First of all, I’m learning that my plan of double-travel-blogging, here and on USAtourist.com, was a little too ambitious. I’m going to be reporting on my day-to-day travel adventures here. The RSS feed is here. So go there to follow my day-to-day travel adventures and stuff. I will use this venue for more personal stuff, artistic stuff, inspirational stuff, and stuff not suitable for the other site. So there you have it.
Second: I’m at a Ketchum, Idaho (Ketchum, Idaho is freaking sweet) bookstore right now reading the giant coffee table book ‘Wisdom’ by Robert Zuckerman. It’s a collection of a bunch of ‘wise’ over-65-year-olds giving their concentrated wisdom spiels.
Here’s what painter Chuck Close had to say about why he loves painting, and the separation he sees between painting and photography:
“I really never understood the argument of why make a painting or why make a photograph. They’re just so different. A painting doesn’t happen the same way a photograph happens. A photograph is all over at once. It’s a continuous surface. You can go back in and alter it, but basically it all comes up at once. When a painting happens, it’s always unfinished before it’s finished: you get a chance to see what you just put in, how that affects what’s already there, and how it anticipates what else is going to happen. You have this long dance, this long performance. A painter is really a performing artist; it’s just no one watches the performance. The painting is the frozen evidence that this ritual dance or performance took place. We’re moving our arms and we’re building this thing out of thin air with colored dirt on a cloth wrapped around some sticks of wood and it’s the most magical of mediums, the most transcendent. it transcends its physical reality. It doesn’t remain just colored dirt on a flat surface, it makes space where there is no space, it reminds you of life experiences you’ve had, it transports you somewhere else. A painting can make you cry, and it also can bring you great pleasure. I love the magic, I love the alchemy of taking this colored dirt and smearing it around with a stick with hairs on the end of it until you conjure up some kind of illusion or some magic. I like to leave evidence of the trip taken. I’m like Hansel and Gretel, dropping crumbs on a trail: not only do you have the image I made for you, I’ll show you how I made that image. I don’t want to destroy the magic; I want to pull a rabbit out of a hat and have everybody go, “Ooh,” - then I’ll slow the whole thing down again and I’ll show you how I pull a rabbit out of the hat. And because photography has no incident, no hands, no touch, no physicality, it’s really ethereal, there’s no evidence of the road taken, you have no shared experience with the artist of taking this trip, this route some place. I love photography, it’s really the only thing I collect and of course I am a photographer as well. But there’s no question that painting is of a different order. It’s a different kind of experience and it’s one that I really enjoy making and enjoy showing to other people. And it’s interesting: once you know what art looks like, it’s not hard to make some of it. But if you’re going to be a painter, you are going to make a lot of really bad paintings before you ever make a good one. With photography and video it’s possible to have an accidental masterpiece. Let me tell you, that is not possible with painting. Some amateur is not going to accidentally make an incredible masterpiece. There are other kinds of things going on than just framing a chunk of the world and lighting it and snapping a shot.”
Wisdom, indeed.