Category Archives: Domestic Threats

Q: Would you speak about how important it was to get back to work after losing your husband on 9/11?

"She Embraced It and Grew Stronger," 2002, the first pastel painting I completed after Bryan was killed

“She Embraced It and Grew Stronger,” 2003, the first pastel painting I completed after Bryan was killed

A:  On September 11, 2001, my husband Bryan, a high-ranking federal government employee, a brilliant economist (with an IQ of 180 he is still the smartest man I’ve ever met) and a budget analyst at the Pentagon, was en route to Monterrey, CA to give his monthly guest lecture for an economics class at the Naval Postgraduate College.  He had the horrible misfortune of flying out of Dulles airport and boarding the plane that was high-jacked and crashed into the Pentagon, killing 189 people.  Losing Bryan was the biggest shock of my life and devastating in every possible way.

The following summer I was ready to – I HAD to – get back to work.  Learning about photography and pastel painting became avenues to my well-being.  I use reference photos for my paintings, so my first challenge was to learn how to use Bryan’s 4 x 5 view camera (Bryan always took these reference photos for me).

In July 2002 I enrolled in a one-week view camera workshop at the International Center of Photography in New York.  Much to my surprise, I had already acquired substantial technical knowledge from watching Bryan.  Still, after the initial workshop, I threw myself into this new medium and continued studying photography at ICP for several years.  I began with Photography I and enrolled in many more classes until I gradually learned how to use Bryan’s extensive camera collection, to properly light my setups, and to print large chromogenic photographs in a darkroom.

In October 2009 it was very gratifying to have my first solo photography exhibition with HP Garcia in New York. (Please see http://barbararachko.art/images/PDFS/BarbaraRachko-HPGargia.pdf).  I vividly remember tearing up at the opening as I imagined Bryan looking down at me with his beautiful smile, beaming as he surely would have, so proud of me for having become a respected photographer.

Continuing to make art had seemed an impossibility after Bryan’s death.  However, the first large pastel painting that I created using a self-made reference photograph proved my life’s work could continue.  The title of that painting, “She Embraced It and Grew Stronger,” is certainly autobiographical.  “She” is me, and “it” means continuing on without Bryan and living life for both of us.

Comments are welcome!

 

Pearls from artists* # 262

"Big Deal," soft pastel on sandpaper, 58" x 38"

“Big Deal,” soft pastel on sandpaper, 58″ x 38″

* 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 may have been easier to paint bison on the cave walls long ago than to write this (or any other) sentence today.  Other people, in other times and places, had some robust institutions to shore them up:  witness the Church, the clan, ritual, tradition.  It’s easy to imagine that artists doubted their calling less when working in the service of God than when working in the service of self.

Not so today.  Today almost no one feels shored up.  Today artwork does not emerge from secure common ground:  the bison on the wall is someone else’s magic.  Making art now means working in the face of uncertainty; it means living with doubt and contradiction, doing something no one much cares whether you do, and for which there may be neither audience nor reward.  Making the work you want to make means setting aside these doubts so that you may see clearly what you have done, and thereby see where to go next.  Making the work you want to make means finding nourishment within the work itself.  This is not the Age of Faith, Truth, and Certainty.

David Bayles and Ted Orlando in Art & Fear:  Observations On the Perils (and Rewards) of ARTMAKING

Comments are welcome!

Q: Would you comment on the origin of the title for your photographic series, “Gods and Monsters”?

Untitled c-print, 24" x 24" edition of 5

Untitled c-print, 24″ x 24″ edition of 5

A:  My title is borrowed directly from a 2001 catalogue essay by the late art critic, Gerritt Henry.  The essay was about my first pastel painting series (“Domestic Threats”) and it’s called, “Barbara Rachko:  Gods and Monsters.”  

Among other shared interests, Gerritt and I both loved old Frankenstein movies from the 1940s.  Around 1998 interest in James Whale, who had directed the original films, was riding high thanks to an Oscar-winning biopic about his last days in Hollywood.  The film was called, “Gods and Monsters.”  The title was taken from a line in “Bride of Frankenstein,” in which Dr. Pretorius toasts Dr. Frankenstein saying, “To a new world of gods and monsters.”

