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Pearls from artists* # 465

“Raconteur,” soft pastel on sandpaper, 58” x 38,” signed lower left

*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 his 1970 Nobel Prize lecture, Aleksander Solzhenitsyn proposed that if art has never been revealed its intrinsic “function” to us, it is because such a thing is beyond our ken. For the Russian writer, we are mistaken when we call art a human innovation; we ought instead to see it as a gift, something that came to us from beyond the bounds of our world. Solzhenitsyn illustrates his point by comparing the work of art to the technological marvel that a man from the proverbial Stone Age comes across in the wilderness. Unable to penetrate its secrets, the man can only turn the object this way and that, looking for “some arbitrary use to which he can put it, without suspecting an extraordinary one.” Solzhenitsyn goes on:

So also we, holding art in our hands, confidently consider ourselves to be its masters, boldly we direct it, reform and manifest it; we sell it for money, use it to please those in power; turn to it at one moment for amusement… and at another… for the passing needs of politics and for narrow-minded social ends. But art is not defiled by our efforts, neither does it thereby depart from its true nature, but on each occasion and in each application it gives us a part of its secret inner light.”

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

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Pearls from artists* # 143

"Intruder," soft pastel on sandpaper, 26" x 20"

“Intruder,” soft pastel on sandpaper, 26″ x 20″

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

Artists and designers have the capacity to generate something from deep inside ourselves to live outside of ourselves.  By residing in the experiential and the physical, and by developing the “hands on” as a portal of intelligent learning, we confirm the mind as maker and making as a state of mindfulness.  We demonstrate how artists and designers are hosts for enduring creative discovery that is self-initiated and actively engaged.  In short, artists and designers manifest what has not existed previously – in many cases, what has never even been imagined.

Rosanne Somerson in The Art of Critical Making:  Rhode Island School of Design on Creative Practice, Rosanne Somerson and Mara L. Hermano, editors

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Pearls from artists* # 100

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.

I think it’s terribly important that people have always made structures that are better and more rigorous and more demanding than we as an audience can live up to for every single moment.  Serious art should be better than you are.  I think my plays are more lucid, more rigorous, than I, Richard, am in my life.  I’m a stumble bum like all the rest of us.  Create art that is better than you are able to manifest in normal life. 

Richard Foreman in Anne Bogart’s Conversations with Anne:  Twenty-four Interviews

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Pearls from artists* # 94

Working on "False Friends"  Photo: Diana Feit

Working on “False Friends” Photo: Diana Feit

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

A work of art which inspires us comes from no quibbling or uncertain man.  It is the manifest of a very positive nature in great enjoyment, and at the very moment the work was done.

It is not enough to have thought great things before doing the work.  The brush stroke at the moment of contact carries inevitably the exact state of being of the artist at that exact moment into the work, and there it is, to be seen and read by those who can read such signs, and to be read later by the artist himself, with perhaps some surprise, as a revelation of himself.

For an artist to be interesting to us he must be interesting to himself.  He must have been capable of intense feeling, and capable of profound contemplation.

He who has contemplated has met with himself, is in a state to see into the realities beyond the surfaces of his subject.  Nature reveals to him, and, seeing and feeling intensely, he paints, and whether he wills it or not each brush stroke is an exact record of such as he was at the exact moment the stroke was made.

The Art Spirit by Robert Henri

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