Blog Archives

Pearls from artists* # 673

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.

You may occasionally have the opportunity to publicly comment about the work, which helps to shape its life, but others will also interpret, criticize, and project their own agendas onto it. You must learn to be ok with that. You cannot follow your art around, explaining it and defending it. Once released, the life of your work depends on all sorts of factors completely out of your control. Separating your ego and self-worth from what you produce can be challenging, but it is essential. It protects your vital studio activity from the damaging effects of the outside world. Letting go of the old work also frees you up to move forward and focus on the next great idea.

Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice

Comments are welcome!

Pearls from artists* # 659

Barbara in her studio
Barbara in her 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.

Your only goal is to be the purest and strongest version of yourself, and to articulate that as fully as possible through your creations. Avoid any enticements that threaten to eclipse the priority of your work, to lure you off in another direction toward a different goal. You are here to spend a lifetime exploring and refining what excites you.

Like Olympic athletes, trailblazing artists do not waste a second looking around at their competition to measure how they are doing. They do not look to the sidelines to measure their applause. They just keep moving forward, in the focused direction of their vision. When you possess a quiet, solid confidence and you are completely unshaken (not even a twitch) when someone looks at your work and says, ‘I don’t really like it,’ you have arrived. If you are not there yet, keep practicing. The opinions of others are simply the ever-shifting clouds, moving across your infinite azure sky.

Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice

Comments are welcome!

Pearls from artists* # 656

At Storm King Art Center, Cornwall-On-Hudson, NY. Photo: Susan Erlichman


*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 world needs artists more than they know, and you are entitled to be one of them. We altruistically create gifts, with no assurance those gifts will be appreciated. Like social workers, we do not make a lot of money, but we improve the quality of people’s lives through ripple effects. When our work shifts the perceptions of one viewer, the transformation often radiates to others around them. That includes dialogue and pushes the world toward more truth or justice and inspires others to do the same.

Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice

Comments are welcome!

Pearls from artists* # 651

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.

We are engaged in a mission that can be perplexing to those around us. We are playing a long game that no one else can see. Every time we walk into the studio, it is a mini act of defiance against all of those who believe we are wasting our time. If you do not shore up and internalize this right to make art until it becomes a part of you, outside forces will repeatedly rise up to challenge it, creating conflict. Understand deep in your being that making art is a vital part of who you are, to be your own strongest advocate. Be greedy for the time and space your work requires to be actualized.

Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice

Comments are welcome!

 

Q: What inspires you to create? (Question from “Cultured Focus Magazine”)

Barbara’s Studio
Barbara’s Studio

A:  You remember the expression, to whom much is given, much is expected? Having discovered around the age of 5 or so that I could draw anything I could see, I know I have been given a tremendous gift. I remember being completely surprised as a kid to realize that not everyone can do this.

Therefore, I feel a kind of sacred obligation to develop my abilities as far as possible, to make the most of my short time on this earth. It is a thrill to see not only what is going to happen next in the studio, but also in my life. For example, I have become a world traveler. I wonder, which new country will I visit next?

Comments are welcome!

Q: When did you begin drawing and painting? (Question from “Cultured Focus Magazine”)

In the studio
In the studio

A: This is a long story because my path to becoming a professional artist has been unusually circuitous.  

I  grew up in a blue collar family in suburban New Jersey. My parents were both first-generation Americans and no one in my family had gone to college. I was a smart kid, who showed some artistic talent in kindergarten and earlier. At the age of 6, my sister, my cousin, and I enrolled in Saturday morning painting classes at the studio of a local artist. I continued the classes for about 8 years and became a fairly adept oil painter.

At the age of 15 my father decided that art was not a serious pursuit – he called it a hobby, not a profession – and abruptly stopped paying for my Saturday morning lessons. Unfortunately, there were no artists or suitable role models in my family. So with neither financial nor moral support to pursue art, I turned my attention to very different interests.

Cut to ten years later. When I was 25, I earned my private pilot’s license and spent the next two years amassing other flying licenses and ratings, culminating in a Boeing-727 flight engineer’s certificate. 

At 29, I joined the Navy. By then I was an accomplished civilian pilot with thousands of flight hours so I expected to fly jets. However, in the early 1980s women were not allowed in combat.  There were very few women Navy pilots and those few were restricted to training male pilots. There were no women pilots landing on aircraft carriers.

In the mid-1980s I was in my early 30s, a lieutenant on active duty in the Navy, working a soul-crushing job as a computer analyst on the midnight shift in a Pentagon basement. It was literally and figuratively the lowest point of my life.  I was completely bored and miserable. 

