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Pearls from artists* # 408

“No Cure for Insomnia,” pastel on sandpaper, 58″ x 38″ image, 70” x 50” framed

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

Classics have nothing to do with aesthetic sophistication.  They use the aesthetic as a springboard to something else.  The creation of a classic will often require the artist to deviate from prevailing standards in order to push the ordinary vision through.  If there is one prerequisite for producing a classic, it is the willingness to follow the vision wherever it leads, even if it demands a breach of convention, technique, or popular taste.  (It may not even be a question of if or when, for how can one produce a truly singular work without reinventing the medium to some extent?)  We often hear that the master artist is “in love” with her material:  that the sculptor loves the marble, the dancer loves the body, the musician loves his instrument.  For the maker of classics, however, the medium always seems to be an obstacle; love is never without a tinge of spite.  William S. Burroughs was so contemptuous of language that he took to describing it as a disease.  He conceived his work as an attempt to confront language in hopes to cure the mind of the “word virus.”  Indeed, if the goal of art is to take us beyond the ordinary preoccupations to reach the heart of the Real, it would seem essential that there be a fight, a struggle to wrest from the medium something to which Consensus dictates it is not naturally inclined. 

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

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Pearls from artists* # 407

"Survivors," soft pastel on sandpaper, 20" x 26" image, 28 1/2" x 35" framed

“Survivors,” soft pastel on sandpaper, 20″ x 26″ image, 28 1/2″ x 35″ framed

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

In the images [the paintings of the Chauvet cave in southern  France] this prehistoric people have bequeathed to us, we get a glimpse of something like a shared humanity, but we also gaze into a stranger part of ourselves, something reaching to the depths.  Since we do not know the context in which the paintings were made, we cannot in good faith chalk them up to some clear pragmatic end.  We are seeing art in its naked state, deprived of any discernible appropriation.  This can trouble our secular sensibilities since it confronts us not just with the mysteries of nature, but more strikingly still with the riddle of the presence of such things as us in the otherwise coherent physical world.  Given the fact that the molecular chemistry that makes life possible is the same throughout the cosmos, would finding works of art on Mars or a remote planet be any more uncanny than finding them here on Earth?      

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

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Pearls from artists* # 406

With “Avenger,” soft pastel on sandpaper, 58” x 38” image, 70” x 50” framed

With “Avenger,” soft pastel on sandpaper, 58” x 38” image, 70” x 50” framed

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

If we really are due for a shift in consciousness, it is incumbent upon each of us to “be the change,” in Gandhi’s famous phrase.  Nothing is written in the stars.

Art is a testament to this way of thinking, because every great work of art is made, not for an abstract audience, but for the lone percipient with whom it seeks to connect.  The symbols that compose artistic works are not static objects but dynamic events.  As such, they can only emerge within a field of awareness, that is, within the context of a life being lived.  It is therefore by approaching the work of art as though it were intended specifically for you – as though the artist had fashioned it with you in mind every step of the way – that you can turn the aesthetic experience into an engine of change in your own life and in the lives of those around you.

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

Comments are welcome!

Pearls from artists* # 405

Barbara’s studio

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.

… art is an objective pursuit with the same claim to truth as science, albeit truth of a different order.  At the very least the consistency and universality of aesthetic expression throughout history and around the globe suggest that the undertaking that finds its modern formulation in the concept of art is a distinct sphere of activity with its own ontology.  My belief is that what the modern West calls art is the direct outcome of a basic human drive, an inborn expressivity that is inextricably bound with the creative imagination.  It is less a product of culture than a natural process manifesting through the cultural sphere.  One could go so far as to argue that art must exist in order for culture to emerge in the first place.

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

Comments are welcome!

Pearls from artists* # 404

"Broken," soft pastel on sandpaper, 38" x 58" image, 50" x 70" framed

“Broken,” soft pastel on sandpaper, 38″ x 58″ image, 50″ x 70″ framed

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

Before we can even think of ecological rescue, global disarmament, or economic reform, we must find a way back to what science fiction writers call our homeworld.  The term encompasses more than the biosphere; it also includes our homes, our places of work, our  communities, families, friends, and lovers.  It includes our technologies and tools, the physical body, the sensible soul, and the unconscious psyche.  We need a faith to restore our capacity to feel, to affect and be affected with the same passionate intensity as our forebears, whose powers of feeling astound us so in the records and art of the past.  The death of affect, to borrow a phrase from JG Ballard, is the true catastrophe of our spectral age, our spiritual Hiroshima.  It makes questions such as whether life’s riddles are answered at the Vatican, in Tibet, or by the Large Hadron Collider utterly meaningless, since it removes the ground we need to pose such questions in the first place.  Neither religion nor science can give us back the ground.  Only the imagination can.  Only art can mend the rupture of the soul and the world, the body and the earth.       

