Category Archives: Pearls from Artists

Pearls from artists* # 304

"Palaver,"soft pastel on sandpaper, 26" x 20"

“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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Pearls from artists* # 303

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.

If the majority of aesthetic works fail to astonish us, then. it may have something to do with the ingrained insensitivity that is part and parcel of contemporary life.  It may also have something to do with the fact that art, as Solzhenitsyn said so eloquently, is constantly being put to uses that are at odds with its essence.  Indeed, the moment a work of art appears, all kinds of other factors come into play.  Cultural institutions, social pressures, laws, customs, fashions, and trends pull it in every direction.  Fame, money, conformism, attention-seeking, and knee-jerk rebellion can lure artists to abandon their own vision in order to emulate those of others, to adhere to formulas and paint by numbers, or to value external convention over vision.  The inevitable result is a lot of bad art that couldn’t astonish anyone.  It should come as no surprise, when looking over the glut of aesthetic objects that proliferate around us, if we feel the need to distinguish between authentic and inauthentic art – which is to say, art that astonishes us by attuning us to the radical mystery of being, and art that attempts to reinforce our shared illusions, comforting or intimidating us with the notion that there is nothing to wonder at since everything has been figured out.        

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* # 302

"Epiphany," soft pastel on sandpaper, 38" x 58"

“Epiphany,” 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.

Regardless of personal convictions or professional concerns, an artist’s power comes down to two things:  her sensitivity to the radical mystery of existence, and the artistry and craft with which she can channel that mystery into an object or performance.  Neither existential awe nor a given metaphysical outlook need to serve as an explicit motivation.  Simply, the emergence of artistic vision – and the need to express the vision without distorting or conceptualizing it – is contingent upon the underlying wonderment at being itself, a wonderment without which there would be no art.  

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* # 301

Untitled reference photo for a pastel painting in the “Bolivianos” series

Untitled reference photo for a pastel painting in the “Bolivianos” series

*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 1917 the ballet impresario Sergei Diaghilev commissioned a new libretto from Jean Cocteau.  When the young poet asked for advice on how to proceed, Diaghilev replied with a simple directive:  “Astonish me.”  The phrase would serve Cocteau as a mantra throughout his career, resurfacing, for instance, at the beginning of his classic film Orpheus.  Not surprising, as few statements could better encapsulate the impetus that has driven artistic creation since the beginning.  Astonishment is the litmus test of art, the sign by which we know we have been magicked out of practical and utilitarian enterprises to confront the bottomless dream of life in sensible form.  Art astonishes and is born of astonishment.  There is only one thing that it can be said to “communicate” more effectively than other mediums can, and that is “the weirdness of the Real.”         

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* # 300

"Offering," soft pastel on sandpaper, 20" x 26"

“Offering,” soft pastel on sandpaper, 20″ x 26″

*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 breaks down the barriers that normally stand between the physical and the psychic, between your soul and the souls of others.  “Through art alone are we able to emerge from ourselves, to know what another person sees of a universe which is not the same as our own and of which, without art, the landscapes would remain as unknown to us as those that may exist on the moon.”  For the French novelist Marcel Proust, who wrote those words, art is a meeting place in which human beings commune at a level that ordinary language and sign systems do not allow.  Without art, connection at this deeper level is impossible.       

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* # 299

"The Storyteller," soft pastel on sandpaper, 20" x 26"

“The Storyteller,” soft pastel on sandpaper, 20″ x 26″

*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 is always and for all time a seer, and artistic creation is always and for all time an act of prophecy.

The artist does not choose the prophecy.  Rather, the prophetic shines through her work.  It comes from elsewhere.

The artist therefore needs enough courage to stay true to the work at hand.  Even greater courage is required of those to whom the finshed work is given, for their interests will always recommend dismissing the vision for fear of its implications.  

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* # 298

Untitled c-print, 24" x 24" edition of 5

Untitled c-print, 24″ x 24″ edition of 5

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

Interviewer:  What do you think about the artist being supported by the state?

Parker:  Naturally, when penniless, I think it’s superb.  I think that the art of the country so immeasurably adds to its prestige that if you want to have writers and artists – persons who live precariously in our country – the state must help.  I do not think that any kind of artist thrives under charity, by which I mean one person or organization giving him money, here and there, this and that – that’s no good.  The difference between the state giving and the individual patron is that one is charity and one isn’t.  Charity is murder and you know it.  But I do think that if the government supports its artists, they need have no feeling of gratitude – the meanest and most sniveling attribute in the world – or baskets being brought to them, or apple polishing.  Working for the state, for Christ’s sake, are you grateful to your employers?  Let the state see what its artists are trying to do – like France and the Academie Francaise.  The artists are a part of their country and their country should recognize this, so both it and the artists can take pride in their efforts.  Now I mean that, my dear.      

Dorothy Parker in Women at Work:  Interviews From the Paris Review

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Pearls from artists* # 297

"Conundrum," soft pastel on sandpaper, 38" x 58"

“Conundrum,” 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.

The most valuable critic of contemporary work is another artist engaged in the same game.  Yet few misunderstandings exceed those between two painters engaged upon different kinds of things.  Only long after can an observer resolve the differences between such painters, when their games are all out, and fully available for comparison.

George Kubler in The Shape of Time:  Remarks on the History of Things

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Pearls from artists* # 296

"Offering," soft pastel on sandpaper, 20" x 26"

“Offering,” soft pastel on sandpaper, 20″ x 26″

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

Meaning in art isn’t the same as meaning in science.  The meaning of the second law of thermodynamics, so long as the words are understood, isn’t changed by who reads it,or when, or where.  The meaning of Huckleberry Finn is. 

Writing is a risky business.  No guarantees.  You have to take the chance.  I’m happy to take it.  I love taking it.  So my stuff gets misread, misunderstood, misinterpreted – so what?  If it’s the real stuff, it will survive almost any abuse other than being ignored, disappeared, not read.      

Ursula K. Le Guin in No Time to Spare:  Thinking About What Matters

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Pearls from artists* #295

Barbara at work, Photo: Marianne Barcellona

Barbara at work, Photo: Marianne Barcellona

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

Interviewer: Are there devices one can learn in improving one’s style?

Capote: Work is the only device I know of.  Writing has laws of perspective, of light and shade, just as painting does, or music.  If you are born knowing them, fine.  If not, learn them.  Then rearrange the rules to suit yourself.

Truman Capote in Writers at Work: The Paris Review Interviews First Series, edited, and with an introduction by Malcolm Crowley

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