On a drifty Manhattan stroll
The kind that unearths magical treasures
I made a right turn off of Houston
Onto Bowery
And as it became Third Avenue
I came upon this old art store
That creaked hello
Its warped wooden shelves
Held new paints
A little dusty from the old building
But whose colors were deeper
Than I’d ever seen beforeAnd at the back of the store
Up a narrow stairway
Was a tiny room
And behind a long table stood three people
(Probably artists)
Who could get me any paper I desired
Paper with designs
To collage with
Hot press, cold press
100 gram, 600 gram paper
To draw and paint on
Any kind of paper I’d ever want
Templates from heavenAnd over my right shoulder
Was a tall window
Overlooking the glorious city
That has held this little room
Tenderly in its arms
All these yearsAnd as I hugged
My rolled up package of paper
And went back downstairs
The old stairs seemed to gently whisper
“Come back soon,
We’ll keep each other alive”And stepping outside
Third Avenue seemed more spacious
And I took a deep breath
As the world
Kaleidoscoped
With possibilities
Lovingly wrapped up
By three kind artists
At the top of the world.“Art Supplies From Heaven,“ by Judith Ellen Sanders, published in “Metropolitan Diary,” NY Times, April 6, 2014
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Blog Archives
Pearls from artists* # 435
*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 are not as estranged from their fellow human beings, as bereft of reasons for existing, or as alienated from the common values and enthusiasms of the world as are the outsider characters created by existential writers like Kafka, Camus, and Sartre. But insofar as artists do regularly feel different from other people, a differentness experienced both as a sense of oddness and a sense of specialness, they identify with the outsider’s concerns and come to the interpersonal moment in guarded or distant fashion.
In part, artists are outsiders because of the personal mythology they possess. This mythology is a blend of beliefs about the importance of the individual, the responsibility of the artist as a maker of culture and a witness to the truth, and the ordained separateness of the artist. Artists often stand apart on principle, like Napoleonic figures perched on a hill overlooking the battle.
The artist may also find himself [sic] speechless in public. Around him people chat, but he has little to offer. Too much of what he knows and feels has gone directly into his art and too much has been revealed to him in solitude – infinitely more than he can share in casual conversation.
Eric Maisel, A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists
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