Blog Archives
Q: What do you enjoy the least about being an artist?
A recent view of the studio with works in progress
A: It’s the fact that no matter how hard an artist works there is no guarantee that money will be forthcoming soon. I work very hard at all aspects of being an artist, from creating pastel paintings and educating the public about what I do, to finding galleries with whom to partner, responding to interview requests, staying on top of social media, writing, etc. Under-appreciation seems to be the fate of too many contemporary artists.
Comments are welcome!
Q: Do you have a favorite art book?
Favorite art book
A: Since I have quoted numerous passages from it on Wednesdays in “Pearls from artists,” it should come as no surprise that I am enamored of “Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action” by JF Martel. This gem has become a bible to be read and reread as an endless source of wisdom, inspiration, and solace for myself and for other contemporary artists. I even referred to it while writing the mission statement for New York Dreamers Art Group, the artists’ collective founded earlier this year.
Were someone to ask “what one book would you recommend that every visual artist read?”, Martel’s masterwork is my answer. It is a constant companion kept in my backpack to reread at odd times whenever I have spare moments. I keep finding new insights to savor and ponder and still cannot get enough of this terrific book!
Comments are welcome!
Q: Does your attraction to Mexican folk art have anything to do with the way you see life or your taste for color?
Studio corner
A: Initially, it was the fact that these folk-art figures opened up an entire new world to me. I had learned almost nothing about Mexico in school, a fact I found mystifying, considering Mexico is the United States’ southern neighbor.
When I started collecting, I was launched on a rich intellectual adventure with seemingly no end. The folk art figures had so much to teach and prompted many questions. Most were unanswerable, but still, I was curious: who made them, why, how, what did they represent, what did they reveal about the maker’s worldview, how did they fit in with historical and contemporary forces, etc.
Comments are welcome!
Pearls from artists* # 297
“Conundrum,” 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 most valuable critic of contemporary work is another artist engaged in the same game. Yet few misunderstandings exceed those between two painters engaged upon different kinds of things. Only long after can an observer resolve the differences between such painters, when their games are all out, and fully available for comparison.
George Kubler in The Shape of Time: Remarks on the History of Things
Comments are welcome!
Pearls from artists* # 77
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.
Current possibilities far exceed any single artist’s capacity to engage them. Indeed, every known way of making art ever undertaken in all of history is included in today’s inventory of creative options. Thus, choices must be made. This has had a profound effect upon the quantity and diversity of skills needed to become an artist today. In addition to such conventional forms of artistic talent as visual acuity, manual dexterity, sensitivity, intelligence, ingenuity, and perseverance, contemporary artists must also be able to make judicious choices from a limitless inventory of alternatives. A decisive aspect of the creative act involves choosing a place amid possibilities that are as bountiful as they are eclectic and chaotic. Even this process entail choices. In staking the territory they wish to occupy, artists may be gluttons or ascetics, connoisseurs or commoners. Relationships between artists and their career choices may be lifelong and monogamous, or sequentially monogamous, polygamous, or promiscuous. But artists’ options even exceed selecting precedents. Free access to the past is amplified by freedom to augment the catalogue of creative options by contributing something new.
In the Making: Creative Options for Contemporary Art by Linda Weintraub
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Pearls from artists* # 53
“Art and Beer,” a roadside bar and sculpture garden in Baja del Sur, Mexico
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
We do treat books surprisingly lightly in contemporary culture. We’d never expect to understand a piece of music on one listen, but we tend to believe we’ve read a book after reading it just once. Books and music share more in terms of resonance than just a present-tense correlation of heard note to read word. Books need time to draw us in, it takes time to understand what makes them, structurally, in thematic resonance, in afterthought, and always in correspondence with the books which came before them , because books are produced by books more than by writers; they’re a result of all the books that went before them. Great books are adaptable; they alter with us as we alter in life, they renew themselves as we change and re-read them at different times in our lives. You can’t step into the same story twice – or maybe it’s that stories. books, art can’t step into the same person twice, maybe it’s that they allow for our mutability, are ready for us at all times, and maybe it’s this adaptability, regardless of time, that makes them art, because real art (as opposed to more transient art, which is real too, just for less time) will hold us at all our different ages like it held all the people before us and will hold all the people after us, in an elasticity and with a generosity that allow for all our comings and goings. Because come then go we will, and in that order.
Ali Smith in Artful
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