Blog Archives
Pearls from artists* # 149
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.
Real collecting begins in lust: I have to have this, live with this, learn from this, figure out how to pay for this. It cannot be about investment or status. Like making art, writing about it or organizing its public display (in galleries or in museums), collecting is a form of personal expression. It is, in other words, a way to know yourself, and to participate in and contribute to creativity, which is essential to human life on earth.
Roberta Smith in Collecting for Pleasure, Not Status, The New York Times, May 15, 2015
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Pearls from artists* # 144
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.
Art and design are rule-based. This flies in the face of everything that most people have been taught before, namely, that art and design are about freedom. I remember reading a wonderful analogy about this concept many years ago in an out-of-print, early twentieth-century book on design. The author asked us to imagine a flying kite – the quintessential emblem of unrestricted, spontaneity, soaring in the wind. Keeping taught the line between you and the kite, however, is the source of that freedom. Here’s another way of putting it: “Creativity arises out of the tension between the rules and imagination.”
Leslie Hirst in The Art of Critical Making: Rhode Island School of Design on Creative Practice, Rosanne Somerson and Mara L. Hermano, editors
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Q: Why do you prefer not to explain your titles and imagery?
“Truth Betrayed by Innocence,” soft pastel on sandpaper, 58″ x 38″
A: It’s mainly because answers close down imagination and creativity. I enjoy hearing alternative interpretations of my pastel paintings. People are wildly imaginative and each person brings unique insights to their art viewing. By leaving meanings open, conversation is generated. Most artists want viewers to talk about their work.
Once at a public artist’s talk that I attended, I was told by an artist that my interpretation of her title was completely wrong. First of all, how can an interpretation honestly expressed by your audience be “wrong?” Art is as open to interpretation as a Rorschach test (art IS a kind of Rorshach test). Then she explained the thinking behind her title and succeeded in cutting off all further conversation. I felt belittled. Later several people told me that my interpretation was much more compelling. Still, the experience was mortifying and I hope to never do that to anyone.
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Pearls from artists* # 121
Sri Lanka
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Artists, when they are absorbed in their work, are also deeply connected to other human beings. The theologian Matthew Fox said, “The journey the artist makes in turning inward to listen and to trust his or her images is a communal journey.” The psychologist Otto Rank argued that, “The collective unconscious, not rugged individuality, gives birth to creativity.”
To be sure, artists are not making real contact with real human beings as they work in the studio, but they are making contact in the realm of the spirit. The absence of the pressures real people bring to bear on them allows them, in solitude, to love humankind. Whereas in their day job they may hate their boss and at Thanksgiving they must deal with their alcoholic parents, in the studio their best impulses and most noble sentiments are free to emerge.
Eric Maisel in A Life in the Arts
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Q: You took classes at The Art League School in Alexandria, VA in the late eighties studying intensely with Lisa Semerad and Diane Tesler. How have these experiences impacted on the way you currently produce your artworks? By the way, I sometimes wonder if a certain kind of formal training in artistic disciplines could even stifle a young artist’s creativity. What do you think?
Barbara’s studio
A: From studying with Lisa and Diane I gained an excellent technical foundation and developed my ability to draw and depict just about anything in soft pastel. They were both extremely effective teachers and I worked hard in their classes. I probably got my work ethic from them. Without Diane and Lisa I doubt I would have gained the necessary skills nor the confidence to move to New York to pursue my art career.
Needless to say, I believe developing excellent technical skills is paramount. Artists can, and should, go ahead and break the rules later, but they won’t be able to make strong work, expressing what they want, without a firm foundation. Once you have the skills, you can focus on the things that really make your work come alive and speak to an appreciative audience.
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Q: How do you feel about accepting commissions?
“Reunion,” soft pastel on sandpaper, 38″ x 58″, 1990
A: By the time I left the Navy in 1989 to devote myself to making art, I had begun a career as a portrait painter. I needed to make money, this was the only way I could think of to do so, and I had perfected the craft of creating photo-realistic portraits in pastel. It worked for a little while.
A year later I found myself feeling bored and frustrated for many reasons. I didn’t like having to please a client because their concerns generally had little to do with art. Once I ensured that the portrait was a good (and usually flattering) likeness, there was no more room for experimentation, growth, or creativity. I believed (and still do) that I could never learn all there was to know about soft pastel. I wanted to explore color and composition and take this under-appreciated medium as far as possible. It seemed likely that painting portraits would not allow me to accomplish this. Also, I tended to underestimate the amount of time needed to make a portrait and charged too small a fee.
