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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* # 436
View from the roof of the Metropolitan Museum of Art, New York
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Cassirer’s partial definition of art as symbolic language has dominated art studios in our [20th] century. A new history of culture anchored upon the work of art as a symbolic expression thus came into being. By these means art has been made to connect with the rest of history.
But the price has been high, for while studies of meaning received all our attention, another definition of art, as a system of formal relationships, thereby suffered neglect. This other definition matters more than meaning. In the same sense speech matters more than writing, because speech preceded writing, and because writing is but a special case of speech.
The other definition of art as form remains unfashionable, although every thinking person will accept it as a truism that no meaning can be conveyed without form. Every meaning requires a support, or a vehicle, or a holder. These are the bearers of meaning, and without them no meaning would cross from me to you, or from you to me, or indeed from any part of nature to any other part.
… The structural forms can be sensed independent of meaning. We know from linguistics in particular that the structural elements undergo more or less regular evolutions in time without relation to meaning, as when certain phonetic shifts in the history of cognate languages can be explained only by a hypothesis of regular change. Thus phoneme a occurring in an early stage of language, becomes phoneme b at a later stage, independently of meaning, and only under the rules governing the phonetic structure of the language. The regularity of these changes is such that the phonetic changes can be used to measure durations between recorded but undated examples of speech.
Similar regularities probably govern the formal infrastructure of every art. Whenever symbolic clusters appear, however, we see interferences that may disrupt the regular evolution of the formal system. An interference from visual images is present in almost all art. Even architecture, which is commonly thought to lack figural intention, is guided from one utterance to the next by the images of the admired buildings of the past, both far and near in time.
George Kubler in The Shape of Time: Remarks on the History of Things
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