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Pearls from artists* # 77

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.

Current possibilities far exceed any single artist’s capacity to engage them.  Indeed, every known way of making art ever undertaken in all of history is included in today’s inventory of creative options.  Thus, choices must be made.  This has had a profound effect upon the quantity and diversity of skills needed to become an artist today.  In addition to such conventional forms of artistic talent as visual acuity, manual dexterity, sensitivity, intelligence, ingenuity, and perseverance, contemporary artists must also be able to make judicious choices from a limitless inventory of alternatives.  A decisive aspect of the creative act involves choosing a place  amid possibilities that are as bountiful as they are eclectic and chaotic.  Even this process entail choices.  In staking the territory they wish to occupy, artists may be gluttons or ascetics, connoisseurs or  commoners.  Relationships between artists and their career choices may be lifelong and monogamous, or sequentially monogamous, polygamous, or promiscuous.  But artists’ options even exceed selecting precedents.  Free access to the past is amplified by freedom to augment the catalogue of creative options by contributing something new.

In the Making:  Creative Options for Contemporary Art by Linda Weintraub

Comments are welcome!  

Pearls from artists # 19

View from the balcony

View from the balcony

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

What  one writes at twenty-one is a cry, does one think of a cry that it ought to have been cried differently?  The language is still so thin about one in these years, the cry pierces through and just takes along what is left clinging to it.  The development will always be this, that one makes one’s language fuller, thicker, firmer (heavier), and of course there is sense in that only for one who is sure that the the cry too is growing in him ceaselessly, irresistibly, so that later, under the pressure of countless atmospheres, it will issue evenly from every pore of the almost impenetrable medium…

Talent, you understand, scarcely has significance any more in our day, since a certain dexterity of expression has become general, where is it not?  Hence succeeding still means something only where the highest, utmost is achieved, and then one is again liable to think that just this unsurpassable something, once it appears in person, is in itself successful.

And so there is no real ground for concern, only that we want never to remain behind our heart and never to be in advance of it:  that is probably needful.  Thus we arrive at everything, each at what is his. 

Jane Bannard Greene and M.D. Herter Norton editors, Letters of Rainer Maria Rilke 1910 – 1926

Comments are welcome!

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