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Pearls from artists* # 403

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

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

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

There is that doctor who opens you up, does exactly the right thing, closes you up – and you die.  He failed to take the chance that might have saved you.  Art is a crucial, dangerous operation we perform on ourselves.  Unless we take a chance, we die in art.

Morty Feldman quoted in Mary Gabriel in Ninth Street Women

Comments are welcome!

Q: Travel is an essential aspect of your work. How do you decide where to travel next?

In the Bolivian Andes at about 14,000’

In the Bolivian Andes at about 14,000’

 A:  Generally, I am most interested in exploring Mexico and destinations in Central and South American because they offer endless inspiration to further my work.  I’m not exactly certain why this is the case.  I DO know that I cannot get enough of travel to points south!

My 2017 trip to Bolivia proved to be crucial for my current pastel painting series.  “Bolivianos” is based on an exhibition of Carnival masks encountered at the National Museum of Ethnology and Folklore in La Paz.

I had high hopes of making a return visit – along with a private tour guide – last February.  However, since President Moreno resigned last November, much political instability, violence, and turmoil resulted.  I would not have felt safe traveling to Oruro to see Carnival celebrations this year.

In the mean time I look forward to traveling to Chile, the Atacama Desert, and Easter Island next winter!

Comnents are welcome!

Pearls from artists* # 379

"Blind Faith," 38" x 58," soft pastel on sandpaper

“Blind Faith,” 38″ x 58,” soft pastel on sandpaper

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

Elaine’s and Bill’s [de Kooning] relationship involved a continual exchange of ideas that wasn’t restricted to conversations with friends.  In the quiet of their studio when they were finally alone, they’d climb into bed and Elaine would read to Bill.  Faulkner was a favorite.  She also read Ambrose Bierce’s Civil War tales.  And she would read Kierkegaard.  That nineteenth-century father of Existentialism wrote with great passion about the essential solitude and uncertainty of the human struggle.  They were words of consolation for Bill and Elaine who, though confident in their paths as artists, could not have been free of the nagging fear that they might spend their lives looking and never find what they sought in their work.  Kierkegaard seemed to say that it didn’t matter, that it was striving that counted, and he described the need to reconcile oneself to the unknowable that was man’s fate.  The artist, he said, had a crucial role to play in that regard.  Like a religious figure who was an envoy from a realm most people could not access, the artist through his or her work revealed pure spirit so that men mired in the bitter reality of daily life might find the strength to continue.

Mary Gabriel in Ninth Street Women

Comments are welcome!

Q: You are a multi-talented woman! Tell us about your book, “From Pilot to Painter,” and how writing, for you, compares to painting and photography. Which do you prefer?

“From Pilot to Painter”

“From Pilot to Painter”

A:  I am pleased that my eBook FROM PILOT TO PAINTER is available on Amazon and iTunes.  It is based on my blog and is part memoir, including my personal loss on 9/11, insights into my creative practice, and intimate reflections on what it’s like to be an artist living in New York City now. The eBook includes new material not found on the blog, plus 25+ reproductions of my vibrant pastel-on-sandpaper paintings, a Foreword by Ann Landi (who writes for ARTnews and The Wall Street Journal), and more.

“Barbara Rachko’s Colored Dust” (the title of my blog) continues to be a crucial part of my overall art practice.  Blogging twice a week forces me to think deeply about my work and to explain it clearly to others.  The process has helped me develop a better understanding about why I make art and has encouraged me to become a better writer.

From the beginning in the 1980s I used photographs as reference material and Bryan would shoot 4” x 5” negatives of my elaborate setups with his Toyo-Omega view camera. In those days I rarely picked up a camera except when we were traveling. After Bryan was killed on 9/11, I inherited his extensive camera collection – old Nikons, Leicas, Graphlex cameras, etc. – and I wanted to learn how to use them. In 2002 I enrolled in a series of photography courses (about 10 over 4 years) at the International Center of Photography in New York. I learned how to use all of Bryan’s cameras and how to make my own big color prints in the darkroom. Along the way I discovered that the sense of composition, form, and color I developed over many years as a painter translated well into photography. The camera was just another medium with which to express my ideas. Astonishingly, in 2009 I had my first solo photography exhibition in New York.

It’s wonderful to be both a painter and a photographer. Pastel painting will always be my first love, but photography lets me explore ideas much faster than I ever could as a painter. Paintings take months of work. To me, photographs – from the initial impulse to hanging a framed print on the wall – are instant gratification.

For two years I have been using my iPad Pro to capture thousands of travel photographs.  Most recently, I visited Gujarat and Rajasthan in India. I have never been inclined to use a sketchbook so composing photos on my  iPad keeps my eye sharp while I’m halfway around the world, far from my studio practice.

Comments are welcome!

Pearls from artists* # 319

"She Embraced It and Grew Stronger," soft pastel on sandpaper, 38" x 58"

“She Embraced It and Grew Stronger,” 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.

Ultimately, whether we judge an artistic work to be enjoyable or not may be immaterial when we consider the effect it has on us.  A film might affect us in profound ways even though we found it difficult to watch or failed to grasp the point, if any, that the filmmakers were trying to get across.  Most people have experienced artistic works that, although their own egos may have found them lacking in certain respects, continued to work on them long afterward, subtly altering them whether they wished it or not.  The crucial factor isn’t whether we have been amused or delighted by a work but whether we have let the forces within it penetrate the closed perimeter of our lives and expand our horizons.  True sensibility, real good taste, involves the ability to recognize when such forces are present, and to distinguish between superficial reactions and the deeper affects these forces elicit.       

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

Comments are welcome!

Pearls from artists* # 62

"The Sovereign," soft pastel on sandpaper, 58" x 38"

“The Sovereign,” soft pastel on sandpaper, 58″ x 38″

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

Yes, I’m formalistically obsessed.  I see in a picture what I see in nature – everything has its place and is integrated.  Like a tree or a human body, the image is put together for a greater whole.  If you chop off something, you immediately destroy the organism.  Form is crucial to what I do, and I believe that the form, in a way, creates the content.  If you don’t have the form, you don’t get the content.  If you get the maximum formal relationships in a precise, organic, metaphoric methodology, then you have a better chance of bringing out the content to its full degree.  Of course, a picture doesn’t stand alone by its form.  You can have forms that relate but offer no meaning.  Ultimately, a picture is judged by its meaning, and I think that’s what a lot of people lose sight of.     

Interview with Roger Ballen in Lines, Marks, and Drawings:  Through the Lens of Roger Ballen, Craig Allen Subler and Christine Mullen Kreamer

Comments are welcome!

Pearls from artists* # 56

Utah

Utah

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

Balancing intuition against sensory information, and sensitivity to one’s self against pragmatic knowledge of the world, is not a stance unique to artists.  The specialness of artists is the degree to which these precarious balances are crucial backups for their real endeavor.  Their essential effort is to catapult themselves wholly, without holding back one bit, into a course of action without having any idea where they will end up.  They are like riders who gallop into the night, eagerly leaning on their horse’s neck, peering into a blinding rain.  And they have to do it over and over again.  When they find that they have ridden and ridden – maybe for years, full tilt – in what is for them a mistaken direction, they must unearth within themselves some readiness to turn direction and to gallop off again.  They may spend a little time scraping off the mud, resting the horse, having a hot bath, laughing and sitting in candlelight with friends.  But in the back of their minds they never forget that the dark, driving run is theirs to make again.  They need their balances in order to support their risks.  The more they develop an understanding of all their experience – the more it is at their command – the more they carry with them into the whistling wind.

Anne Truitt in Daybook:  The Journal of an Artist

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