Category Archives: Pearls from Artists

Pearls from artists* # 415

Staten Island Ferry

Staten Island Ferry

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

I like to think of myself (and each of you) as a high priest of memory protection.  Using our cameras, we protect the memories of our subjects; we protect the memories we have while interacting with those subjects; we help to protect the memories of our audience who sees our work.  This is truly a sacred calling, and one that deserves respect and a thoughtful approach.   

Scott Bourne in Photo Therapy Motivation and Wisdom by Rick Sammon 

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Pearls from artists* # 414

New York, NY

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.

As we grow into our true artistic selves, we start to realize that the tools don’t matter, the story does.  Your point of view and the way that you express yourself as a photographer are how you tell the stories that matter to you.  And that, my friends, is therapeutic.

There’s a certain amount of Zen in that act.  Peace and tranquility are hard to come by in today’s world.  But through photography, we all have a chance to find both.

As photographers, we sometimes lose sight of the fact that our ability to use a camera gives us a chance to show everyone else who we are.  Young photographers often obsess over doing something new. Older photographers, like Rick and I, realize that the real goal is in being you.  So focus on being you not on being new for new’s sake.  This is the path to both inner and outer success.

People will ask you what you photograph.  I personally am often described as a bird photographer.  But we are not what we do.  It’s important to note the difference.  And that is because people don’t care what you do.  They care why you do it.  If you are doing what you are meant to do, you will be able to articulate your own why. 

Scott Bourne in Photo Therapy Motivation and Wisdom by Rick Sammon 

Comments are welcome!

Pearls from artists* # 413

New York, NY

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.

We photographers are particularly drawn to light in all of its manifestations.  Who knows why?  We just simply seem to be attracted to light more than other people, even when we’re not taking photos.  We notice little things.  The way a curtain might cut a shadow across the floor.  The way a blue iris might fold light into itself.  The way a child’s skin has a glow without any filters.  And as we all know, beautiful caverns can be created by the manner in which water flows through rock.  I think there is a parallel with us.  The light that flows through us carves our souls.

Rick Sammon in Photo Therapy Motivation and Wisdom   

Comments are welcome!

Pearls from artists* # 412

Barbara’s studio

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.

The obstacles faced by women who hoped to leave a mark on humankind have, through the millennium, varied in height but not in stubborn persistence.  And yet, a great many women have stubbornly ignored them. The desire to put words on a page or marks on a canvas was greater than the accrued social forces that told them they had no right to do so, that they were excluded by their gender from that priestly class called artist.  The reason, according to Western tradition, was as old as creation itself:  For many, God was the original artist and society had assigned its creator a gender – He.  The woman who dared to declare herself an artist in defiance of centuries of such unwavering belief required monstrous strength, to fight not for equal recognition and reward but for something at once more basic and vital:  her very life.  Her art was her life.  Without it, she was nothing.  Having no faith that society would broaden its views on artists by dethroning men and accommodating women, in 1928 [Virginia] Woolf offered her fellow writers and painters a formula for survival that allowed them to create, if not with acceptance, then at least unimpeded.  A woman artist, she said, needed but two possessions:  “money and a room of her own.”          

Mary Gabriel in Ninth Street Women

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Pearls from artists* # 411

On top of an unexcavated pyramid, Veracruz, Mexico

*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 reasserts that U.S. artists have learned and borrowed from Mexican traditions and, above all, that people of goodwill in both countries share in the belief that art unites, it doesn’t divide; it can be utilized to attack inequity and exploitation of the past and present but it also expresses hope and yearning for a better existence than can be realized in the present. 

Vida Americana:  Mexican Muralists Remake American Art, 1925 – 1945, edited by Barbara Haskell

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Pearls from artists* # 410

Mexico City

Mexico City

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Faced with the disparities between lived reality and America’s professed ideals of inclusion and equity, countless artists have begun embracing the social role of art and using aesthetic means to speak out against all manner of injustice.  In such a climate, the Mexican muralists [Jose Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros] have once again emerged as models of how to marry aesthetic rigor and vitality to socially conscious subject matter that addresses the most fundamental questions concerning our collective pursuit of a more just and equitable society.  Not withstanding the rich cultural ties and decades of migration that have long existed between the United States and Mexico, the relationship between the two countries has always been fraught, marked as much by mutual wariness and bouts of hostility as by a spirit of camaraderie and cooperation  Yet the ugliness and xenophobia of the recent debates on the American side echoes the worst of the past.  It thus seems more imperative than ever to acknowledge the profound and enduring influence Mexican muralism has had on artmaking in the United States and to highlight the beauty and power that can emerge from the free and vibrant cultural exchange between the two countries.  As much as did American artists decades ago, artists in the United States today stand to benefit from an awareness of how dynamically and inventively the Mexican muralists used their art to project the ideals of compassion, justice, and solidarity.  They remain a source of powerful inspiration for their seamless synthesis of ethics, art, and action.

