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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* # 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

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Pearls from artists* # 375

Tile worker in South India

Tile worker in South India

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

With the camera you interpret reality.  Photography is not truth.  The photographer interprets reality and, above all, constructs his own reality according to his own awareness or his own emotions.  Sometimes it’s complicated because it’s a kind of schizophrenic phenomenon.  Without the camera, you see the world in one way, with the camera, in another.  Through the window, you’re composing, and even dreaming about, this reality as if, through the camera, you were synthesizing what you are with what you’ve learned of a certain place.  Then you make your own image, your own interpretation.  The same thing happens to a writer as to a photographer.  It’s impossible to capture the truth of life.

Graciela Iturbide in Eyes to Fly With:  Portraits, Self-Portraits, and Other Photographs

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Pearls from artists* # 125

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.

My own natural proclivity is to categorize the world around me, to remove unfamiliar objects from their dangerous  perches by defining, compartmentalizing and labeling them.  I want to know what things are and I want to know where they are and I want to control them.  I want to remove the danger and replace it with the known.  I want to feel safe.  I want to feel out of danger.

And yet, as an artist, I know that I must welcome the strange and the unintelligible into my awareness and into my working process.  Despite my propensity to own and control everything around me, my job is to “make the familiar strange and the strange familiar,” as Bertolt Brecht recommended:  to un-define and un-tame what has been delineated by belief systems and conventions, and to welcome the discomfort of doubt and the unknown, aiming to make visible what has become invisible by habit.

Because life is filled with habit, because our natural desire is to make countless assumptions and treat our surroundings as familiar and unthreatening, we need art to wake us up.  Art un-tames, reifies and wakes up the part of our lives that have been put to sleep and calcified by habit.  The artist, or indeed anyone who wants to turn daily life into an adventure, must allow people, objects and places to be dangerous and freed from the definitions that they have accumulated over time.            

Anne Bogart in What’s the Story:  Essays about art, theater, and storytelling

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Pearls from artists* # 122

Sanur, Bali

Sanur, Bali

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

Most significant growth in my life has been the direct result of errors, mistakes, accidents, faulty assumptions and wrong moves.  I have generally learned more from my mistakes and my so-called failures than any successes or instances of “being right.”  I would venture to propose that this equation is also true in the world at large.  Error is a powerful animating ingredient in political, scientific and historical evolution as well as in art and mythology.  Error is a necessity.  The question I had to ask myself was:  how can I cultivate a tolerance and an appetite for being wrong, for error?

In the face of an exceedingly complicated world, there are too many people who are invested in “being right.”  These people are dangerous.  Their authority is based on their sense of certainty.  But innovation and invention do not only happen with smart people who have all of the answers.  Innovation results from trial and error.  The task is to make good mistakes, good errors, in the right direction.

There are many reasons that we get things as wrong as often as we do.  Failures of perception, the cause of most error, are far more common in our daily lives than we like to think.  We make errors because of inattention, because of poor preparation and because of haste.  We err as a result of hardened prejudices about how things are.  We err because we neglect to think things through.  Our senses betray us constantly.  But the chaos caused by being wrong also  awakens energy and consciousness in us.  In the moments that we realize our faults of perception, we are jerked into an awareness of our humanity.  The Slovenian philosopher Slavoj Zizek wrote, “Consciousness originates with something going terribly wrong.”

Anne Bogart in “What’s the Story:  Essays about art, theater, and storytelling

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Pearls from artists* # 86

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

“Broken,” 38″ x 58,” soft pastel on sandpaper

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

When I’m working from a photograph, a transparency, or direct observation, I am always amazed at how much more I see as the painting progresses.  After I think I have completely perceived a particular area, something else reveals itself.  As the work continues, the level of awareness deepens.  The process takes it’s own time.  I have come to accept that time and not fight it.  I know that when I begin my work, no matter how hard I try, I’ll never observe as much on the first day as I will on the last.  Like life, the development will not be rushed, nor will there be full realization before completion.

Dr. Leopold Caligor, a prominent New York psychiatrist, says that he listens to tapes of recorded sessions with patients, he hears new things and gains deeper insights.  Each time he listens, more information is uncovered.  This process is repeated until understanding is complete.

Audrey Flack in Art & Soul:  Notes on Creating

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Pearls from artists* # 68

Hudson Rail Yards, NYC

Hudson Rail Yards, NYC

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

Get to know what you really want.  Hold on and treasure your vision.  Acknowledge that your life is a work in progress and that your goals will change and develop over time. Knowing deeply what you want to accomplish shores up doubt, builds fortitude, and pushes you to take more action.  This awareness changes how you hear and use information.  Your senses will be sharpened.  You begin to listen to everything differently; you interpret what you read, what you do, and whom you meet with your goals in mind.  You will ask better questions of those around you and seek more meaningful help.  All of this will produce a subtle yet profound shift in how you proceed and the actions you take.  It will reshape your life and have major consequences for your career.

Jackie Battenfield in The Artist’s Guide:  How to Make a Living Doing What You Love 

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Pearls from artists* # 42

Balinese dancer

Balinese dancer

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

Things-as-they-are offer such an abundance of material that a photographer must guard against the temptation of trying to do everything.  It is essential to cut from the raw material of life – to cut and cut, but to cut with discrimination.  While working, a photographer must reach a precise awareness of what he is trying to do.  Sometimes you have the feeling that you have already taken the strongest possible picture of a particular situation or scene; nevertheless, you find yourself compulsively shooting, because you cannot be sure in advance exactly how the situation, the scene is going to unfold.  You must stay with the scene, just in case elements of the situation shoot off from the core again.  At the same time, it’s essential to avoid shooting like a machine-gunner and burdening yourself with useless recordings which clutter your memory and spoil the exactness of the reportage as a whole.

Henri Cartier-Bresson in Images a la sauvette

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Pearls from artists* # 6

"Quartet," soft pastel on sandpaper, 58" x 38" image, 70" x 50" framed

“Quartet,” 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.

After we have responded to a work of art, we leave it, carrying in our consciousness something which we didn’t have before.  This something  amounts to more than our memory of the incident represented, and also more than our memory of the shapes and colours and spaces which the artist used and arranged.  What we take away with us – on the most profound level – is the memory of the artist’s way of looking at the world.  The representation of a recognizable incident (an incident here can simply mean a tree or a head) offers us the chance of relating the artist’s way of looking to our own.  The forms he uses are the means by which he expresses his way of looking.  The truth of this is confirmed by the fact that we can often recall the experience of a work, having forgotten both its precise subject and its precise formal arrangement.

Yet why should an artist’s way of looking at the world have any meaning for us?  Because, I believe, it increases our awareness of our own potentiality.  Not of course our awareness of our potentiality as artists ourselves.  But a way of looking at the world implies a certain relationship with the world, and every relationship implies action.  The kind of actions implied vary a great deal.  A classical Greek sculpture increases our awareness of our own potential physical dignity; a Rembrandt of our potential moral courage; a Matisse of our potential sensual awareness.  Yet each of these examples is too personal and too narrow to contain the whole truth of the matter.  A work can, to some extent, increase an awareness of different potentialities in different people.  The important point is that a valid work of art promises in some way or another the possibility of an increase, an improvement.  Nor need the work be optimistic to achieve this; indeed, its subject may be tragic.  For it is not the subject matter that makes the promise, it is the artist’s way of viewing his subject.  Goya’s way of looking at a massacre amounts to the contention that we ought to be able to do without massacres.         

John Berger, Selected Essays

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