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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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Pearls from artists* # 435
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.
Most artists are not as estranged from their fellow human beings, as bereft of reasons for existing, or as alienated from the common values and enthusiasms of the world as are the outsider characters created by existential writers like Kafka, Camus, and Sartre. But insofar as artists do regularly feel different from other people, a differentness experienced both as a sense of oddness and a sense of specialness, they identify with the outsider’s concerns and come to the interpersonal moment in guarded or distant fashion.
In part, artists are outsiders because of the personal mythology they possess. This mythology is a blend of beliefs about the importance of the individual, the responsibility of the artist as a maker of culture and a witness to the truth, and the ordained separateness of the artist. Artists often stand apart on principle, like Napoleonic figures perched on a hill overlooking the battle.
The artist may also find himself [sic] speechless in public. Around him people chat, but he has little to offer. Too much of what he knows and feels has gone directly into his art and too much has been revealed to him in solitude – infinitely more than he can share in casual conversation.
Eric Maisel, A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists
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Pearls from artists* # 405
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.
… art is an objective pursuit with the same claim to truth as science, albeit truth of a different order. At the very least the consistency and universality of aesthetic expression throughout history and around the globe suggest that the undertaking that finds its modern formulation in the concept of art is a distinct sphere of activity with its own ontology. My belief is that what the modern West calls art is the direct outcome of a basic human drive, an inborn expressivity that is inextricably bound with the creative imagination. It is less a product of culture than a natural process manifesting through the cultural sphere. One could go so far as to argue that art must exist in order for culture to emerge in the first place.
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* # 389
Henri Roche pastels: nine trays (four at the top, five on the bottom).
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Color vision must be universal. The human eye and brain work the same way for nearly all people as a property of their being human – determining that we all see blue. But the color lexicon, meaning not merely the particular words but also the specific chromatic space they are said to mark, clearly has been shaped by the particularities of culture. Since the spectrum of visible colors is a seamless continuum, where one color is thought to stop and another begun is arbitrary. The lexical discrimination of particular segments is conventional rather than natural. Physiology determines what we see; culture determines how we name, describe, and understand it. The sensation of color is physical; the perception of color is cultural.
David Scott Kastan in On Color
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Pearls from artists* # 384
Overlooking Copacabana, Bolivia and Lake Titicaca
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Carnival in Oruro [Bolivia] is a glorious spectacle. It’s flash, pomp and brilliance can be enjoyed without understanding its long history and intricate mythologies. Still, the onlooker is left with a thousand questions that are not so easily answered. Behind the glitter of Carnival lie the history, the timeless myths and the distinct traditions of this mining community.
According to the Spanish writer Jean Laude, “The function of the mask is to reaffirm, at regular intervals, the truth and presence of myths in everyday life.” This suggests that masks should be studied in context, noting their association with the individual dancer and the history, myths and traditions of the community that produces them. The mask has to be animated within its ritual, comic or social role.
A first step in appreciating the masks is to understand something of the land and people that crafted them. Oruro is a mining city on the open Altiplano at 3,700 meters (12,144 ft.) above sea level. The sky appears a rarified blue, it is intensely cold and a constant wind lifts dust to the eyes. During the year no more than 125,000 people live in the city. Suddenly in the weeks of Carnival, the population doubles or triples.
Three languages, Quechua, Aymara, and Spanish are spoken in Oruro. Their use reflects an ancient pattern of conquest in the history of this land. It is said that the Urus, whose language is now almost lost, were the first inhabitants. In time they were dominated by the Aymara tribes. Later, Quechua was introduced as the Inca advanced their empire from Cuzco. Ultimately the Spanish arrived and founded the present city in 1601 to exploit rich mineral deposits found in the seven hills.
Today, descendants of the Urus live near Oruro around the shore of Lake Poopo. Elements of their distinctive culture remain but they have no wealth in comparison with the more dominant Aymara and Quechua who surround them. A further change came in the recent past because Oruro has acted as a magnet, attracting many people from the countryside to work in the mines.
On one side were the Urus, ancient owners of all the land which now only carries their name (Uro Uro = Oruro). On the other side were the miners, many of whom were Quechua and Aymara migrants. In the middle is “Carnival.”
El Carnaval de Oruro by Manuel Vargas in Mascaras de los Andes Bolivianos, Editorial Quipus and Banco Mercantil
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Pearls from artists* # 374
Barbara’a 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.
