Category Archives: Inspiration

Pearls from artists* # 386

Barbara’s studio with recent works in progress

Barbara’s studio with 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.

[Art] is concerned with something that cannot be explained in words or literal description… Art is revelation instead of information, expression instead of description, creation instead of imitation or repetition… Art is concerned with the HOW, not the WHAT; not with literal content… The performance – how it is done – that is the content of art.

Joseph Albers quoted in Ninth Street Women by Mary Gabriel

Comments are welcome!

Pearls from artists* # 385

Potosí, Bolivia

Potosí, 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.

Sunday of Carnival, the parade begins.  For a whole day of celebration in music and dance, people can express their hope and fears, revive their myths and escape to a reality far from everyday life.

Thousands of spectators arrive from different parts if Bolivia and other countries.  Filling the streets, they straddle benches, window ledges, balconies, cats and eve hang from walls or roofs to witness the entrance of the Carnival.  Thus is the magnificent parade when Carnival makes its official entry into Oruro.  The comparsas (dance troupes) dance to music for20 blocks, nearly eight lies, to the Church of the Virgin of Socavón (Virgin of the Mine). Each tries to out do the next in the brilliance of their costumes, the energy of their dancing and the power of their music.  All their efforts are dedicated to the Virgin whose shrine is found on the hill called Pie de Gallo.

If there are thousands of spectators, there are also thousands of dancers from the city and other parts of the country.  Among the most remarkable are the Diablos and Morenos which count for eight of the 40 or 50 participating groups.  Keeping in mind that the smallest troupes have between 30 and 50 embers and the largest between 200 and 300, it is possible to calculate the number of dancers and imagine the spectacle.

Each dance recalls a particular aspect of life in the Andes.  Lifted from different periods and places, the dances offer a rich interpretation of historical events, creating an imaginative mythology for Oruro.

… Carnival blends indigenous beliefs and rituals with those introduced by the Spaniards.  Both systems of belief have undergone transformations, each making allowance for the other, either through necessity or familiarity.  The Christianity  fought from Europe becomes loaded with new meanings while the myths and customs of the Andes accommodate their language and creativity to the reality of their conquered world.  The process can be seen as a struggle culminating in a ‘mestizaje’ or new cultural mix.

El Carnaval de Oruro by Manuel Vargas in Mascaras de los Andes Bolivianos, Editorial Quipus and Banco Mercantil

Comments are welcome!

Pearls from artists* # 384

Overlooking Copacabana, Bolivia and Lake Titicaca

Overlooking Copacabana, Bolivia and Lake Titicaca

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

Carnival in Oruro [Bolivia] is a glorious spectacle.  It’s flash, pomp and brilliance can be enjoyed without understanding its long history and intricate mythologies.  Still, the onlooker is left with a thousand questions that are not so easily answered.  Behind the glitter of Carnival lie the history, the timeless myths and the distinct traditions of this mining community.

According to the Spanish writer Jean Laude, “The function of the mask is to reaffirm, at regular intervals, the truth and presence of myths in everyday life.”  This suggests that masks should be studied in context, noting their association with the individual dancer and the history, myths and traditions of the community that produces them.  The mask has to be animated within its ritual, comic or social role.

A first step in appreciating the masks is to understand something of the land and people that crafted them.  Oruro is a mining city on the open Altiplano at 3,700 meters (12,144 ft.) above sea level.  The sky appears a rarified blue, it is intensely cold and a constant wind lifts dust to the eyes.  During the year no more than 125,000 people live in the city.  Suddenly in the weeks of Carnival, the population doubles or triples.

Three languages, Quechua, Aymara, and Spanish are spoken in Oruro.  Their use reflects an ancient pattern of conquest in the history of this land.  It is said that the Urus, whose language is now almost lost, were the first inhabitants.  In time they were dominated by the Aymara tribes.  Later, Quechua was introduced as the Inca advanced their empire from Cuzco.  Ultimately the Spanish arrived and founded the present city in 1601 to exploit rich mineral deposits found in the seven hills.

Today, descendants of the Urus live near Oruro around the shore of Lake Poopo.  Elements of their distinctive culture remain but they have no wealth in comparison with the more dominant Aymara and Quechua who surround them.  A further change came in the recent past because Oruro has acted as a magnet, attracting many people from the countryside to work in the mines.

On one side were the Urus, ancient owners of all the land which now only carries their name (Uro Uro = Oruro).  On the other side were the miners, many of whom were Quechua and Aymara migrants.  In the middle is “Carnival.”

El Carnaval de Oruro by Manuel Vargas in Mascaras de los Andes Bolivianos, Editorial Quipus and Banco Mercantil

Comments are welcome!

Q: What do you do when you are feeling undervalued and/or misunderstood as a visual artist?

On a favorite walk

On a favorite walk

A:  After more than three decades as a professional artist, I wish I could say this rarely happens, but that’s not the case.  People say dumb things to artists all the time and I’m no exception.  Often I tune it out, remembering the title of a terrific book by Hugh MacLeod called, “Ignore Everybody and 39 Other Keys to Creativity.”  Come to think of it, it’s time for a re-read of Hugh’s wise book.

