Blog Archives
Pearls from artists* # 452
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Art serves us best precisely at that point where it can shift our sense of what is possible, when we know more than we knew before, when we feel we have – by some manner of a leap – encountered the truth. That, by the logic of art, is always worth the pain.
T.S. Eliot quoted in A Director Prepares: Seven Essays on Art and Theatre by Anne Bogart
Pearls from artists* # 449
*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 learned about the Japanese word irimi while studying Aikido, a Japanese martial art. Simply translated, irimi means ,’to enter’ but it can also be translated ‘choose death.’ When attacked you always have two options: to enter, irimi, or to go around, ura. Both when accomplished in the right manner, are creative. To enter or to ‘choose death’ means to enter fully with the acceptance, if necessary, of death. The only way to win is to risk everything and be fully willing to die. If this is an extreme notion to Occidental sensibilities, it does make sense in creative practice. To achieve the violence of decisiveness, one has to ‘choose death’ in the moment by acting fully and intuitively without pausing for reflection about whether it is the right decision or if it is going to provide the winning solution.
It is also valuable to know when to use ura, or going around. There is a time for ura, going around, and there is a time for irimi, entering. And these times can never be known in advance. You must sense the situation and act immediately. In the heat of creation, there is no time for reflection; there is only connection to what is happening. The analysis, the reflection and the criticism belong before and after, never during, the creative act.
Anne Bogart in “A Director Prepares: Seven Essays on Art and Theater”
Comments are welcome!
Pearls from artists* # 413
New York, NY
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
We photographers are particularly drawn to light in all of its manifestations. Who knows why? We just simply seem to be attracted to light more than other people, even when we’re not taking photos. We notice little things. The way a curtain might cut a shadow across the floor. The way a blue iris might fold light into itself. The way a child’s skin has a glow without any filters. And as we all know, beautiful caverns can be created by the manner in which water flows through rock. I think there is a parallel with us. The light that flows through us carves our souls.
Rick Sammon in Photo Therapy Motivation and Wisdom
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Pearls from artists* # 410
Mexico City
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Faced with the disparities between lived reality and America’s professed ideals of inclusion and equity, countless artists have begun embracing the social role of art and using aesthetic means to speak out against all manner of injustice. In such a climate, the Mexican muralists [Jose Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros] have once again emerged as models of how to marry aesthetic rigor and vitality to socially conscious subject matter that addresses the most fundamental questions concerning our collective pursuit of a more just and equitable society. Not withstanding the rich cultural ties and decades of migration that have long existed between the United States and Mexico, the relationship between the two countries has always been fraught, marked as much by mutual wariness and bouts of hostility as by a spirit of camaraderie and cooperation Yet the ugliness and xenophobia of the recent debates on the American side echoes the worst of the past. It thus seems more imperative than ever to acknowledge the profound and enduring influence Mexican muralism has had on artmaking in the United States and to highlight the beauty and power that can emerge from the free and vibrant cultural exchange between the two countries. As much as did American artists decades ago, artists in the United States today stand to benefit from an awareness of how dynamically and inventively the Mexican muralists used their art to project the ideals of compassion, justice, and solidarity. They remain a source of powerful inspiration for their seamless synthesis of ethics, art, and action.
Vida Americana: Mexican Muralists Remake American Art, 1925 – 1945, edited by Barbara Haskell
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Pearls from artists* # 355
“The Champ,” 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.
True art provides us with truth in a manner analogous to science. Its prophetic dimension – its knack for showing us the side of things that our interests blind us to – make it a source of knowledge, even though it is knowledge of a kind that instrumental reason has little time for. The psychologists who revolutionized our understanding of human psychology in the earliest twentieth century drew on two principal sources to build their concepts: the dream life of their patients and the great art of the past. Without this recognition of the primacy of imagination, Freud and Jung could never have drawn their maps of the psyche. Those who work for a better world would do well to follow their example and find the guiding patterns of life in the prophetic artistic works of the past and present. Only art can act as a counter-weight to that uniquely modern mentality that, wherever it becomes the only game in town, seeks to persuade us that the proper goal of human beings is to contain, dissect, and control everything – that even the most persistent mysteries are just problems to be solved.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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