Vida Americana:  Mexican Muralists Remake American Art, 1925 – 1945, edited by Barbara Haskell

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Pearls from artists* # 409

Recent works in progress

Recent works in progress

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Poets can look at a painting and understand it without having it spelled out [and] painters can read poetry… People say, I don’t understand what it means, about John Ashbery’s poetry.  Painters would never say that… The idea of “I don’t understand what it means,” looking at abstract painting and saying, “Explain it to me, what does it mean?”  You don’t say that, and you don’t ask people to explain music.  And so, poets, painters, composers don’t need explanations.  Explanations are for other people… burdened by logic.

Elaine de Kooning quoted in Mary Gabriel in Ninth Street Women

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Pearls from artists* # 408

“No Cure for Insomnia,” pastel on sandpaper, 58″ x 38″ image, 70” x 50” 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.

Classics have nothing to do with aesthetic sophistication.  They use the aesthetic as a springboard to something else.  The creation of a classic will often require the artist to deviate from prevailing standards in order to push the ordinary vision through.  If there is one prerequisite for producing a classic, it is the willingness to follow the vision wherever it leads, even if it demands a breach of convention, technique, or popular taste.  (It may not even be a question of if or when, for how can one produce a truly singular work without reinventing the medium to some extent?)  We often hear that the master artist is “in love” with her material:  that the sculptor loves the marble, the dancer loves the body, the musician loves his instrument.  For the maker of classics, however, the medium always seems to be an obstacle; love is never without a tinge of spite.  William S. Burroughs was so contemptuous of language that he took to describing it as a disease.  He conceived his work as an attempt to confront language in hopes to cure the mind of the “word virus.”  Indeed, if the goal of art is to take us beyond the ordinary preoccupations to reach the heart of the Real, it would seem essential that there be a fight, a struggle to wrest from the medium something to which Consensus dictates it is not naturally inclined. 

F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action

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Pearls from artists* # 407

"Survivors," soft pastel on sandpaper, 20" x 26" image, 28 1/2" x 35" framed

“Survivors,” soft pastel on sandpaper, 20″ x 26″ image, 28 1/2″ x 35″ 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.

In the images [the paintings of the Chauvet cave in southern  France] this prehistoric people have bequeathed to us, we get a glimpse of something like a shared humanity, but we also gaze into a stranger part of ourselves, something reaching to the depths.  Since we do not know the context in which the paintings were made, we cannot in good faith chalk them up to some clear pragmatic end.  We are seeing art in its naked state, deprived of any discernible appropriation.  This can trouble our secular sensibilities since it confronts us not just with the mysteries of nature, but more strikingly still with the riddle of the presence of such things as us in the otherwise coherent physical world.  Given the fact that the molecular chemistry that makes life possible is the same throughout the cosmos, would finding works of art on Mars or a remote planet be any more uncanny than finding them here on Earth?      

F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action

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Pearls from artists* # 406

With “Avenger,” soft pastel on sandpaper, 58” x 38” image, 70” x 50” framed

With “Avenger,” soft pastel on sandpaper, 58” x 38” image, 70” x 50” 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.

If we really are due for a shift in consciousness, it is incumbent upon each of us to “be the change,” in Gandhi’s famous phrase.  Nothing is written in the stars.

Art is a testament to this way of thinking, because every great work of art is made, not for an abstract audience, but for the lone percipient with whom it seeks to connect.  The symbols that compose artistic works are not static objects but dynamic events.  As such, they can only emerge within a field of awareness, that is, within the context of a life being lived.  It is therefore by approaching the work of art as though it were intended specifically for you – as though the artist had fashioned it with you in mind every step of the way – that you can turn the aesthetic experience into an engine of change in your own life and in the lives of those around you.

F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action

Comments are welcome!

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