” Man cannot duplicate the infinite intricacy of the living architecture of the wheat stalk. Nature is best capable of its own forms and of the complex inevitabilities which result in such marvelous phenomena.  Man himself is such a phenomenon; and the marvelous in man is his creative intelligence, which transcends nature and creates out of it un-natural forms.
In his art- whether architecture or poem – he does not reproduce a given reality; nor does he simply express his immediate reactions of pleasure and pain.  He starts with the elements of that reality – the stone, the city, the other man – and relates them into a new reality which, no sooner achieved, becomes itself an element in his next manipulation.  In his effort to achieve form he may produce shapes monstrous or divine; but his proud ambition  is to create, in the image of his own intelligence, a reality man-made.

Anais Nin – excerpt from diary # 4   –    1944-1947


Art Quote of the Day

“The ‘state of the world’ and the state  of design need to be brought together.

While the destruction of the planet’s natural environments comes from many quarters, it is climate change that  has most dramatically  and  recently entered public consciousness.  Yet there are two major factors associated with this problem that mostly go  unrecognized.  The first is that  even if solutions were to arrive immediately ( a very unlikely prospect) the problem is ging to be around for a long time as some greenhouse gases have an atmospheric life of well over 200  years. And the second is that there is no real sense of how bad things will get, or where the actual ‘tipping point’ into climate chaos is – climate chaos combines high levels of unpredictable climatic behaviour with, correspondingly, the end of predictable weather patterns.

As change has to be by design rather than chance, design has to be in the front – line of transformative action.  But for design to be able to perform this role, the sum of all design practices, including architecture, themselves have to be  redesigned.  “

Design Futuring – Sustainability, Ethics and New Practice by Tony Fry

Art Quote of the Day

“When we consider the  creative arts today, we tend to think that culture is a prerequisite for artistic activity.  In Greek mythology, however, the order is reversed, and the arts and crafts are credited with having civilized the human race.. Athena and Hephaestos, the blacksmith god, were said to have fostered the transition from a wild to a civilized state by bringing the arts and crafts to mankind.  One subtext of these myths is thus the equation of artistic  creativity with civilization.

The early history of art, as far as we know it , is a combination of the modern and the mythological points of view. No visual arts have been found from the Neanderthal era.  It is not until HOMO SAPIENS that the earliest traces of art appear.  By the Paleolithic period, artists were making sophisticated sculptures and painting cave walls.  And with the development of  agriculture in the Neolithic period, people began to produce monumental  stone architecture.  The evident relationship of the creative arts to human evolution resonates with the myth of Arachne‘s challenge.  For it equates artistic creatvity with the human condition, in constrast to the spider , which weaves by rote.”

The Methodologies of Art – An Introduction  by Laurie Schneider Adams

Just from one lowly artist and professor of the arts may I just say….. let’s not go back to caveman days and PROMOTE more arts in schools at EVERY level !!

“Art Quote of the Day”

“One thing that can be securely said about “art” is that is  derives ultimately from an inborn human impulse to create.  Give children crayons , and they draw.  Give them blocks, and they build.  With clay, they model; with a knife and a piece of wood, they carve.  In the absence of such materials, children naturally find an outlet for their artistic  energy.  Sandcastles, snowmen, mudpies, scribbles, and treehouses are all products of the child’s impulse to impose created form on the world of nature . What  children create may vary according to their environment and experience, but they  invariably create something.  This is borne out by biographies and autobiographies of artists, which frequently record a drive to draw, paint, sculpt, or build in early childhood.  How such childhood drives are channeled depends on a complex interaction  between the nature of the society, the family, and the propensities and experience of the individual.

All the creative arts – including the visual arts – separate the human from the nonhuman.  Animals build only in nature, and their buildings are determined by nature. { Birds make nests, spiders weave webs, caterpillars spin cocoons, bees create hives } . Such constructions are genetically programmed by the species that make them, and do not express individual or cultural ideas.

People , on the other hand,  build in contrast to nature, even though buildings can be related to nature.

For example,because of its open spaces and unpolished surfaces, Stonehenge strikes viewers as naturally  related to the site. It also creates a visual transition between earth and sky. But it is distinct from nature in being man-made and in expressing cultural ideas. It reflects , for example, the belief that sones are imbued with a magic power to fertilize the earth.  And, on a broader level, Stonehenge exemplifies the monumental stone architecture that developed when people made the transition from Paleolithic hunting societies to agriculture.”

The Methodologies of Art – An Introduction , by Laurie Schneider Adams