*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on
You know. Don, I was reading a book on the life of Van Gogh today. and I had to pause and think of that wonderful and persistent force – the creative urge. The creative urge was in this man who found himself so at odds with the world he lived in, and in spite of all the adversity, frustrations, rejections, and so forth – beautiful and living art came forth abundantly… If only he could be here today. Truth is indestructible. It seems history shows (and it’s the same way today) that the innovator is more often than not met with some degree of condemnation; usually according to the degree of his departure from the prevailing modes of expression or what have you. Change is always so hard to accept. We also see that these innovators always seek to revitalize, extend and reconstruct the status quo in their given fields, wherever it is needed. Quite often they are the rejects, outcasts, sub-citizens, etc. of the very societies to which they bring so much sustenance. Often they are people who endure great personal tragedy in their lives. Whatever the case, whether accepted or rejected, rich or poor, they are forever guided by that great and eternal constant – the creative urge. Let us cherish it and give all praise to God.
John Coltrane in Coltrane on Coltrane: The John Coltrane Interviews
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A: In 1991 I was in my late thirties and had resigned my active duty Naval commission two years before. I had been an artist for five years. I was anxious to get my pastel paintings exhibited, seen by an audience, and collected! As I worked hard to build my resume, I hustled to exhibit in all sorts of spaces that were not galleries: restaurants, hospitals, real estate offices, law offices, theaters, doctors’ offices, and more. The goal was to just get the work out of my home studio.
In December 1991 I presented a solo exhibition at Dumbarton Church in Georgetown (Washington, DC). For years Bryan had volunteered to set up chairs, a Steinway piano, and other miscellaneous equipment for their classical music concert series. The church’s downstairs space was used to showcase artists’ work. So I applied for a solo exhibition, was accepted, and got my first review in a local Washington, DC newspaper called “Eye Wash!”
Moral: artists have to work extremely hard for every little thing that comes our way!
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Q: You have worked with twenty-plus galleries during your career. Which ones do you consider the best?
A: Probably the most prestigious gallery that represented my work was Brewster Fine Arts on West 57th Street in Manhattan. Brewster was my first New York gallery. In the summer of 1996 I mailed the gallery a sheet of slides, as we did in those days. I was living in Virginia and had been a working artist for ten years. In July while traveling around Mexico, I decided to check the phone messages at home in Virginia. I was thrilled to receive an invitation from Mia Kim, the gallery director, to exhibit pastel paintings in October! And she had not yet even seen my work in person.
Beginning that fall, I gained representation with Brewster Fine Arts, an elegant gallery specializing in Latin American Masters like Rufino Tamayo, Diego Rivera, and others. I am not Latina, of course, but I showed there due to my subject matter. At my October opening, I remember Mia declaring to the attendees, “Barbara has the soul of a Latina!” That night I met fellow gallery artist Leonora Carrington. She and I were the only non-Latina artists respresented. I knew I was on my way!
The gallery continued to present my work in group exhibitions and the staff gave brilliant talks about me and my creative process. For many years whenever I introduced myself to a new art aficionado, they already knew my work from having seen it at Brewster. I continued to be represented there until the gallery closed years later.
Also, Gallery Bergelli in Larkspur, CA did an excellent job of representing my work. I applied for one of their juried exhibitions, was accepted, and afterwards, they offered permanent representation. Soon they introduced me to one of my best collectors, with whom I am still friends.
I have worked with many galleries, some good, some not, for various reasons. Ours is an extremely tough business. Unfortunately, many of the best and formerly-great galleries are gone forever.
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