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Pearls from artists* # 478

Julie Mehretu exhibition at the Whitney Museum of American Art

*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, because of the demands of their personality, their sense of personal mission, and their need to create or perform, are driven people. Mixed with the love of work can be a terrible pressure to work. For many artists, and especially for the most productive ones, the line between love and obsession and between love and compulsion blurs or disappears entirely. Are such artists free or are they slaves to their work?

In The Artist and Society the psychiatrist Lawrence Hatterer said of such an artist:

His most recognizable trait is his recurring daily preoccupation with translating artistic activity into accomplishment. The consuming intensity of this artistic pursuit brooks no interference or obstacles. His absorption with the creative act is such that he experiences continually what the average artist feels only infrequently when he reaches unusual levels of creative energy with accompanying output. He appears to be incapable of willful nonproductivity.

This is Picasso working for 72 hours straight. This is van Gogh turning out 200 finished paintings during his 444 days in Arles. The artist who is “incapable of willful nonproductivity” is a workaholic for whom little in life, apart from his artistic productivity and accomplishment, may have any meaning.

Eric Maisel in A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists

Comments are welcome!

Pearls from artists* # 440

“Conundrum,” Soft Pastel on Sandpaper, 38” x 58” image, 50” x 70” framed
“Conundrum,” Soft Pastel on Sandpaper, 38” x 58” Image, 50” x 70” 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.

Most artists desire recognition, and the persistent lack of it may be a bitter pill to swallow.  The artist who is too-soon recognized, as Norman Mailer felt himself to be, might argue that early fame is harder on the artist than years of obscurity.   But the composer with a score for a powerful symphony locked away in his drawer, and the actress who has never found a way into a great drama, are hard-pressed to agree with Mailer.  Similarly, the painter who has her entire output of paintings to enjoy for herself because she cannot sell them may praise her fortitude and applaud her accomplishments, but still experiences great sadness.

 If you are not honored with real, appropriate recognition, you struggle not to consider yourself a failure.  You may argue that it is the world that has failed you… but it is hard to take comfort in that knowledge.  You need recognition more than you need accurate understanding of why recognition has eluded you.  And as you deal, during your years in the trenches, with what may turn out to be a maddingly insufficient lack of recognition, you are challenged to find ways of maintaining your faith, courage, good cheer, and emotional equilibrium.      

Eric Maisel, A Life in the Arts:  Practical Guidance and Inspiration for Creative and Performing Artists

Comments are welcome!

Q: What do you think is an artist’s chief responsibility? Do you personally feel a responsibility to society?

Winter roses, NYC

Winter roses

A:  All serious artists have the responsibility of developing our unique and special gifts to the best of our abilities and  sharing our creative output with an appreciative audience.  In other words we do good work and then we educate, and often create, the audience for it.  This is the demanding, all-important task that gets me out of bed every day. 

In showing what is possible artists cannot help but create a better society.  Ours is essential work. 

Comments are welcome! 

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