Blog Archives

Pearls from artists* # 400

In the studio with friends

In the studio with friends

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

A student in the audience raised her hand and asked me:

“Why should I live?”

… In the very act of asking that question, you are seeking reasons for your convictions, and so you are committed to reason as the means to discover and justify what is important to you.  And there are so many reasons to live!

As a sentient being, you have the potential to flourish.  You can refine your faculty of reason itself by learning and debating.  You can seek explanations of the natural world through science, and insight into the human condition through the arts and humanities.  You can make the most of your capacity for pleasure and satisfaction, which allowed your ancestors to thrive and thereby allowed you to exist.  You can appreciate the beauty and the richness of the natural and cultural world.  As the heir to billions of years of life perpetuating itself, you can perpetuate life in turn.  You have been endowed with a sense of sympathy – the ability to like , love, respect, help, and show kindness – and you can enjoy the gift of mutual benevolence with friends, family, and colleagues.

And because reason tells you that none of this is particular to you, you have the responsibility to provide to others what you expect for yourself.  You can foster the welfare of other sentient beings by enhancing life, health, knowledge, freedom, abundance, safety, beauty, and peace.  History shows that when we sympathize with others and apply our ingenuity to improving the human condition, we can make progress in doing so, and you can help to continue that progress.

Stephen Pinker in Enlightenment Now:  The Case for Reason, Science, Humanism, and Progress 

Comments are welcome!

Pearls from artists* # 393

With my favorite interview

With my favorite interview

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

… Fernhoffer’s a man in love with our art, a man who sees higher and farther than other painters.  He’s meditated on the nature of color, on the absolute truth of line, but by dint of so much research, he has come to doubt the  very object of his investigations.  In moments of despair, he claims that drawing doesn’t exist and that lines are only good for rendering geometrical figures, which is far from the truth, since with line and with black, which is not a color, we can create a human figure.  There’s your proof that our art is like nature itself, composed of an infinity of elements:  drawing accounts for the skeleton, color supplies life, but life without a skeleton is even more deficient than a skeleton without life.  Lastly, there’s something even truer than all this, which is that practice and observation are everything to a painter; so that if reasoning and poetry argue with our brushes, we wind up in doubt, like our old man here, who’s as much a lunatic as he is a painter — a sublime painter who had the misfortune to be born into wealth, which has allowed him to wander far and wide.  Don’t do that to yourself!  A painter should philosophize only with a brush in his hand!

Honore Balzac in The Unknown Masterpiece

Comments are welcome!

Pearls from artists* # 387

Barbara at work on “Schemer,” Soft Pastel on Sandpaper, 26” x 20”

Barbara at work on “Schemer,” Soft Pastel on Sandpaper, 26” x 20”

* 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 know, you don’t go into the studio and say, “Oh, here I am this marvelous heroine, this wonderful woman doing my marvelous painting so all these marvelous women artists can come after me and do their marvelous painting.”  There you are alone in this huge space and you are not conscious of the fact that you have breasts and a vagina.  You are inside yourself, looking at a damned piece of rag on the wall that you are supposed to make a world out of.  That is all you are conscious of.  I simply cannot believe that a man feels differently… Inside yourself, you are looking at this terrifying unknown and trying to feel, to pull everything you can out of all your experience, to make something.  I think a woman or a man creating feels very much the same way.  I bring my experience, which is different from a man’s, yes, and I put it where I can.  But once that is done, I don’t know if it is a woman’s experience I’m looking at.

Grace Hartigan quoted in Ninth Street Women by Mary Gabriel

Comments are welcome!

Pearls from artists* # 380

“John,” Soft Pastel on Sandpaper, 22” x 28” (image), 1989.

“John,” Soft Pastel on Sandpaper, 22” x 28” (image), 1989.

* 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 freedom he enjoyed came at a cost.  But those fears and irritations evaporated amid the support the artists gave one another immediately after the war.  A community developed that sustained them and gave them courage.  “You have to have confidence amounting to arrogance, because particularly at the beginning, you’re making something that nobody asked you to make,”  Elaine [de Kooning] said.  “And you have to have total confidence in yourself, and in the necessity of what you’re doing.”  That was much easier done in a group of like-minded individuals.