My photographic series came after “Domestic Threats” and some years after Gerritt’s essay was published.  When I was searching for a title for the photos, “Gods and Monsters” seemed a perfect fit!

Comments are welcome!  

Q: What genre do you work in?

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

A:  I consider all of my pastel paintings and photographs to be “contemporary conceptual realism.”  In my work there is a disquieting quality, a feeling that things are not quite as innocent as they at first seem.   The world I depict is a world of the imagination that owes little debt to the natural world.  As one New York art critic noted, “What we bring to a Rachko… we get back, bountifully.”    

Comments are welcome!

Q: How has your use of photography changed over the years?

Untitled, 24" x 24" c-print

Untitled, 24″ x 24″ c-print

A:  When my husband, Bryan, was alive I barely picked up a camera, except to photograph sights encountered during our travels.

Throughout the 1990s and ending in 2007, I worked on my series of pastel-on-sandpaper paintings called, “Domestic Threats.”  These were realistic depictions of elaborate scenes that I staged first in our 1932 Sears house in Alexandria, Virginia, next in a New York sixth floor walk-up apartment, and finally in my current New York apartment.

I use Mexican masks, carved wooden animals, and other folk art figures that I discovered on trips to Mexico. I staged and lit these setups, while Bryan photographed them using his Toyo-Omega 4 x 5 view camera.  We had been collaborating this way almost from the beginning (circa 1991).  Having been introduced to photography by his father at the age of 6, Bryan was a terrific amateur photographer.

Bryan would shoot two pieces of 4 x 5 film at different exposures and I would select one, generally the one that showed the most detail in the shadows, to make into a 20 x 24 photograph. The photograph would be my starting point for making the pastel painting. Although I work from life, too, I could not make a painting without mostly looking at a reference photo. 

After Bryan was killed on 9/11, I had no choice but to study photography.  I completed a series of photography classes at the International Center of Photography in New York, turned myself into a skilled photographer, and presented my first solo photography exhibition at HP Garcia in New York in 2009.

Comments are welcome!

Q: One can’t help but make connections between the devastating effects of 9/11 and your series, “Domestic Threats.” Would they be right?

“No Cure for Insomnia,” soft pastel on sandpaper, 58″ x 38″

A:  Well, not exactly, since I began this work in 1991.  

All of the paintings in this series are set in places where I reside or used to live, either a Virginia house or two New York apartments, i.e., my personal domestic environments. Each painting typically contains a conflict of some sort, at least one figure that is being menaced or threatened by a group of figures.  For example, in “No Cure for Insomnia (above) the threatened figure is me.  So it was an easy decision to name the series “Domestic Threats.”  My idea was that these paintings were psychological dramas: surrealistic, metaphoric depictions of human fears, anxieties, inner conflicts, demons, etc.  

But depending on what is/was going on in the country at a particular moment, people make other associations. Since my husband was killed on 9/11, people think the title, “Domestic Threats,” was prescient and ascribed all kinds of domestic terrorism associations to the work. For a time viewers thought I was hinting at scenes of domestic violence, but that also is not what I intended.  The title “Domestic Threats” has proven to be fraught with associations that I never considered.

However, I am fine with any interpretations that are elicited because it means my paintings are getting a response.  That’s important.  I have been working, studying, and thinking about art for thirty years and hopefully, that’s reflected in the work I create.  It’s natural that it takes time for people to ponder all the complexities in a work of art.

Maybe this comment by the late Gerrit Henry, a New York critic, is more true now than when he wrote it sixteen years ago:  “What we bring to a Rachko, in other words, we get back, bountifully.”

Comments are welcome!

Q: Would you talk about your first solo exhibition in a commercial gallery?

