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Pearls from artists* # 632
*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 mind once stretched by a new idea, never returns to its original dimensions.” – Ralph Waldo Emerson ((1803 – 1882)
Ralph Waldo Emerson was more prescient than he can ever have realized. It was not until the 1960s that neuroscientist Marian Diamond discovered that exposure to enriched environments increased brain matter, specifically in the brain’s outer cortex. Prior to her landmark research, scientists believed that the brain remained static until it started to decline in older age. Diamond was the first to observe the brain’s neuroplasticity, yet her findings were disputed and rejected for many years. Today she is considered one of the founders of modern neuroscience.
Museums are the ultimate enriched environments, or super-enriched spaces, that are good for body, mind, and soul. Museums are dedicated to arousing our curiosity; engaging us in discovery and learning; and evoking our reflection, wonder, and awe. Artists (and Emerson) have known intuitively what scientists are now proving with rigorous research: aesthetic experiences affect us in extraordinary ways. In short, our brains are wired for art.
The Museum and the Mind by Susan Magsamen in Museum, May/June 2024
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Q: Are there any artists whose work you particularly admire? (Question from “Cultured Focus Magazine”)
Henri Matisse: Forms in Freedom at the National Art Center Tokyo
A: Among historical painters, I adore Henri Matisse and André Derain, for their striking compositions and bold use of colors. Among living photographers, I am most fascinated by the Pictures Generation, namely, Cindy Sherman, Laurie Simmons, Sandy Skoglund, and Gregory Crewdson. I am drawn to these photographers, I think, because my earliest pastel painting series involved staged photography.
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Pearls from artists* # 629
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.
I kept coming back to [Ellen] Dissanayake. She’s for banning the word art altogether on the grounds it’s uselessly vague, and argues we shouldn’t treat art as a thing but as a behavior. Art, she claims, occurs anytime we take ordinary things and transform them into extraordinary experiences through a process she calls “making special.” Making special happens when words turn into poetry, flesh gets painted for a shaman’s ceremony, a B-flat meets a middle G to form the tune in a Peking opera. I liked her definition, which seemed less arbitrary than others I’d read and didn’t turn up its nose at blockbuster movies or Super Bowl halftime shows – which Dissanayake calls “the arts of our time.” As she sees it, art results from several key “operations” … Artists repeat… formalize… exaggerate… elaborate… and manipulate expectation… Break dancing, leading a tea ceremony, designing Grand Theft Auto – to Dissanayake, it’s art, art, and more art.
Bianca Bosker in Get the Picture: A Mind-Bending Journey Among the Inspired Artists and Obsessive Art Fiends Who Taught Me How to See
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Pearls from artists* # 623
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
At the time [the Renaissance], Bologna was unique in championing the professions of women. The home of Europe’s oldest university, which had supported female students since the thirteenth century, the city considered women artists as integral to its development. Praised by scholars, written about by biographers and adored by the locals, they were also supported by patrons of all social classes (from bankers to barbers), creating a varied culture of artistic patronage. (By contrast, in Florence and Naples, commissioning was reserved for select noble families.). Women were also encouraged to sign their work, as well as to paint self-portraits for the purpose of being known and, most importantly, remembered. No wonder scholars have recorded a staggering sixty-eight women artists working in the city between the fifteenth and sixteenth centuries.
These notable exceptions remind us that women have always been perfectly capable of being artists. But while there could have been an abundance of women working at this time, in reality female artists were an absolute rarity, seen as ‘tokens’ rather than pioneers. (After de Rossi’s death [in 1530], no female sculptor is mentioned in the city’s records for 200 years.). And little knowledge remains of those working during the Renaissance period. Most of what we know has been passed down by male scholars and through legal documents, rarely from the women themselves.
Katy Hessel in The Story of Art Without Men
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Pearls from artists* # 631
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
I could see motion when I looked at Julie’s work. Her hand had moved there, in that way. She’d chosen this blue over that one. Seeing the act of creation – the way a work doesn’t come out fully formed but grows by fits and starts – made we aware of how delicate and fragile an artwork was. How improbable it was that it existed. Someone had agonized over this square inch. They’d poured themselves into that flink of a line. I thought of the bewildering piles of supplies I’d seen in studios: Vaseline, turpentine, wax, Q-tips, chopsticks, marble dust. It’s not magic that makes a piece. All the Hollywood visions of possessed artists throwing pieces together in a trance-like state overlooked the fact that this was work. Each piece may have started with an idea, but there was more to it than that. “An idea is not a painting,” Julie said, as she worked, her nose practically grazing the canvas. She was already thinking ahead to how she’d fix the brushyness of the tights, maybe go over the shoes again. The soul of the artwork needed a body. Seeing Julie work gave me a path to follow into the piece.
