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Pearls from artists* # 451

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.

Your attitude towards resistance determines the success of your work and your future. Resistance should be cultivated. How you meet these obstacles that present themselves in the light of any endeavor determine the direction of your life and career.

Allow me to propose a few suggestions about how to handle the natural resistances that your circumstances might offer. Do not wait for enough time or money to accomplish what you think you have in mind. Work with what you have right now. Work with the architecture you see around you right now. Do not what for what you assume is the appropriate, stress-free environment in which to generate expression. Do not wait for maturity or insight or wisdom. Do not wait till you are sure you know what you are doing. Do not wait until you have enough technique. What you do now, what you make of your present circumstances will determine the quality of your future endeavors.

And, at the same time, be patient.

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

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Pearls from artists* # 444

Barbara working on an interview. Photo: Maria Cox
Barbara working on an interview. Photo: Maria Cox

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

Artists are individuals willing to articulate in the face of flux and transformation. And the successful artist finds new shapes for our present ambiguities and uncertainties. The artist becomes the creator of the future through the violent act of articulation. I say violent because articulation is a forceful act. It demands an aggressiveness and an ability to enter into the fray and translate that experience into expression. In the articulation begins a new organization of the inherited landscape.

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

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Pearls from artists* # 443

Working. Photo: Kimberly Okner-Kevorkian
Working. Photo: Kimberly Okner-Kevorkian

*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 theater has been good to me. It has produced great friendships, love, travel, hard work, fun, terror and pleasure. It has also offered an entire life of study. Study is a full-time engagement which includes reading books, reading people, reading situations, reading about the past and reading about the present. To study, you enter into a situation with your whole being, you listen and then begin to move around inside it with your imagination. You can study every situation you are in. You can learn to read life while life is happening.

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

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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* # 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* # 411

On top of an unexcavated pyramid, Veracruz, Mexico

*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 reasserts that U.S. artists have learned and borrowed from Mexican traditions and, above all, that people of goodwill in both countries share in the belief that art unites, it doesn’t divide; it can be utilized to attack inequity and exploitation of the past and present but it also expresses hope and yearning for a better existence than can be realized in the present. 

Vida Americana:  Mexican Muralists Remake American Art, 1925 – 1945, edited by Barbara Haskell

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Pearls from artists* # 384

Overlooking Copacabana, Bolivia and Lake Titicaca

Overlooking Copacabana, Bolivia and Lake Titicaca

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

Carnival in Oruro [Bolivia] is a glorious spectacle.  It’s flash, pomp and brilliance can be enjoyed without understanding its long history and intricate mythologies.  Still, the onlooker is left with a thousand questions that are not so easily answered.  Behind the glitter of Carnival lie the history, the timeless myths and the distinct traditions of this mining community.

According to the Spanish writer Jean Laude, “The function of the mask is to reaffirm, at regular intervals, the truth and presence of myths in everyday life.”  This suggests that masks should be studied in context, noting their association with the individual dancer and the history, myths and traditions of the community that produces them.  The mask has to be animated within its ritual, comic or social role.

A first step in appreciating the masks is to understand something of the land and people that crafted them.  Oruro is a mining city on the open Altiplano at 3,700 meters (12,144 ft.) above sea level.  The sky appears a rarified blue, it is intensely cold and a constant wind lifts dust to the eyes.  During the year no more than 125,000 people live in the city.  Suddenly in the weeks of Carnival, the population doubles or triples.

Three languages, Quechua, Aymara, and Spanish are spoken in Oruro.  Their use reflects an ancient pattern of conquest in the history of this land.  It is said that the Urus, whose language is now almost lost, were the first inhabitants.  In time they were dominated by the Aymara tribes.  Later, Quechua was introduced as the Inca advanced their empire from Cuzco.  Ultimately the Spanish arrived and founded the present city in 1601 to exploit rich mineral deposits found in the seven hills.

Today, descendants of the Urus live near Oruro around the shore of Lake Poopo.  Elements of their distinctive culture remain but they have no wealth in comparison with the more dominant Aymara and Quechua who surround them.  A further change came in the recent past because Oruro has acted as a magnet, attracting many people from the countryside to work in the mines.

On one side were the Urus, ancient owners of all the land which now only carries their name (Uro Uro = Oruro).  On the other side were the miners, many of whom were Quechua and Aymara migrants.  In the middle is “Carnival.”

El Carnaval de Oruro by Manuel Vargas in Mascaras de los Andes Bolivianos, Editorial Quipus and Banco Mercantil

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Pearls from artists* # 378

With “Poseur,” Soft Pastel on Sandpaper, 70” x 50,” 2019

With “Poseur,” Soft Pastel on Sandpaper, 70” x 50,” 2019

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

[John] Graham told Lee [Krasner] and Jackson [Pollock] they were at the most wonderful part of their artistic journey because they were unknown and therefore free, and that there was only one thing they had to dread:  fame.

 How many men of great talent on their way to remarkable achievement in the present day are ruthlessly destroyed by critics, dealers, and public while mediocre, insensitive hacks, who by intrigue and industrious commercial effort have gained recognition and success, will go down in history with their inane creations.  Success, fame, and greatness coincide very seldom.  The great are not recognized during their life-time… Poe, Van Gogh,Rembrandt, Cezanne, Gauguin, Modigliani, Pushkin, Rimbaud, Baudelaire, and others could not make even a miserable living out of their art.

 As Graham described it, true art could never be of the world because it was always steps, decades, light-years ahead of it.  Artists, therefore, had no need to be part of the world, either.  Their only duty was to persevere.  Humanity, he said, depended on it.

Mary Gabriel in Ninth Street Women

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Q: Do you enjoy being interviewed?

In the studio

In the studio

A:  I do very much.  Each new interview is another opportunity to discover what is remembered, what is kept because it still seems important, and how certain details are selected from amongst all the accumulated memories of a lifetime.  My own story is continually evolving as some facts are left out or rearranged, and others added.  New connections keep being made while some others are discarded.  I find it fascinating to read over old interviews and compare them with what I remember in the present.

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Pearls from artists* # 355

"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.

True art provides us with truth in a manner analogous to science.  Its prophetic dimension – its knack for showing us the side of things that our interests blind us to – make it a source of knowledge, even though it is knowledge of a kind that instrumental reason has little time for.  The psychologists who revolutionized our understanding of human psychology in the earliest twentieth century drew on two principal sources to build their concepts:  the dream life of their patients and the great art of the past.  Without this recognition of the primacy of imagination, Freud and Jung could never have drawn their maps of the psyche.  Those who work for a better world would do well to follow their example and find the guiding patterns of life in the prophetic artistic works of the past and present.  Only art can act as a counter-weight to that uniquely modern mentality that, wherever it becomes the only game in town, seeks to persuade us that the proper goal of human beings is to contain, dissect, and control everything – that even the most persistent mysteries are just problems to be solved.

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

Comments are welcome!

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