The meat of Spark is, of course, the perspective and experiences of the artists themselves, but Julie Burstein, who produced the radio show and compiled the interview excerpts, offers a few insights into the creative process from her own experience. Here, she’s recounting part of a conversation with her mother, a college professor and author.
“My mother often reminds me that beginning a new project doesn’t start when you sit down at your desk to write, or stand in front of a canvas with a palette full of paint, or figure out a new tune on a piano. For most creative work, there’s a period that she likes to call ‘pawing the earth,’ when we must create the environment in which we can begin.”
– Julie Burstein, radio producer and author
I’m continuing to quote from Spark this month.
Architect Robert Venturi was interviewed with his wife, architect and urban planner Denise Scott Brown
“Quoting T.S. Eliot, [Ventura] pointed out that the creative process consists enormously of criticism. You don’t invent all the time. When you get an idea, you try it out, then you critique it. You work much of the time as a critic of your own ideas.” And he and his wife are critics of each other’s ideas.
Being seen as creative because he’s male, the lone genius, with his wife less creative is a problem. “Both views are stereotypes, and neither acknowledges the complexity in our tasks that pushes us to work creatively together. It’s relevant that we’re not performing artists. If we were, the nature of the collaboration—who is doing what work, how the creative work is shared—might be more obvious.”
I so enjoyed sharing with you quotes from Spark: How Creativity Works by Julie Burstein (2011), a book of excerpts from interviews by Kurt Andersen for Public Radio’s Studio 360 show, which Burstein produced, during February that I’m going to continue that this month.
Poet Donald Hall (1928-2018), on writing about the land he was born on, long held by his family, and the life he lived as a child:
“If we could bring [that world] back, I’m not sure I’d want to live there. I want to keep that world in the world by writing about it. … [ellipses original] This is a motive to literature—preserving what is gone or what is going. And it is, of course, an important part of preservation to try to preserve the dead whom you loved and admired.”
This month, I’m sharing a few of my favorite observations from Spark: How Creativity Works by Julie Burstein (Harper Collins, 2011), based on interviews conducted for Public Radio’s Studio 360, by Kurt Andersen and produced by Burstein.
When asked what artists can do in the face of destruction like the 9/11 attacks, which occurred a week before her interview:
“I think it’s a very sharp moment for people in the arts, those who love the arts, those who make them. I think it asks particularly of people who make art a very poignant question: If you think that art is not worth doing in a time like this, it probably isn’t worth doing at any time. If you think that art is indeed part of what I call the world’s work, then to be loyal to it and to look to it for strength, for its strength now, seems right.”
– poet Marie Ponsot
I’m continuing to share a few of my favorite observations from Spark: How Creativity Works by Julie Burstein (Harper Collins, 2011), based on interviews conducted for Public Radio’s Studio 360, by Kurt Andersen and produced by Burstein.
Trumpeter and composer Terence Blanchard on working on a soundtrack for a documentary about Katrina: “You can’t avoid your daily experiences. You have to write about those. From an artistic point of view, I had to do it. [Surviving and recovering from Hurricane Katrina] became a very emotional thing. … I didn’t want to be a part of that whole movement of folks where when something happens, everybody tried to jump on the bandwagon. But at the same time, I started realizing that I am a part of the story. Being an artist, you can’t avoid your social setting. … The trumpet represents, in my mind, people on the rooftops crying for help and not being heard.”