Author Archives: barbararachkoscoloreddust

Pearls from artists* # 270

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.

As Charlie Parker quipped, “If you don’t live it, it won’t come out of your horn.”  And it won’t register in your bearing:  this is the earned credit for trying to walk the daily tightrope and tell your story when you get to the other side.  

Joel Dinerstein in The Origins of Cool in Postwar America    

Comments are welcome

Q: When you are in your studio working on a pastel painting and pause to consider what you have done, do you ask yourself, “Is it good?”

"The Champ," soft pastel on sandpaper, 26" x 20" image, 35" x 28 1/2" framed

“The Champ,” soft pastel on sandpaper, 26″ x 20″ image, 35″ x 28 1/2″ framed

A:  Certainly, I do.  In addition, I ask myself some other important questions:  

Is it the best I can do?

Is it exciting?

Is it surprising?

Is it idiosyncratic and unique to me?

Is there anything I can do to improve it?

Does it meet (or hopefully exceed) the exacting technical and formal standards I have set for my work?  

Will I be proud to finally see my signature on it?

Comments are welcome!

Pearls from artists* # 269

"White Star," soft pastel on sandpaper, 38" x 58"

“White Star,” soft pastel on sandpaper, 38″ x 58″

* 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 an artistic sense, cool came to refer to someone with a signature artistic style so integral as to exude an authentic mode-of-being in the world:  Miles, Bogart, Brando, Eastwood, Greco, Elvis, Lady Day, Sinatra.  Such a person created something from nothing and gave the world some new artistic or psychological “equipment for living,” to use a phrase of Kenneth Burke’s.  A signature style is yours and can only be carried by you:  it cannot be abstracted except through dilution and commodification since it reflects an individual’s complex personal experience.

Joel Dinerstein in The Origins of Cool in Postwar America    

Comments are welcome

Q: How do you deal with the loneliness of working in a studio?

Barbara's studio

Barbara’s studio

A:  I never feel lonely when I’m working.  I love being in my studio and even after thirty years, still find the whole process of making a pastel painting completely engaging.  

Painting is the one activity that not only uses all of my mental and physical abilities, but challenges me to push further.  I am at my best in the studio.

Because there is always more to learn and process into the work, creating art is endlessly fascinating!  Most artists probably feel the same way.  It’s one of the reasons we persist.  

Comments are welcome!           

Pearls from artists* # 268

The Lightning Field, Quemado, NM

The Lightning Field, Quemado, NM

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

Visit 1:  October 18 and 19, 2003, continued

The long drive through the New Mexico landscape from Albuquerque to Quemado to The Lightning Field is a gradual slide towards emptiness, a prelude.   Or a subtle preparation for the eyes and mind.  The practicalities of the cabin provide simple accommodations that address basic needs to maximize focus and minimize distraction.

At The Lightning Field, my experience of space began with the rational structure of the grid, which was eventually exposed by less rational behavior.

The artwork locates the physical environment in space, and my perception of the work began with the regularity of the grid.  The repeated unit of the pole was not significant, only its holistic engagement between human scale and the landscape of the sky.  Then the effects of light, the anticipation of cycles of change through the course of the day and night, the possibility of the unpredictable.    

Laura Raicovich in At The Lightning Field

Comments are welcome!

Start/Finish of “The Champ,” soft pastel on sandpaper, 26″ x 20″

Start

Start

Finish

Finish

Comments are welcome!

Pearls from artists* # 267

The Lightning Field, Quemado, NM

The Lightning Field, Quemado, NM

* 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 1968, art critic David Bourdon wrote (before The Lightning Field was built):  “De Maria is after a deeper commitment on the part of the spectator, who is asked to become an agent or catalyst in the fulfillment of the work… the burden of response is placed not on the sculpture but on the spectator.

Laura Raicovich in At The Lightning Field

Comments are welcome!

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I’m working on the third pastel painting in my new “Bolivianos” series.  This one is only a few days old and has no title yet.

Comments are welcome!

Pearls from artists* # 266

Washington, DC

* 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 easy to describe the natural objects that we can hold in our hands, or move into view, as we would describe works of art:  and this conditions the kind of pleasure we take in them.  They are objets trouves, jewels, treasures, whose perfection seems to radiate from themselves, as from an inner light.  Landscapes by contrast are very far from works of art – they owe their appeal not to symmetry, unity and form, but to an openness, grandeur and world-like expansiveness, in which it is we and not they that are contained.   

Roger Scruton in Beauty:  A Very Short Introduction

Comments are welcome!

Q: Is your work fast or is it slow?

Barbara's studio

Barbara’s studio

A:  I work extremely slowly.  I’m a full-time artist and I spend three or four months on each pastel painting, sometimes longer if it’s an especially difficult piece.  

I generally have two pastel paintings in progress and switch off when one is causing problems.  The paintings tend to interact and influence each other.  Having two in progress helps me resolve difficult areas quicker, plus when one is finished, I still have something to work on.  So there’s rarely any dead time in my studio.

Comments are welcome!