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| Mediator, charcoal on paper, 1989 |
I love the title of Anne West’s book, Mapping the
Intelligence of Artistic Work; an Explorative Guide to Making, Thinking and
Writing. If we accept that the creative process is a way of knowing then
finding out how it works for each of us makes sense. The strategic questions
that lurk behind my process are: Is this work necessary? Why? What difference
can this work make in the world? How would it feel to not make this work? Agony and ecstasy follow the search for answers.
These questions push me to examine
my work and its relationship to the past as well the present. The past is present even if we ignore its influences. If I want
to be relevant I need to know what other painters are doing, thinking and writing about. I need to be able to situate my work in the long trajectory of painting's history.
"Be relevant" is an internal motto. Love it!
ReplyDeleteIndeed!
DeleteMaggie I just really respond to your art work! This image makes my hear beat faster and I feel intrigued. I want the whole story behind it. It seems to be living! I do challenge your statement about relevancy of your work or anyone's work being validated because it has entered the trajectory of painting's history. That is certainly one avenue. Why can't a work have merit based on what it accomplishes alone by itself isolated...? Your work is so powerful, why does it have to be attached to anyone else's work?
ReplyDeleteI know this is a sort of perennial argument, the past vs the present. Yes, a work can stand on its own. No argument there. But having studied and taught art history and two years in a PhD for Art Theory and Criticism I can't escape that what I am doing is part of the bigger picture. Now we have choices about embracing that kind of knowing. Most artists argue against it. I take comfort that I know where my work stands in that trajectory. I like thinking that I belong to a discipline that started with cave painting, moved through Giotto, DaVinci, Mondrian, Klee, and up to Julie Mehretu. This history is contained in my practice, where I am constantly scrutinizing the past/present to be sure that what I make is about now.But this is just my way of thinking and now at all a prescription for anyone else.
DeleteThe drawing Mediator is one of several large scale works on paper that use the figure to explore a personal narrative. It was a transitional period in my work and seemed to sum up a final departure from my graduate school experience: letting go.
Maggie, really love your charcoal drawing. So agree that having a context of history, our personal history, and as an artist, art history is essential. One of the treats of this blogathon is creating some new connections and glad to see some of your work.
ReplyDeleteThank you Callahan. I love hearing and seeing everyone's work. It gives me a sense of community and support. Making art is a very isolating experience. I have been undercover for a long time. happy to be part of this blogathon.
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