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Q: How many days a week do you work on your art?

Working on “Jokester”

At work

A:  My life is devoted to art and to art-making.  Working in pastel is slow and labor-intensive – in a good year I make four or five pastel paintings – so maintaining good work habits is imperative.  As a fulltime professional artist, I strive to  keep regular studio hours.  I work five days a week, roughly seven hours a day.

However, running the business side of things is an every day activity:  marketing, interviews, applying for exhibitions, making photographs, documenting my professional activities, sending JPEGs, responding to inquiries, etc.  There is always something to do!

Comments are welcome!   

Pearls from artists* # 410

Mexico City

Mexico City

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

Faced with the disparities between lived reality and America’s professed ideals of inclusion and equity, countless artists have begun embracing the social role of art and using aesthetic means to speak out against all manner of injustice.  In such a climate, the Mexican muralists [Jose Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros] have once again emerged as models of how to marry aesthetic rigor and vitality to socially conscious subject matter that addresses the most fundamental questions concerning our collective pursuit of a more just and equitable society.  Not withstanding the rich cultural ties and decades of migration that have long existed between the United States and Mexico, the relationship between the two countries has always been fraught, marked as much by mutual wariness and bouts of hostility as by a spirit of camaraderie and cooperation  Yet the ugliness and xenophobia of the recent debates on the American side echoes the worst of the past.  It thus seems more imperative than ever to acknowledge the profound and enduring influence Mexican muralism has had on artmaking in the United States and to highlight the beauty and power that can emerge from the free and vibrant cultural exchange between the two countries.  As much as did American artists decades ago, artists in the United States today stand to benefit from an awareness of how dynamically and inventively the Mexican muralists used their art to project the ideals of compassion, justice, and solidarity.  They remain a source of powerful inspiration for their seamless synthesis of ethics, art, and action.

Vida Americana:  Mexican Muralists Remake American Art, 1925 – 1945, edited by Barbara Haskell

Comments are welcome!

Pearls from artists* # 69

Masks from Sri Lanka, Mexico, and Bali

Masks from Sri Lanka, Mexico, and Bali

*

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 mission is to stay hungry.  Once you need to know, you can proceed and draw distinctions.  From the heat of this necessity, you reach out to content – the play, the theme, or question – and begin to listen closely, read, taste, and experience it.  You learn to differentiate and interpret the sensations received while engaged with content.  The perception forms the  basis for expression.   

Have you ever been so curious about something that the hunger to find out nearly drives you to distraction?  The hunger is necessity.  As an artist, your entire artistic abilities are shaped by how  necessity has entered your life and then how you sustain it.  It is imperative to maintain artistic curiosity and necessity.  It is our job to maintain in this state of feedforward as long as humanly possible.  Without necessity as the fuel for expression, the content remains theoretical.  The drive to taste, discover, and express what thrills and chills the soul is the point.  Creation must begin with personal necessity rather than conjecture about audience taste or fashion.

Anne Bogart in and then, you act:  making art in an unpredictable world 

Comments are welcome! 

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