Intimacy Unveiled: Suzanne Anker
Works of art are fragile substances, sometimes materially incarnated and at other times mere actions, or even ephemeral thoughts. To think and more profoundly to embody this form of magical thinking is life’s creative potential and nagging imposition. Obsessionally driven to engage in the process of what comes next, the artist, like the gymnast, summons his powers of concentration and moves center stage into the zone. Even in private, such obliqueness to life carries with it a special spatial coordinate in which failure is not an option. I am thinking about Käthe Kollwitz as she describes in her writings the loss of her son and the ways in which her art became a substitute for life. She speaks of her journey of driven desire, internally apprehended as a withdrawal from life itself. To embark upon a life filled with stops-and-starts, is not particular to artists of a certain sort. But some artists must account for time spent, removed from the practicalities of life, while others engage themselves in the high-stake returns of artist-as-entrepreneur. Like sumo wrestlers sitting in economy airplane seats, some artists have built-in mutability meters and can adjust as necessary in playing art world monopoly. Others are not well suited for such approaches. Ascetic, ravished, egomaniacal, insecure or eccentric are some of the words to describe an artist’s states of being.
Over the past number of years I have pursued projects which have brought me closer to the idea that art...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.