Bianca Bosker in Get the Picture: A Mind-Bending Journey Among the Inspired Artists and Obsessive Art Fiends Who Taught Me How to See
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Pearls from artists* # 630
*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
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Pearls from artists* # 629
Basquiat X Warhol Exhibition at Fondation Louis Vuitton, Paris. Photo: Christine Marchal
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
… scientists are right there with artists in insisting art is fundamental to being human. Art is one of our oldest creations (humans invented paint long before the wheel), one of our earliest means of communication (we drew long, long, long before we could write), and one of our most universal urges (we all engage with art, whether preschoolers, Parisians, or Paleolithic cave dwellers). I began to notice that art – or what scientists dispassionately call “human-made two- or three-dimensional structures that remain unchanged: – was everywhere: hung over the register at the hardware store, spray-painted on a bakery window, cock-eyed in a dive-bar bathroom. As humans, we’ve filled our lives with art since practically forever. The earliest known painting keeps getting older, but the last time I checked, archaeologists had traced the oldest portrait to a cave in Indonesia, where around 45,000 years ago, artists put their finishing touches on a fat figure with purple testifies for a chin. In other words, before Neanderthals went extinct, before mammoths died out, before we figured out how to harvest food or heal bloody wounds, humans applied themselves to painting a portrait of a warty pig. “It is clear that the creation of beautiful and symbolic objects is a characteristic feature of the human way of life,” wrote the biologist J.Z. Young. “They are as necessary as food or sex.”
Bianca Booker in Get the Picture: A Mind-Bending Journey Among the Inspired Artists and Obsessive Art Fiends Who Taught Me How to See
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Q: Many artists can’t bear to face a blank canvas. How do you feel about starting a new piece?
Starting a 26” x 20”pastel painting!
A: That’s an interesting question because I happen to be re-reading The War of Art by Steven Pressfield and this morning I saw this:
You know, Hitler wanted to be an artist. At eighteen he took his inheritance, seven hundred kronen, and moved to Vienna to live and study. He applied to the Academy of Fine Arts and later to the school of architecture. Ever see one of his paintings? Neither have I. Resistance beat him. Call it overstatement but I’ll say it anyway: it was easier for Hitler to start World War II than it was for him to face a blank square of canvas.
I’ve never understood this fear of “the blank canvas” because I am always excited about beginning a new painting. When you think about it, artists can often say, “In the history of the planet no one has ever made what I am about to make!” Once again I am looking at something new on my easel, even if it is only a blank 26” x 20” piece of sandpaper clipped to a slightly larger piece of foam core.
Unlike artists who are paralyzed before “a blank canvas,” I am energized by the imagined possibilities of all that empty space! I spend three or four months on a pastel painting so this experience of looking at a blank piece of paper on my easel happens three or four times a year at most.
Excluding travel to remote places, which is essential to my work and endlessly fascinating, the first day I get to spend blocking in a new painting is the most exhilarating part of my whole creative process. It’s when I feel the freest! I select the pastel colors quickly, without thinking too much about them, first imagining them, then feeling, looking, and reacting intuitively, always correcting and trying to make the painting look better and better!
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Pearls from artists* # 617
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Artists’ pigments, like printers’ inks, have many uses apart from the creation of art. The advertising artist, the illustrator, the portraitist, the stylist, and the decorator all employ the plastic and pictorial devices of the artist. Yet their chief preoccupation, the purpose and function of their effort, is other than the creation of art. It is the commercial artist’s job to enhance the desirability of marketable goods. The illustrator vies with the written word in the description of places or facts and the reporting of events. The portraitist must flatter his patron, while the stylist and decorator adorn his figure, streamline his gadgets, and embellish his property. There may be a resemblance to the outward appearance of art. But the intrinsic relationship is no closer here than that which exists between the composition of birthday greetings, recipes, or advertising copy and the creations of the poet, though the identical phrase and syntax may be used in both.
Mark Rothko in The Artist’s Reality: Philosophies of Art
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barbararachkoscoloreddust.com 
Q: What kind of reactions do you get from spectators at your exhibitions? (Question from “Cultured Focus Magazine”)
Nov 30
Posted by barbararachkoscoloreddust
A group exhibition in New Jersey
A: Reactions to my work run the gamut – from dopey comments like, “I’m scared!” to “How in the world is such beauty and profundity possible to achieve using only soft pastel on a piece of sandpaper!”
I’m sure most artists can say the same. We can only hope that our work finds its way to an audience that has the eyes, heart, and mind to understand, to appreciate on a deep level the decades of devotion, sacrifice, and hard work that go into creating works of art.
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Posted in 2024, 2024, An Artist's Life, Exhibitions
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