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Pearls from artists* # 209

"So What?", soft pastel on sandpaper, 20" x 26"

“So What?”, soft pastel on sandpaper, 20″ x 26″

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

For a young painter, life is difficult.  If he’s sincere, if he’s entirely taken up with what he’s researching, he can’t do painting that flatters art lovers.  If he’s concerned with success, he works with just the one idea:  pleasing people and selling.  He loses the support of his own conscience and is dependent on how others are feeling. He neglects his gifts and eventually loses them.

For us, the problem was simple:  the buyer simply didn’t exist.  We were working for ourselves.  We were in a trade that offered no hope at all.  So we had fun with any little thing.  I suppose people shipwrecked on a desert island must find it very jolly – all their problems have ceased to exist.  Nothing left to do but have a laugh, tell jokes, and play jokes.  Painters?  How could they ever expect to sell anything? 

Chatting with Henri Matisse:  The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbaut, translated by Chris Miller

Comments are welcome! 

   

Pearls from artists* # 169

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.

For many, the familiar presence of things is a comfort.  Things are valued not only because of their rarity or cost or their historical aura, but because they seem to partake in our lives; they are domesticated, part of our routine and so of us.  Their long association with us seems to make them custodians of our memories; so that sometimes, as in Proust, things reveal us to ourselves in profound and unexpected ways.

The Tears of Things:  Melancholy and Physical Objects by Peter Schwenger

Comments are welcome!      

Pearls from artists* # 154

Idea for a painting

Idea for a painting

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

Often the public forms an idea of inspiration that is quite false, almost a religious notion.  Alas!  I do not believe that inspiration falls from heaven.  I think it rather the result of a profound indolence and of our incapacity to put to work certain forces in ourselves.  These unknown forces work deep within us, with the aid of the elements of daily life, its scenes and passions, and, they burden us and oblige us to conquer the kind of somnolence in which we indulge ourselves like invalids who try to prolong dream and dread resuming contact with reality, in short when the work that makes itself in us and in spite of us demands to be born, we can believe that this work comes to us from beyond and is offered by the gods.  The artist is more slumberous in order that he shall  not work.  By a thousand ruses, he prevents his nocturnal work from seeing the light of day.

For it is at the moment that consciousness must take a precedence and that it becomes necessary to find the means which permit the unformed work to take form, to render it visible to all.  To write, to conquer ink and paper, accumulate letters and paragraphs, divide them with periods and commas, is a different matter than carrying the dream of a play or of a book.

Jean Cocteau: The Process of Inspiration in The Creative Process, edited by Brewster Ghiselin

Comments are welcome!  

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* # 123

"Quartet" with self-portrait

“Quartet” with self-portrait

 

* 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 artists should not underestimate the importance of the stories we tell ourselves about how our art will make a difference.  These motivational fictions describe the ways a work might interact with the world to justify our extravagant, and potentially narcissistic labors:  that our art has transformational potential.  A work might be understood as being critical of society or sanctuary from it, for instance, or a Trojan horse sent to the enemy as a nasty gift to unsettle their deeply entrenched frames of mind.  We need renewable encouragement to make fresh work year after year in the face of uncertain rewards.

David Humphrey quoted in THE ART LIFE:  On Creativity and Career by Stuart Horodner

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Pearls from artists* # 112

New York, NY

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.

If the goal of art is Beauty and if we assume that the goal is sometimes reached, even if always imperfectly, how do we judge art?  Basically, I think, by whether it reveals to us important Form that we ourselves have experienced but to which we have not paid adequate attention.  Successful art rediscovers Beauty for us.

One standard, then, for the evaluation of art is the degree to which it gives us a fresh intimation of Form.  For a picture to be beautiful it does not have to be shocking, but it must in some significant respect be unlike what has preceded it (this is why an artist cannot afford to be ignorant of the tradition within his medium).  If the dead end of the romantic vision is incoherence, the failure of classicism, which is the outlook I am defending, is the cliché, the ten thousandth camera-club imitation of a picture by Ansel Adams.

Robert Adams in Beauty in Photography 

Comments are welcome!

 

 

 

Pearls from artists* # 80

New York, NY

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.

