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Pearls from artists* # 468

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.

Why does art elicit such different reactions from us? How can a work that bowls one person over leave another cold? Doesn’t the variability of the aesthetic feeling support the view that art is culturally determined and relative? Maybe not, if we consider the possibility that the artistic experience depends not on some subjective mood but on an individually acquired (hence variable) power to be affected by art, a capacity developed through one’s culture in tandem with one’s unique character. For evidence of this we can point to works that seem to ignore cultural boundaries altogether, affecting people of different backgrounds in comparable ways even though a specific articulation of their personal responses continues to vary. Consider the plays of William Shakespeare or Greek theater, or the fairy tales that have sprung up in similar forms on every continent. We could not be further removed from the people who painted in the Chauvet Cave, nor could we be more oblivious as to the significance they ascribed to their pictures. Yet their work affects us across the millennia. Everyone responds to them differently, of course, and the spirit in which people are likely to receive them now probably differs significantly from how it was at the beginning. But these permutations revolve around a solid core, something present in the images themselves.

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

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Pearls from artists* # 462

With our documentary film crew

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

It seems contradictory to call an artist both shy and conceited, introverted and extraverted, empathic and self-centered, highly independent and hungry for community – until we realize that all of these qualities can be dynamically present in one and the same person.

Indeed, this dynamism regularly perplexes and buffets the artist. He may begin to consider himself crazy for longing to perform even though public performance frightens him, or neurotic for feeling competent at the piano but incompetent in the world. He may come to possess the vain hope that he can live quietly, like other people, his personality statically integrated in some fashion, and then feel like a failure when the contradictory forces at play in him prevent him from feeling relaxed even for a minute. Once he realizes, however, that this puzzling contradiction is his personality, he is better able to accept himslef and to understand his motives and actions.

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

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Pearls from artists* # 455

New York City

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

You live like this, sheltered, in a delicate world, and you believe you are living. Then you read a book (Lady Chatterley, for instance), or you take a trip, or you talk with [someone], and you discover that you are not living, that you are hibernating. The symptoms of hibernating are easily detectable: first, restlessness. The second symptom (when hibernating becomes dangerous and might degenerate into death): absence of pleasure. That is all. It appears like an innocuous illness. Monotony, boredom, death. Millions live like this (or die like this) without knowing it. They work in offices. They drive a car. They picnic with their families. They raise children. And then some shock treatment takes place, a person, a book, a song, and it awakens them and saves them from death.

Some never awaken. They are like the people who go to sleep in the snow and never awaken. But I am not in danger because my home, my garden, my beautiful life do not lull me. I am aware of being in a beautiful prison, from which I can only escape by writing.

Anaïs  Nin in The Diary of Anaïs Nin, Volume 3: 1939-1944

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Pearls from artists* # 448

Museum of Ethnography and Folklore, La Paz, Bolivia
Museum of Ethnography and Folklore, La Paz, Bolivia

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

Memory plays a huge role in the artistic process. Every time you stage a play, you are embodying a memory. Human beings are stimulated to tell stories from the experience of remembering an incident or a person. The act of expressing what is remembered is actually, according to the philosopher Richard Rorty, an act of re-description. In redescribing something, new myths are created. Rorty suggests that there is no objective reality, no Platonic ideal. We create truths by describing, or re-describing, our beliefs and observations. Our task, and the task of every artist and scientist, is to redescribe our inherited assumptions and invented fictions in order to create new paradigms for the future.

Anne Bogart in A Director Prepares: Seven Essays on Art and Theater

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Pearls from artists* # 436

View from the roof of the Metropolitan Museum of Art, New York

View from the roof of the Metropolitan Museum of Art, New York

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

Cassirer’s partial definition of art as symbolic language has dominated art studios in our [20th] century.  A new history of culture anchored upon the work of art as a symbolic expression thus came into being.  By these means art has been made to connect with the rest of history.

But the price has been high, for while studies of meaning received all our attention, another definition of art, as a system of formal relationships, thereby suffered neglect.  This other definition matters more than meaning.  In the same sense speech matters more than writing, because speech preceded writing, and because writing is but a special case of speech.

The other definition of art as form remains unfashionable, although every thinking person will accept it as a truism that no meaning can be conveyed without form.  Every meaning requires a support, or a vehicle, or a holder.  These are the bearers of meaning, and without them no meaning would cross from me to you, or from you to me, or indeed from any part of nature to any other part. 

… The structural forms can be sensed independent of meaning.  We know from linguistics in particular that the structural elements undergo more or less regular evolutions in time without relation to meaning, as when certain phonetic shifts in the history of cognate languages can be explained only by a hypothesis of regular change. Thus phoneme a occurring in an early stage of language, becomes phoneme b at a later stage, independently of meaning, and only under the rules governing the phonetic structure of the language.  The regularity of these changes is such that the phonetic changes can be used to measure durations between recorded but undated examples of speech.

Similar regularities probably govern the formal infrastructure of every art.  Whenever symbolic clusters appear, however, we see interferences that may disrupt the regular evolution of the formal system.  An interference from visual images is present in almost all art.  Even architecture, which is commonly thought to lack figural intention, is guided from one utterance to the next by the images of the admired buildings of the past, both far and near in time.

George Kubler in The Shape of Time:  Remarks on the History of Things

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Pearls from artists* # 434

West Village, NYC

West Village, 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.

