Greetings Margaret, At 11:04 PM 1/25/2008, you wrote: >Marsha, > >I can't remember which thread on which we were discussing >Irwin - "Seeing is Forgetting the Name of the Thing >One Sees"..but you asked what I saw in it and then >told me that you did wake up seeing line differently - >which was very exciting - I wonder if the notion >of line is still of interest to you and also I am >loving reading your posts >about the man in the ice in the little red boat. > >The reason I was so moved by this book was >because of several reasons - > >1) I loved his observations about the beauty and >the art of the automobile. Much like Pirsig's discussions >about motorcycles and the quality of understanding >the engine and all of the parts of the bike and how >it feels to understand the beauty of the mechanics behind >it and the beauty of the design of the bike and the >pleasure from paying attention to every minute detail >of the machine. Irwin described the artistry behind >the automobile during the 50's in California in much >the same way - he described average ordinary joe's who's >love and attention to every minute detail of their car's >was every bit as much art as a Pollack or a Van Gogh or >Matisse, etc. I thought this chapter was as much of >a discussion of quality as some of Pirsig's words. > >2) I enjoyed Irwin's dedication in trying to understand >what happens when someone views a piece of >art and his idea of stripping away conceptually everything >that a viewer perceives when their minds are struggling >for 'meaning' in their mind when they are experiencing >'seeing' visually. He was into trying to figure out >how to create a real dynamic moment for a viewer that >goes beyond language. > >His notion that you are not really 'seeing' if you are >busy 'perceiving' through your web/filter of words, >SOM thinking, patterns in your mind. His art was about >creating a dynamic moment - an 'aha' moment that occurs >when words are suspended from the experience. > >3) I appreciated his tenacity about his work. He could >have just settled for painting beautiful images - but >instead he contemplated and tried to see the notions >of line, shape, form and color in completely different >ways.
These all sound perfect reasons to enjoy this book. I can't say why I didn't. Many thoughts have come to mind, but they seem unimportant compared to the experience that this book is meaningful for you. (I will say I found the idea of solitude in Spain very appealing.) >btw - you know how much I enjoy your work and I enjoy >reading your posts. I am sorry if I offended you >by describing wanting to 'see' the work. I know that >it's really just about the creation of the work for >you. I think, for me, the creation of art is about >the only thing that truly takes away the anxiety - >because I can quiet down the chatter in my mind >for a while as I'm working on it; hopefully I am >reaching inside myself for some truth in the process. You didn't offend me, I just am not interested in publicly sharing the paintings. On a list of important things to be done, that is for me at the bottom of the list. But then I am not in any way relying on my painting for financial support. It allows a certain freedom. >Then, I feel compelled to share it - if I am completely >honest, I think it's mostly to get approval - but then >also because I like being able to make a living (at some level) >from the results of my creative gesture. > >I admit it - I'm an approval junkie (is there a >support group for this? ) Approval Junkies Non-Anonymous. And I am such an introvert, almost off the chart. Maybe you have to be one to understand what that is like. I don't much care about approval, not even my own. I just keep going. Painting as if it were just like breathing. I say this not to be melodramatic, but more in a 'that's just the way it is' sense. I lost all desire for fame and fortune years ago. I hope only to continue to paint. People who have seen the paintings, have said nice things, but I can't imagine them saying anything harsh. Sometimes I would like for my favorite teacher to come and critique them. You know offer some alternate considerations. When I finish a painting I have to hide it for a few months, to be able to see it freshly. But none of this really matters, only that I have these painting experiences. I would now like to suggest a book for you. Someone in this forum suggested it to me, and I will be eternally grateful to him. The book is 'Agnes Martin: Writings'. It's expensive, so if you're interested, try requesting from the interlibrary loan system at your local library. http://www.amazon.com/Agnes-Martin-Writings/dp/3893223266/ref=sr_1_2?ie=UTF8&s=books&qid=1201357807&sr=1-2 It's a journey, so I imagine we're both doing fine. Marsha > > -----Original Message----- > > From: [EMAIL PROTECTED] > > [mailto:[EMAIL PROTECTED] On Behalf Of MarshaV > > Sent: Saturday, January 19, 2008 11:34 AM > > To: [EMAIL PROTECTED] > > Subject: Re: [MD] Painting > > > > > > > > Bo, > > > > You're very sweet. > > > > Marsha > > > > > > > > > > > > > > > > > > > > At 08:34 AM 1/19/2008, you wrote: > > >Greetings to you Marsha, > > > > > >On 19 Jan. you wrote: > > > > > > > There is a woman laid out on a granite slab. Is she dead or > > > > sleeping? She may have on a dress with a tiger pattern. She is > > > > definitely holding a tiger mask. She is encircled in flames. I > > > > don't know if there is more. Maybe she just needs to be honored. > > > > > > > This is not all on the canvas yet. It is still being incubated. > > > > And I need the paint to dry. And at this stage there is > > always the > > > > feeling that I can't do this. This is beyond me. > > > > > >A few days ago we "exchanged" a few paintings and you spoke > > good words > > >about mine, I will hereby return the favour. I intensely > > admire those > > >who can paint the human body and do portraits, those figures > > who appear > > >in my pieces are just decorations or "box of matches" for > > size. We are > > >on two wildly opposite tacks in what we want to convey. I follow the > > >Norwegian "National Romanticism" tradition from the > > seventeenth century > > >with mountains and sea, I just replace the sailing vessels with > > >steamships or - I have tried - a container carrier. While > > you obviously > > >are in the inner realm, no less dramatic. The sketched > > scenario sounds > > >quite a challenge, I surely am not able to do it, but look > > forward to > > >see the result of your effort. > > > > > >Bo. > > > > > > > > > > > > > > >Moq_Discuss mailing list > > >Listinfo, Unsubscribing etc. > > >http://lists.moqtalk.org/listinfo.cgi/moq_discuss-moqtalk.org > > >Archives: http://lists.moqtalk.org/pipermail/moq_discuss-moqtalk.org/ > > >http://moq.org.uk/pipermail/moq_discuss_archive/ > > > > > > ************* > > DEFINITION of Marsha, I, me, self, & etc.: Ever-changing > > collection of overlapping, interrelated, inorganic, biological, > > social and intellectual, static patterns of value. > > > > > > > > Moq_Discuss mailing list > > Listinfo, Unsubscribing etc. > > http://lists.moqtalk.org/listinfo.cgi/moq_discuss-moqtalk.org > > Archives: http://lists.moqtalk.org/pipermail/moq_discuss-moqtalk.org/ > > http://moq.org.uk/pipermail/moq_discuss_archive/ > > > > No virus found in this incoming message. > > Checked by AVG Free Edition. > > Version: 7.5.516 / Virus Database: 269.19.7/1232 - Release > > Date: 1/18/2008 7:32 PM > > > > > >No virus found in this outgoing message. >Checked by AVG Free Edition. >Version: 7.5.516 / Virus Database: 269.19.11/1243 - Release Date: 1/25/2008 >11:24 AM > > > >Moq_Discuss mailing list >Listinfo, Unsubscribing etc. >http://lists.moqtalk.org/listinfo.cgi/moq_discuss-moqtalk.org >Archives: >http://lists.moqtalk.org/pipermail/moq_discuss-moqtalk.org/ >http://moq.org.uk/pipermail/moq_discuss_archive/ ************* DEFINITION of Marsha, I, me, self, myself, & etc.: Ever-changing collection of overlapping, interrelated, inorganic, biological, social and intellectual, static patterns of value. 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