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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

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Pearls from artists* # 407

"Survivors," soft pastel on sandpaper, 20" x 26" image, 28 1/2" x 35" framed

“Survivors,” soft pastel on sandpaper, 20″ x 26″ image, 28 1/2″ x 35″ framed

* 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 the images [the paintings of the Chauvet cave in southern  France] this prehistoric people have bequeathed to us, we get a glimpse of something like a shared humanity, but we also gaze into a stranger part of ourselves, something reaching to the depths.  Since we do not know the context in which the paintings were made, we cannot in good faith chalk them up to some clear pragmatic end.  We are seeing art in its naked state, deprived of any discernible appropriation.  This can trouble our secular sensibilities since it confronts us not just with the mysteries of nature, but more strikingly still with the riddle of the presence of such things as us in the otherwise coherent physical world.  Given the fact that the molecular chemistry that makes life possible is the same throughout the cosmos, would finding works of art on Mars or a remote planet be any more uncanny than finding them here on Earth?      

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

Comments are welcome!

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