Category Archives: An Artist’s Life

Q: I understand your comments to mean that being at the studio challenges you to be your best. How (why) do you think that works? (Question from Nancy Nikkal)

"Avenger," soft pastel on sandpaper, 58" x 38"

“Avenger,” soft pastel on sandpaper, 58″ x 38″

A: I am always trying to push my pastel techniques further, seeking to figure out new ways to render my subject matter, expanding my technical vocabulary. It would be monotonous to keep working the same old way.  Wasn’t it John Baldessari who said, “No more boring art?”  He was talking about art that’s boring to look at.  Well, as someone who CREATES art I don’t want to be bored during the making so I keep challenging myself.  I love learning, in general, and I especially love learning new things about soft pastel.

Very often I start a project because I have no idea how to depict some particular subject using pastel.  For example, one of the reasons I undertook “Avenger” was to challenge myself to render all of that hair!  Eventually I managed to figure it out and I learned a few new techniques in the process.

Comments are welcome!

Pearls from artists* # 414

New York, NY

New York, NY

*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 we grow into our true artistic selves, we start to realize that the tools don’t matter, the story does.  Your point of view and the way that you express yourself as a photographer are how you tell the stories that matter to you.  And that, my friends, is therapeutic.

There’s a certain amount of Zen in that act.  Peace and tranquility are hard to come by in today’s world.  But through photography, we all have a chance to find both.

As photographers, we sometimes lose sight of the fact that our ability to use a camera gives us a chance to show everyone else who we are.  Young photographers often obsess over doing something new. Older photographers, like Rick and I, realize that the real goal is in being you.  So focus on being you not on being new for new’s sake.  This is the path to both inner and outer success.

People will ask you what you photograph.  I personally am often described as a bird photographer.  But we are not what we do.  It’s important to note the difference.  And that is because people don’t care what you do.  They care why you do it.  If you are doing what you are meant to do, you will be able to articulate your own why. 

Scott Bourne in Photo Therapy Motivation and Wisdom by Rick Sammon 

Comments are welcome!

Travel photo of the month*

Ollantaytambo in Peru‘s Sacred Valley

Ollantaytambo in Peru‘s Sacred Valley

* Favorite travel photos that have not yet appeared in this blog

Because reminiscing while looking through old photographs is one of the few ‘travel’ options open to Americans now… sigh!

Comments are welcome!

Pearls from artists* # 413

New York, NY

New York, NY

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

We photographers are particularly drawn to light in all of its manifestations.  Who knows why?  We just simply seem to be attracted to light more than other people, even when we’re not taking photos.  We notice little things.  The way a curtain might cut a shadow across the floor.  The way a blue iris might fold light into itself.  The way a child’s skin has a glow without any filters.  And as we all know, beautiful caverns can be created by the manner in which water flows through rock.  I think there is a parallel with us.  The light that flows through us carves our souls.

Rick Sammon in Photo Therapy Motivation and Wisdom   

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Pearls from artists* # 412

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.

The obstacles faced by women who hoped to leave a mark on humankind have, through the millennium, varied in height but not in stubborn persistence.  And yet, a great many women have stubbornly ignored them. The desire to put words on a page or marks on a canvas was greater than the accrued social forces that told them they had no right to do so, that they were excluded by their gender from that priestly class called artist.  The reason, according to Western tradition, was as old as creation itself:  For many, God was the original artist and society had assigned its creator a gender – He.  The woman who dared to declare herself an artist in defiance of centuries of such unwavering belief required monstrous strength, to fight not for equal recognition and reward but for something at once more basic and vital:  her very life.  Her art was her life.  Without it, she was nothing.  Having no faith that society would broaden its views on artists by dethroning men and accommodating women, in 1928 [Virginia] Woolf offered her fellow writers and painters a formula for survival that allowed them to create, if not with acceptance, then at least unimpeded.  A woman artist, she said, needed but two possessions:  “money and a room of her own.”          

Mary Gabriel in Ninth Street Women

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Pearls from artists* # 411

On top of an unexcavated pyramid, Veracruz, Mexico

*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 reasserts that U.S. artists have learned and borrowed from Mexican traditions and, above all, that people of goodwill in both countries share in the belief that art unites, it doesn’t divide; it can be utilized to attack inequity and exploitation of the past and present but it also expresses hope and yearning for a better existence than can be realized in the present. 

Vida Americana:  Mexican Muralists Remake American Art, 1925 – 1945, edited by Barbara Haskell

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(My blog turns 8 years old on July 15! As I have done for past anniversaries, I am republishing 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 (in 2012) with works in progress

Barbara’s Studio (in 2012) 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 the ime 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! 

__________

What I wrote eight years ago still rings true.  

Most importantly, THANK YOU to my 61,000+ subscribers for taking this journey with me!

Comments are welcome!     

Happy Fourth of July! Travel photo of the month*

Washington, DC

Washington, DC

* Favorite travel photos that have not yet appeared in this blog

Comments are welcome!

Pearls from artists* # 409

Recent works in progress

Recent works in progress

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

Poets can look at a painting and understand it without having it spelled out [and] painters can read poetry… People say, I don’t understand what it means, about John Ashbery’s poetry.  Painters would never say that… The idea of “I don’t understand what it means,” looking at abstract painting and saying, “Explain it to me, what does it mean?”  You don’t say that, and you don’t ask people to explain music.  And so, poets, painters, composers don’t need explanations.  Explanations are for other people… burdened by logic.

Elaine de Kooning quoted in Mary Gabriel in Ninth Street Women

Comments are welcome!

Pearls from artists* # 408

“No Cure for Insomnia,” pastel on sandpaper, 58″ x 38″ image, 70” x 50” 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.

Classics have nothing to do with aesthetic sophistication.  They use the aesthetic as a springboard to something else.  The creation of a classic will often require the artist to deviate from prevailing standards in order to push the ordinary vision through.  If there is one prerequisite for producing a classic, it is the willingness to follow the vision wherever it leads, even if it demands a breach of convention, technique, or popular taste.  (It may not even be a question of if or when, for how can one produce a truly singular work without reinventing the medium to some extent?)  We often hear that the master artist is “in love” with her material:  that the sculptor loves the marble, the dancer loves the body, the musician loves his instrument.  For the maker of classics, however, the medium always seems to be an obstacle; love is never without a tinge of spite.  William S. Burroughs was so contemptuous of language that he took to describing it as a disease.  He conceived his work as an attempt to confront language in hopes to cure the mind of the “word virus.”  Indeed, if the goal of art is to take us beyond the ordinary preoccupations to reach the heart of the Real, it would seem essential that there be a fight, a struggle to wrest from the medium something to which Consensus dictates it is not naturally inclined. 

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

Comments are welcome!

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