“The eye is the first circle; the horizon which it forms is the second; and throughout nature this primary picture is repeated without end. It is the highest emblem in the cipher of the world.”
-Ralph Waldo Emerson, from his essay “Circles”
Category Archives: Quotes
“Red is the most joyful and dreadful thing in the physical universe; it is the fiercest note, it is the highest light, it is the place where the walls of this world of ours wear thinnest and something beyond burns through.
White is not a mere absence of color; it is a shining and affirmative thing, as fierce as red, as definite as black. God paints in many colors; but He never paints so gorgeously, I had almost said so gaudily, as when He paints in white.”
Does anybody have any good quotes about black as a color?
“Artists have traditionally examined the relationship between reality, illusion, and how the mind experiences these phenomena–the influence of human visual perception. In tune with recent philosophers, recent artists have focused on how language, or a mind that is constructed to invent and understand the world through language, influences our perception of reality.”
From Advice to Young Artists in a Postmodern Era by William V. Dunning
The following is a combination of quotes from the critic Jerry Saltz’s article “My Life as a Failed Artist.”
“Before I became a critic, I was an artist, and for about ten years, beginning in the early 1970s, I feverishly devoted myself to a single, gigantic project: illustrating the entirety of Dante’s Divine Comedy — starting with Inferno.
[Why Dante?] Dante is a paradigmatic figure of the canon — therefore a perfect picture of the dream of artistic canonization — but he’s also a weirdo Boschian fantasist and so satisfied my obsession with hermetic traditions, indexes, myth, archaic cultures, and mystics and visionaries like William Blake. This late-medieval universe freed me from making choices; the story and structure told me exactly what to do, what to draw, where to draw it, what came next, what shape things should be, everything, even sometimes governing colors, as with making Virgil blue and Dante red according to past art. Without knowing it but in desperate need, I’d contrived a machine that allowed me to make things that I couldn’t predict; I still think of this as one of an artist’s first jobs.
The project was meant to take me 25 years, but I only made it to the fourth canto by the time I quit; nevertheless, in that time I had developed an unbelievably intricate language that would allow me, a technically poor draughtsman and even worse painter, to depict Dante’s complex narrative.
[Oscar Wilde] wrote that art that’s too obvious, that we “know too quickly,” that is “too intelligible,” fails. “The one thing not worth looking at is the obvious.” This sort of art tells you everything in an instant and can only tell you the same thing forever. My work had the opposite problem. It was vague, arcane, and therefore obsolete. Only I could decipher it.
I often judge young artists based on whether I think they have the character necessary to solve the inevitable problems in their work….Oscar Wilde said, “Without the critical faculty, there is no artistic creation at all.” Artists have to be self-critical enough not to just attack everything they do. I had self-doubt but not a real self-critical facility; instead I indiscriminately loved or hated everything I did. Instead of gearing up and fighting back, I gave in and got out.”
You can find more images from this project here.
The following is paraphrased from Roland Barthes’ The Wisdom of Art.
Whenever we look at a painting the question is, “what is happening here?” The picture is a kind of theater, the curtain parts, we watch, we wait, we receive, we understand, and when the scene is over and the picture gone, we remember. In a painting there occurs a fact, an accident, an outcome, a surprise, and an action.
The fact is the tangible substance we see. We imbue everything we see with meaning; the alchemy of painting is that despite the meaning the materials also remain stubbornly things (facts). Even if the painting is a result of precise calculation, there is still the impression of accident. We sometimes call this inspiration, a creative force that is the euphoria of chance. The fact and the accident together created an outcome, which is the overall effect of the work. This effect can not be located or described in a series of details. The outcome creates a surprise. In the Christian tradition we would call this illumination, a kind of mental shock which grants access, regardless of all known intellectual means, to truth. Last is the action, which is the viewer’s engagement with the painting. One can engage the painting from a place of culture (a familiarity with the references contained), from a place of specialization (an awareness of the historical and technical tradition), from a place of pleasure (aesthetic or conceptual enjoyment), from a place of memory (the ghost that follows the viewer long after they have left the painting), and from a place of production (the desire to re-produce the work that arises from an awareness of how the work was made).
I was looking through Cirlot’s Dictionary of Symbols and found this description of Alchemy:
Alchemy is a symbolic technique which seeks to materialize spiritual truths. It is a poetic, religious, and scientific endeavor. The goal is to experience material phenomena as symbols which point to a complete theory of the universe and the destiny of the soul (the secret of discovering gold would be a mark of divine favor and thus success). [paraphrased from my notes and memory rather than quoted word for word]
While it’s not a perfect metaphor, the notion of Alchemy is a helpful model for my own artistic process.
“Every era has to reinvent the project of “spirituality” for itself. (Spirituality = plans, terminologies, ideas of deportment aimed at the resolution of painful structural contradictions inherent in the human situation, at the completion of human consciousness, at transcendence.) In the modern era, one of the most active metaphors for the spiritual project is “art.”
…The newer myth, derived from a post-psychological conception of consciousness, installs within the activity of art many of the paradoxes involved in attaining an absolute state of being described by the great religious mystics. As the activity of the mystic must end in a via negative, a theology of God’s absence, a craving for the cloud of unknowingness beyond knowledge and for the silence beyond speech, so art must tend toward anti-art, the elimination of the “subject” (the “object,” the “image”), the substitution of chance for intention, and the pursuit of silence.
…no longer a confession, art is more than ever a deliverance, an exercise in asceticism. Through it, the artist becomes purified — of himself and, eventually, of his art, The artist (if not art itself) is still engaged in a progress toward “the good.” But formerly, the artist’s good was mastery of and fulfillment in his art. Now it’s suggested that the highest good for the artist is to reach that point where those goals of excellence become insignificant to him, emotionally and ethically, and he is more satisfied by being silent than by finding a voice in art.
…Committed to the idea that the power of art is located in its power to negate, the ultimate weapon in the artist’s inconsistent war with his audience is to verge closer and closer to silence… And none of the aggressions committed intentionally or inadvertently by modern artists have succeeded in either abolishing the audience or transforming it into something else. (A community engaged in a common activity?) They cannot. As long as art is understood and valued as an “absolute” activity, it will be a separate, elitist one. Elites presuppose masses. So far as the best art defines itself by essentially “priestly” aims, it presupposes and confirms the existence of a relatively passive, never fully initiated, voyeuristic laity which is regularly convoked to watch, listen, read, or hear — and then sent away.
…But these programs for art’s impoverishment must not be understood simply as terroristic admonitions to audiences, but as strategies for improving the audience’s experience. The notions of silence, emptiness, reduction, sketch out new prescriptions for looking, hearing, etc. — specifically, either for having a more immediate, sensuous experience of art or for confronting the art work in a more conscious, conceptual way.
…Contemporary art, no matter how much it’s defined itself by a taste for negation, can still be analyzed as a set of assertions, of a formal kind. For instance, each work of art gives us a form or paradigm or model of knowing something, an epistemology.”