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An Artist’s Life Manifesto: Marina Abramović’s Rules of Life, Solitude, and Silence

“An artist should stay for long periods of time looking at the stars in the night sky.”

An Artist’s Life Manifesto: Marina Abramović’s Rules of Life, Solitude, and Silence

“The Artist is no other than he who unlearns what he has learned, in order to know himself,” E.E. Cummings wrote in his spectacular meditation on what it really means to be an artist. But if “all art is based upon nonconformity,” as the great artist Ben Shahn asserted, and if unlearning our cultural conditioning is essential to creative work, why do we have such a voracious appetite for the writings, daily routines, and manifestos of celebrated artists?

That tension between guidance and rebellion is what Marina Abramović (b. November 30, 1946) plays with in a piece titled “An Artist’s Life Manifesto,” which opens the twelfth chapter of Walk Through Walls (public library) — the magnificent memoir that gave us Abramović on art, fear, and taking risks.

The manifesto is divided into three parts — an old-fashioned list of rules of personal conduct, the kind which artists like Eugène Delacroix and André Gide kept in their diaries in the nineteenth century; a portion devoted to the artist’s relationship with silence, that ennobler of speech and fertilizer of the imagination; and a section dedicated to the relationship with solitude, that seedbed of self-discovery and supreme fuel for creative work.

To be sure, the manifesto itself bears the characteristic fusion of sincerity and subversion that marks Abramović’s work — although the tenets are rooted in the earnestness of her own experience, it is an undeniable contradiction for an artist who has spent half a century defying the dogmas of art by inventing new forms to prescribe a set of dicta for artists to follow. Out of that deliberate contradiction arises a testament to philosopher Jacob Needleman’s abiding assertion: “There is always something more than two opposing truths. The whole truth always includes a third part, which is the reconciliation.”

Marina Abramović, The Artist Is Present. Photograph by Marco Anelli.
Marina Abramović, The Artist Is Present. Photograph by Marco Anelli.

Abramović writes:

AN ARTIST’S CONDUCT IN HIS LIFE:

An artist should not lie to himself or others
An artist should not steal ideas from other artists
An artist should not compromise for himself or in regards to the art market
An artist should not kill other human beings
An artist should not make himself into an idol…
An artist should avoid falling in love with another artist

AN ARTIST’S RELATION TO SILENCE:

An artist has to understand silence
An artist has to create a space for silence to enter his work
Silence is like an island in the middle of a turbulent ocean

AN ARTIST’S RELATION TO SOLITUDE:

An artist must make time for the long periods of solitude
Solitude is extremely important
Away from home,
Away from the studio,
Away from family,
Away from friends
An artist should stay for long periods of time at waterfalls
An artist should stay for long periods of time at exploding volcanoes
An artist should stay for long periods of time looking at fast-running rivers
An artist should stay for long periods of time looking at the horizon where the ocean and sky meet
An artist should stay for long periods of time looking at the stars in the night sky

During our recent public conversation in San Francisco, Abramović shared three more life-rules she borrowed from her dear friends Lou Reed and Laurie Anderson:

1. Have a good bullshit detector.
2. Fear nothing and no one.
3. Be tender.

Complement this particular portion of the wholly terrific Walk Through Walls with Mary Oliver on the third self and the artist’s task, James Baldwin on the artist’s struggle for integrity, and Sol LeWitt’s electrifying letter of advice on overcoming self-doubt, then revisit Abramović on pain as a focal lens for presence.

BP

You Are Here: Creative Cartography Mapping the Soul of New York

“Diversity fills the city with cartographic potential… New York belongs to everyone, and maps prove it.”

You Are Here: Creative Cartography Mapping the Soul of New York

“Each of us is an atlas of sorts, already knowing how to navigate some portion of the world,” wrote Rebecca Solnit in her imaginative remapping of New York’s untold stories, “containing innumerable versions of place as experience and desire and fear, as route and landmark and memory.” But as fascinating as it is to imagine the world’s greatest metropolis remapped according to its unheralded dimensions, New York’s multitude of parallel realities is itself bountiful fodder for the artistic imagination and has inspired centuries of fanciful cartographic interpretations.

Exploring this lacuna between physical reality and the interpretive imagination is a very different kind of atlas — You Are Here: NYC: Mapping the Soul of the City (public library), envisioned and edited by Katharine Harmon. This localized follow-up to Harmon’s wonderful 2004 atlas of “personal geographies and other maps of the imagination” presents two hundred wildly diverse maps of the city, alongside original essays exploring the most iconic of them. There are historical treasures like the first geological maps of Manhattan, masterworks of art like Paula Scher’s obsessively detailed typographic maps, and conceptually daring pieces like artist Liz Scranton’s honeycomb shaped after the landforms of the NYC subway map. What emerges is a layered inquiry into the relationship between self and space, the plurality of perspectives aimed at the same place, and the myriad ways in which we orient ourselves to the landscape against which we live out our lives.