What do we carry forward?  My family lived in New Jersey near Manhattan until I was ten, and although I have enjoyed spending my adult life as a photographer in the American West, when we left New Jersey for Wisconsin in 1947 I was homesick.

The only palliative I recall, beyond my parents’ sympathy was the accidental discovery in a magazine of pictures by a person of whom I had never heard but of scenes I recognized.  The artist was Edward Hopper and one of the pictures was of a woman sitting in a sunny window in Brooklyn, a scene like that in the apartment of a woman who had cared for my sister and me.  Other views resembled those I recalled from the train to Hoboken.  There was also a picture inside a second-floor restaurant, one strikingly like the restaurant where my mother and I occasionally had lunch in New York.

The pictures were a comfort but of course none could permanently transport me home.  In the months that followed, however, they began to give me something lasting, a realization of the poignancy of light.  With it, all pictures were interesting.         

Robert Adams in Art Can Help

Pearls from artists* # 433

Chatting with Jenny Holzer.  It looks like she did not want her picture taken, but she was actually waiving. VIGIL: Jenny Holzer and @creativetime

Chatting with Jenny Holzer.  It looks like she did not want her picture taken, but she was actually waiving.

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

…Two positions exist, the artistic and the commercial.  Between these two an abiding tension persists.  The eighteenth-century American painter Gilbert Stuart complained, “What a business is that of portrait painter.  He is brought a potato and is expected to paint a peach.”  The artist learns that the public wants peaches, not potatoes.  You can paint potatoes if you like, write potatoes, dance potatoes, and compose potatoes, you can with great and valiant effort communicate with some other potato-eaters and peach-eaters.  In so doing you contribute to the world’s reservoir of truth and beauty.  But if you won’t give the public peaches, you won’t be paid much.

Repeatedly artists take the heroic potato position.  They want their work to be good, honest, powerful – and only then successful.  They want their work to be alive, not contrived and formulaic.  As the Norwegian painter Edvard Munch put it:  “No longer shall I paint interiors, and people reading, and women knitting.  I shall paint living people, who breathe and feel and suffer and love.”

The artist is interested in the present and has little desire to repeat old, albeit successful formulas.  As the painter Jenny Holzer put it, “I could do a pretty good third generation-stripe painting, but so what? 

The unexpected result of the artist’s determination to do his [sic] own best art is that he is put in an adversarial relationship with the public.  In that adversarial position he comes to feel rather irrational for what rational person would do work that’s not wanted? 

…Serious work not only doesn’t sell well, it’s also judged by different standards.  If the artist writes an imperfect but commercial novel it is likely to be published and sold.  If his screenplay is imperfect but commercial enough it may be produced.  If it is imperfect and also uncommercial it will not be produced.  If his painting is imperfect but friendly and familiar it may sell well.  If it is imperfect and also new and difficult, it may not sell for decades, if ever.

Ironically enough, the artist attempting serious work must also attain the very highest level of distinction possible.  He must produce Crime and Punishment and The Brothers Karamazov but not also The Insulted and Injured or A Raw Youth, two of Dostoevsky’s nearly unknown novels.  He is given precious little space in this regard.      

I daresay, this last is why I devote my life to creating the most unique, technically advanced pastel paintings anyone will see!

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

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Pearls from artists* # 394

White Sands, NM

White Sands, NM

*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 Person Reading This,  

A writer can fit a whole world inside a book.  Really.  You can go there.  You can learn things while you’re away.  You can bring them back to the world you normally live in.

You can look out of another person’s eyes, think their thoughts, care about what they care about.  

You can fly.  You can travel to the stars.  You can be a monster or a wizard or a god.  You can be a girl.  You can be a boy.  Books give you worlds of infinite possibility.  All you have to do is be interested enough to read that first page…

Somewhere, there is a book written just for you.  It will fit your mind like a glove fits your hand.  And it’s waiting.

Go and look for it. 

Neil Gaiman

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

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Pearls from artists* # 361

"The Champ," soft pastel on sandpaper, 26" x 20"

“The Champ,” 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.

It seems to me in the end, as far as expressing yourself is concerned, you just have to plunge in, fears and all.  There is something courageous about it.  If a person is too timid even to start, I’m not sure what it would take to get that person started.I;m not a big believer in books and courses that advocate going into creativity rituals and altar-making and mask-making in order to get unstuck and get started.  Maybe that stuff works.  I don’t know.  It just seems like more strategies to avoid getting on with it.

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

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Pearls from artists* # 354

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

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

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

My earlier work had taught me that artistic activity is a form of reasoning, in which perceiving and thinking are indivisibly intertwined.  A person who paints, writes, composes, dances, I felt compelled to say, thinks with his senses.  This union of perception and thought turned out to be not merely a specialty of the arts.  A review of what is known about perception, and especially about sight, made me realize that the remarkable mechanisms by which the senses understand the environment are all but identical with the operations described by the psychology of thinking.  Inversely, there was much evidence that truly productive thinking in whatever area of cognition takes place in the realm of imagery.  This similarity of what the mind does in the arts and what it does elsewhere suggested taking a new look at the long-standing complaint about the isolation and neglect of the arts in society and education.  Perhaps the real problem was more fundamental:  a split between sense and thought, which caused various deficiency diseases in modern man.      

Rudolph Arnheim in Visual Thinking 

Comments are welcome!

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