Finally, [John] Graham said, of all the arts, painting was the most difficult because one false move on a canvas could mean the difference between a great painting and a failure. A writer could always resurrect a word, but a line or a shape was so ephemeral that, once changed, it was almost always lost for good. “To create life one has to love. To create a great work of art one has to love truth with the passion of a maniac. If society does not perceive this love, perhaps humanity will.” …The artists… came away… feeling as though they were not aberrations but part of a long tradition of individuals who had ignored fashion to create culture.
Mary Gabriel in Ninth Street Women
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Pearls from artists* # 204
Barbara’s studio with work in progress
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
It has been said that science helps us understand what we can do; the arts and humanities – our culture and values – help us decide what to do. Studying the arts and humanities develops critical-thinking skills and nimble habits of mind, provides historical and cultural perspective and fosters the ability to analyze, synthesize and communicate.
As author Daniel Pink observed, “The last few decades have belonged to a certain kind of person with a certain kind of mind – computer programmers who could crank code, lawyers who could craft contracts, MBAs who could crunch numbers… The future belongs to a very different kind of mind – creators and empathizers, pattern recognizers and meaning makers. These people – artists, inventors, designers, storytellers, caregivers, consolers, big-picture thinkers – will now reap society’s richest rewards and share its greatest joys.”
David J. Skorton, Director of the Smithsonian Institution in “What Do We Value?” Museum, May/June 2016
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Pearls from artists* # 159
“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.
We, the artists who are meant to provide art and teach the importance of beauty, have not yet been able to educate the public to know the difference between beauty and ugliness. .. It’s time to make sure artists with good intentions are ready to be taken seriously and to gain back their noble respectful place in culture. We should be ready with our own high standard of art for the new era, in which art patrons and a society that are more informed than ever will be thoughtfully critical and will expect everything from artists they support – talent, knowledge, skill and experience.
Samuel Adoquei in Origin of Inspiration: Seven Short Essays for Creative People
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Q: Would you speak about your first trip to Mexico?
With an amate tree at Chalcatzingo
A: In the early 90’s my late husband, Bryan, and I made our first trip to Oaxaca and to Mexico City. At the time I had become fascinated with the Mexican “Day of the Dead” celebrations so our trip was timed to see them firsthand. Along with busloads of other tourists, we visited several cemeteries in small Oaxacan towns. The indigenous people tending their ancestor’s graves were so dignified and so gracious, even with so many mostly-American tourists tromping around on a sacred night, that I couldn’t help being taken with these beautiful people and their beliefs. From Oaxaca we traveled to Mexico City, where again I was entranced, but this time by the rich and ancient history. On that first trip to Mexico we visited the National Museum of Anthropology, where I was introduced to the fascinating story of ancient Mesoamerican civilizations (it is still one of my favorite museums in the world); the ancient city of Teotihuacan, which the Aztecs discovered as an abandoned city and then occupied as their own; and the Templo Mayor, the historic center of the Aztec empire, infamous as a place of human sacrifice. I was astounded! Why had I never learned in school about Mexico, this highly developed cradle of Western civilization in our own hemisphere, when so much time had been devoted to the cultures of Egypt, Greece, and elsewhere? When I returned home to Virginia I began reading everything I could find about ancient Mexican civilizations, including the Olmec, Zapotec, Mixtec, Aztec, and Maya. This first trip to Mexico opened up a whole new world and was to profoundly influence my future work. I would return there many more times, most recently this past March to study Olmec art and culture.
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Pearls from artists* # 91
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.
I’m struggling a lot financially, struggling a lot to keep my group going, struggling to keep going in every way, but I feel like I try so hard because every time that I’m able to go to a college or to be with young people they need to know that there is this “anything is possible” idea. They need to at least see that. I intend to continue nevertheless. Somehow that seems very important right now. It isn’t that you go to school just to find out everything you need to get a job or something. We never thought of what we did as a job. We thought of it as our work, our life. Then there was a certain point, I think, in the eighties where people thought of their identity as this and then what you did was a job. There was a separation between the two things.
I pray that now there will be some loosening and we’ll feel this sense of, just as you said so beautifully, space and breath. No one’s breathing. That’s why I feel that doing art is so important. It makes you dig in your heels even more. It’s a life-and-death kind of thing. What is the other alternative? The other alternative is that you’re living in a culture that’s basically trying to distract you from the moment. It’s trying to distract you from your life. It’s trying to distract you from who you are, and it’s trying to numb you, and it’s trying to make you buy things. Now, I don’t really think that that’s what life is about. I’m excited because now I have this real sense that there’s this counterculture, you could say, or counter-impulse. it’s not for-and-against, but there is a kind of dialectic where there’s a kind of resistance you can actually hit against, or at least address in one way or the other.
Meredith Monk quoted in Conversations with Anne: Twenty-four Interviews, by Anne Bogart
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