"I came to the decision to ride out the jeopardy of art with as much courage and faith as I could. Turning it over once again now in my mind, I reach the same decision but with a change in attitude. Last year I did not have enough faith to trust myself to the course of events without a certain anxious steering toward success. Not for the glory of it, heaven knows, but for the sheer earning of money for the children and myself. I feel differently this year. I have set my sails without a preconceived course. It is a change to have sails to set. The metaphor is different. Last year a canoe, this year a ship in full sailing trim, keel stripped, lines coiled, sails patched with new cloth. My hand is light on the wheel. I am open to shifting winds and seas. I am even curious."
Anne Truitt, Daybook
John Cage · 10 Stones 2
1989, Spitbite Aquatint and Sugarlift, 22.75 x 18.13 inches
"When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic - here on Sixth Avenue, for instance - I don’t have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound … I don’t need sound to talk to me."
See The Great Beauty on the big screen. Take a midnight walk after. Perfect combination of humor and splendor.
"If the artist has anything, it is the authority to make a decision on the resolution/non-resolution of a work. I am very interested in the poignancy of this decision."
J Parker Valentine
I had a nice visit with J Parker Valentine in my studio last week. She and I have talked a lot about the idea of Provisional Painting: the artist’s choice of what to show and what to leave hidden; when resolution is satisfying and when there is more energy in the open question. From and interview in zing magazine:
"When something leaves my hands, it’s finished and it’s frozen in time in its determined orientation, but if it has not yet left, I can continue to look for alternative solutions. This can be by combining it with something else. This might give the work an unfinished character—an openness to resolve, hence my interest in abstraction, which by nature, is open."
Robert Rauschenberg, Pilgrim, 1960. Combine: oil, graphite, paper, printed paper, and fabric on canvas, with painted wood chair, 79 1/4 x 53 7/8 x 18 5/8 in. Art © Robert Rauschenberg Foundation/Licensed by VAGA, NYC
On the way home from New Orleans, I stopped at the Cy Twombly gallery in Houston, of course. When I met Twombly in 2010, I told him it was my favorite place on earth, and he said, “Mine, too.” Instead of writing about the ridiculous emotions that place elicits, I thought I would just share these heartthrob photos of him. You’re welcome!
Fog on the levee, New Orleans