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Pearls from artists* # 419

A corner of Barbara’s West Village apartment

A corner of Barbara’s West Village apartment

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

Dear Reader,

We wouldn’t need books quite so much if everyone around us understood us well.  But they don’t.  Even those who love us get us wrong  They tell us who we are but leave things out.  They claim to know what we need, but forget to ask us properly first.  They can’t understand what we feel – and sometimes, we’re unable to tell them, because we don’t really understand it ourselves.  That’s where books come in.  They explain us to ourselves and to others, and make us feel less strange, less isolated and less alone.  We might have lots of good friends, but even with the best friends in the world, there are things that no one quite gets.  That’s the moment to turn to books.  They are friends waiting for us any time we want them, and they will always speak honestly to us about what really matters.  They are the perfect cure for loneliness.  They can be our very closest friends. 

Yours,

Alain

Alain de Botton in A Velocity of Being:  Letters to a Young Reader edited by Maria Popova and Claudia Bedrick

Comments are welcome!

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!

Pearls from artists* # 403

"Avenger," soft pastel on sandpaper, 58" x 38"

“Avenger,” soft pastel on sandpaper, 58″ x 38″

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

There is that doctor who opens you up, does exactly the right thing, closes you up – and you die.  He failed to take the chance that might have saved you.  Art is a crucial, dangerous operation we perform on ourselves.  Unless we take a chance, we die in art.

Morty Feldman quoted in Mary Gabriel in Ninth Street Women

Comments are welcome!

Pearls from artists* # 362

On the Indian Ocean in Tanah Lot, Bali

On the Indian Ocean in Tanah Lot, Bali

* 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 we look at the artifacts of all cultures, beauty always has attracted man’s attention.  We know when we are in its presence.  We’re held.  Different pieces of art will arrest different people, and… some pieces will arrest larger numbers of people for longer periods of time.  These are the works that are perhaps worthy of being called great art.  We have to recognize that some people today, observing the greatest works of art, or the most awesome works of nature – the Grand Canyon, for instance – give it a minute and then are ready for something else.  Insatiable for change, they are immune to deep resonance.

Art and beauty are about those resonances.  It isn’t the subject matter that holds us.  Some inexplicable reaction stops us, and we find ourselves connected with something other than ourself.  Perhaps our ‘Self’ might be a better term, to distinguish it from the self that is caught up in thoughts, worries, and distractions.  I like Ken Weber’s definition, that beauty “suspends the desire to be elsewhere.” In the face of great art, we experience transcendence.

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

Comments are welcome!

Pearls from artists* # 360

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.

Human beings have been creative beings for a really long time – long enough and consistently enough that it appears to be a totally natural impulse.  To put the story in perspective, consider this fact:  the earliest evidence of recognizable human art is forty thousand years old.  The earliest evidence of human agriculture, by contrast is only ten thousand years old.  Which means that somewhere in our collective evolutionary story, we decided it was way more important to make attractive, superfluous items than it was to learn how to regularly feed ourselves.   

Elizabeth Gilbert in Big Magic:  Creative Living Beyond Fear

Comments are welcome!

Pearls from artists* # 357

Udaipur, India

Udaipur, India

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

The term hermeneutics has been used to describe the task of understanding and interpreting ideas and texts.  In a similar way, we need to set for ourselves the task of developing a hermeneutic of the visible, addressing the problem of how we understand and interpret what we see, not only in the classical images and art forms created by the various religious traditions, but in the ordinary images of people’s traditions, rites, and daily activities which are presented to us through the film-image.

Rudolph Arnheim, in his extensive work on visual perception, has shown that the dichotomy between seeing and thinking which runs through much of the Western tradition, is a  very problematic one.  In Visual Thinking, he contends that visual perception is integrally related to thought.  It is not the case, according to Arnheim, that the eyes present a kind of raw data to the mind which, in turn, processes it and refines it by thought.  Rather, those visual images are the shapers and bearers of thought.  Jan Gonda, in writing on the Vedic notion dhi, sometimes translated as “thought,” finds similarly that the semantic fields of the word in Vedic literature does not correspond as much to our words for “thinking” as it does to our notions of “insight,” “vision,” and “seeing.”  Suzanne Langer has also written of the integral relation of thought to the images we see in the “mind’s eye.”  The making of all of those images is the fundamental “imaginative” human activity.  One might add that it is the fundamental activity of the religious imagination as well.  She writes, “Images are, therefore, our readiest instruments for abstracting concepts from the tumbling streams of actual impressions.”            

Diana L. Eck in Darsan:  Seeing the Divine Image in India

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Pearls from artists* # 338

Pastels

Pastels

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

Beauty without symbolic depth results in ornament.  Symbol without beauty results in psychoanalysis.  Only when the two meet can we speak of art.  The artistic works that combine the two elements most compellingly are what are called the classics.  In his magisterial book The Analogical Imagination, the theologian David Tracy defines the classic as a work exhibiting a permanent “excess of meaning.” We speak of classics as “timeless,” he says, not because they belong to time, but because they are perpetually timely; their relevance never wanes, and each generation, each percipient, must interpret them anew.  According to Tracy, we know we are dealing with a classic when a work makes us realize that our general outlook on life is not as complete as we thought it was, that “something else might be the case.”  In the light that the classic emanates, things suddenly seem less clear-cut than they used to seem – we find ourselves in the presence of something greater than we are, something potentially infinite.  Classics take us to the apex of the numinous, the point of what Werner Herzog calls “ecstatic truth.”    

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

Comments are welcome!

Pearls from artists* # 320

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

“Offering,” 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.

As soon as I use words and actions to convey an emotion, I engage with the world, pitting my feelings against fate in hopes of a desired outcome.  If I am angry, my anger is directed at someone or something.  If I am in love, my love is for another.  Feelings are purposive in ordinary reality, our emotional states tangled in the processes of life.  This is what we mean when we refer to ourselves as subjects.  But if, instead of acting on a feeling, I make it the basis of a song or a film or a dance, something strange happens.  My purposive feeling leaves the closed circle of my personal existence, almost as though I had taken it out of historical time altogether.  Transposed into the work of art, it becomes nonpurposive, undirected.  It disassociates from its original focus, and from my self as subject, acquires a kind of autonomy.  Artistic creation allows for the subjective aspect of our lives normally locked inside our skulls to exist outside us, which is to say that in art, the subjective becomes objective.   

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

Comments are welcome!

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!      

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