Author Archives: barbararachkoscoloreddust

Travel photo of the month*

On the ‘Mi Teleferico’ line, La Paz, Bolivia

On the ‘Mi Teleferico’ line, La Paz, Bolivia

*Favorite travel photographs that have not yet appeared in this blog.

Comments are welcome!

Pearls from artists* # 312

Barbara in her studio.  Photo:  Izzy Nova

Barbara in her studio. Photo: Izzy Nova

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

For the young James Joyce, true art is “static,” while false art, which I will here call artifice, is “kinetic.”  These qualifiers, static and kinetic, refer to the effect of the work on the percipient, not to any property of the work itself.  Proper art stills us, evoking an emotional state in which “the mind is arrested and raised above desiring and loathing.”  Improper art does the opposite, aiming to make the percipient act, think, or feel in a certain prescribed manner.  Artifice foregoes the revelatory power that is art’s prerogative in order to impart information, be it a message, an opinion, a judgment, a physiological stimulus, or a command.  Whether the information is good or bad, true or false, pleasant or not is unimportant:  artifice isn’t improper because it is immoral but because it hitches the aesthetic on intentions originating outside the aesthetic realm.  In other words, where art inheres in autoletic expression (expression for its own sake), artifice inheres in practical communication. Proper art moves us, while artifice tries to make us move.   

J.F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action 

Comments are welcome!

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I continue working on “Acolytes,” soft pastel on sandpaper, 38” x 58.”  It’s slow going at this stage as I refine my drawing and bring everything to a high state of finish.  My work is all about details.

Comments are welcome!

Pearls from artists* # 311

On the road in Bolivia

On the road in Bolivia

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

In nature, light and shadow create ephemeral moments of beauty.  To experience the transition from sunset to night we must await and cherish each fleeting moment and not just the finale.  We must be attentive to beauty revealing all its moods.

Amy Tan in In Character: Opera Portraiture, John F. Martin, Foreword by Amy Tan, Preface by David Gockley.

Comments are welcome!

Q: How much of your work is autobiographical?

"The Champ," soft pastel on sandpaper, 26" x 20"

“The Champ,” soft pastel on sandpaper, 26″ x 20″

A:  I suppose all of it is, in the sense that often I can look at a particular pastel painting and remember what was happening in my life when I made it.  As I get older, however, it’s becoming more difficult to remember the circumstances surrounding my earliest work.  Certainly, the cultures of an ever-expanding number of countries – Bolivia last year – are influencing my imagery for the better.

Comments are welcome!  

Pearls from artists* # 310

"Danzante," soft pastel on sandpaper, 38" x 58" image, 50" x 70" framed

“Danzante,” soft pastel on sandpaper, 38″ x 58″ image, 50″ x 70″ framed

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

As Immanuel Kant explained, aesthetic rapture is a peculiar kind of subjective phenomenon, since it presents itself as anything but subjective.  It asks to be shared with others in hopes that they too might experience this thing that has had such a profound effect upon us.  Naturally, the desire to share our astonishment is bound to be frustrated as we meet people who respond to our beloved work with indifference or even revulsion.  We then remember that the affective power of works of art varies from person to person, and even from moment to moment within the same person’s life, a fact we usually put down to personal taste, though little consideration is given to what that term might mean.  People have their own inclinations, and given that the aesthetic is held, not just by Kant but also by common wisdom, to be a private affair, its variability across the broad spectrum of human personalities can only seem inevitable.   

J.F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action 

Comments are welcome!

Travel photo of the month*

New Year’s Eve in Los Cabos, Mexico

New Year’s Eve in Los Cabos, Mexico

*Favorite travel photographs that have not yet appeared in this blog.

Comments are welcome!

Pearls from artists* #309

Barbara’s studio

Barbara’s studio

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

It is a strange thing to catalog the conflicting theories as to what the first artists thought they were doing down there in the caves, because the truth is that, to this day, we do not know why we make art.  In the end, art may not have been our invention at all.  It may well have appeared in history as  it does in the life of many individual artists:  as an outside call, a sudden flash of inspiration, an inner wanderlust exerting such a powerful pull that ultimately we would have to say that Picasso got it wrong:  the early humans did not invent art.  Art invented humanity.         

J.F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action 

Comments are welcome!

My blog turns 6 years old tomorrow! Here is the very first post from July 15, 2012. Q: What does it take to be an artist, especially one living and working in New York?

Barbara's Studio

Barbara’s Studio with works in progress.

A:  The three Big P’s – Patience, Persistence, and Passion.  Without all three you will not have the stamina to work tirelessly for very little external reward.  You can expect help from no one. 

There are so many obstacles to art-making and countless reasons to just give up.  When you really think about it, it’s amazing that great art gets made at all.  So why do we do it?  Above all it’s about making our time on earth matter, about devotion to our innate gifts and love of our hard-fought creative process. 

And, my God, it even gets harder as we get older!  So what do we do?  We dig in that much deeper.  It’s a most noble and sacred calling – you know when you have it – and that’s what separates those of us who are in it for the long haul from the wimps, fakers, and hangers-on.  I say to my fellow artists who continue to work despite the endless challenges, we are all true heroes! 

__________

Lucky me to still be in the same studio!  However, when you visit now, you see more tables full of pastels, more postcards on the walls, newer pastel paintings, etc.  More importantly, what I wrote six years ago still rings true! 

Comments are welcome!     

Pearls from artists* # 308

"The Ancestors,” 70” x 50” framed, in Barbara's studio

“The Ancestors,” 70” x 50” framed, in Barbara’s studio

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Art is mysterious because its purpose is unknown and its effect always exceeds the ends we put it to.  If it is true, for instance, that nearly all human societies see the possession of artistic objects as a sign of prestige and power, it may simply be because art’s primary quality makes it a suitable sign for those who want to legitimize their authority.  And while it may be the case that art ennobles us by bringing beauty into our lives, or that it conveys complex cultural ideas simply and effectively, or that it preserves the beliefs of one age for the next – again, these functions could very well follow from art’s original, mysterious, irreducible shining.  Just as it is the gleam of gold that makes it precious in our eye and not its preciousness that makes it gleam, so the primary quality of art could precede all of its uses and appropriations.  In other words art may be something before it becomes all the things we claim it to be.           

J.F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action 

Comments are welcome!