Blog Archives

Pearls from artists* # 346

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.

In my view… the most useful definition of creativity is the following one:  people are artistically creative when they love what they are doing, know what they are doing, and actively engage in the tasks we call art-making.  The three elements of creativity are thus loving, knowing, and doing; or heart, mind, and hands; or, as Buddhist teaching has it, great faith, great question, and great courage.    

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

Comments are welcome!

Pearls from artists* # 342

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.

I work either way, you see – assisted or unassisted – because that is what you must do in order to live a fully creative life.  I work steadily, and I always thank the process.  Whether I am touched by grace or not, I thank creativity for allowing me to engage at all.

Because either way, it’s all kind of amazing – what we get to do, what we get to attempt, what we sometimes get to commune with.   

Gratitude, always.

Always, gratitude.

Elizabeth Gilbert in Big Magic:  Creative Living Beyond Fear

Comments are welcome!

My blog turns 6 years old tomorrow! Here is the very first post from July 15, 2012. Q: What does it take to be an artist, especially one living and working in New York?

Barbara's Studio

Barbara’s Studio with works in progress.

A:  The three Big P’s – Patience, Persistence, and Passion.  Without all three you will not have the stamina to work tirelessly for very little external reward.  You can expect help from no one. 

There are so many obstacles to art-making and countless reasons to just give up.  When you really think about it, it’s amazing that great art gets made at all.  So why do we do it?  Above all it’s about making our time on earth matter, about devotion to our innate gifts and love of our hard-fought creative process. 

And, my God, it even gets harder as we get older!  So what do we do?  We dig in that much deeper.  It’s a most noble and sacred calling – you know when you have it – and that’s what separates those of us who are in it for the long haul from the wimps, fakers, and hangers-on.  I say to my fellow artists who continue to work despite the endless challenges, we are all true heroes! 

__________

Lucky me to still be in the same studio!  However, when you visit now, you see more tables full of pastels, more postcards on the walls, newer pastel paintings, etc.  More importantly, what I wrote six years ago still rings true! 

Comments are welcome!     

Q: What qualities do you think mark the highest artistic achievement?

Barbara's studio

Barbara’s studio

A:  If I may speak in the most general terms, several qualities come to mind that, for me, mark real artistic achievement: 

  • firm artistic control that allows the artist to create works that simultaneously demonstrate formal coherence while responding to inner necessity
  • the creation of new forms and techniques that are adapted to expressing the artist’s highly personal vision
  • an authentic and balanced fusion of form, method, and idea
  • using material from one’s own idiosyncratic experiences and subtly transforming it in a personal inimitable way during the creative process
  • the meaning of the thing created is rigorously subordinated to its design, which once established, generates its own internal principles of harmony and coherence  

Comments are welcome! 

Pearls from artists* # 207

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.

More than in any other vocation, being an artist means always starting from nothing.  Our work as artists is courageous and scary.  There is no brief that comes along with it, no problem solving that’s given as a task… An artist’s work is almost entirely inquiry based and self-regulated.  It is a fragile process of teaching oneself to work alone, and focusing on how to hone your quirky creative obsessions so that they eventually become so oddly specific that they can only be your own.

 
“What It Really Takes to Be an Artist:  MacArthur Genius Teresita Fernandez’s Magnificent Commencement Address,” by Maria Popova in “brainpickings”

Comments are welcome! 

 

Pearls from artists* # 206

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

“Provocateur,” 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.

And a career in higher education and medicine has taught me that creativity – whether in the sciences, arts or humanities – fosters controversy.  We neither seek nor avoid controversy – we anticipate it and welcome the opportunity to explain the creative choices we make.  We must take risks.  We must be involved in the vital issues facing the world.

David J. Skorton, Director of the Smithsonian Institution in “What Do We Value?” Museum, May/June 2016

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 do you think is an artist’s chief responsibility? Do you personally feel a responsibility to society?

Winter roses, NYC

Winter roses

A:  All serious artists have the responsibility of developing our unique and special gifts to the best of our abilities and  sharing our creative output with an appreciative audience.  In other words we do good work and then we educate, and often create, the audience for it.  This is the demanding, all-important task that gets me out of bed every day. 

In showing what is possible artists cannot help but create a better society.  Ours is essential work. 

Comments are welcome! 

Q: What are some of your work habits? Do you sit most of the day?

Barbara at work, Photo: Marianne Barcellona

Barbara at work, Photo: Marianne Barcellona

A:  No, I never sit while working.  I enjoy the physicality of art-making and prefer to stand at my easel so I can back up to see how a painting looks from a distance.  I like being on my feet all day and getting some exercise.

In order to accomplish anything, artists need to be disciplined.  I work five days a week, taking Wednesdays and Sundays off, and spend seven hours or more in the studio.  Daylight is necessary so I work more hours in summer, fewer in winter.  I deliberately don’t have a clock on the wall – art-making is independent of timetables – but I tend to work in roughly two-hour blocks before taking a break. 

Studio hours are sacrosanct and exclusively for creative work.  I keep my computer and mobile devices out of the studio.  Art business activities – answering email, keeping up with social media, sending jpegs, writing blog posts, doing interviews, etc. – are mostly accomplished at home in the evenings and on days off.

Comments are welcome!         

Pearls from artists* # 177

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.

Everyone but a lunatic has a reason for what he does.  Yes, in that sense I am a determinist.  But I believe, with Kant, that the mind is self-determined.  That is, I believe intensely in the creative freedom of the mind.  That is indeed absolutely essential to man’s security in a chaotic world of change.  He is faced all the time with unique complex problems.  To sum them up for action is an act of creative imagination.  He fits the different elements together in a coherent whole and invents a rational act to deal with it.  He requires to be free, he requires his independence and solitude of mind, he requires his freedom of mind and imagination.  Free will is another matter – it is a term, or rather a contradiction in terms, which leads to continual trouble.  The will is never free – it is always attached to an object, a purpose.  It is simply the engine in the car – it can’t steer.  It is the mind, the reason, the imagination that steers.

Joyce Carey in The Paris Review Interviews:  Writers at work 1st Series, edited and with an introduction by Malcolm Cowley

Comments are welcome!