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Pearls from artists* # 108

At work on a pastel painting

At work on a pastel painting

* 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 generally need privacy in order to create, and as I’ve noted, what constitutes adequate privacy varies by person and time.  Solitude quickly becomes isolation when it oversteps one’s desires.  But most artists need to feel that they and their work won’t be examined prematurely and, certainly, won’t be ambushed unfinished by ridiculing eyes.  You might go out and invite various people to critique a piece in progress, even knowing they’re unlikely to view it with sympathy, exactly because you feel there’s necessary information in their opinion.  But, if you’ve invited them, however unpleasant the response, your experience is likely preferable to what you would feel if they impulsively offered up the same critiques unsolicited.

Someone making art needs privacy in part because the process of creation makes many people feel vulnerable, sometimes exquisitely so, particularly since the work frequently emerges in a jumble of  mixed-up small parts that you can only assemble gradually, or in a wet lumpy mound that requires patient sculpting.  When people feel prematurely revealed or exposed, they often experience great discomfort and find themselves babbling apologetically, seeking to reassure by laying out the distance they have yet to travel.  It is in part this babble-as-smoke-screen to cover exposure resulting, distracting, unhappy self-consciousness that privacy seeks to shelter.

But even more significantly, privacy grants us permission to turn our attention inward without interruption.  As I described earlier, in order to concentrate, think, and fantasize, we need to feel we’re in a safe enough space that we can lower our vigilance, stop monitoring our environment, and allow ourselves to refocus on the happenings within our own minds.  There are times interruptions feel merciful, but many more when they disrupt our effort to flesh out an inchoate notion.

Janna Malamud Smith in an absorbing errand:  How Artists and Craftsmen Make Their Way to Mastery 

Comments are welcome!  

Pearls from artists * # 20

"The Magical Other," soft pastel on sandpaper, 1993, 48" x 38"

“The Magical Other,” soft pastel on sandpaper, 1993, 48″ 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.

If, indeed, for any given time only  a certain sort of work resonates with life, then that is the work you need to be doing in that moment.  If you try to do some other work, you will miss your moment.  Indeed, our own work is so inextricably tied to time and place that we cannot recapture even our own aesthetic ground of past times.  Try, if you can, to reoccupy your own aesthetic space of a few years back, or even a few months.  There is no way.  You can only plunge ahead, even when that carries with it the bittersweet realization that you have already done your best work. 

This heightened self-consciousness was rarely an issue in earlier times when it seemed self-evident that the artist (and everyone else, for that matter) had roots deeply intertwining their culture.  Meanings and distinctions embodied within artworks were part of the fabric of everyday life, and the distance from art issues to all other issues was small.  The whole population counted as audience when artists’ work encompassed everything from icons for the Church to utensils for the home.  In the Greek amphitheater twenty-two hundred years ago, the plays of Euripides were performed as contemporary theater before an audience of fourteen thousand.  Not so today.

Today art issues  have for the most part become solely the concern of artists, divorced from – and ignored by – the larger community.  Today artists often back away from engaging the times and places of their life, choosing instead the largely intellectual challenge of engaging the times and places of Art.  But it’s an artificial construct that begins and ends at the gallery door.  Apart from the readership of Artforum, remarkably few people lose sleep trying to incorporate gender-neutral biomorphic deconstructivism into their personal lives.  As Adam Gopnik remarked in The New Yorker, “Post-modernist art is, above all, post-audience art.”

David Bayles & Ted Orland,  Art & Fear:  Observations on the Perils (and Rewards)of Artmaking

Comments are welcome!     

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