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Books for the Artist
Book suggestions are a frequent request. It would be useful—and probably more interesting—if these requests were included in the comments.
For now, a brief but useful list of books for the artist,
The Power of the Center by R. Arnheim
The Germans and Their Art: a troublesome relationship by H. Belting
Art as Experience by J. Dewey
The Epic of Gilgamesh
For now, a brief but useful list of books for the artist,
The Power of the Center by R. Arnheim
The Germans and Their Art: a troublesome relationship by H. Belting
Art as Experience by J. Dewey
The Epic of Gilgamesh
Labels: Lists
posted by EMC at
10:18 PM
6 Comments:
emc, i teach in a BFA program and i have noticed a reluctance on the part of art students (and studio faculty) to encourage them to read and to write as an important part of their artistic practice. of course, there is interest in teaching the students "how to write an artist's statement," but cultivating a life of mind through reading and writing seems foreign.
what would you say to a student or faculty member who would hold to such views?
which translation of the Epic of Gilgamesh do you recommend? is there a recent translation? I am starting to read Willaim Gass, especially his book on reading Rilke
Once I knew an artist who thought reading—knowledge in general—could harm her creative gifts, and that is just one of many possible arguments against reading. In my experience, it is rare to meet someone who could use less substantial knowledge. In or out of the art world, quality is rare—in people or books.
Dan, education is mostly about reproduction. Teachers or artists with small ambitions will transmit small ambitions to their students. And there is nothing to say to them about that. This is an issue in which some common ground must exist before a reasonable conversation can be established.
Regarding the translation of Gilgamesh: I only know the book I have read, whose translator I do not know.
Just listened to Stephen Mitchell's translation of the Epic of Gilgamesh- I was moved by the fact that the "reed fence" was informed of the coming deluge and passed the information on...someone listened to the fence and was able to survive by that listening. So much of painting seems like a passage from one barrier or fence to another open area or space. The fact that the fence is a man-made fabrication made up of reeds I find especially interesting.
I cannot imagine under what circumstance, reading could possibly undermind or corrupt someone's talent for painting, drawing or sculpting - or for that matter, making pancakes for breakfast. Reading is the simplest and least expensive way of acquiring knowledge. I concur with your comments Enrique, as education is mostly about dealing with pre-digested material shaped by a teacher's agenda and for the most part, affecting disinterested students.
If I may add two books to your list:
LEON BATTISTA ALBERTI: ON PAINTING; translated by John R. Spencer.
LES CHANTS DE MALDOROR, Comte de Lautreamont; translated by Guy Wernham.
Be well.
it's just like the musicians who choose not to learn to read music b/c they think it takes away from their natural talent... the unfortunate limitations they set for themselves...
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