So I decided commissioned portraits were not for me and made the last one in 1990 (above). I feel fortunate to have the freedom to create work that does not answer to external concerns.
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Pearls from artists* # 58
Cabo San Lucas, 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.
I remember as a teenager having a group of friends at school and another group whom I spent the weekends with. I functioned fine until on occasions when I was with friends from both groups at the same time. Then it became really difficult, because I was used to acting very differently with the two groups. With one I was the leader, very vocal and outspoken about my opinions. With the other group I wanted desperately to belong and so I adapted to fit in, which meant not really being myself.
The lack of authenticity is painful. It applies to all levels of life. If our voice as a painter is inauthentic, we’re in trouble. In the end there is nothing so compelling as to be yourself. This is why being an artist can be so exhilarating. If you want to uncover your truth, you have a daily technique to come to terms with your limitations and to overcome them. You have an opportunity to look at the limiting stories you have written in your head and heart and rewrite them with boldness and vision. The quality of your attention influences how you see things.
What you put your attention on grows stronger in your life. Life, if you look around you, whether inside or in nature, is one bubbling mass of creativity. Recognize we have no shortage of it. If you focus your attention on what you now decide is fundamental , that quality will grow in your life. Not what our parents or teachers or friends or media or anybody says or said. What we now put our attention on will grow in our life. If you want to paint and put your focus there you will unleash a torrent of energy and enthusiasm.
Ian Roberts in Creative Authenticity: 16 Principles to Clarify and Deepen Your Artistic Vision
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Pearls from artists* # 15
Somewhere in Guatemala
* 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 first steps of a creative act are like groping in the dark: random and chaotic, feverish, and fearful, a lot of busy-ness with no apparent or definable end in sight. There is nothing yet to research. For me, these moments are not pretty. I look like a desperate woman, tortured by the simple message thumping away in my head: “You need an idea.” It’s not enough for me to walk into a studio and start dancing, hoping that something good will come of my aimless cavorting on the floor. Creativity doesn’t generally work that way for me. (The rare times when it has stand out like April blizzards). You can’t just dance or paint or write or sculpt. Those are just verbs. You need a tangible idea to get you going. The idea, however miniscule, is what turns the verb into a noun – paint into painting, sculpt into sculpture, write into writing, dance into a dance.
… I’m often asked, “Where do you get your ideas?” This happens to anyone who is willing to stand in front of an audience and talk about his or her work. The short answer is: everywhere. It’s like asking, “Where do you find the air you breathe?” Ideas are all around you.
I hesitate to wax eloquent about the omnipresence of ideas and how everything we need to make something out of nothing – tell a story, design a building, hum a melody – already resides within us in our experience, memories, taste, judgment, critical demeanor, humanity, purpose, and humor. I hesitate because it is so blindingly obvious. If I’m going to be a cheerleader for the creative urge, let it be for something other than the oft-repeated notion that ideas are everywhere.
What people are really asking, I suppose, is not, “Where do you get your ideas?” but “How do you get them?”
To answer that, you first have to appreciate what an idea is.
Ideas take many forms. There are good ideas and bad ideas. Big ideas and little ideas.
A good idea is one that turns you on rather than shuts you off. It keeps generating more ides and they improve one another. A bad idea closes doors instead of opening them. It’s confining and restrictive. The line between good and bad ideas is very thin. A bad idea in the hands of the right person can easily be tweaked into a good idea.
Twyla Tharp, The Creative Habit: Learn it and Use it for Life: A Practical Guide
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Q: Do you have any rituals or a spiritual practice that you do before beginning your work in the studio?
Studio entrance
A: When I arrive at the studio in the morning it’s rare for me to immediately start working. Usually I read something art-related – magazines like Art in America, ARTnews, Tribal Arts, or exhibition catalogues from shows I’ve seen, books on art, on creativity, etc. At the moment I’m re-reading The Gift, by Lewis Hyde. As usual I am struggling to understand aspects of the art business and figure out what I need to do next to get my work seen by a wider audience. The Gift reminds why I decided to make art in the first place. It helps reconnect with forgotten parts of myself and is a much-needed reminder of what I love about being an artist, especially in light of the business stuff that is becoming so complex and demanding of attention now. Balancing the creative and business aspects of being an artist is a continual struggle. Both are so important. An artist needs an appreciative audience – very few artists devote their lives to art-making so that the work will remain in a closet – but I also believe this (from a note hand-written years ago and tacked to the studio wall): “Just make the work. None of the rest matters.”
Comments are welcome.
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