Termite Art: "I saw it mispelled, in mauve Krylon, on the side of a dumpster, and it haunted me."

Fractal Art: "no sign that the artist has any object in mind other than eating away the immediate boundaries of his art, and turning these boundaries into conditions of the next achievement."
[source]

Starting with the question and answer going on at William Gibson's:

"Creator's block" sounds like something afflicting a divinity, but writer's block is my default setting. Its opposite is miraculous. The process of learning to write fiction, for me, was one of learning to almost continually be doing it *through* the block, in spite of the block, the block becoming the accustomed place from which to work. Our traditional cultural models of creativity tend to involve the wrong sort of heroism, for me. "It sprang whole and perfect from my brow" as opposed to "I saw it mispelled, in mauve Krylon, on the side of a dumpster, and it haunted me". I was much encouraged, when I began to write, by Manny Farber's idea of "termite art".

Led to White Elephant Art vs. Termite Art by Manny Farber (1962) [emphasis not mine, but accepted]:

Most of the feckless, listless quality of today's art can be blamed on its drive to break out of a tradition while, irrationally, hewing to the square, boxed-in shape and gemlike inertia of an old, densely wrought European masterpiece.

Advanced painting has long been suffering from this burnt-out notion of a masterpiece - breaking away from its imprisoning conditions toward a suicidal improvisation, threatening to move nowhere and everywhere, niggling, omnivorous, ambitionless: yet, within the same picture, paying strict obeisance to the canvas edge and , without favoritism, the precious nature of every inch of allowable space. A classic example of this inertia is the Cezanne painting: in his indoorish works of the woods around Aix-en-Provence, a few spots of tingling, jarring excitement occur where he nibbles away at what he calls his "small sensation," the shifting of a tree trunk, the infinitesimal contests of complementary colors in a light accent of farmhouse wall. The rest of each canvas is a clogging weight-density-structure-polish amalgam associated with self-aggrandizing masterwork. As he moves away from the unique, personal vision that interests him, his painting turns ungiving and puzzling: a matter of balancing curves for his bunched-in composition, laminating the color, working the painting to the edge. Cezanne ironically left an expose of his dreary finishing work in terrifyingly honest watercolors, an occasional unfinished oil (the pinkish portrait of his wife in sunny, leafed-in patio), where he foregoes everything but his spotting fascination with minute interactions.

The idea of art as an expensive hunk of well-regulated area, both logical and magical, sits heavily over the talent of every modern painter, from Motherwell to Andy Warhol. The private voice of Motherwell (the exciting drama in the meeting places between ambivalent shapes, the aromatic sensuality that comes from laying down thin sheets of cold, artfully cliché-ish, hedonistic color) is inevitably ruined by having to spread these small pleasures into great contained works. Thrown back constantly on unrewarding endeavors (filling vast egglike shapes, organizing a ten foot rectangle with its empty corners suggesting Siberian steppes in the coldest time of year), Motherwell ends up with appalling amounts of plasterish grandeur, a composition so huge and questionably painted that the delicate, electric contours seem to be crushing the shalelike matter inside. The special delight of each painting tycoon (De Kooning's saber-like dancing of forms; Warhol's minute embrace with the path of illustrator's pen line and block-print tone; James Dine's slog-footed brio, filling a stylized shape from stem to stern with one ungiving color) is usually squandered in pursuit of the continuity, harmony, involved in constructing a masterpiece. The painting, sculpture, assemblage becomes a yawning production of overripe technique shrieking with preciosity, fame, ambition; far inside are tiny pillows holding up the artist's signature, now turns into mannerism by the padding, lechery, faking required to combine today's esthetics with the components of traditional Great Art.

Movies have always been suspiciously addicted to termite-art tendencies. Good work usually arises where the creators (Laurel and Hardy, the team of Howard Hawks and William Faulkner operating on the first half of Raymond Chandler's The Big Sleep) seem to have no ambitions towards gilt culture but are involved in a kind of squandering-beaverish endeavor that isn't anywhere or for anything. A peculiar fact about termite-tapeworm-fungus-moss art is that it goes always forward eating its own boundaries, and, likely as not, leaves nothing in its path other than the signs of eager, industrious, unkempt activity.

The most inclusive description of the art is that, termite-like, it feels its way through walls of particularization, with no sign that the artist has any object in mind other than eating away the immediate boundaries of his art, and turning these boundaries into conditions of the next achievement. Laurel and Hardy, in fact, in some of their most dyspeptic and funniest movies, like Hog Wild, contributed some fine parody of men who had read every "How to Succeed" book available; but, when it came to applying their knowledge, reverted instinctively to termite behavior.

One of the good termite performances (John Wayne's bemused cowboy in an unreal stage town inhabited by pallid repetitious actors whose chief trait is a powdered make-up) occurs in John Ford's The Man Who Shot Liberty Valance. Better Ford films have been marred by a phlegmatically solemn Irish personality that goes for rounded declamatory acting, silhouetted riders along the rim of a mountain with golden sunset behind them, and repetitions in which big bodies are scrambled together in a rhythmically curving Rosa Bonheurish composition. Wayne's acting is infected by a kind of hoboish spirit, sitting back on its haunches doing a bitter-amused counterpoint to the pale, neutral film life around him. In an Arizona town that is too placid, where the cactus was planted last night and nostalgically casted actors do a generalized drunkenness, cowardness, voraciousness, Wayne is the termite actor focusing only on a tiny present area, nibbling at it with engaging professionalism and a hipster sense of how to sit in a chair leaned against a wall, eye a flogging overactor (Lee Marvin). As he moves along at the pace of a tapeworm, Wayne leaves a path that is only bits of shrewd intramural acting -- a craggy face filled with bitterness, jealousy, a big body that idles luxuriantly, having long grown tired with roughhouse games played by old wrangler types like John Ford.

The best examples of termite art appear in places other than films, where the spotlight of culture is no where in evidence, so that the craftsmen can be ornery, wasteful, stubbornly self-involved, doing go-for-broke are and not caring what comes of it. The occasional newspaper column by a hard-work specialist caught up by an exciting event (Joe Alsop or Ted Lewis, during a presidential election), or a fireball technician reawakened during a pennant playoff that brings on stage his favorite villains (Dick Young); the TV production of The Iceman Cometh , with its great examples of slothful-buzzing acting by Myron McCormak, Jason Robards, et al.; the last few detective novels of Ross MacDonald and most of Raymond Chandler's ant-crawling verbosity and sober fact-pointing in the letters compiled years back in a slightly noticed book that is a fine running example of popular criticism; the TV debating of William Buckley, before he relinquished his tangential, counter-attacking skill and took to flying into propeller blades of issues, like James Meridith's Pale Miss-adventures.

From "Virtual Termites" by Lance Olson

Farber distinguishes between two kinds of art. The first, for which he holds contempt, is White Elephant Art, the sort that embraces the idea of a well-crafted, logical arena, incarnated in the films of Francois Truffaut. Proponents of this near-school produce tedious pieces reminiscent of Rube Goldberg's perpetual-motion machines that exude a sense of their own weight, structure, and status as masterworks. The second kind of art, which Farber advocates, is Termite Art. This is the sort that stands opposed to elite aesthetic culture, embraces freedom and multiplicity, is incarnated in the films of Laurel and Hardy. Proponents of this near-school produce pieces that gnaw away at their own boundaries, leaving little in their wake except traces of enthusiastic, assiduous, and messy endeavor.