*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!
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!
A: First, the cameras that I inherited from Bryan in 2001 were all pre-digital film cameras. Second, I can make chromogenic prints myself, which cuts down on their production cost. Third, I love working with my hands and enjoy the process of making prints in a darkroom. Fourth, I make photographs on days that I don’t go to the studio. It’s a way to take a day off and still make art, a very productive use of my time. At the end of a darkroom session I have a new edition of 5 chromogenic prints, ready to spot and frame.
Comments are welcome.