Blog Archives
Q: Where do you create your art? (Question from artamour)
A: In April 1997 an opportunity to move to New York City arose and I didn’t look back. By then I was showing in a good 57th Street gallery, Brewster Gallery (they focused exclusively on Latin American Masters so I was in the company of Leonora Carrington, Rufino Tamayo, Diego Rivera, etc.). Also, I had managed to find an excellent New York artists/agent, Leah Poller, with whom to collaborate. (Leah and I are still dear friends).
I looked at only one other space before finding my West 29th Street studio and knew instantly it was the one! An old friend of Bryan’s from Cal Tech rented the space next door and he had told us it was available. Initially the studio was a sublet. The lease-holder was a painter headed to northern California to work temporarily for George Lucas at the Lucas Ranch. After several years she decided to stay so I was able to take over the lease. I feel extremely fortunate to have been in my West 29th Street, New York City space now for twenty-five years. In a city where old buildings are knocked down to make way for new ones this is rare.
My studio is an oasis in a chaotic city, a place to make art, to read, and to think. I love to walk in the door every morning and I feel calmer the moment I arrive. It is still my absolute favorite place in New York! Sometimes I think of it as my best creation.
Comments are welcome!
Q: Do you have any mentors?
Barbara’s studio
A. Unfortunately, no, I have had to forge my own path. I did not attend art school, but I have been fortunate to have had two excellent life-changing teachers.
To read about my circuitous path to becoming an artist, please see https://barbararachko.art/en/art-market.
Comments are welcome!
Q: You have worked with twenty-plus galleries during your career. Which ones do you consider the best?
“Myth Meets Dream,” 1993, soft pastel on sandpaper, the earliest painting that includes Mexican figures
A: Probably the most prestigious gallery that represented my work was Brewster Fine Arts on West 57th Street in Manhattan. Brewster was my first New York gallery. In the summer of 1996 I mailed the gallery a sheet of slides, as we did in those days. I was living in Virginia and had been a working artist for ten years. In July while traveling around Mexico, I decided to check the phone messages at home in Virginia. I was thrilled to receive an invitation from Mia Kim, the gallery director, to exhibit pastel paintings in October! And she had not yet even seen my work in person.
Beginning that fall, I gained representation with Brewster Fine Arts, an elegant gallery specializing in Latin American Masters like Rufino Tamayo, Diego Rivera, and others. I am not Latina, of course, but I showed there due to my subject matter. At my October opening, I remember Mia declaring to the attendees, “Barbara has the soul of a Latina!” That night I met fellow gallery artist Leonora Carrington. She and I were the only non-Latina artists respresented. I knew I was on my way!
The gallery continued to present my work in group exhibitions and the staff gave brilliant talks about me and my creative process. For many years whenever I introduced myself to a new art aficionado, they already knew my work from having seen it at Brewster. I continued to be represented there until the gallery closed years later.
Also, Gallery Bergelli in Larkspur, CA did an excellent job of representing my work. I applied for one of their juried exhibitions, was accepted, and afterwards, they offered permanent representation. Soon they introduced me to one of my best collectors, with whom I am still friends.
I have worked with many galleries, some good, some not, for various reasons. Ours is an extremely tough business. Unfortunately, many of the best and formerly-great galleries are gone forever.
Comments are welcome!
Q: Why do you make art?
Barbara’s studio
A: This is an excellent question and one I like to revisit because with all the day-to-day frustrations and disappointments that are a normal part of an artist’s life, it is easy to forget what is important.
First, I make art because I have a gift and a desire to share it with others. To not develop, express, and share all that I have to say through my work is unthinkable.
Second, I make art because it is what gives my life direction and purpose. I believe that each human being has his or her own quest, driven by passion, to fulfill a certain duty. Recall Joseph Campbell’s, “The Hero’s Journey.” I need to make art in order to feel that I am living up to my highest potential.
