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Pearls from artists* # 420

‘Science in Surrealism,” published by Gallery Wendy Norris

‘Science in Surrealism,” published by Gallery Wendy Norris

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

During the early period of Einstein’s great fame, which began in 1919, Breton wrote an essay for the first one-man show in Paris of Max Ernst.  There, for the first time, he expressed what would become the central mechanism of Surrealism’s theory of poetry:  the experience of ‘disorientation,’ engendered by what Breton called ‘the marvelous ability to reach out, without leaving the field of our experience, to two distinct realities and bring them together to create a spark.’  Perhaps in search of authorization, Breton gave this definition in the context of the ‘separate systems of reference’ posited by Einstein’s Relativity.  This, Breton argued, helped make sense of weird juxtapositions to be found in Ernst’s collages of the time, shown in Paris in the same year that the German to French translations of both Einstein’s Relativity:  The Special Theory and the General Theory and [Sir Arthur] Eddington’s, Space, Time, and Gravitation were published.  This in turn gave Breton and his friends a glimpse of the ‘real’ world ushered in by the new physics.      

Sibylline Strangeness:  Surrealism and Modern Physics,” by Gavin Parkinson in Science in Surrealism, published by Gallery Wendy Norris

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Pearls from artists* # 385

Potosí, Bolivia

Potosí, Bolivia

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

Sunday of Carnival, the parade begins.  For a whole day of celebration in music and dance, people can express their hope and fears, revive their myths and escape to a reality far from everyday life.

Thousands of spectators arrive from different parts if Bolivia and other countries.  Filling the streets, they straddle benches, window ledges, balconies, cats and eve hang from walls or roofs to witness the entrance of the Carnival.  Thus is the magnificent parade when Carnival makes its official entry into Oruro.  The comparsas (dance troupes) dance to music for20 blocks, nearly eight lies, to the Church of the Virgin of Socavón (Virgin of the Mine). Each tries to out do the next in the brilliance of their costumes, the energy of their dancing and the power of their music.  All their efforts are dedicated to the Virgin whose shrine is found on the hill called Pie de Gallo.

If there are thousands of spectators, there are also thousands of dancers from the city and other parts of the country.  Among the most remarkable are the Diablos and Morenos which count for eight of the 40 or 50 participating groups.  Keeping in mind that the smallest troupes have between 30 and 50 embers and the largest between 200 and 300, it is possible to calculate the number of dancers and imagine the spectacle.

Each dance recalls a particular aspect of life in the Andes.  Lifted from different periods and places, the dances offer a rich interpretation of historical events, creating an imaginative mythology for Oruro.

… Carnival blends indigenous beliefs and rituals with those introduced by the Spaniards.  Both systems of belief have undergone transformations, each making allowance for the other, either through necessity or familiarity.  The Christianity  fought from Europe becomes loaded with new meanings while the myths and customs of the Andes accommodate their language and creativity to the reality of their conquered world.  The process can be seen as a struggle culminating in a ‘mestizaje’ or new cultural mix.

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* # 125

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.

My own natural proclivity is to categorize the world around me, to remove unfamiliar objects from their dangerous  perches by defining, compartmentalizing and labeling them.  I want to know what things are and I want to know where they are and I want to control them.  I want to remove the danger and replace it with the known.  I want to feel safe.  I want to feel out of danger.

And yet, as an artist, I know that I must welcome the strange and the unintelligible into my awareness and into my working process.  Despite my propensity to own and control everything around me, my job is to “make the familiar strange and the strange familiar,” as Bertolt Brecht recommended:  to un-define and un-tame what has been delineated by belief systems and conventions, and to welcome the discomfort of doubt and the unknown, aiming to make visible what has become invisible by habit.

Because life is filled with habit, because our natural desire is to make countless assumptions and treat our surroundings as familiar and unthreatening, we need art to wake us up.  Art un-tames, reifies and wakes up the part of our lives that have been put to sleep and calcified by habit.  The artist, or indeed anyone who wants to turn daily life into an adventure, must allow people, objects and places to be dangerous and freed from the definitions that they have accumulated over time.            

Anne Bogart in What’s the Story:  Essays about art, theater, and storytelling

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