Category Archives: Art in general
Pearls from artists* # 555
Studio view showing some tools of the trade
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Rembrandt and Shakespeare, Tolstoy and Gauguin, possessed, I believe, powerful hearts, not powerful wills. They loved the range of material they used, the work’s possibilities excited them; the field’s complexities fired their imaginations. The caring suggested the tasks; the tasks suggested the schedules. They learned their fields and then loved them. They worked, respectfully, out of their love and knowledge, and they produced complex bodies of work that endure. Then, and only then, the world maybe flapped at them
some sort of hat, which, if they were still living, they ignored as well as they could, to keep at their tasks.
Annie Dillard in The Abundance, quoted in The Marginalian by Maria Popova, November 23, 2022
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Pearls from artists* # 552
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
There is a sense in which any art that succeeds is like all other art that succeeds – at least if we believe that beauty, in its manifold forms, is ultimately one and the same thing. All enduring works of art are both coherent and complex, with forces and counterforces somehow united in a whole that’s more than the sum of its parts.
Between Abstraction and Representation by Jed Perl in The New York Review of Books, November 24, 2022
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Pearls from artists* # 551
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.
A creative process is a philosophical search, shaped by matters of practice and procedure that extend from the first touch of the artist’s pencil, brush, or chisel to the final decisions about what constitutes completeness.
Stylistic particularism – the decision as to what kind of abstract or representational artist you’re going to be – shapes, deepens, and extends the artist’s imaginative powers. Most artists who work for many years see their style evolve, sometimes dramatically. In the 1930s and 1940s Giacometti, who had first been admired for Surrealist sculptures in which representational elements are set in essentially abstract structures, found himself increasingly focused on the direct observation of the human figure. What by the mid-1940s could look like a wholesale transformation of his artistic language was the result of individual decisions all of which, during Giacometti’s career of nearly five decades, interlocked. They reinforced one another. They added up.
Between Abstraction and Representation by Jed Perl in The New York Review of Books, November 24, 2022
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Pearls from artists* # 550
In the 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.
Be more than ready. Be present in your discipline. Remember your gift. Be grateful for your gift and treat it like a gift. Cherish it, take care of it, and pass it on. Use your time to bathe yourself in that gift. Move your hand across the canvas. Go to museums. Make this into an obsession.
… what you are will show, ultimately. Start now, every day, becoming in your actions, your regular actions, what you would like to become in the bigger scheme of things.
Anna Deveare Smith in Letters to a Young Artist: Straight Up Advice on Making a Life in the Arts – For Actors, Performers, Writers, and Artists of Every Kind
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Pearls from artists* # 548
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
We who work in the arts are at risk of being in a popularity contest rather than a profession. If that fact causes you despair, you should probably pick another profession. Your desire to communicate must be bigger than your relationship to these chaotic and unfair realities. Ideally, we must be even more ‘professional’ than lawyers, doctors, accountants, hairdressers. We have to create our own standards of discipline.
All of the successful artists I know are very disciplined and very organized. Even if they don’t look organized, they have their own order.
Anna Deavere Smith in Letters to a Young Artist: Straight Up Advice on Making a Life in the Arts – for Actors, Performers, Writers, and Artists of Every Kind
Comments are welcome!
Pearls from artists* # 541
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
The artist has to make the viewer understand that his world is too narrow. To do this is a task for the humanist.
– Anthony Tapies
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Pearls from artists* # 539
*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 important to consider, when cities like New York continue a process of gentrification that make them unlivable for most artists and intellectuals, that the community Schloss describes was to some extent brought into being by a number of radically different circumstances: first, immigration – in some cases, such as de Kooning, illegal, and in others, such as Schloss, forced by war and politics – and second, the existence in post-Great Depression New York of cheap rents for run-down spaces that no one other than artists would consider or would be able to make not just livable but eventually fashionable.
Mira Schor in The Loft Generation: From the de Koonings to Twombly, Portraits and Sketches 1942-2011 edited by Mary Venturini
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Pearls from artists* # 538
*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’s ok if your work is fun for you, is what I’m saying. It’s also ok if your work is healing for you, or fascinating for you, or redemptive for you, or if it’s maybe just a hobby that keeps you from going crazy. It’s even ok if your work is totally frivolous. That’s allowed. It’s all allowed.
Your own reasons to create are reason enough. Merely by pursuing what you love, you may inadvertently end up helping us plenty. (“There is no love which does not become help,” taught the theologian Paul Tillich). Do whatever brings you to life, then. Follow your own fascinations, obsessions, and compulsions. Trust them. Create whatever causes a revolution in your heart.
The rest of it will take care of itself.
Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear
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Pearls from artists* # 536
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Whatever his apparent subject matter, it is always himself that the artist paints. Subject matter exalts his inner feeling.
The Journal of Eugene Delacroix edited by Hubert Wellington
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Pearls from artists* # 533
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Contemporary life promises unlimited options – and sometimes delivers them. If we’re able to avail ourselves of a never-ending supply of digital information, we can connect with our family, friends, and colleagues, binge watch or listen to anything that strikes our fancy and buy stuff so effortlessly that we’re in danger of imagining there’s no price attached. We can do so much with what seems like a little effort that doing itself becomes disembodied, wonderfully in some instances, bewilderingly or disturbingly in others. Some will say the situation is new – of course, our lives in cyberspace are unprecedented – but the desire to inhabit a time and place outside of time and place isn’t new at all. This is where the arts come in. They’ve always been a time out of time and a place out of place. But they’re also right here, right now. They’re both adamantine and ethereal, physical and metaphysical.
Jed Perl in Authority and Freedom: A Defense of the Arts
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