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Pearls from artists* # 438

Chalcatzingo, Mexico

Chalcatzingo, 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.

Although {Manuel} Alvarez Bravo and Cartier-Bresson were both important mentors for Iturbide, her photographs, as she confirms, are not connected to Surrealism in any way.  Henri Cartier-Bresson’s publication Carnets du Mexique (Mexican Notebooks) was an important influence, as it presented a visual representation of Mexico that resonated with her.  (Cartier-Bresson also worked mainly in Juchitan, where Iturbide has spent a great deal of time).  However, Iturbide developed a way of working quite different from Cartier-Bresson’s.  What distinguishes the two artists’ photographs lies in the notion of the fleeting instant, or, as Cartier-Bresson called it, “the decisive moment.”  Iturbide refers to Cartier-Bresson’s interest in the “sharp eye” and capturing an instant in time, and describes her own intentions when photographing:  “More than in time, I’m interested in the artistic form of the symbol.”  Further, Iturbide’s photographs are taken with an understanding of the people, rituals, and symbols of the communities she captures, which makes them stand apart from Cartier-Bresson’s fleeting moments of Mexico.  Her work is informed by her deep connection and empathy for her subjects.

Kristen Gresh in Graciela Iturbide’s Mexico         

Comments are welcome!

Pearls from artists* # 348

“The Orator” in “Worlds Seen & Unseen” at Westbeth Gallery, NYC

“The Orator” in “Worlds Seen & Unseen” at Westbeth Gallery, NYC

*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 percipient apprehends the primal quality of art as beauty and symbol, in an experience that invariably involves a sense of radical mystery.  Art dissolves the fog of Consensus in which we normally operate to reveal the unseen in the situation.  It places us in exactly the same position as the first people who stared up at the stars in wonder.  The work of art is perpetually new; it demands reinterpretation with each era, each generation, each percipient.  Great works of art are like inexhaustible springs originating from a place beyond our “little world of man.”  They reconnect us with a reality too vast for the rational mind to comprehend.  Therefore, art can be described as the human activity through which our all-too-human mentality is overcome and in light of which all finite judgments are shown to be inefficient.  It is at once a sinking to the source and a leap toward the infinite.   

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

Comments are welcome!

Pearls from artists* # 336

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.

Beauty and symbol are the two faces of the numinous, that enigmatic force that bestows upon certain things, places, and moments an otherworldly power.  It is the combination of radical beauty and symbolic resonance – of apparition and death – that makes aesthetic objects so overpowering.  While at the surface there may appear to be an insurmountable difference between a Shinto shrine and a Tom Waits concert, both use beauty and symbol to confront us with what is strange and sacred in life.  Their similarity is as profound as their differences. 

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

Comments are welcome!

Pearls from artists* # 161

Whitney Museum

Whitney Museum

* 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 is the artist’s innate sensitivity that makes him special and different from other professionals.  Society expects the artist to be more compassionate and understanding in order to bring out that which will enlighten, inspire and encourage life in his work.  His vocation should not just be for art’s sake.

Where the average person sees an old beat-up shark, the artist sees a symbol of beauty in aging and imagines bringing out those qualities that the shark has sheltered over the ages, by means of artistic creation.  To the intelligent and sensitive artist, the homeless man lying on the street corner is a symbol that reminds us of what we, as a society, should be doing to better our living. 

Sensitivity comes into play when leaves that appear to the general viewer to be uniformly green are seen by the sensitive artist to be different shades, tones, and subtle nuances of green.  Without sensitivity, special and important characteristics of nature will be out of our sight and out of reach to the viewing layman.  Only the obvious, the average and the common will reveal themselves to the insensitive artist.  The endurance of certain works will depend on what the artist has captured with the help of his sensitivity and because of the ideas behind the work.

Samuel Adoquei in Origin of Inspiration:  Seven Short Essays for Creative People

Comments are welcome!        

Pearls from artists* # 158

“Dichotomy,” soft pastel on sandpaper, 38″ x 58″

* 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 is the artist’s innate sensitivity that makes him special and different from other professionals.  Society expects the artist to be more compassionate and understanding in order to bring out that which will enlighten, inspire and encourage life in his work.  His vocation should not just be art for art’s sake.

Where the average person sees an old beat-up shark, the artist sees a symbol of beauty in aging and imagines bringing out those qualities that the shark has sheltered over the ages by means of artistic creation.  To the intelligent and sensitive artist, the homeless man lying on the street corner is a symbol that reminds us of what we, as a society, should do to better our living.

Sensitivity comes into play when leaves that appear to the general viewer to be uniformly green are seen by the sensitive artist to be different shades, tones and nuances of green.  Without sensitivity, special and important characteristics of nature will be out of sight and out of reach to the viewing layman.  Only the obvious, the average and the common will reveal themselves to the insensitive artist.  The endurance of certain works will depend on what the artist has captured with the help of his sensitivity and because of the ideas behind the work.

Samuel Adoquei in Origin of Inspiration:  Seven Short Essays for Creative People 

Comments are welcome!       

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