Whatever teaches us to talk to ourselves is important:  whatever teaches us to sing ourselves out of despair.  But the painting [“The Goldfinch,” 1654, by C. Fabritius] has also taught me that we can speak to each other across time.  And I feel I have something very serious and urgent to say to you, my non-existent reader, and I feel I should say it as urgently as if I were standing in the room with you.  That life – whatever else it is – is short.  That fate is cruel but maybe not random.  That Nature (meaning Death) always wins but that doesn’t mean we have to bow and grovel to it.  That maybe if we’re not always so glad to be here, it’s our task to immerse ourselves anyway:  wade straight through it, right through the cesspool, while keeping eyes and hearts open.  And in the midst of our dying, as we rise from the organic and sink back ignominiously into the organic, it is a glory and a privilege to love what Death doesn’t touch.  For if disaster and oblivion have followed this painting down through time – so too has love.  Insofar as it is immortal (and it is) I have a small, bright, immutable part in that immortality.  It exists; and it keeps on existing.  And I add my own love to the history of people who have loved beautiful things, and looked out for them, and pulled them from the fire, and sought them when they were lost, and tried to preserve them and save them while passing them along literally from hand to hand, singing out brilliantly from the wreck of time to the next generation of lovers, and the next.

Donna Tartt in The Goldfinch 

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Q: What’s the point of all of this? Shouldn’t we be discussing how to end poverty or promote world peace? What can art do?

Lightning Field, Quemado, NM

Lightning Field, Quemado, NM

A:   I happen to recently have read an inspiring book by Anne Bogart, the theater director.  It’s called, “and then you act:  making art in an unpredictable world” and she talks about such issues.  I’ll quote her wise words below:
 
“Rather than the experience of life as a shard, art can unite and connect the strands of the universe.  When you are in touch with art, borders vanish and the world opens up.  Art can expand the definition of what it means to be human.  So if we agree to hold ourselves to higher standards and make more rigorous demands on ourselves, then we can say in our work, ‘We have asked ourselves these questions and we are trying to answer them, and that effort earns us the right to ask you, the audience, to face these issues, too.’  Art demands action from the midst of the living and makes a space where growth can happen.
 
One day, particularly discouraged about the global environment, I asked my friend the playwright Charles L. Mee, Jr., ‘How are we supposed to function in these difficult times?  How can we contribute anything useful in this climate?’  ‘Well,’ he answered, ‘You have a choice of two possible directions.  Either you convince yourself that these are terrible times and things will never get better and so you decide to give up, or, you choose to believe that there will be a better time in the future.  If that is the case, your job in these  dark political and social times is to gather together everything you value and become a transport bridge.  Pack up what you cherish and carry it on your back to the future.'”

“…  In the United States, we are the targets of mass distraction.  We are the objects of constant flattery and manufactured desire.  I believe that the only possible resistance to a culture of banality is quality.  To me, the world often feels unjust, vicious, and even unbearable.  And yet, I know that my development as a person is directly proportional to my capacity for discomfort.  I see pain, destructive behavior and blindness of the political sphere.  I watch wars declared, social injustices that inhabit the streets of my hometown, and a planet in danger of pollution and genocide.  I have to do something.  My chosen field of action is the theater.”

Comments are welcome!

Pearls from artists* # 32

Untitled, 24" x 24" chromogenic print, edition of 5

Untitled, 24″ x 24″ chromogenic print, edition of 5

* 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 most certainly need to test ourselves against the most extreme possibilities, just as we are probably obligated not to express, share, and impart the most extreme possibility before it has entered the work of art.  As something unique that no other person would and should understand, as one’s personal madness, so to speak, it has to enter into the work to attain its validity and to reveal there an internal law, like primary patterns that become visible only in the transparency of artistic creation.  There exist nonetheless two freedoms to express oneself that seem to me the ultimate possibilities:  one in the presence of the created object, and the other within one’s actual daily life where one can show another person what one has become through work, and where one may in this way mutually support and help and (here understood humbly) admire one another.  In either case, however, it is necessary to show results, and it is neither lack of confidence nor lack of intimacy nor a gesture of exclusion if on does not reveal the tools of one’s personal becoming that are marked by so many confusing and tortuous traits, which are valid only for one’s own use.

Ulrich Baer, editor, The Wisdom of Rilke

Comments are welcome!