This week I met an old friend of my roommates.
You know what, that’s too strong of a word. She was an acquaintance. One who didn’t know that my roommate has been living in Utah for a year. Acquaintance might even be a little too strong.
But when I met her, I did what I do: I shook her hand. This is almost always a mistake. It’s such a formal gesture, it’s so often uncalled for. I’m saying, when I see someone in the vegetable aisle at the grocery store that I know even vaguely, or meet a stranger at a ball game, I will shake their hand. It’s an impulse, a knee jerk reaction, something I can’t refrain from doing no matter how hard I try.
It reminds me of my father. It makes me think of my rural heritage and the formal friendliness of country etiquette.
I think I have a conflicted relationship with this gesture. I would prefer that new relationships or acquaintances begin with some form of physical contact. I like touching people and for them to touch me. Not in a creepy way. And yet the second my hand shoots out to know someone better, and for minutes thereafter, I usually blush and regret it. I regret that this is not something common among my peers, and that it’s perceived as so formal. Because really I just want to know you better, new friend.
So art.
Art is a symbolic gesture. It means more than just what it is.
It’s like a handshake.

It can be layered with meaning, and is different for different people. It changes with its setting, and inherently requires people to interact.
I think there’s something important about the structure that is created by etiquette – it provides healthy entrances into social interactions. It connects us briefly to each other, which in turn hooks us in to the greater network of community.
And it’s like practice – no matter how much you hate your neighbor or don’t want to speak to an acquaintance or just want to be left alone, social etiquette, like shaking hands or saying please and thank you or tipping your hat (this is something I miss) forces you to practice being kind and friendly and neighborly, even for just a few seconds.
Art is like this too.
It’s practice. A chance to act, however briefly, in different ways.
It’s a kind of structure that creates healthy and positive entrances for social interaction.
And I might possibly have an equally conflicted relationship with art as with hand shaking.
Sometimes I feel compelled to do it, and sometimes I just don’t know what it means.
Here is an artist that I adore. Mierle Laderman Ukeles. Truly, her art has been pivotal to my own.

Her work deals with issues of maintenance: all the things that go into maintaining a child and family, a home, a neighborhood, a city. She worked in the 60s and 70s when performance art was all the rage and did things like clean galleries and city sidewalks and accompanied sanitation workers on their routes.

One of her most well-known projects Touch Sanitation (1970-1980), involved shaking hands with more than 8,500 workers in the New York City Department of Sanitation while saying "Thank you for keeping New York City alive."

Her point was that we are all part of a network. We are directly involved in the lives of the people who pick up the trash, and directly responsible for the millions of pound of waste that are deposited in landfills every month.
And she shook 8,500 hands.

I think she is very cool.