Jane Hammond,  All Souls (Buttermilk Channel), 2015
Jane Hammond, All Souls (Buttermilk Channel), 2015
Paula Scher, High Line, 2005
Paula Scher, High Line, 2005

Harmon writes in the introduction:

What is it about the city that invites mapping? First, perhaps, is a need to find one’s place here. An endlessly morphing population of contemporary lives humming along, side by side and mutually oblivious, feeds a need to locate oneself. Another New Yorker writer, A.J. Liebling, wrote in 1938 of the city’s multiplicity of lives: “the worlds of weight lifters, yodelers, tugboat captains, and sideshow barkers, of the book ditchers, sparring partners, song pluggers, sporting girls and religious painters, of the dealers in rhesus monkeys and the bishops of churches.” Diversity fills the city with cartographic potential. Density, ethnicity, race, heritage, languages, income differentials, locals versus commuters versus tourists — all can be, and have been, mapped. New York belongs to everyone, and maps prove it.

Bernie Robynson, In the Heart of Harlem U.S.A., 1953
Bernie Robynson, In the Heart of Harlem U.S.A., 1953
Coulton Waugh, Ye Symbolic Mappe of Greenwich Village, 1922
Coulton Waugh, Ye Symbolic Mappe of Greenwich Village, 1922

With an eye to the two hundred dazzling cartographic curiosities included in the book, culled from an initial database of one thousand maps she had compiled, Harmon writes:

New York has no shortage of inventive thinkers who make excellent cartographers. Each act of creative cartography reflects both the state of mind of the mapper and the state of the city. And each contributes another page to a giant, ever-accumulating atlas of New York — an atlas as big as the city’s self-regard. Perhaps, in the end, what makes the city the most mapped metropolis in the world is that it offers complete cartographic liberty.

Maira Kalman and Rick Meyerowitz, New Yorkistan, 2001
Maira Kalman and Rick Meyerowitz, New Yorkistan, 2001
Panorama of the City of New York, 1961– 63
Panorama of the City of New York, 1961– 63

I contributed one of the essays for the book, “A Panorama of Power,” exploring the monumental Panorama of the City of New York currently housed at the Queens Museum. This is what I write:

“A poem,” E.B. White wrote in his 1949 masterpiece Here Is New York, “compresses much in a small space and adds music, thus heightening its meaning. The city is like poetry.” Nothing compresses the city in order to heighten its meaning more palpably than the Panorama of the City of New York — an astonishing feat of architecture, urban planning, and craftsmanship, strangely poetic in its deliberate contrast of scale and significance. To look at it is to see, perhaps for the first time, the city’s elegant enormity.

Constructed by a team of more than one hundred architectural model builders from Raymond Lester & Associates over the course of three years, this elaborate and elegant microcosm reduces every hundred feet of cityscape to one inch of Formica panels and Urethane foam. This conceptual compression cost $672,662.69 to construct in 1964 — the equivalent of approximately five million dollars today. But what makes the Panorama most striking is its affront to our sense of scale — at 9,335 square feet, it is both a miniature and an expanse, containing every street, every park, and every single one of the 895,000 buildings constructed prior to 1992, when Raymond Lester & Associates updated the model.

The Panorama, which now resides at the Queens Museum, was created for the 1964 World’s Fair as a celebration of master-builder Robert Moses and his indelible imprint on the cityscape. A brilliant architect and a fierce politician who publicly defied politicians—including, in one famous incident, President Roosevelt himself—Moses envisioned and brought to life 658 playgrounds, 416 miles of parkways, 288 tennis courts, 678 baseball diamonds, and numerous major roads and bridges. He was a man animated by “an imagination that leaped unhesitatingly at problems insoluble to other people,” as Robert E. Caro wrote in The Power Broker — his Pulitzer-winning 1,200-page biography of Moses.

But Moses, like the city itself, was also a man of duality. Although he began his career as an earnest idealist and an irrepressibly optimistic reformer, the power machine hardened him into a man of “iron will and determination,” in Caro’s words. Intent on bending the world’s greatest city to his will, he imprinted Gotham with his fiery fusion of idealism and egotism. That his legacy should be celebrated by a miniature model of the city, Moses’s favorite toy, is only fitting.
 
