Blog Archives

Pearls from artists* # 348

“The Orator” in “Worlds Seen & Unseen” at Westbeth Gallery, NYC

“The Orator” in “Worlds Seen & Unseen” at Westbeth Gallery, NYC

*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 percipient apprehends the primal quality of art as beauty and symbol, in an experience that invariably involves a sense of radical mystery.  Art dissolves the fog of Consensus in which we normally operate to reveal the unseen in the situation.  It places us in exactly the same position as the first people who stared up at the stars in wonder.  The work of art is perpetually new; it demands reinterpretation with each era, each generation, each percipient.  Great works of art are like inexhaustible springs originating from a place beyond our “little world of man.”  They reconnect us with a reality too vast for the rational mind to comprehend.  Therefore, art can be described as the human activity through which our all-too-human mentality is overcome and in light of which all finite judgments are shown to be inefficient.  It is at once a sinking to the source and a leap toward the infinite.   

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

Comments are welcome!

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!