Blog Archives
Pearls from artists* # 634
St. Malo, Brittany, France
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Sometimes I think, “Well, why on Earth do I feel hopeful? Because the problems facing the planet are huge and if I analyze them carefully, they do sometimes seem impossible to solve. So why do I feel hopeful? Partly, because I’m obstinate. I just won’t give in. But it’s partly also because we cannot accurately predict what the future might bring. We simply can’t. No one can know how it will all turn out.
The Book of Hope: A Survival Guide for Trying Times, Jane Goodall and Douglas Abrams with Gail Hudson
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Pearls from artists* # 616
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
This may be the most important piece of advice I can give you: The Internet is nothing like a cigarette break. If anything, it’s the opposite. One of the most difficult practical challenges facing writers in this age of connectivity is the fact that the very instrument on which most of us write is also a portal to the outside world. I once heard Ron Carlson say that composing on a computer is like writing in an amusement park. Stuck for a nanosecond? Why feel it? With the single click of a key we can remove ourselves and take a ride on a log flume instead.
By the time we return to work – if, indeed, we return to our work at all – we will be further away from our deepest impulses rather than closer to them. Where were we? Oh, yes. We were stuck. We were feeling uncomfortable and lost. We have gained nothing in the way of waking-dream time. Our thoughts have not drifted, but rather, have ricocheted from one bright and shiny thing to another.
Dani Shapiro in Still Writing: The Perils and Pleasures of a Creative Life
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Q: Is there a particular challenge you are currently facing? (Question from “Bold Journey”)
A: Yes! It’s one that has been unresolved for a few years now, but I just keep working on it. Now I have a new and valuable tool. A short documentary, “Barbara Rachko: True Grit” tells the story of my life and work. Our film recently premiered at the Newport Beach Film Festival in California, where we won the Audience Award and the Best in Category Award. You can view it here. https://www.youtube.com/watch?v=JJWLy84kXI0
The online audience for my paintings keeps steadily growing. I am represented by galleries in the UK, India, Sweden, and in the US. However, I do not have commensurate gallery representation in New York City, the world’s art capital, and New York is where I live and work. I hope to change this situation very soon!
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Pearls from artists* # 570
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.
One of the main differences between the young girl who drew a line in chalk from the Metropolitan Museum all the way to her home on Park Avenue and the young woman who drew lines on canvas and paper twenty years later was that the latter understood the willfulness that drove the child. She was facing “the monster,” the consuming need to create, which was beyond her control but no longer beyond her comprehension. Helen [Frankenthaler] had long understood that her gift set her apart, and that it would be nearly impossible to describe how and why without sounding arrogant or cruel. “It’s saying I’m different, I’m special, consider me differently,” she explained years later. “And it’s also on the other side, a recognition that one is lonely, that one is not run of the mill, that the values are different, and yet we all go into the same supermarkets… and we are all moved one way or another by children and seasons, and dreams. So that art separates you…”
The separation she described was not merely the result of what one did, whether it be painting or sculpting or writing poetry. Helen said the distance between an artist and society was due to a quality both intangible and intrinsic, a “spiritual” or “magical” aspect that nonartists did not always understand and were sometimes frightened by. “They want you to behave a certain way. They want you to explain what you do and why you do it. Or they want you removed, either put on a pedestal or victimized. They can’t handle it.” Helen concluded that existing outside so-called normal life was simply the price an artist paid to create.
Mary Gabriel in Ninth Street Women
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Pearls from artists* # 562
“Shadow,” soft pastel on sandpaper, 26” x 20,” in progress
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Jung observed that complexes could affect groups of people en masse. He saw that certain moments seemed to be expressions of a collective shadow, a bursting forth of a mass psychosis; the repressed side of a whole group coming alive; a tribal Mr. Hyde. He saw this madness first-hand in Germany in the 1930s and wrote about it. But every era carries some measure of collective shadow.
One could argue that no moment in time has seen more of the reality of human darkness than ours. Having witnessed the Holocaust and faced the threat of nuclear war in the twentieth century, and now facing the environmental impact of fossil fuels and plastics in the twenty-first century, we are undoubtedly aware of more of humanity’s potential for destruction than any of our ancestors ever were. Such a view does not come from a moralizing stance. Our era has made forced witnesses of us all.
The shadow is about where we put the Devil – where do we allow darkness to be housed? Racism and bigotry offer the relief of foisting our group’s shadow onto another whom we view as lesser. Doing so enables us not to look at or feel our shadow, and not see our own worst selves. But this collective shadow of our modern culture is also bigger and wider than group-to-group projections. There are culture-wide or civilization expressions of the collective shadow.
Jung saw the widespread loss of connection to the inner life and to a lived spirituality as one of the primary illnesses of our time. He observed that people were no longer animated by the traditional religions… For Jung, this meant that we’ve lost the old way but not yet found the new, and are sitting in a spiritual vacuum.
Into that vacuum, without our awareness, has slipped our fascination with human technology. Observe people closely today and you’ll notice that we have an almost magical faith in our devices. People see their computers and phones as all-knowing and expect them to function perfectly all the time, and view pharmaceuticals as magic cure-alls. Where we used to put God, we now have put technology. Where spirit was, we have unconsciously placed human genius.
Gary Bobroff in Carl Jung: Knowledge in a Nutshell
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Pearls from artists* # 491
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
We look at ancient Egyptian painting today and may find it slightly comic, but what the Egyptians were trying to do with the figure was reveal the various aspects of the person’s body in the most characteristic aspect. The face is in profile because that reveals the most about the person’s face, but the shoulders are not in profile, they’re facing the viewer, because that’s the most revealing angle for the shoulders. The hips are not in profile, but the feet are. It gives a strange, twisted effect, but it was natural to the Egyptians. They were painting essences, and in order to paint an essence you have to paint it from its most characteristic angle. So they would simply combine the various characteristic essences of the human body. This was a piece of spiritual art. It wasn’t trying to reproduce photographic reality, it was trying to reproduce and combine all the essential features of a person within one figure.
Walter Murch in The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje
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Q: What’s the best piece of advice you’ve been given?
A wall in Barbara’s studio
A: When I left the active duty Navy in 1989, my co-workers threw a farewell party. One of the parting gifts I received was a small plaque from a young enlisted woman whom I had supervised. The words on the plaque deeply resonated with me, since I was about to make a significant, risky, and scary career change. It was the perfect gift for someone facing the uncertainty of an art career.
Many years later Tina’s plaque is still a proud possession of mine. It is hanging on the wall behind my easel, to be read every day as I work. It says:
“Excellence can be attained if you…
Care more than others think is wise…
Risk more than others think is safe…
Dream more than others think is practical…
Expect more than others think is possible.”
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Pearls from artists* # 206
“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
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Q: Do you have any essential words that you live by?
Studio wall
A: I certainly do! When I left the active duty Navy in 1989, my co-workers threw a farewell party. One of the parting gifts I received was a small plaque from Tina Greene, a young enlisted woman whom I had supervised. The words on the plaque deeply resonated with me, since I was about to make a significant, risky, and scary career change. It was the perfect gift for someone facing the uncertainty of an art career.
Many years later Tina’s plaque is still a proud possession of mine. It is hanging on the wall behind my easel, to be read every day as I work. It says:
“Excellence can be attained if you…
Care more than others think is wise…
Risk more than others think is safe…
Dream more than others think is practical…
Expect more than others think is possible.”
Comments are welcome!
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