"Big Deal," soft pastel on sandpaper, 58" x 38"

“Big Deal,” soft pastel on sandpaper, 58″ x 38″

A:  Although I had exhibited in a number of non-profit galleries in Virginia, Washington, DC, Maryland, New Jersey, and New York, my first solo in a commercial gallery was at 479 Gallery, 520 Broadway, in July 1996.  The previous summer I had entered a juried exhibition there.  My work won first prize and I was awarded a solo show.  

This exhibition was soon followed by representation at an important New York gallery, Brewster Fine Arts, at 41 West 57th Street.  I had my first two-person exhibition at Brewster in October 1996.  The gallery specialized in art by Latin American artists.  Besides myself, the sole non-Latina represented by Brewster was Leonora Carrington.  I quickly began exhibiting alongside a group of illustrious artists:  Leonora, Rufino Tamayo, Francisco Toledo, Francisco Zuniga, and other Latin American masters.  I could hardly believe my good fortune!   

Comments are welcome!       

Q: Is there a pastel painting that you are most proud of?

"She Embraced It and Grew Stronger," soft pastel on sandpaper, 38" x 58," 2003

“She Embraced It and Grew Stronger,” soft pastel on sandpaper, 58″ x 38,” 2003

A:  Without a doubt I am most proud of “She Embraced It and Grew Stronger.” 

After Bryan was killed on 9/11, making art again seemed an impossibility.  When he was alive I would spend weeks setting up and lighting the tableau I wanted to paint.  Then Bryan would shoot two negatives using his Toyo-Omega 4 x 5 view camera.  I would select one and order a 20″ x 24″ reference photo to be printed by a local photography  lab.  

“She Embraced It…” is the first large pastel painting that I created without using a photograph taken by Bryan.  This painting proved that I had learned to use his 4 x 5 view camera to shoot the reference photographs that were (and still are) integral to my process.  My life’s work could continue!

Certainly the title is autobiographical.  ‘She’ in “She Embraced It and Grew Stronger” is me and ‘It’ means continuing on without Bryan and living life for both of us.

Comments are welcome!   

Q: What is the one painting that you never want to sell?

"No Cure for Insomnia," pastel on sandpaper, 58" x 38"

“No Cure for Insomnia,” pastel on sandpaper, 58″ x 38″

A:  There are two:  “Myth Meets Dream” and “No Cure for Insomnia.”  Both are part of my “Domestic Threats” series and were breakthroughs at the time I made them.  They are relatively early works – the first from 1993, the latter from 1999 – and were important in my artistic development. 

“Myth Meets Dream” is the earliest pastel painting in which I depict Mexican figures.  It includes two brightly painted, carved wooden animals from Oaxaca sent to me in 1992 by my sister-in-law.  I have spoken about them before.  These figures were the beginning of my ongoing fascination with Mexico. 

“No Cure for Insomnia” includes a rare self-portrait and is set in my late aunt’s sixth-floor walkup on West 13th Street, where I lived when I moved to New York in 1997.  My four years there were very productive.  

Comments are welcome!  

Q: Would you say there is a unifying quality to all of the work you have produced in the last thirty years?

Barbara's portfolio book

Barbara’s portfolio book

A:  Yes, I can think of several.  Whether making pastel paintings or printing photographs in the darkroom, I have always been concerned with quality and craftsmanship and never pronounce a work finished until it is the best thing I can make. 

Although I started out as a maker of photorealist portraits in pastel, for twenty-odd years I have worked with Mexican folk art as my primary subject matter, treating these objects very differently in three separate series:  “Black Paintings,” “Domestic Threats,” and “Gods and Monsters.”  The first two are pastel-on-sandpaper paintings while the last is comprised of chromogenic photographs (c-prints).  A few years ago I also started making “Teleidoscopes” using an iPad app to photograph my Mexican and Guatemalan folk art collection.  This last one is just for fun; I do not offer them for sale.

Soft pastel is my first love and the two series of pastel paintings are my best-known work.  My technique for using pastel continues to evolve in intriguing ways.  I doubt I can ever learn all there is to know not only about color, but also about this medium.  Pastel is endlessly fascinating, which is why I have never wanted to switch to anything else. 

Comments are welcome!