Category Archives: Art in general
Pearls from Artists* # 313
Barbara and Tomas in Panajachel, Guatemala
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Proclaiming that the object in Surrealism was fundamental, [Andre] Breton suggests a radical transition in surrealist creation, one that liberated the poet-artist from all constraints in the making of the artistic object. Breton’s text calls for a “revolution of the object,” suggesting that in the placing of an object into a new context, and thus attributing it with a new meaning – also called a “detournement” – which takes precedence. Drawing in his interpretation of Hegelian subject-object relations, Breton describes the “object” as a work of art that relies on a philosophical procedure, affirming the surrealist process as one that is realized in the experience of apprehending the object through a dialectical method. Citing the work of Marcel Duchamp and,Max Ernst, Max Ernst, Breton explains that an object may become a product of surrealist creation through the simple “manipulation” of it. Here ”manipulation“ is defined as a procedure which reveals the object in its original and new state at the same time. If taking an object out of its original context and placing it in a new space creates the potential for a creative act, then this text seems to validate the surrealist practice of collecting. As the collector acquired objects and unites them in a gallery or a home, they assume new significance contingent upon their physical juxtaposition to other objects.
Moon Dancers: Yup’ik Masks and the Surrealists, edited by Jennifer Field, Introduction by Christina Rudofsky
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Pearls from artists* # 312
Barbara in her studio. Photo: Izzy Nova
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
For the young James Joyce, true art is “static,” while false art, which I will here call artifice, is “kinetic.” These qualifiers, static and kinetic, refer to the effect of the work on the percipient, not to any property of the work itself. Proper art stills us, evoking an emotional state in which “the mind is arrested and raised above desiring and loathing.” Improper art does the opposite, aiming to make the percipient act, think, or feel in a certain prescribed manner. Artifice foregoes the revelatory power that is art’s prerogative in order to impart information, be it a message, an opinion, a judgment, a physiological stimulus, or a command. Whether the information is good or bad, true or false, pleasant or not is unimportant: artifice isn’t improper because it is immoral but because it hitches the aesthetic on intentions originating outside the aesthetic realm. In other words, where art inheres in autoletic expression (expression for its own sake), artifice inheres in practical communication. Proper art moves us, while artifice tries to make us move.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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Pearls from artists* # 310
“Danzante,” soft pastel on sandpaper, 38″ x 58″ image, 50″ x 70″ framed
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
As Immanuel Kant explained, aesthetic rapture is a peculiar kind of subjective phenomenon, since it presents itself as anything but subjective. It asks to be shared with others in hopes that they too might experience this thing that has had such a profound effect upon us. Naturally, the desire to share our astonishment is bound to be frustrated as we meet people who respond to our beloved work with indifference or even revulsion. We then remember that the affective power of works of art varies from person to person, and even from moment to moment within the same person’s life, a fact we usually put down to personal taste, though little consideration is given to what that term might mean. People have their own inclinations, and given that the aesthetic is held, not just by Kant but also by common wisdom, to be a private affair, its variability across the broad spectrum of human personalities can only seem inevitable.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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Pearls from artists* #309
Barbara’s studio
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
It is a strange thing to catalog the conflicting theories as to what the first artists thought they were doing down there in the caves, because the truth is that, to this day, we do not know why we make art. In the end, art may not have been our invention at all. It may well have appeared in history as it does in the life of many individual artists: as an outside call, a sudden flash of inspiration, an inner wanderlust exerting such a powerful pull that ultimately we would have to say that Picasso got it wrong: the early humans did not invent art. Art invented humanity.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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My blog turns 6 years old tomorrow! Here is the very first post from July 15, 2012. Q: What does it take to be an artist, especially one living and working in New York?
Barbara’s Studio with works in progress.
A: The three Big P’s – Patience, Persistence, and Passion. Without all three you will not have the stamina to work tirelessly for very little external reward. You can expect help from no one.
There are so many obstacles to art-making and countless reasons to just give up. When you really think about it, it’s amazing that great art gets made at all. So why do we do it? Above all it’s about making our time on earth matter, about devotion to our innate gifts and love of our hard-fought creative process.
