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The artist perfected nature it is through the eyes because out it's a medium of the eye you don't need hands to create out one side if his right hand becomes too clever in drawing. He will chop it off and draw what is left. He could have drawn with his feet or with his nose or with his elbow. Doesn't matter what instrument you use and it doesn't matter what made you the artist. Parker aside our evolution what have you heard here the artist not only anticipated evolution he made me evolution because evolution in our time. Has become conscious. The outers shouter the path of the few
and the more ups and the more out of the more powerful. A work of art can never become parents with nature a work of art can only be compared to other works of a completely seperate superior silent perfected world. A work of art. If Now it is a newly armony which confronts you and addition to the total culture of our planet. I privately believe that when you sound a bit way out but I once. Created a new symbol is very difficult to create new symbols and I created a new symbol which is a combination of other things of course as is always the case
and I was walking like in a Toms having a few times in my life come up with something really new and know what you know. And thinking about this for many many years I came to the conclusion that any Neuberger of our whatsoever and I don't use values judgement I don't I'm not interested in good or bad which is old fashion. I'm simply into it in a new work of art. It seems to me that any new york of out is a contribution to the total culture of the galaxy not just of this planet because we are interdependent that is an ancient idea which you know of course that got becomes more conscience conscious as man becomes more conscious. That's neoplatonic. It is our task it is our job. Our problem to come to terms with doesn't
have to come to terms with us are confronting us silently. And it is we stand nude before I work of art and often very embarrassed. To clean or to be. Ladies and gentleman. It is mere revelation. Here are two. I'm now dying manage. And we know we believe we'll need a new bag of infinity. I think every style makes infinity a little larger because religion will now deal with visual dimension and I see here many painters and sculptors which I'm very grateful and some experimenting with a warped and shaped
canvases and some experimenting with forms that are majestic detachments. And they they show you your humanity. I think you are makes man more human in the confrontation and in itself. To create is to sail into the unknown. To anticipate rather than to leap. To did not tradition the gangrene of history. To believe in oneself and in leave validity up one's own intuition. In short to be creative. Ladies and gentleman is to
be a model. I would like to take for my lecture is a visual model a painting by the Belgian painter Marguerite which hangs in the Museum of Modern Art in New York. It is a relatively small painting. Where you find a finger a gigantic single eye. Floating in a rectangular space. In brown tones of brown. Will and I Me and open I read in which I was a blues guy and always under the cloud. And the black pupil and the
clouds are cut off by the flood. If you live in Sydney I speaking out because it is me I know me out it would you say it is not the cause. In MA If you look at Margaret's paintings in the museum modern art if you get there. You would look at this guy and you will not know whether this is the eye of man. All the eye of God whether the cosmos that floats through the iris in across much of the infinity will in all infinity with us that is out of it works both ways. I like to interpret I buy my dream which is actually called the
Magic Mirror. It does not mirror a reality. I would like to cite a short statement about 8 to 15 century mystic to echo and it throws the menders light on the double meaning of this which may be the eye of man. And it also may be the eye of God and my take on the by which I feed it the same in the eye of my Would you God sees me. My I'm not I are one and the one in feeing one unknowing and one unloving. There I have a pain. A.