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

Comments are welcome!

Q: Do you have a favorite art book?

Favorite art book

Favorite art book

A:  Since I have quoted numerous passages from it on Wednesdays in “Pearls from artists,” it should come as no surprise that I am enamored of “Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action” by JF Martel.  This gem has become a bible to be read and reread as an endless source of wisdom, inspiration, and solace for myself and for other contemporary artists.  I even referred to it while writing the mission statement for New York Dreamers Art Group, the artists’ collective founded earlier this year.

Were someone to ask “what one book would you recommend that every visual artist read?”, Martel’s masterwork is my answer.  It is a constant companion kept in my backpack to reread at odd times whenever I have spare moments.  I keep finding new insights to savor and ponder and still cannot get enough of this terrific book!

Comments are welcome!

Pearls from artists* # 399

The Great Hall at the Met

The Great Hall at the Met

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

Science is concerned with the general, the abstract, and the knowable.  In contrast, art deals with the particular, the unknowable, the singular.  This applies not just to the content of artistic works but also to the way this content is received.  Even in the case of a film or concert attended by large numbers of people, the artistic experience remains fundamentally a solitary one.  Each one of us lives the work alone.  Whatever sense of togetherness accompanies the experience comes precisely from the fact that, faced with the singularity of the aesthetic moment, each percipient feels his aloneness before the radical mystery that enfolds us all.  Wherever an act of creation is shared with others, then, there is individuation – not just for the author of the work but for the audience too.  The singularity of art awakens us to our own singularity, and through it to the singularity in the Other.  I have argued that artifice unifies by imposing an univocal image that replicates itself identically in each spectator.  True art tears the spectator out of the mass of sameness, calling forth from the numberless crowd a new people and a new communion.      

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

Comments are welcome!

Pearls from artists* # 397

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

“Prophecy,” 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.

Our species requires a greater capacity to see into the Real, not just the outer universe of the senses but also the inner cosmos of the psyche, the normally invisible dimensions.  Near the end of his life, Jung said to an English journalist, “The only real danger that exists is man himself… His psyche should be studied because we are the origin of all coming evil.”  It is a beautiful statement until the word studied comes up, at which point we are reminded that Jung at bottom was a rationalist:  he refused to see that while psychology could talk brilliantly about the soul, it could never descend into its depths.  For this we need imagination, madness, prophecy – art.  We must understand that creative expression is not a pastime or distraction, but a psychonautic science in its own right.  Allowed to operate in freedom, it can illuminate the darkness beyond our field of vision.     

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

Comments are welcome!

Pearls from artists* # 396

Barbara’s Studio

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.

To summarize, art is expression. Expression is nonutilitarian and has no purpose beyond itself.  Early on this led me to define works of art as things whose only function is to be perceived.  Since the appearance of such things in everyday life breaks the drift of habit for which we have been hard-wired by evolution, art always occurs as an interruption.  In the course of time, humans have produced innumerable works of art, subordinating them to innumerable ends according to the needs of the hour, yet all art exhibits a primal quality that exceeds those appropriations.  Because the inherent multivalence of art threatens the desire to reduce things to clear significations, human societies have a tendency to overlook it, with the result that a great many aesthetic objects are called art when they are perhaps something else.  To clarify this distinction I called art designed to serve instrumental reason “artifice.”  In its worst forms, artifice amounts to aesthetic manipulation of a kind that is indisputably hostile to the ideals of openness, plurality, freedom of thought, and rational disclosure that we were told were the cornerstones of modernity.  Art, on the other hand, is innately emancipatory, being itself the affirmation or sign of freedom.     

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

Comments are welcome!

Pearls from artists* # 356

Some of Barbara’s pastels

Some of Barbara’s pastels

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

Science is concerned with the general, the abstract, and the knowable.  In contrast, art deals with the particular, the unknowable, the singular.  This applies not just to the content of artistic works but also to the way this content is received.  Even in the case of a film or concert attended by large numbers of people, the artistic experience remains a fundamentally solitary one.  Each one of us lives the work from the work alone.  Whatever sense of togetherness accompanies the experience comes precisely from the fact that, faced with the singularity of the aesthetic moment, each percipient feels his aloneness before the radical mystery that enfolds us all.  Wherever an act of creation is shared with others, then, there is individuation – not just for the author of the work but for the audience too.  The singularity of art awakens us to our own singularity, and through it to the singularity in the Other.  I have argued that artifice unifies by imposing a univocal image that replicates itself indefinitely in each spectator.  True art tears the spectral out of the mass of sameness, calling forth from the numberless crowd a new people and a new communion.  

Reclaiming Art in the Age of Artifice:  A treatise, Critique, and Call to Action 

Comments are welcome!

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