Blog Archives
Q: In the “Bolivianos” series you are exclusively depict masks. What drew you to them?
Source material for “The Champ”
A: For me a mask is so much more than a mask. It is a living thing with its own mind, its own soul, and with a unique history. With this series I feel as though I am creating portraits of living beings.
These images are a return to my early days because I began as a photo-realist portrait painter. So I am reconnecting with a first love, except with a welcome twist. This time I do not have to satisfy a portrait client’s request to make my subject look younger or more handsome. I am free to respond only to what the work needs.
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Pearls from artists* # 321
Museum of Ethnography and Folklore, La Paz, Bolivia
*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 is Bolivia, a country rich in cultural expressions. Here many great civilizations have flourished, all of which, fundamentally, are bound to the soil from which both fruits and gods emerged.
As part of the expression of these cultures, masks are not mere accessories to conceal the face or represent a character for an artistic performance. Neither are they simply for diversion.
Their roles as objects of art and diversion make sense only as part of a ceremonial act. Then, masks can be understood as the remembrance of history and myth, the externalization of collective life. They are seen within the context of a religious or social ceremony whose meaning is embedded in the past as well as present of a people.
These collective acts, without being set apart from daily life, are special celebrations where many distinct elements must be taken into account: music, dance, costume, mask, food, drink, theatrical representation, work, history…
Masked Dances of the Altiplano, by Manuel Vargas in Masks of the Bolivian Andes, Photographs: Peter McFarren, Sixto Choque, Editorial Quipos and BancoMercantil
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Q: What was the first folk art figure you brought back from Mexico?
Mask from Oaxaca
A: In Oaxaca I bought a large carved wooden dragon mask with a Conquistador’s face carved and painted on its back. My intent was to depict the dragon in a subsequent “Domestic Threats” painting (the series I was working on at the time). The dragon still hangs in my living room in Alexandria, VA.
This first trip in 1992 was a revelation and marked the start of my on-going love of Mexico: its people, landscapes, ancient cultures, archaeology, history, art, cuisine, etc. There would be many subsequent trips to Mexico to learn as much as I can about this endlessly interesting cradle of civilization.
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Pearls from artists* #309
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.
It is a strange thing to catalog the conflicting theories as to what the first artists thought they were doing down there in the caves, because the truth is that, to this day, we do not know why we make art. In the end, art may not have been our invention at all. It may well have appeared in history as it does in the life of many individual artists: as an outside call, a sudden flash of inspiration, an inner wanderlust exerting such a powerful pull that ultimately we would have to say that Picasso got it wrong: the early humans did not invent art. Art invented humanity.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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Q: Please speak a little about the history of pastel.
Some of Barbara’s soft pastels
A: Pastel has been in use for five hundred years. Its invention is attributed to the German painter, Johann Thiele, in the 16th century, followed by Venetian artist, Rosalba Carriera, who was the first to use it consistently. Edgar Degas, the most prolific user of pastel and its great champion, was followed by many artists who used varying techniques.
Degas’ subject matter included ballet dancers, laundresses, milliners, and denizens of the Parisian demimonde. The pure hues of pastel, plus its direct application, made it his preferred medium. Rosalba Carriera, a much-admired portrait artist, revolutionized the world of pastel by developing a wider range of colors, expanding pastel’s availability and usefulness. Mary Cassatt’s pastel portraits of children and family life provided her with a steady income while living in Paris. American painter William Merritt Chase used pastel to explore plein air painting. Pastel’s portability and rich colors made it ideal for outdoor landscapes and for capturing light.
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Q: What non-art book are you reading now?
Tiwanaku
A: I am reading Kim Mac Quarrie’s, “The Last Days of the Incas.” It’s fascinating to discover the intricacies of the epic conquest of the short-lived Inca empire. The book is actually thrilling to read. Mac Quarrie makes this story come alive.
Last summer I traveled to Peru to investigate the history of the Incas and the civilizations that preceded them. In May of this year I continued my studies with a trip to Bolivia. Both trips are proving to be highly inspirational for my art practice.
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Q: Have any artists influenced you technically?