Perhaps most emblematic of all is how the Panorama was pitched at the 1964 World’s Fair, where it became a favorite attraction — as an indoor helicopter tour of the city, promising to provide a “god’s-eye view” of the urban ecosystem. In a sense, visitors were invited to try on the view of Moses — a self-anointed god who had drawn the master-map not only of the city’s infrastructure but also of its very character and destiny; the craftsman of the grand stage onto which, in the immortal words of White, “enormous and violent and wonderful events … are taking place every minute.”

Saul Steinberg, View of the World from Ninth Avenue, 1976
Saul Steinberg, View of the World from Ninth Avenue, 1976

In another essay from the book, New Yorker cartoon editor Bob Mankoff considers Saul Steinberg’s most famous cover, both timeless and rendered timely by the recent shock of sobering political perspectives:

I saw the New Yorker cover when it came out in 1976, and it wasn’t long before the magazine, in response to popular demand, made it into a poster. And not long after that you could find it on the walls of apartments and college dorms. Soon it was pretty much everywhere, even if only as a local imitation — who knows, maybe even out there on the far right horizon of the drawing, in Russia, perhaps there’s a yellowing poster of “The View of the World from Novosibirsk.”

[…]

The vast popularity of “View of the World” was that it appeared eminently “gettable,” especially when the image was topped by the New Yorker logo. With that affixed to the image, to put it in New Yorkeese, “what’s not to get?” It seemed to be an unambiguous visualization of that old quote, “If you’re leaving New York, you ain’t going nowhere.”

Yes, it was gettable, and more than that, easily adaptable and therefore adoptable, which is why so many other cities knocked off the cover, to proclaim, however dubiously, under their own local rubric, that they were the epicenter of existence. As a born-and-bred New Yawker, my own take was similar, with the very implausibility implicit in the derivative covers’ claims, actually making my own native chauvinism seem reasonable in comparison. I mean Novosibirsk may be a nice little city, but gimme a break.

Mark Ulriksen, Center of the Universe, 1999
Mark Ulriksen, Center of the Universe, 1999
William Bridges, Plan of the City of New York, with the Recent and Intended Improvements, 1807, from Manual of the Corporation of New York, 1871
William Bridges, Plan of the City of New York, with the Recent and Intended Improvements, 1807, from Manual of the Corporation of New York, 1871
Oscar Newman, Plan for an underground nuclear shelter (detail), from Esquire, December 1969
Oscar Newman, Plan for an underground nuclear shelter (detail), from Esquire, December 1969
Eric Fischer, Paths through New York City, 2011. Data from the Twitter streaming API, August 2011.
Eric Fischer, Paths through New York City, 2011. Data from the Twitter streaming API, August 2011.

Complement You Are Here: NYC with Solnit’s spectacular Nonstop Metropolis, pioneering photographer Berenice Abbott’s black-and-white portraits of Gotham’s changing face, and Jack Kerouac’s tour of the unseen New York.

Illustrations courtesy of Princeton Architectural Press

BP

Eileen Myles Reads “For My Rampant Muse, For Her”

“I could fall for lamp-light…”

Eileen Myles Reads “For My Rampant Muse, For Her”

The poet, novelist, memoirist, lesbian icon, and onetime presidential candidate Eileen Myles (b. December 9, 1949) once overheard someone using the phrase “a rampant lesbian.” With delighted recognition, she did what poets do and wrested from this curious packet of language the makings of a poem.

In her altogether magnificent Design Matters conversation with Debbie Millman, Myles reads “For My Rampant Muse, For Her” — an homage to her friend Robert Creely and his influential 1962 poetry collection For Love. The poem is found in Myles’s Maxfield Parrish: Early & New Poems (public library).

FOR MY RAMPANT MUSE, FOR HER

     Tuesday night     reading For Love on
 my bed. Or writing For Love
   poem is wishing
     when I stop waiting. One thousand times

I’ve read & wrote For Love
     wear my sneakers, drink
  my bourbon,
          be 28 in spite of me

       in mirrors, Christ!
     I look fucking old

          What does the evening
mean? I could fall for lamp-light,
     radio-song,
   “the oval shaped frame of which
   he was particularly fond…

         For Love I would dream
when my schemes fall through, Man,
   could that little girl dance!For Love I will read
it 10,000 times for my tomboy cousin Jean Marie,
     for radio song, For Love
I would not pity me, my 28, sneakers, bourbon
               the unseen
  future of my communications, and     the lamp-
   light, Her, she holds me here, so
          rampantly
    in her evening beauty.

Complement with other beloved poets performing their work — Mark Strand reads “The End”; Langston Hughes reads “We Are the American Heartbreak”; Adrienne Rich reads from Twenty-One Love Songs; Elizabeth Alexander reads “Praise Song for the Day”; Sylvia Plath reads “Spinster.” Then, drink in more of Myles’s varied genius in her fantastic Design Matters interview:

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