Blog Archives
Pearls from artists* # 468
*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
Comments are welcome!
Pearls from artists* # 394
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
Comments are welcome!
Q: How many studios have you had since you’ve been a professional artist?
Barbara’s studio
A: I am on my third, and probably last, studio. I say ‘probably’ because I love my space and have no desire to move. Plus, it would be a tremendous amount of work to relocate, considering that I have been in my West 29th Street studio since 1997.
My very first studio, in the late 1980s, was the spare bedroom of my house in Alexandria, Virginia. I set up a studio there while I was on active duty in the Navy. When I resigned my commission, I was required to give the President an entire year’s advance notice. Towards the end of that year I remember calling in sick so I could stay home and make art.
In the early 1990s I rented a studio on the third floor of the Torpedo Factory in Alexandria. For a while I enjoyed working there, but the constant interruptions – in an art center that is open to the public – became tiresome.
In 1997 I had the opportunity to move to New York. I desperately craved solitary hours to work in peace, without interruption, so at first I didn’t have a telephone. I still don’t have WiFi there because my studio is reserved strictly for creative work.
Moving from Virginia to New York in 1997 was relatively easy. My aunt, who planned to be in California to continue her Buddhist studies, offered me her rent-controlled sixth-floor walkup on West 13th Street. I looked at just one other studio before signing a sublease for my space at 208 West 29th Street. I had heard about the vacancy through a college friend of my husband, Bryan. Karen, the lease-holder, was relocating to northern California to work on “Star Wars” with George Lucas. After several years, she decided not to return to New York and I have been the lease-holder ever since.
Comments are welcome!
Pearls from artists* # 87
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.
One evening, after one false start too many, I just gave up. Sitting at a bar, feeling a bit burned out by work and by life in general, I just started drawing on the backs of business cards for no reason. I didn’t really need a reason. I just did it because it was there, because it amused me in a kind of random, arbitrary way.
Of course it was stupid. Of course it was not commercial. Of course it wasn’t going to go anywhere. Of course it was a complete and utter waste of time. But in retrospect, it was this built-in futility that gave it its edge. Because it was the exact opposite of all the “Big Plans” my peers and I were used to making. It was so liberating not to have to think about all of that, for a change.
It was so liberating to be doing something that didn’t have to have some sort of commercial angle, for a change.
It was so liberating to be doing something that didn’t have to impress anybody, for a change.
It was so liberating to be free of ambition, for a change.
It was so liberating to have something that belonged just to me and no one else, for a change.
It was so liberating to feel complete sovereignty, for a change. To feel complete freedom, for a change. To have something that didn’t require somebody else’s money, or somebody else’s approval, for a change.
And of course, it was then, and only then, that the outside world started paying attention.
The sovereignty you have over your work will inspire far more people than the actual content ever will. How your own sovereignty inspires other people to find their own sovereignty, their own sense of freedom and possibility, will give the work far more power than the work’s objective merits ever will.
Your idea doesn’t have to be big. It just has to be yours alone. The more the idea is yours alone, the more freedom you have to do something really amazing.
The more amazing, the more people will click with your idea. The more people click with your idea, the more this little thing of yours will snowball into a big thing.
That’s what doodling on the backs of business cards taught me.
Hugh MacLeod in Ignore Everybody: and 39 Other Keys to Creativity
Comments are welcome!
Pearls from artists* # 60
East Hampton, NY
* 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 an artist, it is a driven pursuit, whether we acknowledge this or not, that endless search for meaning. Each work we attempt poses the same questions. Perhaps this time I will see more clearly, understand something more. That is why I think that the attempt always feels so important, for the answers we encounter are only partial and not always clear. Yet at its very best, one work of art, whether produced by oneself or another, offers a sense of possibility that flames the mind and spirit, and in that moment we know this is a life worth pursuing, a struggle that offers the possibility of answers as well as meaning. Perhaps in the end, that which we seek lies within the quest itself, for there is no final knowing, only a continual unfolding and bringing together of what has been discovered.
Dianne Albin quoted in Eric Maisel’s The Van Gogh Blues
Comments are welcome!
Pearls from artists* # 32
Untitled, 24″ x 24″ chromogenic print, edition of 5
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
We most certainly need to test ourselves against the most extreme possibilities, just as we are probably obligated not to express, share, and impart the most extreme possibility before it has entered the work of art. As something unique that no other person would and should understand, as one’s personal madness, so to speak, it has to enter into the work to attain its validity and to reveal there an internal law, like primary patterns that become visible only in the transparency of artistic creation. There exist nonetheless two freedoms to express oneself that seem to me the ultimate possibilities: one in the presence of the created object, and the other within one’s actual daily life where one can show another person what one has become through work, and where one may in this way mutually support and help and (here understood humbly) admire one another. In either case, however, it is necessary to show results, and it is neither lack of confidence nor lack of intimacy nor a gesture of exclusion if on does not reveal the tools of one’s personal becoming that are marked by so many confusing and tortuous traits, which are valid only for one’s own use.
Ulrich Baer, editor, The Wisdom of Rilke
Comments are welcome!
barbararachkoscoloreddust.com 