Third, for inexplicable reasons (to me, anyway) soft pastel is an undervalued medium. I fell in love with pastel above all other media and hope to demonstrate that great art can be created with it. This is one of the drives that keeps me steadily working.
Comments are welcome!
Q: You have written about how you came to your current subject matter, but what led you away from photorealism to work that while not exactly abstract, leans more in that direction?
Barbara’s studio
A: Once I had achieved a high degree of technical facility with soft pastel, there was not much more to be gained from copying reality. Cameras do an excellent job of that so what would be the point?
Ultimately, all art lies in following an experience through to the end. Art is in the choices one makes. A visual artist’s private decisions about what to include and what to leave out become her unique inimitable style. Years ago I made a conscious decision to abandon photorealism. Since then I have been on a journey to work more from imagination and direct experience and less from physical reality.
It’s funny. I have always worked from photographs. Because I have a strong work ethic and substantial technical skill, I often feel like a slacker if I do not put in all the details that I see in the reference photo. That’s why the journey has been so slow, I think, as I convince myself it’s really ok to omit more and more details.
Comments are welcome!
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.
Comments are welcome!
Q: How did you happen to have a photograph published in The Wall Street Journal?
Sun Tunnels by Nancy Holt
A. That is a long story. To get far away from New York for the ten-year anniversary of 9/11, my friend, Donna Tang, and I planned a two-week road trip to see land art sites in Arizona, New Mexico, Utah, and Colorado. (Donna did excellent research).
We hoped for a private tour of Roden Crater with James Turrell, which is not easy to arrange. I had also invited my friend Ann Landi, an art critic and arts writer, to join us, hoping she might get an interview with Turrell and write an article for Artnews. Turrell has been working on Roden Crater for 30+ years so Ann was interested in seeing it too! Ann contacted Turrell’s gallery – Gagosian – but they later relayed Turrell’s refusal.
We were planning to see other land art sites. As an alternative to Roden Crater and Turrell, Ann pitched a story to The Wall Street Journal about Sun Tunnels and Nancy Holt (Robert Smithson’s wife, who as the only woman in the land art movement, has never been given her due). The Journal said yes, so Ann made plans to join Donna and me in Salt Lake City.
The three of us visited Sun Tunnels, Spiral Getty, and other sites together. Ann had a brand new point-and-shoot camera that she hadn’t yet learned how to use. I always take lots of photos whenever I travel. After we returned home, I sent Ann a few images and she asked permission to submit them with her article. I was thrilled when The Wall Street Journal requested JPEGs. It was the first time I’ve had a photograph published in a major newspaper.
Comments are welcome!
Q: You have spoken about learning to fly at the age of 25. What airplanes did you fly?
Cessna 150
A: I learned to fly at a small airport in Caldwell, NJ. Flying is expensive and since I didn’t have much money, I sought a job at Liberty Aviation, the local flight school, in exchange for flying lessons. For every three hours I worked, I earned a flying lesson. At the time it cost $25/hour to rent a plane, plus $10/hour for an instructor, and I was fortunate to find an excellent flight instructor who offered to teach me for free.
After I completed ground school at Clifton High School, I took my first flying lesson. It was on April 1, 1978 in a (two-seat) Cessna 150. During the following months I flew every chance I could, in Cessna 150s and newer Cessna 152s, and also occasionally in Piper Cherokees. On September 24, 1978 I received my private pilot’s license.
Then I got checked-out in a larger (four-seat) Cessna 172. For my instrument training I flew Cessna 150s and 172s. I received my instrument rating in April 1979.
Next I trained for a commercial pilot’s license and a multi-engine rating. I flew Cessna 172s and a twin-engine Piper Seminole and obtained my license and rating in May 1980.
In December 1980 I began Boeing 727 flight engineer training at Flight International in Atlanta, GA. Most of this was in Boeing-727 flight simulators with Delta airline pilots as instructors. My check-ride was in a Boeing-727 owned by FedEx. I received my flight engineer’s certificate in February 1981. At the time I was the only woman in the entire school!
Comments are welcome!
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