Blog Archives

Q; What was the spark that got you started? (Question from Barbara Smith via Facebook)

Ensign Barbara Rachko, circa 1983
Ensign Barbara Rachko, circa 1983

A: If I had to select one factor, I would say, profound unhappiness with my professional life. In 1986 I was a 33-year-old Navy Lieutenant working as a computer analyst at the Pentagon. I hated my job, was utterly miserable, and moreover, I was trapped because unlike many jobs, it’s not possible to resign a Naval commission with two weeks notice.

My bachelor’s degree had been in psychology. When I was in my 20s and before I joined the Navy, I had spent two years and my own money training to become a licensed commercial pilot and Boeing-727 Flight Engineer. I had planned to become an airline pilot, but due to bad timing (airlines were not hiring pilots when I was looking for a job), that did not come to pass.

So there I was with absolutely no interest, nor any training in computers, working for the Joint Chiefs of Staff, and completely bored. I knew I must have taken a wrong turn somewhere and resolved to make a significant change. Searching around, I discovered a local art school, the Art League School in Alexandria, VA, and began taking drawing classes.

One drawing class lead to more. Within a couple of years, due to being highly motivated to change my life, my technical skills rapidly improved. Even then, I believe, it was obvious to anyone who knew me that I had found my calling. I resigned my active duty Naval commission and have been a fulltime professional artist since October 1989. (Note: For fourteen more years I remained in the Naval Reserve working, mostly at the Pentagon, one weekend a month and two weeks each year, and retired as a Navy Commander in 2003).

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

Comments are welcome!

Pearls from artists* # 415

Staten Island Ferry

Staten Island Ferry

*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 like to think of myself (and each of you) as a high priest of memory protection.  Using our cameras, we protect the memories of our subjects; we protect the memories we have while interacting with those subjects; we help to protect the memories of our audience who sees our work.  This is truly a sacred calling, and one that deserves respect and a thoughtful approach.   

Scott Bourne in Photo Therapy Motivation and Wisdom by Rick Sammon 

Comments are welcome!

Pearls from artists* # 399

The Great Hall at the Met

The Great Hall at the Met

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

Science is concerned with the general, the abstract, and the knowable.  In contrast, art deals with the particular, the unknowable, the singular.  This applies not just to the content of artistic works but also to the way this content is received.  Even in the case of a film or concert attended by large numbers of people, the artistic experience remains fundamentally a solitary one.  Each one of us lives the work alone.  Whatever sense of togetherness accompanies the experience comes precisely from the fact that, faced with the singularity of the aesthetic moment, each percipient feels his aloneness before the radical mystery that enfolds us all.  Wherever an act of creation is shared with others, then, there is individuation – not just for the author of the work but for the audience too.  The singularity of art awakens us to our own singularity, and through it to the singularity in the Other.  I have argued that artifice unifies by imposing an univocal image that replicates itself identically in each spectator.  True art tears the spectator out of the mass of sameness, calling forth from the numberless crowd a new people and a new communion.      

J.F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action

Comments are welcome!

Pearls from artists* # 356

Some of Barbara’s pastels

Some of Barbara’s pastels

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

Science is concerned with the general, the abstract, and the knowable.  In contrast, art deals with the particular, the unknowable, the singular.  This applies not just to the content of artistic works but also to the way this content is received.  Even in the case of a film or concert attended by large numbers of people, the artistic experience remains a fundamentally solitary one.  Each one of us lives the work from the work alone.  Whatever sense of togetherness accompanies the experience comes precisely from the fact that, faced with the singularity of the aesthetic moment, each percipient feels his aloneness before the radical mystery that enfolds us all.  Wherever an act of creation is shared with others, then, there is individuation – not just for the author of the work but for the audience too.  The singularity of art awakens us to our own singularity, and through it to the singularity in the Other.  I have argued that artifice unifies by imposing a univocal image that replicates itself indefinitely in each spectator.  True art tears the spectral out of the mass of sameness, calling forth from the numberless crowd a new people and a new communion.  

Reclaiming Art in the Age of Artifice:  A treatise, Critique, and Call to Action 

Comments are welcome!

Q: How many studios have you had since you’ve been a professional artist?

Barbara's studio

Barbara’s studio

A: I am on my third, and probably last, studio.  I say ‘probably’ because I love my space and have no desire to move.  Plus, it would be a tremendous amount of work to relocate, considering that I have been in my West 29th Street studio since 1997. 

My very first studio, in the late 1980s, was the spare bedroom of my house in Alexandria, Virginia.  I set up a studio there while I was on active duty in the Navy.  When I resigned my commission, I was required to give the President an entire year’s advance notice.  Towards the end of that year I remember calling in sick so I could stay home and make art.       

In the early 1990s I rented a studio on the third floor of the Torpedo Factory in Alexandria.  For a while I enjoyed working there, but the constant interruptions – in an art center that is open to the public – became tiresome.  

