Blog Archives
Pearls from artists* # 656
At Storm King Art Center, Cornwall-On-Hudson, NY. Photo: Susan Erlichman
*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 world needs artists more than they know, and you are entitled to be one of them. We altruistically create gifts, with no assurance those gifts will be appreciated. Like social workers, we do not make a lot of money, but we improve the quality of people’s lives through ripple effects. When our work shifts the perceptions of one viewer, the transformation often radiates to others around them. That includes dialogue and pushes the world toward more truth or justice and inspires others to do the same.
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice
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Pearls from artists* # 588
Screen shot from “Barbara Rachko: True Grit” Photo: Jennifer Cox
*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 structure of the hand is not… “just anything;” the fingers have certain characteristic relationships, certain ranges of relative movement, certain kinds of crossing, torquing, jumping, sliding, pressing, releasing movements that guide the music to come out a certain way. Graceful work uses those patterns and instinctively moves through them and out as we find ever-fresh combinations. The shape and size of the human hand brings powerful but subtle laws into every kind of art, craftsmanship, mechanical work, and into our ideas and feelings as well. There is a continuous dialogue between hand and instrument, hand and culture. Artwork is not thought up in consciousness and then, as a separate phase, executed by the hand. The hand surprises us, creates and solves problems on its own. Often enigmas that battle our brains are dealt with easily, unconsciously, by the hand.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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Pearls from artists* # 557
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
It is true that art, while indebted to tradition, is usually at odds with it; art is about the thrill of mutiny. Young painters and sculptors are particularly unwilling to be hampered by the past, especially if that past is encased in the cement shoes of gender. But familiarity with tradition can be liberating for an artist because it provides a map illustrating the route other people have taken, which is especially valuable at the start of such a perilous journey. Male artists can inspire and instruct, surely. Artistic concerns are gender neutral. But there are social and personal issues a woman artist faces that cannot be found in the stories of men; these are the obstacles confronted and obstacles overcome. The poet Adrienne Rich wrote, “For spiritual values and a creative tradition to continue unbroken we need concrete artifacts, the work of hands, written words to read, images to look at, a dialogue with brave and imaginative women who came before us.” It’s instructive as well as comforting to know how other women have managed and what other women have dared. It’s also gratifying to find in their stories an occasional energizing dose of inspiration.
Mary Gabriel in Ninth Street Women
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Pearls from artists* # 425
Gladstone, NJ
*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 yet books were faithful companions for Vincent, an important source of sustenance during his times of melancholy: he periodically re-read his favourites, finding new meaning in the text and illustrations each time. Van Gogh read in at least two ways: first “breathlessly,’ and then ‘by careful exploration.’ But we could add a third and a fourth way: thirdly as an artist, and fourthly from the perspective of the writer he perhaps knew himself to be. To Vincent, reading books meant above all to ‘seek in them the artist who made them,’ as he wrote to his sister Willemien. He sought to open an internal dialogue with other writers as artists, and meditated on their words, stopping to consider and reconsider a phrase to make it resonate within him He did this in more than one language – internalizing words, ruminating, bending them to his will, and finally assigning them to a fate of his choosing, over the years. Remarkably several Prefaces by French Naturalist novelists such as Zola, De Goncourts or Maupassant (today considered genuine manifestos) were among the pages that truly challenged and engaged his mind. In them he found the freedom that he was seeking in painting – the ‘confirmation’ of his own ideas, inspiration and encouragement. The work of the illustrators of his favorite books and magazines equally attracted him and had a lingering effect on him, on which he paused to reflect repeatedly, extracting inspiration indirectly.
Mariella Guzzoni in Vincent’s Books: Van Gogh and the Writers Who Inspired Him
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Q: Where do you want your work to go in the future?
Barbara’s studio
A: Recently I answered a question about why I create, but now that I think about it, the same answer applies to what I want to do as an artist in the future:
~ to create bold and vibrant pastel paintings and photographs that have never existed before
~ to continue to push my primary medium – soft pastel on sandpaper – as far as I can and to use it in more innovative ways
~ to create opportunities for artistic dialogue with people who understand and value the work to which I am devoting my life
The last has always been the toughest. I sometimes think of myself as Sisyphus because expanding the audience for my art is an ongoing uphill battle. Many artist friends tell me they feel the same way about building their audience. It’s one of the most difficult tasks that we have to do as artists. I heard Annie Leibovitz interviewed on the radio once and remember her saying that after 40 years as a photographer, everything just gets richer. Notice that she didn’t say it gets any easier; she said, “it just gets richer.” I have been a painter for nearly 30 years and a photographer for 11. I agree completely. All artists have to go wherever our work goes. Creating art and watching the process evolve is an endlessly fascinating intellectual journey. I wouldn’t want to be spending my time on earth doing anything else!
Comments are welcome!
Q: Why do you create?
West 29th Street studio
A: There are many answers to that question and my responses vary according to how things are going in the studio. Just now these three are most compelling:
~ to create bold and vibrant pastel paintings and photographs that have never existed before
~ to continue to push my primary medium – soft pastel on sandpaper – as far as I can and to use it in more innovative ways
~ to create opportunities for artistic dialogue with people who understand and value the work to which I am devoting my life
The last has always been the toughest. I sometimes think of myself as Sisyphus because expanding the audience for my art is an ongoing uphill battle. Many artist friends tell me they feel the same way about building their audience. It’s one of the most difficult tasks that we have to do as artists.
Comments are welcome!
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