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Q: Why art? (Question from “Arts Illustrated”)

Barbara’s studio
Barbara’s studio

A: I love this question!  I remember being impressed by Ursula von Rydingsvard’s exhibition at the National Museum of Women in the Arts a few years ago.  What stayed with me most was her wall text, “Why Do I Make Art by Ursula von Rydingsvard.”  There she listed a few dozen benefits that art-making has brought to her life.

I want to share some of my own personal reasons for art-making 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.

5.   Because when I am working in the studio, if I want, I can tune out the world and all of its 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!

Pearls from artists* #447

Barbara’s studio
Barbara’s studio

Cameron Crowe: I think this collection is a powerful gift, especially to young artists. It’s a portrait of you at a certain time in your life when you were having success. You could have plateaued at this stage for an entire career. Many did. But I listen to this and think the hidden message is don’t stop growing. Don’t stop heading to those deeper waters… challenge yourself… look where it may take you.

Joni Mitchell: That’s what the Van Gogh exhibition was to me. When I went to see the Van Gogh exhibition they had all his paintings arranged chronologically, and you’d watch the growth as you walk along. That was so inspiring to me, and I started to paint again. If it serves that purpose, that would be great. Really, that would make me very happy. It shows that from this… because the latter work is much richer and deeper and smarter, and the arrangements are interesting, too. Musically I grow, and I grow as a lyricist, so there’s a lot of growth taking place. The early stuff – I shouldn’t be such a snob against it. A lot of these songs, I just lost them. They fell away. They only exist in these recordings. For so long I rebelled against the term: “I was never a folk singer.” I would get pissed off if they put that label on me. I didn’t think it was a good description of what I was. And then I listened, and… it was beautiful. It made me forgive my beginnings. And I had this realization…

CC: What was it?

Joni: Oh God! (Laughs) I was a folksinger!

In A Conversation with Joni Mitchell by Cameron Crowe from Joni Mitchell Archives Volume I: The Early Years (1963-1967) 5 CD set

Comments are welcome!

Pearls from artists* # 436

View from the roof of the Metropolitan Museum of Art, New York

View from the roof of the Metropolitan Museum of Art, New York

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

Cassirer’s partial definition of art as symbolic language has dominated art studios in our [20th] century.  A new history of culture anchored upon the work of art as a symbolic expression thus came into being.  By these means art has been made to connect with the rest of history.

But the price has been high, for while studies of meaning received all our attention, another definition of art, as a system of formal relationships, thereby suffered neglect.  This other definition matters more than meaning.  In the same sense speech matters more than writing, because speech preceded writing, and because writing is but a special case of speech.

The other definition of art as form remains unfashionable, although every thinking person will accept it as a truism that no meaning can be conveyed without form.  Every meaning requires a support, or a vehicle, or a holder.  These are the bearers of meaning, and without them no meaning would cross from me to you, or from you to me, or indeed from any part of nature to any other part. 

… The structural forms can be sensed independent of meaning.  We know from linguistics in particular that the structural elements undergo more or less regular evolutions in time without relation to meaning, as when certain phonetic shifts in the history of cognate languages can be explained only by a hypothesis of regular change. Thus phoneme a occurring in an early stage of language, becomes phoneme b at a later stage, independently of meaning, and only under the rules governing the phonetic structure of the language.  The regularity of these changes is such that the phonetic changes can be used to measure durations between recorded but undated examples of speech.

Similar regularities probably govern the formal infrastructure of every art.  Whenever symbolic clusters appear, however, we see interferences that may disrupt the regular evolution of the formal system.  An interference from visual images is present in almost all art.  Even architecture, which is commonly thought to lack figural intention, is guided from one utterance to the next by the images of the admired buildings of the past, both far and near in time.

George Kubler in The Shape of Time:  Remarks on the History of Things

Comments are welcome!  

Pearls from artists* # 424

New York, NY

New York, NY

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

What the unproductive artist describes as his failure of will or insufficient motivation may rather be an absence in his belief system of the meaningfulness of art or of the art-making he’s presently doing. The most salient difference between the regularly blocked artist and the regularly productive artist may not be the greater talent of the latter, but the fact that the productive artist possesses and retains his missionary zeal.

Carlos Santana likened artists to “warriors in the trenches who have the vision of saving us from going over the edge.”  The artist who possesses this vision will pursue his art even if he sometimes blocks.  The artist who is less certain about the sacredness of his profession or the value of his work is hard-pressed to battle for art’s sake.  

Eric Maisel in A Life in the Arts:  Practical Guidance and Inspiration for Creative and Performing Artists

Comments are welcome!

