Blog Archives
Pearls from artists* # 456
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
[Philip] Guston’s biography provides ample proof of his political convictions – his loathing of the Klan, of Richard Nixon, of violence against the powerless. It also leaves no doubt as to his Ozymandian artistic ambitions, which had a drive and a logic of their own. Yoking the ambitions to the convictions was, he found, insipid: “What bores me,” he said in 1974. “is to see an illustration of my thought… I want to make something I never saw before and be changed by it. So that I go into the studio and I see these things up and I think, Jesus, did I do that? What a strange thing.”
Susan Tallman in Phillip Guston’s Discomfort Zone in The New York Review of Books, Jan. 14, 2021
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Pearls from artists* # 441
*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 most perennially popular category of art is the cheerful, pleasant, and pretty kind: meadows in spring, the shade of trees on hot summer days, pastoral landscapes, smiling children. This can be deeply troubling to people of taste and intelligence.
… The worries about prettiness are twofold. First, pretty pictures are alleged to feed sentimentality. Sentimentality is a symptom of insufficient engagement with complexity, by which one really means problems. The pretty picture seems to suggest that in order to make life nice, one merely has to brighten up the apartment with a depiction of some flowers. If we were to ask the picture what is wrong with the world, it might be taken as saying ‘You don’t have enough Japanese water gardens’ – a response that appears to ignore all the more urgent problems that confront humanity (primarily economic, but also moral, political, and sexual). The very innocence and simplicity of the picture seems to mitigate against any attempt to improve life as a whole. Secondly, there is the related fear that prettiness will numb us and leave us insufficiently critical and alert to the injustices surrounding us.
Alain de Botton and John Armstrong in Art as Therapy
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Q: Can you briefly explain how the Bolivian Carnival masks you depict in your work are used?
Museum of Ethnography and Folklore, La Paz, Bolivia
A: The masks depict important figures from Bolivian folklore traditions and are used in Carnival celebrations in the town of Oruro. Carnival occurs every year in late February or early March. I had hoped to visit again this year, but political instability in Bolivia made a trip too risky.
Carnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” music and dance style from the Bolivian Andes was possibly inspired by the suffering of African slaves brought to work in the silver mines of Potosi. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. Lucifer was disguised in seven different masks derived from medieval Christian symbols aor totemic animals that became nd mostly devoid of pre-Columbian elements (except that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.
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Pearls from artists* # 368
Leonora Carrington at Di Donna Galleries, 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.
Whether we look to the contradictory functions that people are asked to fulfill today – devoted parent and loyal employee, faithful spouse and emancipated libertine, mature adult and eternal child – or to the ways in which identities are disbursed across divergent political forums, information systems, and communication networks, the same observation holds: we are infinitely divided. What is called an individual today is an abstract assemblage of fragments. Phone calls, emails, voice mails, blogs, videos and photos, surveillance tapes, banking records: the body is dwarfed by the virtual tendrils that shoot out if it through time and space, any of which is likely to claim to be the real “you” as you are. Only the imaginal mind can lead us out of the maze, with art providing the symbols that mark the way to the elusive essence that truly defines us.
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* # 352
“Provocateur,” 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.
The jester was certainly a key player in medieval court politics. His power, however, was commensurate with his acknowledged irrelevance to the state apparatus. As the eternal outsider, ridiculed or at best ignored by the elite unless he was actually entertaining them, he acquired the right to speak truths that others would speak at their peril. Yet if the imprudent king simply saw the Fool as a source of amusement, the wise king saw in his antics and wordplay the pattern of the past, present, and future. In the same way, art is the joker in the hand that was dealt to humanity. Nothing is easier than dismissing it as a frivolity, and yet those who meet it on its own ground gain access to the hidden facets of their situation. It is by virtue of its very separateness, its position outside the realm of the useful and the practical, that art reveals the Real. Paradoxically, art has political value only when appraised outside of any political framework.
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* # 351
Barbara at work on “The Orator”
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
That art is apolitical does not mean that artists themselves can be excused from the political responsibilities that fall on others. It means rather that as a manifestation of eternal psychic force, each work of art goes farther and deeper than the limited perspective of any individual mind, including that of its author.
No artist can predict how his work will affect the world… The artist invests his entire personality into the work, but he does so as a means of expressing a vision that is transpersonal. Everything that makes him what he is informs the work, but the final result transcends all personal contingencies.
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* # 314
“He Just Stood There Grinning,” 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.
For Leonora Carrington and many of her ‘sister’ surrealists, surrealism provided the intellectual, political and artistic milieu that enabled them to come into their own as artists and writers, and to gain recognition for their work in the wider world. Although some of these women had accepted their roles as muses in the lives of male artists, none believed that life as a muse trumped life as an artist. Asked in 1983 how she felt about the male surrealists’ view of women as muses, Leonora offered her testy, if retrospective rejoinder: ‘I thought it was bullshit… I didn’t have time to be anyone’s muse… I was too busy rebelling against my family and learning to be an artist.’ It is as artists and friends that we remember the women of surrealism today.
Whitney Chadwick in The Militant Muse: Love, War, and the Women of Surrealism
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Pearls from artists* # 199
“Trio,” 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.
Writers, like all artists, are concerned to represent reality, to create a more absolute and complete reality than reality itself. They must, if they are to accomplish this, assume a moral position, a clearly conceived political, social, and philosophical attitude; in consequence, their beliefs are, of course, going to find their way into their work. What artists believe, however, is of secondary importance, ancillary to the work itself. A writer survives in spite of his beliefs. Lawrence will be read whatever one thinks of his notions on sex. Dante is read in the Soviet Union.
A work of art, on the other hand, has a representative and expressive function. In this representation the author’s ideas, his judgments, the author himself, are engaged with reality.
Alberto Moravia in Writers at Work: The Paris Review Interviews First Series, edited and with an introduction by Malcolm Cowley
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Q: Why don’t you make political art?
Barbara’s studio
A: I have little interest in dealing with political events in my work because these events come and go. They have a short shelf life. Fine art based on current events quickly loses its context and becomes outdated and irrelevant.
I prefer art that is timeless. My intention is to create personal work about deeper psychological issues and the human condition. Done well, personal work is more likely to speak to and stay with an audience long after the news cycle has moved on.
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Pearls from artists* # 122
Sanur, 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.
Most significant growth in my life has been the direct result of errors, mistakes, accidents, faulty assumptions and wrong moves. I have generally learned more from my mistakes and my so-called failures than any successes or instances of “being right.” I would venture to propose that this equation is also true in the world at large. Error is a powerful animating ingredient in political, scientific and historical evolution as well as in art and mythology. Error is a necessity. The question I had to ask myself was: how can I cultivate a tolerance and an appetite for being wrong, for error?
In the face of an exceedingly complicated world, there are too many people who are invested in “being right.” These people are dangerous. Their authority is based on their sense of certainty. But innovation and invention do not only happen with smart people who have all of the answers. Innovation results from trial and error. The task is to make good mistakes, good errors, in the right direction.
There are many reasons that we get things as wrong as often as we do. Failures of perception, the cause of most error, are far more common in our daily lives than we like to think. We make errors because of inattention, because of poor preparation and because of haste. We err as a result of hardened prejudices about how things are. We err because we neglect to think things through. Our senses betray us constantly. But the chaos caused by being wrong also awakens energy and consciousness in us. In the moments that we realize our faults of perception, we are jerked into an awareness of our humanity. The Slovenian philosopher Slavoj Zizek wrote, “Consciousness originates with something going terribly wrong.”
Anne Bogart in “What’s the Story: Essays about art, theater, and storytelling
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