and wandered off away from the band’s music sometime around the release of Sometime Anywhere. I write you as a loving admirer and fellow artist as I have now re-discovered the band’s inspired and breath-taking output since then, most recently with Untitled #23, a work of sublime resistance against world-weariness. It is an album created in a world and an earth established on a plane of insight so far removed from our dreary time of financial crises and cynical politics that I frequently wonder if the band had made some sort of bargain with spirits from another world as they were creating it.

This album has been a spiritual and artistic tonic in my simple life of working and taking care of my elderly parents here in south Florida, a cultural and spiritual zone of daily barbarism and crass ignorance. To listen to Space Saviour, Dead Man’s Hand, and Happenstance in my modest apartment by the Atlantic is to be imbued with resolve, courage, and determination, as well as awe. The resolve is to continue to grow and develop as an artist and a son, lover, and friend. The courage is to want to grow as an artist (a painter and photographer). The determination is to never accept the simple-minded cynicism and deathly commercial spirit that envelops artistic practice in a world that reduces every action, every production, and every relationship to a dollar figure.

Untitled #23 comes from the muses, the gods, and the angels whose aura shines on The Church. That they choose The Church, and have never let them down in over 30 years, is a testament to the spirit and will of each of you to grow and gel as men and a band. As I now warmly embrace every single one of your albums that I had not encountered in my time of exile from the band, stupidly thinking that Sometime, Anywhere was the beginning of their end.

I first started listening to your music when I was about 17 years-old, on my way to high school. My friend Jerome Duran had lent me a compilation tape that included Electric Lash. From then on it was pure bliss, love, and lust. The music evolved and so did my love for the band, from The Blurred Crusade (to this day my favorite with “Fields of Mars” still being my favorite Church song) all the way to Priest=Aura, whose sublime atmospheric sonic booms resonate in the ether of my dreams and nightmares.

(to be continued)

The Boyhood and Manship

George Magalios

William Earl Kofmehl III’s recent exhibition, “Dear Father Kickerbocker, I Just Googled You”, that inaugurated the new space Lombard-Freid Projects camouflaged the gravity of the wild under the cover of play. More specifically, the show – an exercise in boyish (as in boy scout) playful wonder in the wild – dramatized the urban – rural divide as represented in the peculiar presence of the squirrel. The exhibition consisted of four principal elements: a suite of embroideries on canvas, a large-scale hollow (approximately 12’ high by 16’ long) plywood squirrel sculpture, a bronze full-scale statue of the artists sitting on a wooden park bench interacting with a handful of other life-size bronze squirrels, and an opening night performance (or anti-performance) of Kofmehl and various accomplices situated within the plywood sculpture. The performance also included two individuals outside the Trojan squirrel, one signing at random and the other reciting texts from an open laptop.

Kofmehl’s work, here and in recent shows, continues its exploration and exposition of the boyhood. The boyhood here is a love of other boys and boyhoodship itself. This boyish love is not based on sexuality but rather on shared boyishness. By boyishness I am referring to the acts of innocent play and silliness that are commonly associated with kids in their teens: inside jokes, secret handshakes, and creating one’s own world of referents that can then be exploited for laughs and tapped for self-referential drama. Kofmehl’s meditations on the boyhood can be seen as a meditation on, or a reflection of, the inherent youth-obsessed nature of contemporary art. But this perspective would be misguided as the artist concerns himself more with the friendship among boys/men than with any underlying critique of contemporary art’s homoerotic boy obsession

Ultimately, Dear Father Knickerbocker is also a blind countenancing of the loss of the boyhood and the approaching calls to the manship that are the rites of passage for all who must leave home to mature. The dissipation of innocence, as a casualty of maturity into the manshiphood underlies much of the artist’s work on a subconscious level, particularly as it pertains to the transfer from asexual boy to sexual man.

The innocence of which I speak is the freedom not to long for a woman (or another man) and the freedom from responsibility- be it artistic, moral, or sexual. It is the freedom of being unencumbered by even the knowledge or articulation of sexual longing and its pull. This is also an innocence that comes with the freedom to be a boy  and play even when one has already reached the physical age of the manshiphood. Quite apart from, or in contrast to, the pathetic immaturity and awkwardness that characterize Judd Apatow movies, for example, Kofmehl’s study of the boyhood ventures into ancient Greek terrain in that resuscitates love among boys into the Platonic notion of agape, a love among fellow (boy)friends into something both silly and sacrosanct that is devoid of sexuality and whose nature is playful and filled with an implied, if not articulated, respect.

Our culture is far too quick, almost desperate and trigger-happy to assert sexual tendencies or tastes into human relations, be they between men and women or between men. When we see two men behaving kindly, warmly, affectionately with each other in a film or TV show it is almost always assumed that they are gay lovers or that there is some undercurrent of homo-eroticism at play. True, deep, compassionate friendship, love based on respect and Platonic ideals, is almost never depicted in the popular imagination. This largely under-explored landscape is precisely the terrain upon which Kofmehl’s playfulness and explorations of the boyhood, and consequently, Dear Father Kinckerbocker, unfold.

In the case of his show and performance, this love is demonstrated by the boyish gang at play in and around the squirrel, and it becomes the ancient Christian notion of agape, a love that is between friends, and between humans and animals, and is transmogrified into wood and bronze. The play between wood and bronze, two materials whose polar opposite relationship to fire represents the contrast between youth and maturity and is characteristic of Kofmehl’s work. Where wood is destroyed by fire, bronze cannot emerge without it. The materials exemplify the leap from the boyhood to the manship. In the artist’s work, this leap is a gaping void of femininity, a leap over and away from the womanhood or the girlhood. More specifically, the void identifies the absence of woman in Kofmhel’s work. The absence or almost invisibility of the female body or aura in “Dear Father Knickerbocker”, as well as in nearly all of the artist’s previous performances, amounts to a world of monastic boyish play and is a common enough element of boyish relations.