In 1997 I had the opportunity to move to New York.  I desperately craved solitary hours to work in peace, without interruption, so at first I didn’t have a telephone.  I still don’t have WiFi there because my studio is reserved strictly for creative work.

Moving from Virginia to New York in 1997 was relatively easy.  My aunt, who planned to be in California to continue her Buddhist studies, offered me her rent-controlled sixth-floor walkup on West 13th Street.  I looked at just one other studio before signing a sublease for my space at 208 West 29th Street.  I had heard about the vacancy through a college friend of my husband, Bryan.  Karen, the lease-holder, was relocating to northern California to work on “Star Wars” with George Lucas.  After several years, she decided not to return to New York and I have been the lease-holder ever since.  

Comments are welcome!

 

Q: What was the first painting you ever sold?

“Bryan’s Ph.D.”, 11″ x 13 1/2″, soft pastel on sandpaper

A:  I believe my first sale was “Bryan’s Ph.D.”  I made it in 1990 as one of several small paintings created to improve my skills at rendering human hands in pastel.  I had recently left the Navy and was building a career as a portrait artist.  Bryan, my late husband, was often my model for these studies, not only because it was convenient, but because he had such beautiful hands. 

In 1990 Bryan was working on his Ph.D. in economics at the University of Maryland.  In this painting he is drawing a diagram that illustrates a theoretical point about “international public goods,” the subject of his research.  He was sitting in an old wooden rocking chair in our backyard in Alexandria, VA.  I still own the chair and the house.  I photographed his hands close-up and then created the painting.  I don’t remember which of Bryan’s cameras I used, but it was one that took 35 mm film; perhaps his Nikon F-2.  Somewhere I must still have the negative and the original reference photo.

“Bryan’s Ph.D.” is 11″ x 13 1/2″ and it sold for $500 at a monthly juried exhibition at The Art League in Alexandria.  I have not seen it since 1990.  (Above is a photograph of “Bryan’s Ph.D.” from my portfolio book).

Not long ago the owner contacted me, explaining that she had received the painting as a gift from her now ex-husband.  She was selling it because it evoked bitter memories of her divorce.  Her phone call was prompted by uncertainty about the painting’s value now.  She had a likely buyer and needed to know what price to charge.

I was saddened because I have so many beautiful memories of this particular painting and of an idyllic time in my life with Bryan.  He was on a leave of absence from the Pentagon to work on his dissertation, while I was finished with active duty.  At last I was a full time artist, busily working in the spare bedroom that we had turned into my first studio.  

My conversation with the owner was a reminder that once paintings are let out into the world, they take on associations that have nothing to do with the personal circumstances surrounding their creation.  In short, what an artist creates solely out of love, stands a good chance of not being loved or appreciated by others.  This is one reason to only sell my work to people I select personally.  I ended the telephone conversation hoping that “Bryan’s Ph.D.” fares better in its new home.  

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! 

 

Q: Why do people need art in their daily lives?

 

With Ida Bagus Anom, Mas, Bali; Photo:  Donna Tang

With Ida Bagus Anom, Mas, Bali; Photo: Donna Tang

A:  That is for each person to decide, but as someone who devotes every waking moment to my work and to becoming a better artist, I cannot imagine my life without art.  

I will tell you a little about what art has done for me.  In my younger days boredom was a strong motivator.  I left the active duty Navy out of boredom.  I couldn’t bear not being intellectually challenged (most of my jobs consisted of paper-pushing), not using my flying skills (at 27 I was a licensed commercial pilot and Boeing-727 flight engineer), and not developing my artistic talents.  In what surely must be a first, the Navy turned me into a hard-working and disciplined artist.  And once I left the Navy there was no plan B.  There was no time to waste.  It was “full speed ahead.” 

Art is a calling.  You do not need to be told this if you are among those who are called.  It’s all about “the work,” that all-consuming focus of an artist’s life.  If a particular activity doesn’t seem likely to make me a better artist, I tend to avoid it.  I work hard to nourish and protect my  gifts.  As artists we invent our own tasks, learn whatever we need in order to progress, and complete projects in our own time.  It is life lived at its freest. 

My art-making has led me to fascinating places:  Mexico, Guatemala, Brazil, Argentina, Uruguay, France, England, Italy, Bali, Java, Sri Lanka, and more; and to in-depth studies of intriguing subjects:  drawing, color, composition, art and art history, the art business, film and film history, photography, mythology, literature, music, jazz and jazz history, and archaeology, particularly that of ancient Mesoamerica (Olmec, Zapotec, Mixtec, Aztec, Maya, etc.).  And this rich mixture continually grows!  For anyone wanting to spend their time on earth learning and meeting new challenges, there is no better life! 

Comments are welcome!

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