But ignoring people is not always possible.  So I might take a break from the studio, go for a long walk along the Hudson River, compose photographs, think about what’s bothering me, and try to refocus and remember all the positive things that art-making has brought to my life.  I always feel better after this simple ritual.

Here’s another helpful quote that I read recently and try to remember:

‘’An artist cannot fail; it is a success to be one.” – Charles Cooley

I wonder, what do you do?

Comments are welcome!

 

Pearls from artists* # 383

“Sentinels,” Soft Pastel on Sandpaper, 38” x 58” image, 50” x 70” framed

“Sentinels,” 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.

… I mean to say that a work of art is a gift.  The gifted artist contains the vitality of his gift within the work, and thereby makes it valuable to others.  Furthermore, works we come to treasure are those which transmit that vitality and revive the soul.  Such works circulate among us as reservoirs of available life, what Whitman calls “the tasteless water of souls.”

Lewis Hyde in The Gift:  Imagination and the Erotic Life of Property 

Comments are welcome!

 

Pearls from artists* # 382

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.

I think a man [sic] spends his whole lifetime painting one picture or working on one piece of sculpture.  The question of stopping is really a decision of moral considerations.  To what extent are you intimidated by the actual act, so that you are beguiled by it?  To what extent are you charmed by its inner life?  And to what extent do you then really approach the intention or desire that is really outside it?  The decision is always made when the purée has something in it that you wanted.

Barnett Newman quoted in The Unknown Masterpiece by Honore Balzac

Comments are welcome!

Pearls from artists* 381

Barbara’s studio with work in progress

Barbara’s studio with work 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.

A work of art, if it is art, is not an end but a beginning.  It is a challenge to the artist who produced it and to the artists around him to take the next step, to answer the questions raised by the work, to achieve what he or she has yet to accomplish.  It also represents a challenge to the non-artist, who is offered a fresh vision.

Mary Gabriel in Ninth Street Women

Comments are welcome!

Q: What advice would you give to up and coming artists, as well as experienced artists, who want to reach the level of publicity and notoriety that you have achieved?

On my studio wall

On my studio wall

A:  I have several pieces of advice:

Build a support network among your fellow artists, teachers, and friends.  It is tough to be an artist, period.  Be sure to read plenty of books by and about artists.  You will learn that all have experienced similar challenges.

Do whatever you must to keep working – no matter what!  Being an artist never gets easier.  There are always new obstacles and you will discover solutions over time.

When I left the active duty Navy in 1989, my co-workers threw a farewell party.  One of the parting gifts I received was a small plaque from a young enlisted woman whom I had supervised.  The words on the plaque deeply resonated with me, since I was about to make a significant and risky career change.  It was the perfect gift for someone facing the uncertainty of an art career. 

Many years later the plaque is still a proud possession of mine.  It hangs on the wall behind my easel, to be read every day as I work.  It says:

“Excellence can be attained if you…

Care more than others think is wise…

Risk more than others think is safe…

Dream more than others think is practical…

Expect more than others think is possible.”

I continue to live by these wise words.

Comments are welcome!

Pearls from artists* # 380

“John,” Soft Pastel on Sandpaper, 22” x 28” (image), 1989.

“John,” Soft Pastel on Sandpaper, 22” x 28” (image), 1989.

* 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 freedom he enjoyed came at a cost.  But those fears and irritations evaporated amid the support the artists gave one another immediately after the war.  A community developed that sustained them and gave them courage.  “You have to have confidence amounting to arrogance, because particularly at the beginning, you’re making something that nobody asked you to make,”  Elaine [de Kooning] said.  “And you have to have total confidence in yourself, and in the necessity of what you’re doing.”  That was much easier done in a group of like-minded individuals.

Mary Gabriel in Ninth Street Women

Comments are welcome!

Pearls from artists* # 379

"Blind Faith," 38" x 58," soft pastel on sandpaper

“Blind Faith,” 38″ x 58,” soft pastel on sandpaper

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

Elaine’s and Bill’s [de Kooning] relationship involved a continual exchange of ideas that wasn’t restricted to conversations with friends.  In the quiet of their studio when they were finally alone, they’d climb into bed and Elaine would read to Bill.  Faulkner was a favorite.  She also read Ambrose Bierce’s Civil War tales.  And she would read Kierkegaard.  That nineteenth-century father of Existentialism wrote with great passion about the essential solitude and uncertainty of the human struggle.  They were words of consolation for Bill and Elaine who, though confident in their paths as artists, could not have been free of the nagging fear that they might spend their lives looking and never find what they sought in their work.  Kierkegaard seemed to say that it didn’t matter, that it was striving that counted, and he described the need to reconcile oneself to the unknowable that was man’s fate.  The artist, he said, had a crucial role to play in that regard.  Like a religious figure who was an envoy from a realm most people could not access, the artist through his or her work revealed pure spirit so that men mired in the bitter reality of daily life might find the strength to continue.

Mary Gabriel in Ninth Street Women

Comments are welcome!

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