Blog Archives
Pearls from artists* # 472
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
A remark by Kurt Anderson suggests how the Internet discourages patient gazing: “Waiting a while to get everything you want… was a definition of maturity. Demanding satisfaction right this instant, on the other hand, is a defining behavior of seven-year-olds. The powerful appeal of the Web is not just the ‘community’ it enables but its instantane-ity… as a result… delayed gratification itself came to seem quaint and unnecessary.” A survey commissioned by the Visitor Studies Association reveals the impact of impatience. On average, the survey found, Americans spend between six and ten seconds looking at individual works in museums. (Is it just a coincidence that six to ten seconds is also the average time browsers perch on any given Web page?) Yet how many hours a day do we spend absorbed by one or another electronic screen? For the Los Angeles artist Ed Ruscha (born 1937) brief encounters won’t suffice. When somebody asked, “How can you tell good art from bad?” Ruscha replied, “With a bad work you immediately say, ‘Wow!’ But afterwards, you think, ‘Hum? Maybe not.’ With a good work, the opposite happens.” Time is lodged at the heart of Ruscha’s formula, as the artwork becomes part of our temporal experience. In order to know what is good, we need to take a breather. Even to know what is bad, we need to pause.
Arden Reed in Slow Art: The Experience of Looking, Sacred Images to James Turrell
Comments are welcome!
Q: When you left the Navy you worked on commission as a portrait artist. Why don’t you accept commissions now?
Barbara’s studio
A: As I have often said, I left the active duty Navy in 1989, but stayed in the Reserves. The Reserves provided a small part-time income and the only requirement was that I work one weekend a month and two weeks each year. Plus, I could retire after 13 more years and receive a pension. (In 2003 I retired from the Navy Reserve as a Commander). The rest of the time I was free to pursue my studio practice.
For a short time I made a living making commissioned photo-realist portraits in soft pastel on sandpaper. However, after a year I became very restless. I remember thinking, “I did not leave a boring job just to make boring art!” I lost interest in doing commissions because what I wanted to accomplish personally as an artist did not coincide with what portrait clients wanted. I finished my final portrait commission in 1990 and never looked back.
To this day I remain reluctant to accept a commission of any kind. So I am completely free to paint whatever I want, which is the only way to evolve as a serious, deeply committed artist.
Comments are welcome!
Q: How did you prepare yourself to change careers and work as a professional artist?
“Krystyn,” charcoal, 22″ x 30″, 1989
A: At the age of 33 I was a Lieutenant in the Navy, working as computer analyst at the Pentagon. I was very unhappy with my job. I began looking for something else to do and discovered The Art League School in Alexandria, VA. I enrolled in classes with Lisa Semerad, then spent the next two years developing my drawing skills using black and white media (charcoal, pencils, conte crayon, etc.).
After that I moved on to color media and began studying soft pastel with Diane Tesler. During this time I was still in the Navy, working the midnight shift at the Pentagon and taking art classes during the day. I was a very motivated student.
After three years or so I was getting quite proficient as an artist, entering local juried shows, winning prizes, garnering press coverage, etc. Prior to my career change, I worked hard to develop my portrait skills. I really didn’t know how I could make a living other than by making commissioned portraits. I volunteered to run a weekly life drawing class at The Art League School in Alexandria, VA, where I made hundreds of figure drawings using charcoal.
I spent a semester commuting between Washington, DC and New York to study artistic anatomy at the New York Academy of Art. I spent another semester studying gross anatomy with medical students at Georgetown University Medical School. Over time I became skilled at making photo-realistic portraits. In 1989 I resigned from the Navy and have worked full-time as a visual artist ever since.
Comments are welcome!
barbararachkoscoloreddust.com 