Blog Archives

Pearls from artists* # 127

eBook cover

eBook cover

* 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 facts differentiate Daybook from my work in visual art.

The first is the simple safety of numbers.  There are 6500 Daybooks in the world.  My contribution to them was entirely mental, emotional.  I never put my hand on a single copy of these objects until I picked up a printed book.  I made no physical effort; no blood, no bone marrow moved from me to them.  I do not mean that I made no effort.  On the contrary, the effort was excruciating because it was so without physical involvement, so entirely hard-wrought out of nothing physical at all; no matter how little of the material world goes into visual art, something of it always does, and that something keeps you company as you work.  There seems to me no essential difference in psychic cost between visual and literary effort,  The difference is in what emerges as result.  A work of visual art is painfully liable to accident; months of concentration and can be destroyed by a careless shove.  Not so 6500 objects.  This fact gives me a feeling of security like that of living in a large, flourishing, and prosperous family.

Ancillary to this aspect is the commonplaceness of a book.  People do not have to go much out of their way to get hold of it, and they can carry it around with them and mark it up, and even drop it in a tub while reading in a bath.  It is a relief to have my work an ordinary part of life, released from the sacrosanct precincts of galleries and museums.  A book is also cheap.  Its cost is roughly equivalent to its material value as an object, per se.  This seems to me more healthy than the price of art, which bears no relation to its quality and fluctuates in the marketplace in ways that leave it open to exploitation.  An artist who sells widely has only to mark a piece of paper for it to become worth an amount way out of proportion to its original cost.  This aspect of art has always bothered me, and is one reason why I like teaching;  an artist can exchange knowledge and experience for money in an economy as honest as that of a bricklayer.   

Anne Truitt in Turn:  The Journal of an Artist

Comments are welcome!

Pearls from artists* # 83

West 29th Street studio

West 29th Street 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.

The world can make no response to meet art.  Praise can miss the point as much as a casual remark such as I heard last night:  an impeccably turned-out gentleman bounding up the stairs to the gallery exclaimed over his shoulder, “And now to see the minimalist – or maximalist!”  He had all the relish of a casually greedy person with a tasty tidbit in view; he was on his way to gulp down my life with as little consideration as he would an artichoke heart.

Do I wish, can I afford, in my own limitations, to continue to make work that has such a high psychic cost and stands in jeopardy of being so met?  Do I have a choice?  I do not know.  Neither whether I can further endure, nor whether I can stop.  The work is preemptory.  My life has led me to an impasse. 

Anne Truitt in Turn:  The Journal of an Artist 

Comments are welcome!