Q: What’s on the easel today?
Work in progress
A: I continue slowly working on a 58” x 38” pastel painting. For now I’ve added a small figure on the right. I’m not sure yet whether I’ll keep it.
Comments are welcome!
Pearls from artists* # 316
Central Park, NYC
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Works of art are of an infinite loneliness and with nothing so little to be reached as with criticism. Only love can grasp and hold and be just toward them. Consider yourself and your feeling right every time with regard to every such argumentation, discussion, or introduction; if you are wrong after all, the natural growth of your inner life will lead you slowly and with time to other insights. Leave to your opinions their own quiet undisturbed development, which, like all progress, must come from deep within and cannot be pressed or hurried into anything. Everything is gestation and then bringing forth. To let each impression and each germ of a feeling come to completion wholly in itself, in the dark, in the inexpressible, the unconscious, beyond the reach of one’s own intelligence, and await with deep humility and patience the birth-hour of a new clarity: that alone is living the artist’s life: in understanding as in creating.
There is also no measuring with time, no year matters, and ten years are nothing. Being an artist means not reckoning and counting, but ripening like the tree which does not force its sap and stands confident in the storms of spring without the fear that after them may come no summer. It does come. But it comes only to the patient, who are there as though eternity lay before them, so unconcernedly still and wide. I learn it daily, learn it with pain to which I am grateful: patience is everything!
Rainer Maria Rilke, Letters to a Young Poet, Translation by M.D. Herter Norton
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Travel photo of the month*
Potosí, Bolivia
*Favorite travel photographs that have not yet appeared in this blog.
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Pearls from artists* # 315
“The Champ,” soft pastel on sandpaper, 26″ x 20″
*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 is good if it has sprung from necessity. In this nature of its origin lies the judgment of it: there is no other. Therefore, my dear sir, I know of no advice for you save this: to go into yourself and test the deeps in which your life takes rise; at its source you will find the answer to the question whether you must create. Accept it, just as it sounds, without inquiring into it. Perhaps it will turn out that you are called to be an artist. Then take that destiny upon yourself and bear it, its burden and its greatness, without ever asking what recompense might come from outside. For the creator must be a world unto himself and find everything in himself and in Nature to whom he has attached himself.
Rainer Maria Rilke, Letters to a Young Poet, Translated by M.D. Herter Norton
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Q: Why did you first decide to depict Mexican folk art in your work?
“Myth Meets Dream,” soft pastel on sandpaper, 47″ x 38″
A: As a Christmas present in 1991 my future sister-in-law sent me two brightly painted wooden animal figures from Oaxaca, Mexico. One was a blue polka-dotted winged horse. The other was a red, white, and black bear-like figure. See the two Mexican figures in “Myth Meets Dream” above.
I was enthralled with this gift and the timing was fortuitous because I had been searching for new subject matter to paint. Soon I started asking artist-friends about Oaxaca and learned that it was an important art hub. Two well-known Mexican painters, Rufino Tamayo and Francisco Toledo, had gotten their start there, as had master photographer Manual Alvarez Bravo. There was a “Oaxacan School of Painting” (‘school’ meaning a style, not an actual building) and Alvarez Bravo had established a photography school there (the building/institution kind). I began reading everything I could find. At the time I had only been to Mexico very briefly, in 1975, having made a road trip to Ensenada with my cousin and best friend from college.
The following autumn my then-boyfriend, Bryan, and I planned a two-week trip to visit Mexico. We timed it to see Day of the Dead celebrations in Oaxaca. (In my reading I had become fascinated with this unique festival). We spent one week in Oaxaca followed by one week in Mexico City. My interest in collecting Mexican folk art was off and running!
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Pearls from artists* # 314
“He Just Stood There Grinning,” 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.
