Pearls from artists* # 433

Chatting with Jenny Holzer. It looks like she did not want her picture taken, but she was actually waiving.
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
…Two positions exist, the artistic and the commercial. Between these two an abiding tension persists. The eighteenth-century American painter Gilbert Stuart complained, “What a business is that of portrait painter. He is brought a potato and is expected to paint a peach.” The artist learns that the public wants peaches, not potatoes. You can paint potatoes if you like, write potatoes, dance potatoes, and compose potatoes, you can with great and valiant effort communicate with some other potato-eaters and peach-eaters. In so doing you contribute to the world’s reservoir of truth and beauty. But if you won’t give the public peaches, you won’t be paid much.
Repeatedly artists take the heroic potato position. They want their work to be good, honest, powerful – and only then successful. They want their work to be alive, not contrived and formulaic. As the Norwegian painter Edvard Munch put it: “No longer shall I paint interiors, and people reading, and women knitting. I shall paint living people, who breathe and feel and suffer and love.”
The artist is interested in the present and has little desire to repeat old, albeit successful formulas. As the painter Jenny Holzer put it, “I could do a pretty good third generation-stripe painting, but so what?
The unexpected result of the artist’s determination to do his [sic] own best art is that he is put in an adversarial relationship with the public. In that adversarial position he comes to feel rather irrational for what rational person would do work that’s not wanted?
…Serious work not only doesn’t sell well, it’s also judged by different standards. If the artist writes an imperfect but commercial novel it is likely to be published and sold. If his screenplay is imperfect but commercial enough it may be produced. If it is imperfect and also uncommercial it will not be produced. If his painting is imperfect but friendly and familiar it may sell well. If it is imperfect and also new and difficult, it may not sell for decades, if ever.
Ironically enough, the artist attempting serious work must also attain the very highest level of distinction possible. He must produce Crime and Punishment and The Brothers Karamazov but not also The Insulted and Injured or A Raw Youth, two of Dostoevsky’s nearly unknown novels. He is given precious little space in this regard.
I daresay, this last is why I devote my life to creating the most unique, technically advanced pastel paintings anyone will see!
Eric Maisel, A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists
Comments are welcome!
Q: Would you speak about the creative process that resulted in your 1994 pastel painting, “Amok”?

A: Behind me in the photo above is one of my circa 1994 50” x 40” c-prints, signed by both Bryan, my late husband, and me. The photo was my reference for a pastel painting titled, “Amok” (right, above).
I staged these photos in our Alexandria house (staged photography was popular then), refined the composition over days or weeks, and lit the scene using two tungsten studio lights. I was careful to accentuate the shadows, doing what I could to light everything as though it were a film noir set. (Film noir is still a favorite movie genre of mine).
In those days I knew nothing about photography so I considered these photos collaborations, since Bryan clicked the shutter. (He typically shot two pieces of film using his old Toyo Omega 4 x 5 view camera with a rented wide angle lens). Bryan was reluctant to take any credit- insisting that the idea, concept, etc. were mine – but I persuaded him to also sign the photos. (How I wish he were still around to fill in forgotten details about our collaboration).People enjoyed and often asked to purchase the reference photos so I sometimes had them enlarged and sold them. The dragon in the foreground is significant because it was my first purchase in Oaxaca during our initial trip to Mexico.
If anyone is interested, please remind me to tell the (long) story about how I got it home on the plane!
Comments are welcome!
Pearls from artists* # 432
*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 am asked with surprising frequency, “How do you know where to make pictures?” To the extent there is a rule, the answer is that it is usually where you stop long enough.
Robert Adams in Art Can Help
Comments are welcome!
Q: Do you have any mentors?
A. Unfortunately, no, I have had to forge my own path. I did not attend art school, but I have been fortunate to have had two excellent life-changing teachers.
To read about my circuitous path to becoming an artist, please see https://barbararachko.art/en/art-market.
Comments are welcome!
Pearls from artists* # 431
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Writer Stanley Elkin suggested that all books retell the Old Testament story of Job. Similarly one feels that behind most music there is a struggle with pain. By the time we are adults, the songs we know by heart are often those that acknowledge grief or celebrate release, and the performers we respect are the ones who sing from need – people like Etta James, of whom it was said that she “always hit the notes with the right amount of hurt and hope.”
A photographer’s subject is his or her score, the given notes on a page. The way the photographer hits these notes – shows the subject – determines whether we will be newly reconciled with it.
Robert Adams in Art Can Help
Comments are welcome!
Pearls from artists* # 430
*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 art there must be a governing thought expressed eloquently. We must have it in ourselves, and stamp upon others, just as a medal is stamped… Art is not a pleasure trip; it is a battle, a mill that grinds. I’m not a philosopher. I don’t want to stop pain, or find a formula that makes me indifferent or stoic. Pain is, perhaps, that which makes the artist express himself most distinctly.
Jean Francois Millet quoted by Mariella Guzzoni in Vincent’s Books: Van Gogh and the Writers Who Inspired Him
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Travel photos of the month


Favorite travel photos that have not yet appeared in this blog
For now armchair traveling is all we can do. Read more about Sigiriya here.
https://en.m.wikipedia.org/wiki/Sigiriya
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Pearls from artists # 429
Nov 18
Posted by barbararachkoscoloreddust
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Vincent [van Gogh] found himself in perfect harmony with[Emile] Zola’s world view. Neither of them sugarcoated or idealized the harsh reality of the everyday life that surrounded them, or the subjects it offered up. The same reality was at the heart of both of their work. In July 1883, Vincent read Zola’s essay on art, ‘Le Moment artistique,’ contained in one of his critical works on literary and artistic life, Mes haines (My Hatreds), in which Zola reflected on a crucial aspect of artistic creativity, going beyond the word ‘realistic;’ ‘the word “realist” means nothing to me, and I declare reality subordinate to temperament.’ Therefore, according to Zola, a ‘work of art is a corner of creation seen through a temperament.’ Vincent did not comment on this passage directly, but in his lines we see that in Zola’s words he found confirmation of his own beliefs. To Theo, in 1885, he wrote of his attempts to capture the effects of light in The Potato Eaters: “Not always literally exactly – rather never exactly – for one sees nature through one’s temperament.” The two contrasting souls that live side by side in the author of Les Rougon Macquart, one methodical, the other creative, reflected Vincent’s own creative approach.
Mariella Guzzoni in Vincent’s Books: Van Gogh and the Writers Who Inspired Him
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