And, my God, it even gets harder as we get older! So what do we do? We dig in that much deeper. It’s a most noble and sacred calling – you know when you have it – and that’s what separates those of us who are in it for the long haul from the wimps, fakers, and hangers-on. I say to my fellow artists who continue to work despite the endless challenges, we are all true heroes!
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Lucky me to still be in the same studio! However, when you visit now, you see more tables full of pastels, more postcards on the walls, newer pastel paintings, etc. More importantly, what I wrote six years ago still rings true!
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Pearls from artists* # 308
“The Ancestors,” 70” x 50” framed, in Barbara’s studio
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Art is mysterious because its purpose is unknown and its effect always exceeds the ends we put it to. If it is true, for instance, that nearly all human societies see the possession of artistic objects as a sign of prestige and power, it may simply be because art’s primary quality makes it a suitable sign for those who want to legitimize their authority. And while it may be the case that art ennobles us by bringing beauty into our lives, or that it conveys complex cultural ideas simply and effectively, or that it preserves the beliefs of one age for the next – again, these functions could very well follow from art’s original, mysterious, irreducible shining. Just as it is the gleam of gold that makes it precious in our eye and not its preciousness that makes it gleam, so the primary quality of art could precede all of its uses and appropriations. In other words art may be something before it becomes all the things we claim it to be.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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Pearls from artists* # 307
“Poker Face,” soft pastel on sandpaper, 38″ x 58″
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Until fairly recently the word art as applied to pictures usually referred not just to representations of the world but to representations that suggested an importance greater than we might otherwise have assumed. Such pictures were said to instruct and delight, which they did by their wholeness and richness. The effect was to reinforce a sense of meaning in life, though not necessarily a belief in a particular ideology or religion, and in this they were a binding cultural achievement.
Unfortunately art of this quality is now little attempted, partly because of disillusionment from a century of war, partly because of sometimes misplaced faith in the communicative and staying powers of total abstraction, and partly because of the ease with which lesser work can be made and sold. This atrophying away of the genuine article is a misfortune because, in an age of nuclear weapons and over-population and global warming, we need more than ever what art used to provide. Somehow we have to recommit to picture making that is serious. It is impermissible any longer to endorse imitations that distract us or, openly or by implication, ridicule hope. The emptiness of material by Jeff Koons and Damien Hirst, for example, is born of cynicism and predictive of nihilism.
Robert Adams in Art Can Help
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Pearls from artists* # 306
New York, NY
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
It is the responsibility of artists to pay attention to the world, pleasant or otherwise, and to help us live respectfully in it.
Artists do this by keeping their curiosity and moral sense alive, and by sharing with us their gift for metaphor. Often this means finding similarities between observable fact and inner experience – between birds in a vacant lot, say, and an intuition worthy of Genesis.
More than anything else, beauty is what distinguishes art. Beauty is never less than mystery, but it has within it a promise.
In this way, art encourages us to gratitude and engagement, and is of both personal and civic consequence.
Robert Adams in Art Can Help
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Travel photo of the month*
“The Three Wise Men,” Jimoh Buraimoh, Glass beads, plastic cylinders, cotton, epoxy, plywood, 1991
* Favorite travel and other photographs that have not yet appeared in this blog.
A: I saw this painting at the Baltimore Museum of Art and was intrigued by the intracacy and textures of the beads, cylinders, and other items used by Jimoh Buraimoh, a Nigerian modernist. The figures are his portrayal of the three men who traveled to England in 1960 to negotiate Nigeria’s independence. Buraimoh honors the nation’s founders with materials that glorify Yoruba heritage and artistic traditions. His title also associates the men with the three wise men of the Bible. I enjoy this work very much and couldn’t help being reminded of imagery by Picasso.
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Pearls from artists* # 304
“Palaver,” soft pastel on sandpaper, 26″ x 20″
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
… my job as a fiction writer is to write fiction, not to review it. Art isn’t explanation. Art is what an artist does, not what an artist explains. (Or so it seems to me, which is why I have a problem with the kind of modern museum art that involves reading what the artist says about a work in order to find out why one should look at it or “how to experience” it).
Ursula K. Le Guin in No Time to Spare: Thinking About What Matters
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