The word is exciting. The English painter crumple paper and unit our highest order. Who else you know of course specializes in streaming out Donald and follow ups. What immense power outage can evoke. My contention is that as I think of certain works of art to illustrate what I like to say that really I would be out out if superior to the reality of reality. That the outfit the afters identified with an aspect of nature that is invisible. He identifies with the powers that we're in nature in other words the nature of nature which cannot be verbalized
at all so in a particular painting by Bacon I'm thinking of a painting which is a invalidation of a painting by Milan where Pope Innocent and then you have to be you have the Pope sitting on a throne tying with you in a room where in the lonely a.m. Of course the cables are pained and in hand and any sign of the obvious you are holding the Nativity here into space is exploding NDH dream in evil. What can have interpretation of this country. It is shocking in its power out all white leaders and beyond that what you see out until the day and also not create the reality which you do not even exit
there ever heard of. I'm thinking of to illustrate my dog I'm thinking of a painting by guna violence. A quote a fictional so called Eden I'm all talk. Where where the story of the New Testament is painted with a reality that ranges from the wooden panel that the christ painted by glue involved is infinitely more real than the Christ that is virtually consummated by the New Testament only hane n out can evoke that type of power and reality and including the body that has the what he painted is the is the death of the flesh. And the Internet thing is it not me. The lawyer clogged. The White. Tone knowing claws are bulky in your body
is in itself a LAN cable is in itself a stormy scene. It is an abstraction which does not compete with the body but adds to the body and repaste the face which falls up on the jet and the open lips in the downcast eyes and these swollen the muscles and the gangrenous skin. We anticipate all of that. And if this is the great then which will absolve all the smog. And one can go further than can come to a modern master citizen and as you know not only do landscapes of his son but also the figure itself part of it. His wife the women on a particular painting I'm thinking of a woman with a coffee pot. Now we meet physical tactile. Plus our obvious two dimensional painting is infinitely
superior to the silly model home he borrowed to city boy. I do not think that out is superior to the individual paintings that I don't think for a very simple reason that man every man and the artist in particular. Has As long as he is alive and unfulfilled potential and the potential of cause is infinite. I am not criticizing the man qua man. I am criticizing the uncreative I am criticizing the destructor I am criticizing the traditionalist I'm criticizing those who are tired out never have a man and never the outers. Regardless of what he does. So it seems to me as if a man like the father of contemporary out one able to
invent his form with a plan. Take any physical and spiritual reality which is of course superior. Do anything the ice that is the eye which is not intuitive. Because the artist's eye is the intuitive I need tactile I the iron that looks like a physician can see bumps under the skin we cannot see the Outers looks right into the psyche right through the skin and in a sense this is a defense of some of these styles up to date what present man in a in a tragic a guise and people say all well all these gang units because all the skin tone of all the skeletons. Well that's nothing else than an attempt to look into and through to discover the true essence. So sais undiscovered the true at least our form e-discovery a 8 tactile and physical structure in nature
which is superior to that of the ality. As out always. And I would also like to refer in passing and to completely objective out I'm thinking of all the great plans ups not the Expressionist who cause one must admit follow the American Klein after all abstract expressionism is a school of New York and to its eternal honor the school of it united downtown in the very neighborhood in which we are standing right now. But in an object of out you just have been forced to leave home is to let the surface area lit up and all the abstract expressionist and Huffman through Klein will fall out to so large all over money and giggling. Motherwell they all intend to
preven a a mysticism of form to please gently to make the invisible visible to tyrannize ID out and by and by merging critically with a canvas by crawling into the canvas by wielding paint brushes nobody is ever seen because the last panes where a broom and Klein painted with paint Wallace in god knows what tools and then it doesn't really matter. Jackson Pollock walked into his painting. And Paul I know he's not on him but in the case of so large if you can visualize the reason for our courting the blues haters there you have as if it were cosmic rains that left that places up on a camel. So it was my pleasure to sketch for you a theory of creativity in a short compact
and I believe in conclusion that the creative act is God line and he got my creative act in similar to the creating and creative act of man. And both I maintained are one and the same creative. Thank you very much. For if you've heard Peter finger professor of art at Pace college as he spoke on the topic the creative eye this was another program in the series peace love and creativity the hope of mankind. On our next program author and psychoanalyst Daniel Schneider will discuss a new concept of the mind. These programs are recorded at the
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Series
Peace, love, creativity: Hope of mankind
Episode
The creative eye, part two
Producing Organization
WNYC (Radio station : New York, N.Y.)
Cooper Union for the Advancement of Science and Art
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-7s7hv772
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-7s7hv772).
Description
Episode Description
This program presents the second part of a lecture by Peter Fingesten, Professor of Art, Pace College.
Other Description
This series presents lectures from the 1968 Cooper Union Forum. This forum's theme is Peace, Love, Creativity: The Hope of Mankind.
Date
1968-07-02
Topics
Philosophy
Media type
Sound
Duration
00:18:15
Credits
Producing Organization: WNYC (Radio station : New York, N.Y.)
Producing Organization: Cooper Union for the Advancement of Science and Art
Speaker: Fingesten, Peter
AAPB Contributor Holdings
University of Maryland
Identifier: 68-10-30 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:17:58
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “Peace, love, creativity: Hope of mankind; The creative eye, part two,” 1968-07-02, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed May 21, 2022, http://americanarchive.org/catalog/cpb-aacip-500-7s7hv772.
MLA: “Peace, love, creativity: Hope of mankind; The creative eye, part two.” 1968-07-02. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. May 21, 2022. <http://americanarchive.org/catalog/cpb-aacip-500-7s7hv772>.
APA: Peace, love, creativity: Hope of mankind; The creative eye, part two. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-7s7hv772