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Pearls from artists* # 258
Isla del Sol in 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.
Does this imply that ‘beauty is in the eye of the beholder,’ that there is no objective property that we recognize and about whose nature and value we can agree? My answer is simply this: everything I have said about the experience of beauty implies that it is rationally founded. It challenges us to find meaning in its object, to make critical comparisons, and to examine our own lives and emotions in the light of what we find. Art, nature, and the human form all invite us to place this experience in the center of our lives. If we do so, then it offers a place of refreshment of which we will never tire. But to imagine that we can do this, and still be free to see beauty as nothing more than a subjective preference or a source of transient pleasure, is to misunderstand the depth to which reason and value penetrate our lives. It is to fail to see that, for a free being, there is right feeling, right experience and right enjoyment just as much as right action. The judgment of beauty orders the emotions and desires of those who make it. It may express their pleasure and their taste: but it is pleasure in what they value and taste for their true ideals.
Roger Scruton in Beauty: A Very Short Introduction
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Pearls from artists* # 69
Masks from Sri Lanka, Mexico, and Bali
*
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 mission is to stay hungry. Once you need to know, you can proceed and draw distinctions. From the heat of this necessity, you reach out to content – the play, the theme, or question – and begin to listen closely, read, taste, and experience it. You learn to differentiate and interpret the sensations received while engaged with content. The perception forms the basis for expression.
Have you ever been so curious about something that the hunger to find out nearly drives you to distraction? The hunger is necessity. As an artist, your entire artistic abilities are shaped by how necessity has entered your life and then how you sustain it. It is imperative to maintain artistic curiosity and necessity. It is our job to maintain in this state of feedforward as long as humanly possible. Without necessity as the fuel for expression, the content remains theoretical. The drive to taste, discover, and express what thrills and chills the soul is the point. Creation must begin with personal necessity rather than conjecture about audience taste or fashion.
Anne Bogart in and then, you act: making art in an unpredictable world
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Pearls from artists* # 57
Studio corner
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
You are talented and creative. You rarely block, and when you do block you know how to move yourself along. Your moods are not incapacitating and you haven’t stepped over into madness. Your personality is sufficiently integrated that your necessary arrogance doesn’t prevent you from having successful relationships, your nonconformity hasn’t made you a pariah, and your skepticism hasn’t bred in you a nihilistic darkness. You work happily in isolation but can also move into the world and have a life. You have, in short, met the challenges posed so far.
Are you home free? Unfortunately not. The next challenges you face are as great as any posed so far. They are the multiple challenges of doing the business of art: making money, developing a career, acknowledging and making the most of your limited opportunities, living with compromise, dealing with mass taste and commercialism, negotiating the marketplace, and making personal sense of the mechanics and metaphysics of the business environment of art.
Many artists grow bitter in this difficult arena. Many an artist flounders. Only the rare artist sits himself down to examine these matters, for they are painful to consider. But you have no choice but to examine them. If you are an artist, you want an audience. And if you want an audience, you must do business.
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Eric Maisel in A Life in the Arts
Pearls from artists* # 15
Somewhere in Guatemala
* 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 first steps of a creative act are like groping in the dark: random and chaotic, feverish, and fearful, a lot of busy-ness with no apparent or definable end in sight. There is nothing yet to research. For me, these moments are not pretty. I look like a desperate woman, tortured by the simple message thumping away in my head: “You need an idea.” It’s not enough for me to walk into a studio and start dancing, hoping that something good will come of my aimless cavorting on the floor. Creativity doesn’t generally work that way for me. (The rare times when it has stand out like April blizzards). You can’t just dance or paint or write or sculpt. Those are just verbs. You need a tangible idea to get you going. The idea, however miniscule, is what turns the verb into a noun – paint into painting, sculpt into sculpture, write into writing, dance into a dance.
… I’m often asked, “Where do you get your ideas?” This happens to anyone who is willing to stand in front of an audience and talk about his or her work. The short answer is: everywhere. It’s like asking, “Where do you find the air you breathe?” Ideas are all around you.
I hesitate to wax eloquent about the omnipresence of ideas and how everything we need to make something out of nothing – tell a story, design a building, hum a melody – already resides within us in our experience, memories, taste, judgment, critical demeanor, humanity, purpose, and humor. I hesitate because it is so blindingly obvious. If I’m going to be a cheerleader for the creative urge, let it be for something other than the oft-repeated notion that ideas are everywhere.
What people are really asking, I suppose, is not, “Where do you get your ideas?” but “How do you get them?”
To answer that, you first have to appreciate what an idea is.
Ideas take many forms. There are good ideas and bad ideas. Big ideas and little ideas.
A good idea is one that turns you on rather than shuts you off. It keeps generating more ides and they improve one another. A bad idea closes doors instead of opening them. It’s confining and restrictive. The line between good and bad ideas is very thin. A bad idea in the hands of the right person can easily be tweaked into a good idea.
Twyla Tharp, The Creative Habit: Learn it and Use it for Life: A Practical Guide
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