Blog Archives
Pearls from artists* # 390
In the studio. Photo: Izzy Nova
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
What made their work so unique and brilliant was that intangible element – self. Great painting, great art in general, is not about materials used or methods mastered or even talent possessed. It is a combination of all of these factors, and an individual driven by a force that seems outside them, toward expression of an idea they often do not understand.
Mary Gabriel in Ninth Street Women
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Pearls from artists* # 384
Overlooking Copacabana, Bolivia and Lake Titicaca
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Carnival in Oruro [Bolivia] is a glorious spectacle. It’s flash, pomp and brilliance can be enjoyed without understanding its long history and intricate mythologies. Still, the onlooker is left with a thousand questions that are not so easily answered. Behind the glitter of Carnival lie the history, the timeless myths and the distinct traditions of this mining community.
According to the Spanish writer Jean Laude, “The function of the mask is to reaffirm, at regular intervals, the truth and presence of myths in everyday life.” This suggests that masks should be studied in context, noting their association with the individual dancer and the history, myths and traditions of the community that produces them. The mask has to be animated within its ritual, comic or social role.
A first step in appreciating the masks is to understand something of the land and people that crafted them. Oruro is a mining city on the open Altiplano at 3,700 meters (12,144 ft.) above sea level. The sky appears a rarified blue, it is intensely cold and a constant wind lifts dust to the eyes. During the year no more than 125,000 people live in the city. Suddenly in the weeks of Carnival, the population doubles or triples.
Three languages, Quechua, Aymara, and Spanish are spoken in Oruro. Their use reflects an ancient pattern of conquest in the history of this land. It is said that the Urus, whose language is now almost lost, were the first inhabitants. In time they were dominated by the Aymara tribes. Later, Quechua was introduced as the Inca advanced their empire from Cuzco. Ultimately the Spanish arrived and founded the present city in 1601 to exploit rich mineral deposits found in the seven hills.
Today, descendants of the Urus live near Oruro around the shore of Lake Poopo. Elements of their distinctive culture remain but they have no wealth in comparison with the more dominant Aymara and Quechua who surround them. A further change came in the recent past because Oruro has acted as a magnet, attracting many people from the countryside to work in the mines.
On one side were the Urus, ancient owners of all the land which now only carries their name (Uro Uro = Oruro). On the other side were the miners, many of whom were Quechua and Aymara migrants. In the middle is “Carnival.”
El Carnaval de Oruro by Manuel Vargas in Mascaras de los Andes Bolivianos, Editorial Quipus and Banco Mercantil
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Pearls from artists* # 368
Leonora Carrington at Di Donna Galleries, NYC
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Whether we look to the contradictory functions that people are asked to fulfill today – devoted parent and loyal employee, faithful spouse and emancipated libertine, mature adult and eternal child – or to the ways in which identities are disbursed across divergent political forums, information systems, and communication networks, the same observation holds: we are infinitely divided. What is called an individual today is an abstract assemblage of fragments. Phone calls, emails, voice mails, blogs, videos and photos, surveillance tapes, banking records: the body is dwarfed by the virtual tendrils that shoot out if it through time and space, any of which is likely to claim to be the real “you” as you are. Only the imaginal mind can lead us out of the maze, with art providing the symbols that mark the way to the elusive essence that truly defines us.
J.F. Martel in Reclaiming Art in the Age of Artifice:A Treatise, Critique, and Call to Action
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Pearls from artists* # 351
Barbara at work on “The Orator”
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
That art is apolitical does not mean that artists themselves can be excused from the political responsibilities that fall on others. It means rather that as a manifestation of eternal psychic force, each work of art goes farther and deeper than the limited perspective of any individual mind, including that of its author.
No artist can predict how his work will affect the world… The artist invests his entire personality into the work, but he does so as a means of expressing a vision that is transpersonal. Everything that makes him what he is informs the work, but the final result transcends all personal contingencies.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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Q: What does a pastel feel like in your hand?
With “Prophecy,” 70” x 50,” at Westbeth Gallery
A: Each manufacturer uses distinct binders to hold the raw pigment together to form a pastel stick. Due mainly to this binder, each pastel feels slightly different. Rembrandts are medium-hard and I generally use them for the first few layers. The black backgrounds of my pastel paintings are achieved by layering lots of Rembrandt black.
I enjoy using Unison because they feel “buttery” as I apply them to the sandpaper. If you’ve been to my studio, you know that I use just about every soft pastel there is! Believe it or not, no two are the same color.
Each pastel has its own qualities and some are harder or more waxy than others. Henri Roche has the widest range of colors and they’re gorgeous! I want them to show so I use them for the final layer, the ‘icing on the cake.”