Mary Gabriel in Ninth Street Women

Comments are welcome!

Pearls from artists* # 345

Barbara working on an interview. Photo:  Maria Cox

Barbara working on an interview. Photo: Maria Cox

*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 begin your journey as an artist from sacred motives, with dreams and high hopes, and also, perhaps, from a place of painful turmoil or other inner necessity.  From these powerful drives comes your conscious decision to pursue a life in art, your resolve to call yourself an artist whatever the consequences.  You are the one nodding in agreement when the painter John Baldessari says, “Art is about bloody-mindedness.  It’s not about living the good life.  In the end, it’s just you and the art.”

Eric Maisel in A Life in the Arts:  Practical Guidance and Inspiration for Creative and Performing Artists

Comments are welcome!

 

Q: Do you believe in “the big break” for artists?

Barbara’s studio

Barbara’s studio

A:  Big breaks sometimes happen, but in my experience an artist’s life is made up of single-minded dedication, persistence, hard work, and lots of small breaks.  I recently finished reading “Failing Up:  How to Take Risks, Aim Higher, and Never stop Learning” by Leslie Odom, Jr.   I like what he has to say to artists here:

“The biggest break is the one you give yourself by choosing to believe in your wisdom, in what you love, and in the gifts you have to offer the waiting world.”

Comments are welcome! 

Pearls from artists* # 191

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.

“Do you understand what this is?  Jacob Kahn asked me, his strong voice rising.  “Do you begin to understand what you are going to be doing to yourself?  You understand now what Picasso did, yes?  Even Picasso, the pagan, had to do this.  At times there is no other way.  Do you understand me, Asher Lev?  This is not a toy.  This is not a child scrawling on a wall.  This is a tradition; it is a religion, Asher Lev.  You are entering a religion called painting.  It has its fanatics and rebels.  And I will force you to master it.  Do you hear me?  No one will listen to what you have to say unless they are convinced you have mastered it.  Only one who has mastered a tradition has a right to attempt to add to it or rebel against it.  Do you understand me, Asher Lev?”

My Name is Asher Lev by Chaim Potok

Comments are welcome!

Pearls from artists* # 180

Lower Manhattan

Lower Manhattan

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

We eat light, drink it in through our skins.  With a little more exposure to light, you feel part of things physically.  I like the power of light and space physically because then you can order it materially.  Seeing is a very sensuous act – there’s a sweet deliciousness of feeling yourself feel something.

James Turrell in A Retrospective:  James Turrell, Michael Govan and Christine Y. Kim

Comments are welcome!

Pearls from artists* # 160

"A Promise, Meant to be Broken," soft pastel on sandpaper, 58" x 38"

“A Promise, Meant to be Broken,” soft pastel on sandpaper, 58″ 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.

When I get asked what one piece of advice I have for young photographers, this is what I tell them:  if you are working on a project, and you’re thinking maybe it’s time to put it out into the world, make sure you have already started your next body of work.  Not just started, either; you should be well along on it.  You will know that the first project is finished when you find yourself joylessly going through the motions to eke out a few more pictures while, like a forbidden lover, the new ones call seductively to you.  This new lover should be irresistible, and when it calls, you will be in its urgent thrall, making the work of your heart.

Sally Mann in Hold Still:  A Memoir with Photographs  

Comments are welcome! 

Pearls from artists* # 149

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.

Real collecting begins in lust:  I have to have this, live with this, learn from this, figure out how to pay for this.  It cannot be about investment or status.  Like making art, writing about it or organizing its public display (in galleries or in museums), collecting is a form of personal expression.  It is, in other words, a way to know yourself, and to participate in and contribute to creativity, which is essential to human life on earth.     

Roberta Smith in Collecting for Pleasure, Not Status, The New York Times, May 15, 2015

Comments are welcome!

%d bloggers like this: