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Pearls from artists* # 418

A Remedios Varo Plate from “Science and Surrealism”

A Remedios Varo Plate from “Science and Surrealism”

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

… both Surrealism’s birth and infancy coincided with probably the most momentous period in the history of physics.  The first Surrealist text, written by Andre Breton and Philippe Soupault and titled Magnetic Fields, deployed the spontaneous technique of ‘automatic writing,’ which supposedly allowed direct access to unconscious material.  It appeared in 1920 but was written in the previous year, coinciding with the expedition led by the English astrophysicist, Arthur Eddington, to observe the solar eclipse from the island of Principe off the west coast of Africa.  It was this journey that proved predictions set out in Einstein’s General Theory of Relativity (1916) about the gravitational deflection of light by the sun.  Eddington’s experiment led not only to Einstein’s instant, mythic status as the ‘new Copernicus’ and the swift popularization of Relativity, but more specifically its appearance in the early theoretical writings of Surrealism’s principle spokesman, Breton, which helped lay the foundations of the movement.  Breton’s subsequent manifesto texts of 1924 and 1929, extending his discussion of what he deemed the narrow, restrictive logic of Western though, can be situated within the same historical context that bore the revolutionary discoveries of quantum mechanics, culminating in 1927.       

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

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Pearls from artists* # 292

"White Star," soft pastel on sandpaper, 38" x 58"

“White Star,” soft pastel on sandpaper, 38″ x 58″

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

… many tools may share qualities of fine design with works of art.  We are in the presence of a work of art only when it has no preponderant instrumental use, and when its technical and rational foundations are not pre-eminent.  When the technical organization or the rational order of a thing overwhelms our attention, it is an object of use.  On this point Lodoli anticipated the doctrine of functionalists of our century when he declared in the eighteenth century that only the necessary is beautiful.  Kant, however, more correctly said on the same point that the necessary cannot be judged beautiful, but only right or consistent.  In short, a work of art is as useless as a tool is useful.  Works of art are as unique and irreplaceable as tools are common and expendable. 

George Kubler in The Shape of Time:  Remarks on the History of Things

Comments are welcome! 

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