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Pearls from artists* # 436

View from the roof of the Metropolitan Museum of Art, New York

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

Comments are welcome!  

Pearls from artists* # 210

Lima bootery (with self-portrait)

Lima, Peru (with self-portrait)

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

Much that is said about beauty and its importance in our lives ignores the minimal beauty of an unpretentious street, a nice pair of shoes or a tasteful piece of wrapping paper, as though these things belonged to a different order of value from a church by Bramante or a Shakespeare sonnet.  Yet these minimal beauties are far more important to our daily lives, and far more intricately involved in our own rational decisions, than the great works which (if we are lucky) occupy our leisure hours.  They are part of the context in which we live our lives, and our desire for harmony, fittingness and civility expressed and confirmed in them.  Moreover, the great works of architecture often depend for their beauty on the humble context that these lesser beauties provide.  Longhena’s church on the Grand Canal would lose its confident and invocatory presence, were the modest buildings which nestle in its shadow to be replaced with cast-concrete office blocks, of the kind that ruin the aspect of St.  Paul’s.

Beauty:  A Very Short Introduction, by Roger Scruton

Comments are welcome!

 

Pearls from artists* # 183

West Village

West Village

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

Part of what makes snowfall in a city magical is the way that muted sound and the sight of buildings and cars draped in whiteness go together.  If we’re not too worried about missing appointments, we feel the excitement of moving into a new place where none of the old clutter and racket of our lives has arrived. 

In Pursuit of Silence:  Listening for Meaning in a World of Noise by George Prochnik

Comments are welcome!

Pearls from artists* # 115

 

Giorgio de Chirico, "The Enigma of a Day," oil on canvas, 6' 1 1/4  x 55," MoMA

Giorgio de Chirico, “The Enigma of a Day,” oil on canvas, 6′ 1 1/4 x 55,” MoMA

* 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 DISQUIETING MUSES

From Two de Chiricos

[On Giorgio de Chirico]

 

Boredom sets in first, and then despair.

One tries to brush it off.  It only grows.

Something about the silence of the square.

 

Something is wrong; something about the air,

It’s color; about the light, the way it goes.

Something about the silence of the square.

 

The muses in their fluted evening wear,

Their faces blank, might lead one to suppose

Something about the silence of the square.

 

Something about the buildings standing there.

But no, they have no purpose but to pose.

Boredom sets in first, and then despair.  

 

What happens after that, one doesn’t care.

What brought one here – the desire to compose

Something about the silence of the square.

 

Or something else, of which one’s not aware,

Life itself, perhaps – who really knows?

Boredom sets in first and then despair…

Something about the silence of the square.

 

Mark Strand in Art and Artists:  Poems, edited by Emily Fragos

Comments are welcome! 

 

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