This chasm is the unspoken concealment in the artist’s entire oeuvre and a curious element when one considers the importance three older sisters (the artist’s only siblings) and his mother have played, and continue to play in his life.[1]

But what about the squirrel? What is role does this curious creature play in the work at questions. The answer lies in the role the squirrel plays in the relationship between man and the animal kingdom. An examination of the video loop of the artist interacting with Bernhard Goetz elaborates on this question and raises others. I write “Bernhard Goetz” with the assumption that he is known, a celebrity or a famous person with his own background narrative. In choosing to write his name rather than treating him as an anonymous player as I treat the others in Kofmehl’s performance (who in fact play a much greater role in the execution of the piece than does Goetz himself) I am addressing Goetz’s notoriety implicitly

Goetz’s presence in the video piece and in the opening night performance is camouflaged by the squirrel. The squirrel represents a good cover for the artist since Goetz breeds and trains them as his personal pets and Kofmehl treats this aspect of Goetz’s life as the subject, or at least backdrop of his performance, and indeed, the entire show.[2] Here, Kofmehl is channeling Joseph Beuys when he makes of the squirrel an animal symbol of boyhood fascination in much the same way Beuys made the buck a symbol of male virility and pro-creation. The sight of two grown men playing with squirrels on a park bench, as seen in the video loop, elicits suggestions of absurdity, of innocence and perversity all at once. The squirrel is that rare urbanized animal still somewhat caught between tame and wild but always seeming to lead a life impervious to the impact and concerns of the human. Boys hunt squirrels for fun, here, Kofmehl is a young man channeling his inner boy while he plays with squirrels and giggles with Goetz. The effect is disturbing, almost chilling and one has to question the authenticity of the encounter and the motives at play, be they ironic or innocent. In this video piece, two grown men become boys in their seeming loss of self-consciousness and their silly or playful interaction with these animals caught in the purgatory between the freedom of the wild and domesticity of pethood.

A boy becomes a man when he must concern himself with the well-being of others as much as, if not more than, his own. A man conjures gravity by nature, a boy levity. A man becomes a hero when he risks his life for a higher good. Perhaps this is the central phenomenological question to be reckoned with in “Dear Father Knickerbocker” and contemporary art in general. With so much of contemporary art seen in the galleries of New York and elsewhere made by people in their twenties it is hard to escape the two faces of youth: optimism and immaturity.

That contemporary art is ageist is obvious and a sign of the very fear of death suffered by collectors and curators, or at least their worship of youth, the flip side of the same coin. That this ageism can be critiqued, torn open to reveal a decadence and fear of living, is beside the point. The issue at hand is the psychological or existential position of the vast majority of these babes in the woods producing work whose limitations are glaringly obvious, like the sexual ministrations of a 15 year-old, despairingly awkward, however earnest.


Overwhelmingly, today’s young artists are perpetually childish, weak, feeble, and hackneyed. That these qualities are over-looked or celebrated in some cases, speaks volumes about the void in art criticism. Today’s artists know nothing the true struggle of a man, or, if they do, they choose to repress it or turn it into some tongue-in-cheek ironic gimmick in a half-hearted attempt to avoid countenancing their demons. Today’s art lacks evidence of intensity, hardship, adversity, and other tests of will. The result is cynical, weak, and feeble work, which largely explains the irrelevance of contemporary art within a larger cultural context. Art is play, boyish play, childish play at the expense of the manshiphood. The art of woman or the womanhood is a topic for further investigation, not entirely relevant to Kofmehl’s work.

In this boyhood realm Art is all-too-often lame, ironic, cowardly and devoid of any true gravity. It is this way because it lacks the moral maturity to countenance the horrors of our contemporary existence: environmental havoc, global warming, rampant corporatist oligarchy, expansion of inequality, globalist disenfranchisement, and much more. That not a single memorable work of contemporary visual art was produced in the wake of the events of September 11, 2001, is a testament to contemporary art’s fallowness.


This strife between play and work, between levity and gravity is one that takes a central role in the work of William Earl Kofmehl III. Kofmehl, now 30, is still pondering the role of the boyhood at the expense of the manshiphood. The artist’s boy perpetually reveals itself as it conceals the man ready to emerge within his work. Like the Trojan horse that concealed the Greek warriors in the days of Odysseos and Achilles, Kofmehl’s Trojan squirrel conceals the play of art boys, boys like scouts ready to emerge from the woodlands of their youth out into the battle of the manship.

1. This is not to suggest some sort of adversarial relationship towards women or the woman, either towards those in his family or women in general. On the contrary, the absence of the female in Kofmehl’s work is only one more indication of wanting to maintain a purity of boyhood innocence that would only be corrupted by the presence of women (with the exception of the occasional token female performer, as represented in “Dear Father Knickerbocker” by the singer, not withstanding). It is akin to the boys playing in the fort who do not allow girls to taint their world.

2. The question is, does this camouflaging work? Is Kofmehl trying to uses Goetz’s reputation and notoriety as a springboard to bring attention to his own exhibition? If so, this can be seen as a cynical gesture on the artist’s part, one that is revealed once the cover of the squirrel conceptual camouflage is pulled back. If not, if we choose not to attack this angle then we must at least pose some questions on the impact and validity of the uses of the squirrel as a stange type of anti-icon, in juxtaposition with Joseph Beuys’s use of animals in pieces like “How to explain pictures to a dead hare”.