Remembering the joyful Saturdays of my youth when I had taken art classes with a local New Jersey painter, I enrolled in a drawing class at the Art League School in Alexandria, Virginia. Initially I wasn’t very good, but it was wonderful to be around other women  and a world away from the mentality of the Pentagon. I was having fun again! I enrolled in more classes and became a very motivated full-time art student who worked nights at the Pentagon. As I studied and improved my skills, I quickly discovered my preferred medium – soft pastel on sandpaper. 

Although I knew I had found my calling, for more than a year I agonized over whether or not to leave the financial security of a Navy paycheck.  Finally I did make up my mind and resigned my commission, effective on September 30, 1989. With Bryan’s (my then boyfriend’s) support, I left the Navy to devote my time to making art.

I’m probably one of the few people who can name THE day I became a professional artist! That day was October 1, 1989. Fortunately, I have never needed another job. I remained in the Navy Reserve for the next 14 years, working primarily at the Pentagon for two days each month and two weeks each year. I commuted by train to Washington, DC after I moved to Manhattan in 1997.  Finally on November 1, 2003, I officially retired as a Navy Commander.

Life as a self-employed professional artist is endlessly varied, fulfilling, and interesting. I have never regretted my decision to pursue art full-time.

Comments are welcome!

Pearls from artists* # 630

With “Wise One” (left) and “The Moralist”
With “Wise One” (left) and “The Moralist”

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

During the Victorian age, women, with their ‘smaller,’ less ‘creative’ brains, were considered incapable of becoming professional artists and were often restricted to ‘craft’ or ‘design’ (genres not considered ‘fine art’ by the establishment). This perception made it very difficult not only for women to be taken seriously as artists, but for their (and their female predecessors’) work to be sold. In order to get around this, nineteenth-century art dealers were known to scratch out a female artist’s signature and replace it with that of a male contemporary, which explains why many works by women have only just come to light. (No wonder so many of them hid self-portraits among their still lifes).

Katy Hessel in The Story of Art Without Men

Comments are welcome!

Pearls from artists* # 627

In Hanga Roa, Rapa Nui (Easter Island), one of the most remote places on Earth!

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

We cannot afford to walk sightless among miracles. Nor can we protect ourselves from suffering. We do work that thrusts us into the pulsing heart of this world, whether or not we’re on the mood, whether or not it’s difficult or painful or we’d prefer to divert our eyes. When I think of the wisest people I know, they share one defining trait: curiosity. They turn away from the minutiae of their lives – and focus on the world around them. They are motivated by a desire to explore the unfamiliar. They are drawn toward what they don’t understand. They enjoy surprise. Some of these people are seventy, eighty, close to ninety years old, but they remind me of my son and his friend on the day I sprung them from camp. Courting astonishment. Seeking breathless wonder.

Dani Shapiro in Still Writing: The Perils and Pleasures of a Creative Life

Comments are welcome!

Q: How large is your collection of Mexican folk art objects?

Part of my collection

A: I began collecting these figures in the early 1990s.I haven’t counted them, but my guess is that I have amassed around 200 pieces of various sizes. This includes some Guatemalan figures. I went to Guatemala in 2009 and 2010.Since I divide my time between a house in Alexandria, VA, an apartment in Manhattan, and a studio in Chelsea, a portion of my folk art collection resides in each of these places.

Since 2017 I have been creating pastel paintings in the “Bolivianos” series, which exclusively use my photographs of Bolivian Carnival masks as source material. Occasionally, I will add one of my smaller Mexican or Guatemalan figures to improve and enrich a painting’s composition. Otherwise, my Mexican collection sits gathering dust. My thinking and my ideas, not to mention my travels, have evolved and just naturally moved on with time.

Comments are welcome!

Pearls from artists* # 604

"Offering," soft pastel on sandpaper, 20" x 26"
“Offering,” soft pastel on sandpaper, 20″ x 26″ image, 28.5” x 35” 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.

In dealing with unconscious mind, we’re dealing with an ocean full of rich, invisible life forms swimming underneath the surface. In creative work we’re trying to catch one of these fish; but we can’t kill the fish, we have to catch it in a way that brings it to life. In a sense we bring it amphibiously to the surface so it can walk around visibly; and people will recognize something familiar because they’ve got their own fish, who are cousins to your fish. Those fish, the unconscious thoughts, are not passively floating “down there;” they are moving, growing, and changing on their own, and our conscious mind is but an observer or interloper. That is why Jung calls the depths of the unconscious the “objective psyche.”

Stephen Nachmanovitch in Free Play: Improvisation in Life and Art

Comments are welcome!