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Q: Would you speak about the meaning of your work and the different materials you use?
About half of Barbara’s pastels
A: It is as difficult to explain the meaning of my art as it is to interpret the meaning of life! I am invested in and concerned with process: foreign travel, prodigious reading, devotion to craft, months of slow meticulous work in the studio trying to create an exciting work of art that has never been seen before, etc. I love making pastel paintings! Many years ago I challenged myself to push the limits of what soft pastel can achieve. I am still doing so.
I leave it to others – viewers, arts writers, critics, art historians – to study my creative journey and talk about meanings. I believe an artist is inspired to create and viewers ponder the creation. I would not presume to tell anyone how to react to my work.
For many years I have been devoted to promoting soft pastel as a fine art medium. There are excellent reasons it has been around for five hundred years! It is the most permanent of media. There’s no liquid binder to cause oxidizing or cracking over time, as happens with oil paint. Pastel colors are intense because they are close to being pure pigment. Pastel allows direct application (no brushes) with no drying time and no color changes.
I use UArt acid-free sandpaper. This is not sandpaper from a hardware store. It is made for artists who work in pastel and allows me to build up layers of pigment without using a fixative. My process – slowly applying and layering pastels, blending and mixing new colors directly on the paper, making countless adjustments, searching for the best and/or most vivid colors – continually evolves. Each pastel painting takes months to create.
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Pearls from artists* # 264
Barbara at work, Photo: Marianne Barcellona
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Science brims with colorful personalities, but the most important thing about a scientific result is not the scientist who found it, but the result itself. Because that result is universal. In a sense, that result already exists. It is only found by the scientist. For me, this impersonal, disembodied character of science is both its great strength and its great weakness.
I couldn’t help comparing the situation to my other passion, the arts. In the arts, the individual is the essence. Individual expression is everything. You can separate Einstein from the equations of relativity, but you cannot separate Beethoven from the Moonlight Sonata. No one will ever write The Tempest except Shakespeare or The Trial except Kafka.
Alan Lightman in A Sense of the Mysterious: Science and the Human Spirit
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Q: Do you have a mentor?
“Alone Together,” soft pastel on sandpaper, 20″ x 26″
A: No, but I often wish I did. How wonderful it would be to consult someone who’s been there, a productive and successful artist who could provide advice on all the concerns, especially the problems and dangers, inherent in a professional artist’s life.
But I have been at this for thirty years and found no such person! I think it’s because each artist’s career is highly unique as we chart are own individual paths. Unlike most professions, there are no firm rules or straight forward career milestones for making your way as an artist.
Besides the countless hours spent in the studio, I have always worked diligently to understand the art business. Certainly getting work seen, exhibited, reviewed, sold, etc. is as important as making it in the first place. It’s all part of being a professional artist.
Early on I developed the habit of relying on my own best judgment, both in creating the work and in getting it seen and collected. Certainly I have made plenty of mistakes. As a result though, I know a tremendous amount about the art business. And I enjoy sharing what I know in the hopes of steering other artists away from making similar missteps.
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Pearls from artists* # 119
“He and She”
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
During the course of the past several years we have experienced a seismic shift in the way the world functions. Any notion of a certain or stable or inevitable future has vanished. We are living in what the Polish philosopher Zygmunt Bauman calls “liquid modernity.” No one’s life is predictable or secure. We are confronted with challenges never previously encountered, and these challenges weigh heavily on the role and responsibilities of the individual in society. It is the onus of each one of us to adjust, shift and adjust again to the constant liquid environment of fluid and unending change. In the midst of all this reeling and realignment, the moment is ripe to activate new models and proposals for how arts organizations [and artists] can flourish in the present climate and into an uncertain future.
What’s the Story: Essays about art, theater, and storytelling by Anne Bogart
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Pearls from artists* # 102
New York, NY
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
That a photograph is unlikely to be a laboratory record is evident when we think about how it is made. Most photographers are people of immense enthusiasms whose work involves many choices – to brake the car, grab the yellow instead of the green filter, wait out the cloud, and at the second everything looks inexplicably right, to release the shutter. Behind these decisions stands the photographer’s individual framework of recollections and meditations about the way he perceived that place or places like it before. Without such a background there would be no knowing whether the scene on the ground glass was characteristic of the geography and of his experience of it and intuition of it – in short, whether it was true.
Making photographs has to be, then, a personal matter; when it is not, the results are not persuasive. Only the artist’s presence in the work can convince us that its affirmation resulted from and has been tested by human experience. Without the photographer in the photograph the view is no more compelling than the product of some annoying record camera, a machine perhaps capable of happy accident but not response to form.
Beauty in Photography by Robert Adams
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