Blog Archives
Pearls from artists* # 534
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Today I am quoting myself:
I strive to always do what is best for my art practice. It’s difficult sometimes, but it’s important to ignore most of what other people say. They mean well, but advice to artists is often misguided, especially when it is unsolicited. Fortunately, our hearts are never wrong.
B. Rachko on a Facebook post
Comments are welcome!
Q: What’s the best piece of advice you’ve been given?
A wall in Barbara’s studio
A: 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, risky, and scary career change. It was the perfect gift for someone facing the uncertainty of an art career.
Many years later Tina’s plaque is still a proud possession of mine. It is hanging 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.”
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
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* # 317
Fifth Avenue
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
But everything that may some day be possible to many the solitary man can now prepare and build with his hands, that err less. Therefore, dear sir, love your solitude and bear with sweet-sounding lamentation the suffering it causes you. For those who are near you are far, you say, and that shows it is beginning to grow wide about you. And when what is near you is far, then your distance is already among the stars and very large; rejoice in your growth, in which you naturally can take no one with you, and be kind to those who remain behind, and be sure and calm before them and do not torment them with your doubts and do not frighten them with your confidence or joy, which they could not understand. Seek yourself some sort of simple and loyal community with them, which need not necessarily change as you yourself become different and again different; love in them life in an unfamiliar form and be considerate of aging people, who fear that being-alone in which you trust. Avoid contributing material to the drama that is always stretched taut between parents and children; it uses up much of the children’ energy and consumes the love of their elders, which is effective and warming even if it does not comprehend. Ask no advice from them and count upon no understanding; but believe in a love that is being stored up for you like an inheritance and trust that in this love there is a strength and a blessing, out beyond which you do not have to step in order to go very far!
Rainer Maria Rilke, Letters to a Young Poet, Translation by M.D. Herter Norton
Comments are welcome!
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
Comments are welcome!
Pearls from artists* # 301
Untitled reference photo for a pastel painting in the “Bolivianos” series
*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 1917 the ballet impresario Sergei Diaghilev commissioned a new libretto from Jean Cocteau. When the young poet asked for advice on how to proceed, Diaghilev replied with a simple directive: “Astonish me.” The phrase would serve Cocteau as a mantra throughout his career, resurfacing, for instance, at the beginning of his classic film Orpheus. Not surprising, as few statements could better encapsulate the impetus that has driven artistic creation since the beginning. Astonishment is the litmus test of art, the sign by which we know we have been magicked out of practical and utilitarian enterprises to confront the bottomless dream of life in sensible form. Art astonishes and is born of astonishment. There is only one thing that it can be said to “communicate” more effectively than other mediums can, and that is “the weirdness of the Real.”
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
Comments are welcome!
Q: What advice to you have for younger artists who are just beginning their careers?
Barbara’s studio
A: I have two pieces of advice:
- Build a support network among your fellow artists, teachers, and friends. It is tough to be an artist starting out. Also, be sure to read plenty of books by and about artists. All have experienced similar challenges.
- Do whatever you must to keep working – no matter what! Being an artist never really gets easier. There are always new obstacles and you’ll discover solutions over time.
Comments are welcome!
Q: Do you have a mentor?
“Alone Together,” soft pastel on sandpaper, 20″ x 26″
A: No, but I often wish I did. How wonderful it would be to consult someone who’s been there, a productive and successful artist who could provide advice on all the concerns, especially the problems and dangers, inherent in a professional artist’s life.
But I have been at this for thirty years and found no such person! I think it’s because each artist’s career is highly unique as we chart are own individual paths. Unlike most professions, there are no firm rules or straight forward career milestones for making your way as an artist.
Besides the countless hours spent in the studio, I have always worked diligently to understand the art business. Certainly getting work seen, exhibited, reviewed, sold, etc. is as important as making it in the first place. It’s all part of being a professional artist.
Early on I developed the habit of relying on my own best judgment, both in creating the work and in getting it seen and collected. Certainly I have made plenty of mistakes. As a result though, I know a tremendous amount about the art business. And I enjoy sharing what I know in the hopes of steering other artists away from making similar missteps.
Comments are welcome!
Q: Do you have any advice for a young painter or someone just starting out as an artist?
Studio
A: As artists each of us has at least two important responsibilities: to express things we are feeling for which there are no adequate words and to communicate to a select few people, who become our audience. By virtue of his or her own uniqueness, every human being has something to say. But self-expression by itself is not enough. As I often say, at it’s core art is communication. Without this element there is no art. When artists fail to communicate, perhaps they haven’t mastered their medium sufficiently so are unsuccessful in the attempt, or they may be being self-indulgent and not trying. Admittedly there is that rare and most welcome occurrence when an artistic statement – such as a personal epiphany – happens for oneself alone.
Most importantly, always listen to what your heart tells you. It knows and speaks the truth and becomes easier to trust as you mature. If you get caught up in the art world, step back and take some time to regain your bearings, to get reacquainted with the voice within you that knows the truth. Paint from there. Do not ever let a dealer or anyone else dictate what or how you should paint.
With perhaps the singular exception of artist-run cooperative galleries, be very suspicious of anyone who asks for money to put your work in an exhibition. These people are making money from desperate and confused artists, not from appreciative art collectors. With payment already in hand there is no financial incentive whatsoever for these people to sell your paintings and they won’t.
Always work in a beautiful and special place of your own making. It doesn’t need to be very large, unless you require a large space in which to create, but it needs to be yours. I’m thinking of Virginia Woolf’s “a room of one’s own” here. A studio is your haven, a place to experiment, learn, study, and grow. A studio should be a place you can’t wait to enter and once you are there and engaged, are reluctant to leave.
Be prepared to work harder than you ever have, unrelentingly developing your special innate gifts, whether you are in the mood to do so or not. Most of all remember to do it for love, because you love your medium and it’s endless possibilities, because you love working in your studio, and because you feel most joyously alive when you are creating.
Comments are welcome!
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