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Pearls from artists* # 119

"He and She"

“He and She”

* 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 course of the past several years we have experienced a seismic shift in the way the world functions.  Any notion of a certain or stable or inevitable future has vanished.  We are living in what the Polish philosopher Zygmunt Bauman calls “liquid modernity.”  No one’s life is predictable or secure.  We are confronted with challenges never previously encountered, and these challenges weigh heavily on the role and responsibilities of the individual in society.  It is the onus of each one of us to adjust, shift and adjust again to the constant liquid environment of fluid and unending change.  In the midst of all this reeling and realignment, the moment is ripe to activate new models and proposals for how arts organizations [and artists] can flourish in the present climate and into an uncertain future. 

What’s the Story:  Essays about art, theater, and storytelling by Anne Bogart

Comments are welcome!         

Pearls from artists* # 79

Negombo, Sri Lanka

Negombo, Sri Lanka

* 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’s to say?  Great paintings – people flock to see them, they draw crowds, they’re reproduced endlessly on coffee mugs and mouse pads and anything-you-like.  And, I count myself in the following, you can have a lifetime of perfectly sincere museum-going where you traipse around enjoying everything and then go out and have some lunch.  But … if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art.  It’s a secret whisper from an alleyway.  Psst, you.  Hey, kid. Yes, you.”  Fingertip gliding over the faded-out photo – the conservator’s touch, a-touch-without-touching, a communion wafer’s space between the surface and his forefinger.  “An individual heart-shock.  Your dream … Vermeer’s dream.  You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum shop sees something else entire, and that’s not even to mention the people separated from us by time – four hundred years before us, four hundred years after we’re gone – it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all – a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and particular.  Yours, yours.  I was painted for you… fateful objects.  Every dealer and antiquaire recognizes them.  The pieces that occur and recur.  Maybe for someone else, not a dealer, it wouldn’t be an object.  It’d be a city, a color, a time of day.  The nail where your fate is liable to catch and snag.”    

Donna Tartt in The Goldfinch 

Comments are welcome!         

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