The Accidental Masterpiece: On the Art of Life and Vice Versa

"The Art of Making a World" and "The Art of the Pilgrimage"

In the chapter titled "The Art of Making a World" Michael Kimmelman focuses on Pierre Bonnard's world. His world apparently did not begin until he met Marthe de Meligny. On that day Bonnard could not have possibly foreseen the masterpieces which would ultimately be created through this relationship. Bonnard tells in a letter to a friend that at times the "secluded life" with Marthe is at times "rather painful" (13). Kimmelman explained that Marthe was very "fragile" and "tuberculosis may have affected her mind" as she became "paranoid" (12). But as Kimmelman points out, "profound art came out of all this" "in their isolated world" (13, 15). Bonnard made for he and Marthe "something joyful out of this claustrophobia: a sensuous fantasy realm for them to occupy together, outside time" (15). This "fantasy realm" seemed to be centered in the bathroom, Marthe's favorite room. She seemed to feel safe in her bath tub, and so this was where Bonnard would tenderly paint her in most of the hundreds of paintings of which Marthe was the subject. Kimmelman writes that Bonnard "thrived in this cloistered environment" (19) of which he chose and therefore "lived all the more intensely through his work" (3).

He goes on to say that Bonnard proves that "a circumscribed world can be made to seem enormous enough through a rich enough imagination" (20). Within this world Bonnard became increasingly enriched by the things he encountered everyday. What we might complain of as a monotonous routine, for Bonnard it "became more and more fantastical" (23). He would "dream" while he painted allowing what he saw in his world to be expressed explicitly through his own eyes which gave his paintings an introspective feeling. When Marthe, the central figure in Bonnard's world, died it did not mean the end of his art. His love for her was undying, and she continued to be the muse of his world.

Kimmelman suggests in chapter 9, “The Art of the Pilgrimage,” that art may be too accessible to us these days. I do not agree with this idea that “little sacrifice may be required on out part to see it” (175). On the contrary, we must sacrifice time, and time is a precious commodity. We are not all writing a book that allows us to travel the world and see these amazing works of art.

Kimmelman believes it is the “virtues of the pilgrimage” that is the true way in which art is meant to be seen. He writes that “it can get us back to the root of art as an expression of what’s exceptional in life” (177). However, he makes it sound as though the only people who would understand this concept and make such a pilgrimage are the “knowledgeable art lovers" (emphasis my own, 177). He describes the "feelings" he had when viewing Matthias Grunewald's Isenheim altarpiece in Germany as being "influenced by the effort of going there" (178). I know that if I were to go to Germany my feelings for an insignificant souvenir would be influenced by the journey that I took to get there. That is why silly souvenirs are made. I am not comparing Grunewald's altarpiece to a souvenir; I am merely pointing out that feelings are obviously going to be influenced by where you are and how you got there. I do understand Kimmelman's point, however, that we must take into consideration the context in which we are viewing a work of art. Most of the time a painting, for example, was not necessarily meant to be displayed on a white wall with artificial light shining on it.

In order to defend his claim, Kimmelman visits many an artist whose art you cannot help but view in its original context. Mostly working in the midwest, because of cheap land, some of the artists he visited put their lives into "gigantic sculptures in very obscure spots, requiring that interested people travel to see them" (179). Donald Judd, "minimalism's chief practitioner" (188), made Kimmelman's point for him when he said:

"The space surrounding my work is crucial to it. As much thought has gone into the installation as into the piece itself. My work, and that of others, is often exhibited badly and always for short periods. Somewhere there has to be a place where the installation is well done and permanent," otherwise "art is only show and monkey business" (191).

Mobile Me

The idea behind my project stemmed from my emotional responses to technology, and thus how it physically effects me. I realized that technology, namely my cell phone, creates within me a panic button. This "panic button" is set off whenever I try to reach someone on the phone and they do not answer. For some reason my cell phone, this inanimate object (in its simplest state), allows me to feel as though I can reach whomever I want, whenever I want; and if I can't reach them then something is wrong. The "panic" sets in almost literally. My mind reels with worry, and my heart begins to race. This emotional and physical response is so unnecessary and stands right on the edge between normalcy and psychosis!

The materials I decided to use were the "guts" of old telephones, severed phone cords and lines, telephone jack plate cover, a used floral printed blouse, and red thread. Each of these materials served a specific purpose and holds a particular meaning.

The blouse was the hardest element in that it was to be the backdrop and frame for the "guts." At first, I thought the shirt choice was secondary, as the focal point was the "guts." However, the softness of the floral design and the material itself created a nice juxtaposition between itself and the hard lines of the electronic pieces. The insides of the telephones became more a part of the blouse, and are almost camouflaged by the color and pattern, emphasizing the point that our technology becomes so embedded in our lives that we can no longer see our lives without it.

The layout of the "guts" and other materials is loosely based on the organization of our internal organs. I have represented the heart, lungs, and kidneys, as well as veins and arteries. On the back of the blouse I used the inner wires of a phone cord to represent the spinal cord. With this design I am implying that the cell phone has become a part of us, and we have become a part of the cell phone. One cannot function without the other. The cell phone is physically and emotionally attached to us. Our cell phones give us a feeling of always being "plugged in" and connected to our loved ones. But it gives us a false sense of security by allowing us to think we can reach them at anytime. So, what happens when we can't? For me, it generates an emotional and physical response that I am sure is taking years off my life.

I am still trying to figure out the best way of going about the "interaction" part of this assignment. I'm not the most assertive person, and because of the nature of my design it requires me to approach people and get their reactions. So, I have come up with some questions to hopefully get the ball rolling:

Q1. How do you use technology on a daily basis?

Q2. Has technology made your life easier, or more complicated?

Q3. Are you able to ever "get away from it all," or does technology make it difficult?

Q4. Do you feel your cell phone is a nuisance?

Q5. Is your cell phone your "lifeline"?

Q6. Do you spend less time with your friends face-to-face because you have a cell phone?

Q7. How would you feel without your cell phone?

Q8. Can you recall a time that your cell phone caused a specific emotional or physical response from you?

Here is one person's responses:

A1. I use technology mainly for work.

A2. Technology has made my life more complicated. It is difficult to take a vacation, or enjoy a weekend. I receive e-mail from work seven days a week.

A3. Technology makes it difficult to leave work and responsibilities behind.

A4. Yes, at times. At other times it is a welcome interruption.

A5. No. I feel I am connected to my loved ones in other ways (spiritually).

A6. I talk with friends less because of e-mail. I have more conversations on the cell phone than I do face-to-face.

A7. I think I would like it. The only negative would be not having access to my family, but we would have more to talk about when we saw each other.

A8. If I am used to talking to someone everyday and I call and they don't answer, especially late at night, I can get very worried.

More responses to come...and pictures (once I figure out how to put them on the computer)...