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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* # 420

‘Science in Surrealism,” published by Gallery Wendy Norris

‘Science in Surrealism,” published by Gallery Wendy Norris

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

During the early period of Einstein’s great fame, which began in 1919, Breton wrote an essay for the first one-man show in Paris of Max Ernst.  There, for the first time, he expressed what would become the central mechanism of Surrealism’s theory of poetry:  the experience of ‘disorientation,’ engendered by what Breton called ‘the marvelous ability to reach out, without leaving the field of our experience, to two distinct realities and bring them together to create a spark.’  Perhaps in search of authorization, Breton gave this definition in the context of the ‘separate systems of reference’ posited by Einstein’s Relativity.  This, Breton argued, helped make sense of weird juxtapositions to be found in Ernst’s collages of the time, shown in Paris in the same year that the German to French translations of both Einstein’s Relativity:  The Special Theory and the General Theory and [Sir Arthur] Eddington’s, Space, Time, and Gravitation were published.  This in turn gave Breton and his friends a glimpse of the ‘real’ world ushered in by the new physics.      

Sibylline Strangeness:  Surrealism and Modern Physics,” by Gavin Parkinson in Science in Surrealism, published by Gallery Wendy Norris

Comments are welcome!

Pearls from artists* # 362

On the Indian Ocean in Tanah Lot, Bali

On the Indian Ocean in Tanah Lot, 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.

… if we look at the artifacts of all cultures, beauty always has attracted man’s attention.  We know when we are in its presence.  We’re held.  Different pieces of art will arrest different people, and… some pieces will arrest larger numbers of people for longer periods of time.  These are the works that are perhaps worthy of being called great art.  We have to recognize that some people today, observing the greatest works of art, or the most awesome works of nature – the Grand Canyon, for instance – give it a minute and then are ready for something else.  Insatiable for change, they are immune to deep resonance.

Art and beauty are about those resonances.  It isn’t the subject matter that holds us.  Some inexplicable reaction stops us, and we find ourselves connected with something other than ourself.  Perhaps our ‘Self’ might be a better term, to distinguish it from the self that is caught up in thoughts, worries, and distractions.  I like Ken Weber’s definition, that beauty “suspends the desire to be elsewhere.” In the face of great art, we experience transcendence.

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

Comments are welcome!

Pearls from artists* # 346

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.

In my view… the most useful definition of creativity is the following one:  people are artistically creative when they love what they are doing, know what they are doing, and actively engage in the tasks we call art-making.  The three elements of creativity are thus loving, knowing, and doing; or heart, mind, and hands; or, as Buddhist teaching has it, great faith, great question, and great courage.    

Eric Maisel in A Life in the Arts:  Practical Guidance and Inspiration for Creative and Performing Artists

Comments are welcome!

Pearls from artists* # 324

Untitled c-print, 24" x 24,” edition of 5

Untitled c-print, 24″ x 24,” edition of 5

*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 artist is the creator of beautiful things.”  From [Immanuel] Kant’s perspective on conventional beauty, [Oscar] Wilde’s definition would seem to demote artists to a cosmetic role, turning them, as William Irwin Thompson said, into “the interior decorators of Plato’s cave.”  On the other hand, under the terms of a radical beauty that brings forth the Real instead of pacifying us with delusions of “realism,” Wilde’s line can help restore art to its shamanic source in our minds.  Perhaps it would have been better if Wilde had defined the artist as the creator of numinous things – of enchanted objects, omens, or talismans. Because if there is one thing that all beautiful things share, it is that they are all symbols.  They are all transmissions from another plane of existence.

It is one thing to acknowledge the Beautiful as an objective property of the phenomenal world.  It is another to stop and listen to what it has to say. 

J.F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action 

Comments are welcome!

Pearls from artists # 146

"The Sovereign," soft pastel on sandpaper, 58" x 38"

“The Sovereign,” soft pastel on sandpaper, 58″ x 38″

* 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 try to remember that painting at its best is a form of communication, that it is constantly reaching out to find response from an ideal and sympathetic audience.  This I know is not accomplished by pictorial rhetoric nor by the manipulation of seductive paint surfaces.  Nor is a good picture concocted out of theatrical props, beautiful subjects, or memories of other paintings.  All these might astound but they will never communicate the emotional content or exaltation of life, which I believe an artist, by definition, has to accept as his task.

Julian Levi:  Before Paris and After in The Creative Process, edited by Brewster Ghiselin

Comments are welcome!

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