For Leonora Carrington and many of her ‘sister’ surrealists, surrealism provided the intellectual, political and artistic milieu that enabled them to come into their own as artists and writers, and to gain recognition for their work in the wider world. Although some of these women had accepted their roles as muses in the lives of male artists, none believed that life as a muse trumped life as an artist. Asked in 1983 how she felt about the male surrealists’ view of women as muses, Leonora offered her testy, if retrospective rejoinder: ‘I thought it was bullshit… I didn’t have time to be anyone’s muse… I was too busy rebelling against my family and learning to be an artist.’ It is as artists and friends that we remember the women of surrealism today.
Whitney Chadwick in The Militant Muse: Love, War, and the Women of Surrealism
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Q: How do you feel about donating your work to auctions?
Studio with work in progress
A: Generally, it depends on who is doing the asking. If it’s an organization that has been supportive of my work, I am pleased to help with fundraising. If the organization and I have never connnected before, their out-of-the-blue request sometimes feels disrespectful. Artists invest decades, vast amounts of money, and plenty of blood, sweat, and tears to become the skilled creators that we are. And a New York artist’s overhead is considerable. I know of no artists who create their hard-fought work only to give it away.
Under certain conditions, however, I will participate. Here is my response to a recent donation request.
Dear…
Thank you for contacting me. Certainly your organization sounds worthwhile.
However, you may be unaware that artists may deduct ONLY the cost of materials when we give our work to auctions. I suggest that you ask one of your supporters to buy a pastel painting and donate it next year (there is a one-year waiting period for collectors to take this tax deduction). Then we have a win-win-win! I get paid, the collector/donor gets to enjoy owning my beautiful work for a year AND take a tax deduction for the full amount that he/she paid for it. Plus, your organization gets to sell my painting at next year’s auction.
Don’t you agree this is a better approach for everyone involved?
Sincerely…
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Pearls from Artists* # 313
Barbara and Tomas in Panajachel, Guatemala
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Proclaiming that the object in Surrealism was fundamental, [Andre] Breton suggests a radical transition in surrealist creation, one that liberated the poet-artist from all constraints in the making of the artistic object. Breton’s text calls for a “revolution of the object,” suggesting that in the placing of an object into a new context, and thus attributing it with a new meaning – also called a “detournement” – which takes precedence. Drawing in his interpretation of Hegelian subject-object relations, Breton describes the “object” as a work of art that relies on a philosophical procedure, affirming the surrealist process as one that is realized in the experience of apprehending the object through a dialectical method. Citing the work of Marcel Duchamp and Max Ernst, Breton explains that an object may become a product of surrealist creation through the simple “manipulation” of it. Here ”manipulation“ is defined as a procedure which reveals the object in its original and new state at the same time. If taking an object out of its original context and placing it in a new space creates the potential for a creative act, then this text seems to validate the surrealist practice of collecting. As the collector acquired objects and unites them in a gallery or a home, they assume new significance contingent upon their physical juxtaposition to other objects.
Moon Dancers: Yup’ik Masks and the Surrealists, edited by Jennifer Field, Introduction by Christina Rudofsky
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Travel photo of the month*
On the ‘Mi Teleferico’ line, La Paz, Bolivia
*Favorite travel photographs that have not yet appeared in this blog.
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Pearls from artists* # 312
Barbara in her studio. Photo: Izzy Nova
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
For the young James Joyce, true art is “static,” while false art, which I will here call artifice, is “kinetic.” These qualifiers, static and kinetic, refer to the effect of the work on the percipient, not to any property of the work itself. Proper art stills us, evoking an emotional state in which “the mind is arrested and raised above desiring and loathing.” Improper art does the opposite, aiming to make the percipient act, think, or feel in a certain prescribed manner. Artifice foregoes the revelatory power that is art’s prerogative in order to impart information, be it a message, an opinion, a judgment, a physiological stimulus, or a command. Whether the information is good or bad, true or false, pleasant or not is unimportant: artifice isn’t improper because it is immoral but because it hitches the aesthetic on intentions originating outside the aesthetic realm. In other words, where art inheres in autoletic expression (expression for its own sake), artifice inheres in practical communication. Proper art moves us, while artifice tries to make us move.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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