Pearls from artists* # 416

"Acolytes," soft pastel on sandpaper, 38" x 58"

“Acolytes,” soft pastel on sandpaper, 38″ x 58″

* 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 young man was experiencing that profound emotion which has stirred the hearts of all great artists when, in the prime of youth and their love of art, they approach a man of genius or stand in the presence of a masterpiece.  There is a first bloom in all human feelings, the result of a noble enthusiasm which gradually fades till happiness is no more than a memory, glory a lie.  Among such fragile sentiments, none so resembles love as the youthful passion of an artist first suffering that initial delicious torture which will be his destiny of glory and woe, a passion brimming with boldness and fear, vague hopes and inevitable frustrations.  The youth who, short of cash but long of talent, fails to tremble upon first encountering a master, must always lack at least one heartstring, some sensitivity in his brushstroke, a certain poetic expressiveness.  There may be concerned boasters prematurely convinced that the future is theirs, but only fools believe them.  In this regard, the young stranger seemed to possess true merit, if talent is to be measured by that initial shyness and that indefinable humility which a man destined for glory is likely to lose in the exercise of his art, as a pretty woman loses hers in the stratagems of coquetry.  The habit of triumph diminishes doubt, and humility may be a kind of doubt.         

Honore Balzac in The Unknown Masterpiece

Comments are welcome!

Pearls from artists* # 336

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.

Beauty and symbol are the two faces of the numinous, that enigmatic force that bestows upon certain things, places, and moments an otherworldly power.  It is the combination of radical beauty and symbolic resonance – of apparition and death – that makes aesthetic objects so overpowering.  While at the surface there may appear to be an insurmountable difference between a Shinto shrine and a Tom Waits concert, both use beauty and symbol to confront us with what is strange and sacred in life.  Their similarity is as profound as their differences. 

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

Comments are welcome!

Q: What has been your scariest experience as an artist?

"Between," soft pastel on sandpaper, 20" x 26"

“Between,” soft pastel on sandpaper, 20″ x 26″

A:  It was the approximately six months in 2007 when I finished the “Domestic Threats” series and was blocked, certain that a strong body of work was behind me, yet not knowing what in the world to do next!  For a professional artist who had been working non-stop for 21 years, this was a profoundly painful, confusing, and disorienting time.  I remember continuing to force myself to go to the studio and for lack of anything much to do there, spending long hours reading and thinking about art.

Eventually after all of this reflection, I had an epiphany.  “Between,” with drastically simplified imagery, was the first in a new series called, “Black Paintings.”  I like to think this series includes work that is considerably richer and more profound than the previous “Domestic Threats.”


Co
mments are welcome! 

Pearls from artists* # 203

"Palaver,"soft pastel on sandpaper, 26" x 20"

“Palaver,” soft pastel on sandpaper, 26″ x 20″

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

One day, looking for something that might interest those few buyers there were, Marquet and I decided to reconnoiter.  So we went to the Pavillon de Rohan, to the Galeries de Rivoli, where there were dealers in engraving and in all kinds of curiosities that might attract foreign customers.  We each came back with an idea:  mine was to do  a park landscape with swans.  I went to the Bois de Boulogne to do a study of the lake.  Then I went to buy a photo showing swans and tried to combine the two.  Only it was very bad; I didn’t like it – in fact nobody liked it; it was impossible; it was stodgy.  I couldn’t change; I couldn’t counterfeit the frame of mind of the customers on the rue de Rivoli or anywhere else.  So I put my foot through it.  

I understood then that I had no business painting to please other people; it wasn’t possible. Either way, when I started a canvas, I painted it the way I wanted with things that interested me.  I knew very well that it wouldn’t sell, and I kept putting off the confection of a picture that would sell.  And then the same thing would happen the next time.

There are plenty of artists who think it’s smart to make paintings to sell.  Then – when they have acquired a certain reputation, a degree of independence – they want to paint things for themselves.  But that simply isn’t possible.  Painting’s an uphill task and if you want to find out what you’re capable of, you can’t dillydally on the way.  

Chatting with Henri Matisse:  The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbaut, translated by Chris Miller

Comments are welcome!

  

 

 

Pearls from artists* # 179

"Offering," soft pastel on sandpaper, 20" x 26"

“Offering,” soft pastel on sandpaper, 20″ x 26″

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

Michael Kimmelman:  You studied art in school.  You started collecting early.

David Bowie:  Yeah, I collected very early on.  I have a couple of Tintorettos, which I’ve had for many, many years.  I have a Rubens.  Art was, seriously, the only thing I’ve ever wanted to own.  It has always been for me a stable nourishment.  I use it.  It can change the way that I feel in the mornings.  The same work can change me in different ways, depending on what I’m going through.  For instance, somebody I like very much is Frank Auerbach.  I think there are some mornings that if we hit each other a certain way – myself and a portrait by Auerbach – the work can magnify the kind of depression I’m going through.  It will give spiritual weight to the angst.  Some mornings I’ll look at it and go:  “Oh, God, Yeah!  I know!”  But that same painting, on a different day, can produce in me the incredible feeling of the triumph of trying to express myself as an artist.  I can look at it and say:  “My God, Yeah!  I want to sound like that looks.”

“At Heart an Artist with Many Muses,” by Michael Kimmelman, The New York Times, Friday, January 15, 2016

Comments are welcome!  

 

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