Barbara at work, Photo: Marianne Barcellona
A: I’d have to say no one, because my technique of using soft pastel on sandpaper is largely self-invented and it continues to slowly evolve. I apply up to thirty layers of pigment, blending it with my fingers, and creating new colors directly on the sandpaper. It is a rather meticulous process that suits my personality.
My unique way of applying and mixing pastel is a richly complex science of color. This intricate technique is one of the reasons that my pastel paintings cannot be forged by anyone.
Every great artist throughout history has invented their own techniques and created a world that is uniquely theirs, with its own iconography, its own laws, and its own specific concerns. Artists who are most worthy of the name create their own tasks and make and break their own rules.
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Q: How do you decide how much to charge for your paintings?
Barbara’s studio
A: What to charge for my work is a complex question. The prices of my pastel paintings take into account many tangible and intangible factors. Here are a few:
Sales history.
My thirty-year-long exhibition history.
The costs of maintaining a studio in New York. My overhead goes up annually, but I do not raise prices every year to offset these expenses.
The countless hours of labor, cost of art materials, framing, photography, transportation, foreign travel, etc. that go into creating a painting.
Costs for marketing, social media, advertising, website design and upkeep, ongoing education, etc.
Somewhat less quantifiable factors such as my reputation as an artist, the real demand for my work, goodwill, the fact that I work full-time as a professional artist, etc.
Comments are welcome!
Pearls from artists* # 138
A corner of 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.
BM: … so many artists value the sense of retaining something of the child, like the strangeness that children have where they’ll just make a gesture or say something that we filter as adults.
MM: Sometimes people think that it is childish, but it’s not, it is child-like. People get confused. One of the things we are trying to do as artists – it’s not romantic – is to get to a point where we are seeing things in a fresh way, in a way that we’ve never seen them before, the way children do. So we are acknowledging the magic in every moment we have.
BM: And it’s not a form of nostalgia, but the history of an entire human being.
MM: Exactly. Rather than nostalgia it is teaching us how to be present.
Conversations with Meredith Monk by Bonnie Marranca
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Q: Can you talk a little bit about your process? What happens before you even begin a pastel painting?
Barbara in Bali (far right)
A: My process is extremely slow and labor-intensive.
First, there is foreign travel – often to Mexico, Guatemala or someplace in Asia – to find the cultural objects – masks, carved wooden animals, paper mâché figures, and toys – that are my subject matter. I search the local markets, bazaars, and mask shops for these folk art objects. I look for things that are old, that look like they have a history, and were probably used in religious festivals of some kind. Typically, they are colorful, one-of-a- kind objects that have lots of inherent personality. How they enter my life and how I get them back to my New York studio is an important part of my art-making practice.
My working methods have changed dramatically over the nearly thirty years that I have been an artist. My current process is a much simplified version of how I used to work. As I pared down my imagery in the current series, “Black Paintings,” my creative process quite naturally pared down, too.
One constant is that I have always worked in series with each pastel painting leading quite naturally to the next. Another is that I always set up a scene, plan exactly how to light and photograph it, and work with a 20″ x 24″ photograph as the primary reference material.
In the setups I look for eye-catching compositions and interesting colors, patterns, and shadows. Sometimes I make up a story about the interaction that is occurring between the “actors,” as I call them.
In the “Domestic Threats” series I photographed the scene with a 4″ x 5″ Toyo Omega view camera. In my “Gods and Monsters” series I shot rolls of 220 film using a Mamiya 6. I still like to use an old analog camera for fine art work, although I have been rethinking this practice.
Nowadays the first step is to decide which photo I want to make into a painting (currently I have a backlog of photographs to choose from) and to order a 19 1/2″ x 19 1/2″ image (my Mamiya 6 shoots square images) printed on 20″ x 24″ paper. They recently closed, but I used to have the prints made at Manhattan Photo on West 20th Street in New York. Now I go to Duggal. Typically I have in mind the next two or three paintings that I want to create.
Once I have the reference photograph in hand, I make a preliminary tonal charcoal sketch on a piece of white drawing paper. The sketch helps me think about how to proceed and points out potential problem areas ahead.
Only then am I ready to start actually making the painting.
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