Blog Archives

Q: Why do you make art?

“Why Do I Make Art” by Ursula von Rydingsvard

“Why Do I Make Art” by Ursula von Rydingsvard

A:  Last spring I viewed Ursula von Rydingsvard’s exhibition at the National Museum of Women in the Arts.  One thing that stayed with me is her wall text, “Why Do I Make Art by Ursula von Rydingsvard” in which she listed a few dozen benefits that art-making has brought to her life.  

I want to share some of my own personal reasons here, in no particular order.  My list keeps changing, but these are true at least for today. 

1.   Because I love the entire years-long creative process – from foreign travel whereby I discover new source material, to deciding what I will make, to the months spent in the studio realizing my ideas, to packing up my newest pastel painting and bringing it to my Virginia framer’s shop, to seeing the framed piece hanging on a collector’s wall, to staying in touch with collectors over the years and learning how their relationship to the work changes.

2.   Because I love walking into my studio in the morning and seeing all of that color!  No matter what mood I am in, my spirit is immediately uplifted.  

3.   Because my studio is my favorite place to be… in the entire world.  I’d say that it is my most precious creation.  It’s taken more than twenty-two years to get it this way.  I hope I never have to move!

4.   Because I get to listen to my favorite music all day or to Public Radio stations.

5.   Because when I am working in the studio, if I want, I can tune out the world and all of it’s urgent problems.  The same goes for whatever personal problems I am experiencing.

6.   Because I am devoted to my medium.  How I use pastel continually evolves.  It’s exciting to keep learning about its properties and to see what new techniques will develop.

7.   Because I have been given certain gifts and abilities and that entails a sacred obligation to USE them.  I could not live with myself were I to do otherwise.

8.   Because art-making gives meaning and purpose to my life.  I never wake up in the morning wondering, how should I spend the day?  I have important work to do and a place to do it.  I know this is how I am supposed to be spending my time on earth.

9.   Because I have an enviable commute.  To get to my studio it’s a thirty-minute walk, often on the High Line early in the morning before throngs of tourists have arrived.

10.  Because life as an artist is never easy.  It’s a continual challenge to keep forging ahead, but the effort is also never boring.  

11.  Because each day in the studio is different from all the rest. 

12.  Because I love the physicality of it.  I stand all day.  I’m always moving and staying fit.

13.  Because I have always been a thinker more than a talker.  I enjoy and crave solitude.  I am often reminded of the expression, “She who travels the farthest, travels alone.”  In my work I travel anywhere.

14.  Because spending so much solitary time helps me understand what I think and feel and to reflect on the twists and turns of my unexpected and fascinating life.

15.  Because I learn about the world.  I read and do research that gets incorporated into the work.

16.  Because I get to make all the rules.  I set the challenges and the goals, then decide what is succeeding and what isn’t.  It is working life at its most free.

17.  Because I enjoy figuring things out for myself instead of being told what to do or how to think.

18.  Because despite enormous obstacles, I am still able to do it.  Art-making has been the focus of my life for thirty-three years – I was a late bloomer – and I intend to continue as long as possible.

19.  Because I have been through tremendous tragedy and deserve to spend the rest of my life doing exactly what I love.  The art world has not caught up yet, but so be it.  This is my passion and my life’s work and nothing will change that.

20.  Because thanks to the internet and via social media, my work can be seen in places I have never been to and probably will never go.

21.  Because I would like to be remembered.  The idea of leaving art behind for future generations to appreciate and enjoy is appealing.

Comments are welcome!

A: Would you agree that there are more opportunities for women artists these days?

At Salomon Arts in Tribeca

At Salomon Arts in Tribeca

A:  It’s true that there are more opportunities now for women artists. Indeed, there are more opportunities for ALL artists.  Social media has helped immensely in that it allows artists to take charge of our own careers, making us less dependent on the approval, largesse, and/or validation of art world gatekeepers. 

However, at the highest levels of our profession, there are many inequities.  As more women become art museum directors, collectors of contemporary art, and leaders whose taste matters, the status of all female artists is bound to improve to become more aligned with that of males.

Comments are welcome!

Q: What in your opinion marks a work of art as contemporary?

West 26th Street, NYC

West 26th Street, NYC

A:  “Contemporary art” is defined formally as art made since 1970 by living artists who are still making new work.  People often confuse the term “contemporary art” with “modern art,” but they are not the same.  “Modern art” refers to art made during the period between, roughly, the 1860’s to 1970. 

Nowadays there are so many different kinds of art – new forms are developing all the time – and almost anything can be considered contemporary art as long as someone, an artist, says it is art.  Ours is a fascinating, but bewildering, crazy, and often silly art world.  Since I am based in New York, I see a lot that makes me ask, “Is this really art?” and “Why would anyone make such a thing?” 

If there is one single element I look for in visual art it would have to be a high degree of craft.  I enjoy seeing work that is beautiful, well-crafted, and that makes me wonder how the artist made it.  With the exception of Ai Weiwei and Julie Mehretu (maybe others I can’t think of just now), I prefer art made by a single creator, as opposed to artists like Jeff Koons or Damien Hirst, who employ dozens of people to make their work.        

Comments are welcome!      

Q: What is the reality of the art world today? Do people experience it enough?

West 29th Street studio

West 29th Street studio

A:  I cannot comment on the art world today or the experience of other people.  I can only speak for myself.  I am completely devoted to my work; my entire life revolves around art.  When I’m not in my studio creating, I am reading about art, thinking about it, gaining inspiration from other artists and from artistic travel, working out new ideas, going to museum and gallery exhibitions, trying to understand the business side of things, etc.   Art is a calling and I personally experience it enough as my work continues to evolve! 

Comments are welcome! 

 

Pearls from artists* # 85

Studio

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.

Credo 

I believe in art.

I do not believe in the “art world” as

it is today.

I do not believe in art as a commodity.

Great art is in exquisite balance.  It is

restorative.

I believe in the energy of art, and through

the use of that energy, the artist’s ability

to transform his or her life and, by ex-

ample, the lives of others.

I believe that through our art, and through

the projection of transcendent imagery, we

can mend and heal the planet.

Audrey Flack in  Art & Soul:  Notes on Creating

Comments are welcome!

Q: Do you have any advice for a young painter or someone just starting out as an artist?

Studio

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!

Q: Is there an overarching narrative in your photographs with Mexican and Guatemalan figures?

Untitled chromogenic print, 24" x 24," edition of 5

Untitled chromogenic print, 24″ x 24,” edition of 5

A:  Maybe, but that’s something for the viewer to judge. I never specify exactly what my work is about for a couple of reasons:  my thinking about the meaning of my work constantly evolves, plus I wouldn’t want to cut off other people’s interpretations.  Everything is equally valid.  I heard Annie Leibovitz interviewed some time ago on the radio. She said that after 40 years as a photographer, everything just gets richer. It doesn’t get easier, it just gets richer. I’ve been a painter for 27 years, a photographer for 11, and I agree completely. Creating this work is an endlessly fascinating intellectual journey.  I realize that I am only one voice in a vast art world, but I hope that through the ongoing series of questions and answers on my blog, I am conveying some sense of how artists work and think.

Comments are welcome!

%d bloggers like this: