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Pearls from artists* # 566

With “Sacrificial” (left), 70” x 50” framed and “Disruptor,” 35” x 28.5” framed; both are 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.
Money, fame. It was funny, it was confusing. It was the end. The purity was gone. “I vividly experienced the change of climate with the financial boom in the art world,” Mercedes [Matter] said. “The change from taking poverty and obscurity for granted to competing for a place in the spotlight. At the Cedar [Tavern] one began hearing many talking about galleries over their bourbons instead… [of] about art as before over their beers.” Artists had become entertainers, selling themselves and their gifts for a piece of paper, the almighty dollar, emblazoned with a new motto, “In God We Trust.” Paul Brach said 1957 was the last year that artists made other artists’ reputations. From then on, they were made by a machine called “the art establishment.” “Career, the nemesis of our past, had crept up on all of us,” Larry [Rivers] said. It was like a virus, something all of them had but none of them wanted. At least in the abstract.
Mary Gabriel in Ninth Street Women
Comments are welcome!
Q: What has been your scariest experience as an artist?
A: It was the approximately six months in 2007 when I finished the “Domestic Threats” series and was blocked, certain that a strong body of work was behind me, yet not knowing what in the world to do next! For a professional artist who had been working non-stop for 21 years, this was a profoundly painful, confusing, and disorienting time. I remember continuing to force myself to go to the studio and for lack of anything much to do there, spending long hours reading and thinking about art.
Eventually after all of this reflection, I had an epiphany. “Between,” with drastically simplified imagery, was the first in a new series called, “Black Paintings.” I like to think this series includes work that is considerably richer and more profound than the previous “Domestic Threats.”
Comments are welcome!
Pearls from artists* # 32
* 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 most certainly need to test ourselves against the most extreme possibilities, just as we are probably obligated not to express, share, and impart the most extreme possibility before it has entered the work of art. As something unique that no other person would and should understand, as one’s personal madness, so to speak, it has to enter into the work to attain its validity and to reveal there an internal law, like primary patterns that become visible only in the transparency of artistic creation. There exist nonetheless two freedoms to express oneself that seem to me the ultimate possibilities: one in the presence of the created object, and the other within one’s actual daily life where one can show another person what one has become through work, and where one may in this way mutually support and help and (here understood humbly) admire one another. In either case, however, it is necessary to show results, and it is neither lack of confidence nor lack of intimacy nor a gesture of exclusion if on does not reveal the tools of one’s personal becoming that are marked by so many confusing and tortuous traits, which are valid only for one’s own use.
Ulrich Baer, editor, The Wisdom of Rilke
Comments are welcome!


