Robert Ryman was a 22-year-old aspiring jazz musician who moved to New York City in 1953 and took a day job as a vacation-relief security guard at the Museum of Modern Art. There, he encountered the newly acquired Number 10, 1950 by Mark Rothko, part of the museum’s collecting spree of abstract expressionist paintings.
“Don’t play what’s there, play what’s not there,” said the jazz artist Miles Davis. His thought is one of the keys to avoiding the boringly ordinary — “the borinary.” Many works of art are what I call “one-two.” That is, they engage the mind and sensibilities only so far. Putting a half-filled wine glass into a landscape foreground, for example, turns borinary — for better or for worse — into a bit of a conversation piece. It becomes a “one-two-three.”
In 1986, Jim Lee was preparing to graduate from Princeton with a psychology degree and considered going to medical school. As a kid growing up in suburban St. Louis after his parents emigrated from Seoul, South Korea, Jim learned to speak English while escaping to comic books to relieve the anxiety of feeling like an outsider. Upon his graduation from Princeton and longing to return to his love of art, Jim decided to enroll in a drawing class. When something ignited inside him, he asked his parents for a year to postpone his studies while he tried to break into the comic book industry.
One of the Seven Wonders of the Ancient World, the Colossus of Rhodes, stood near the harbour. It was constructed by Chares of Lindos over an eight-year period starting in 292 BC. Felled by an earthquake after only 56 years, as a pile of bronze shards and stone rubble it commanded just as much attention (a thumb, it was said, was larger than a man). Sold for scrap 800 years later, it took 900 camels to carry the remnants away.
If you drive for about a hundred miles due east out of Los Angeles, you’ll reach the Mojave Desert and the edge of one of its National Parks, Joshua Tree. There, among a dusty network of roads to nowhere, a ten-acre plot sprouts with assemblages made from the detritus of 20th Century America. Repurposed and redesigned to tell new stories, they cut, wind-worn and bleached, into a cerulean, high desert sky.
Just below where we live in Crescent Beach, B. C., there’s a fine public marina. I’ve been wandering down there for years. Some of the locals occasionally drop by to see what I’m up to. One day an unknown passerby paused to ask me if this were my day off work.
Early on in my painting life, my dad made an observation about our creative differences. “You are, for the most part, an idea-driven artist,” he said. “I am, for the most part, subject-driven.” At the time, I’d been building a written list of titles for work not yet made, drawing from literary reference, word play and free associations with colour and forms pulled from nature. Meanwhile, my dad was cruising sketches he had made during a recent material-gathering trip, his ideas emanating from the memory and visual record of a specific place, time and experience.
Dear Artist, Late yesterday afternoon and then again all last night a terrific storm passed through this island. Helpless boats tramped at their moorings and became swamped. The Alexander Mackenzie bashed heavily against the skimpy dock. Fortunately I was able…
When asked how an artist finds her voice, writer Roxane Gay says it’s not something that you really find. “It’s something that’s in you and you allow to emerge,” she says. “Oftentimes people go looking here or looking there, instead of just recognizing that they already have the voice, and they just need to use it.”
About fifty documented instances exist of children reared by animals. Children brought up by wolves or bears tend not to speak or draw. On the other hand, children born into a world of speech and art adopt the skills of their elders. Most cultures encourage children to make images as soon as they can hold a tool. Remarkably, at about four years of age, all children produce similar imagery. In a now-famous research project, Swiss psychologist Jean Piaget (1896-1980) found that toddlers from all cultures, when encouraged, do the following: