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Pearls from artists* # 66

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.

I craved honesty, yet found dishonesty in myself.  Why commit to art?  For self-realization, or for itself?  It seemed indulgent to add to the glut unless one offered illumination.

Often I’d sit and try to draw, but all the manic activity in the streets, coupled with the Vietnam War, made my efforts seem meaningless.  I could not identify with political movements.  In trying to join them I felt overwhelmed by yet another form of bureaucracy.  I wondered if anything I did mattered.

Robert [Mapplethorpe] had little patience with these introspective bouts of mine.  He never seemed to question his artistic drives, and by his example, I understood that what matters is the work:  the string of words propelled by God becoming a poem, the weave of color and graphite scrawled upon the sheet that magnifies His motion.  To achieve within the work a perfect balance of faith and execution.  From this state of mind comes a light, life-charged.

Patti Smith in Just Kids

Comments are welcome! 

Pearls from artists* # 42

Balinese dancer

Balinese dancer

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

Things-as-they-are offer such an abundance of material that a photographer must guard against the temptation of trying to do everything.  It is essential to cut from the raw material of life – to cut and cut, but to cut with discrimination.  While working, a photographer must reach a precise awareness of what he is trying to do.  Sometimes you have the feeling that you have already taken the strongest possible picture of a particular situation or scene; nevertheless, you find yourself compulsively shooting, because you cannot be sure in advance exactly how the situation, the scene is going to unfold.  You must stay with the scene, just in case elements of the situation shoot off from the core again.  At the same time, it’s essential to avoid shooting like a machine-gunner and burdening yourself with useless recordings which clutter your memory and spoil the exactness of the reportage as a whole.

Henri Cartier-Bresson in Images a la sauvette

Comments are welcome!