Blog Archives
Q: I especially enjoy your “Black Paintings” series. You mention being influenced by the story of how Miles Davis developed cool jazz, making this work uniquely American all around. How did you use jazz history in this series?
“Between,” soft pastel on sandpaper, 20″ x 26″
A: In 2007 I finished the Domestic Threats series and was blocked, certain that a strong body of work was behind me. But what would come next?
The idea for the Black Paintings began when I attended a jazz history course at Lincoln Center and learned how Miles Davis developed cool jazz from bebop. In bebop the notes were played hard and fast as musicians showcased their musical virtuosity. Cool jazz was a much more relaxed style with fewer notes being played. In other words, the music was pared down to its essentials. Similarly, the Black Paintings evolved from dense, intricate compositions into paintings that depicted only the essential elements. As the series evolved, what was left out became more important, resulting in more demands being placed on the viewer.
Eventually, after much reflection, I had an epiphany and my painful creative block ended. “Between,” with drastically simplified imagery, was the first in a new series called Black Paintings. I like to think this series includes work that is richer and more profound than the previous Domestic Threats.
Comments are welcome!
Q: Can you speak about a book (or books) that deeply influenced you as an artist?
Barbara’s well-worn copy of “Camille Pissarro: Letters to His Son Lucien”
A: One such book that stands out is “Camille Pissaro: Letters to His Son Lucien.” The book is comprised of weekly letters from a father conveying wisdom about his craft, art, and life, over roughly twenty years, to a beloved son, who is just beginning his artistic journey. I discovered this gem about thirty years ago when I was just starting to find my way as an artist, too. Pissarro’s words are beautiful, poignant, and deeply felt. He has much to say to artists because, sadly, we still contend with the same problems, such as how to remain authentic and earn a living, how to deal with galleries and collectors, how to stay focused on the work, etc. I often enjoy rereading favorite passages simply because it makes me feel less alone as an artist.
Comments are welcome!
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.
Comments are welcome!
Q: How do you think living in New York affects your work?
Lower Manhattan
A: Arguably, life in New York provides an artist with direct access to some of the best international art of the past, the present, and probably the future. It is possible to see more art here – both good and bad – than in any other American city.
Just pick up any local magazine and scan the art listings! Our problem is never that there isn’t anything interesting to see or do. It’s “how do we zero in on the most significant local cultural activities, ones that might contribute to making us better artists?”
Certainly a visual artist’s work is consciously and unconsciously influenced not only by what she sees in museums and galleries, but by walking around the city. That’s partly why I am an inveterate walker. I never know what amazing things I am going to see when I leave my apartment.
Although living in New York City is a rich and heady mix for anyone, it is more so for sensitive artists. Artists are virtual sponges, soaking up experiences, processing them, and mysteriously expressing them in our work.
New York lets an artist ponder excellence as we see and experience firsthand what is possible. The best of the best manages to make its way here.
Undoubtedly, my own work is richer for having spent the last eighteen years in this fascinating, wild, and crazy city. For a visual artist New York is an infinitely fascinating place to live.
Comments are welcome!
Q: You often speak about the Mexican and Guatemalan figures in your paintings as serving a function analogous to actors in a repertory company. In other words, a particular figure plays a different role each time it appears in one of your pastel paintings. Would you choose a figure and show how you have painted it through the years?
A Chinese-influenced figure Barbara brought home from Mexico City in 1999.
“Answering the Call,” 58″ x 38,” soft pastel on sandpaper, 2000
“Scene Fifteen: Living Room,” 26″ x 20″ soft pastel on sandpaper, 2002
“Sometimes He Still Tried to Restrain Her,” 58″ x 38,” soft pastel on sandpaper, 2005
“Scene Twenty-One: Living Room,” 20″ x 26,” soft pastel on sandpaper, 2006 (see feet at top)
“Epiphany,” 38″ x 58,” soft pastel on sandpaper, 2012
“The Ancestors,” soft pastel on sandpaper, 58″ x 38,” 2013
“The Storyteller,” soft pastel on sandpaper, 20″ x 26,” 2014
And she is in the painting that is on my easel now. See my February 14 blog post.
Comments are welcome!
Pearls from artists* # 124
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.
You give yourself a creative life – pursuing those questions and aesthetic conditions that mean the most to you. What are you interested in? Landscape and gender and nuclear power are each worthy subjects and there are plenty more. Do you aspire to exhibit in museums or public spaces or virtual realms? Your job is to figure out how to best engage these distinct contexts. Your studio may be a large industrial space or a second bedroom or the kitchen table, where you can work days or nights while wearing your favorite sweatpants and drinking tea as music blasts or silence is maintained. You might produce five or fifty objects a year, using bronze or oil paint or folded paper, and these can be large or tiny, made to last for centuries or a few weeks. Maybe you’ve been a printmaker for several years and all of a sudden you decide to make videos. OK. You might be influenced by Pop Art or Minimalism or Feminism or Fluxus. How are you using these various histories to your advantage? Does Edward Hopper or Gordon Matta-Clark or Agnes Martin or David Hammons inspire you? If not, who does? Try to understand the reasons for your choices, and if you feel the need to shift gears, indulge that impulse. Grant yourself the permission to acquire new skills, travel to biennials, buy a new computer, start a reading group. Risk not knowing what will happen when you do.
Stephen Horodner in THE ART LIFE: On Creativity and Career
Comments are welcome!
Q: What artists influenced the creation of your latest pastel-on-sandpaper painting?
“Incognito,” 38″ x 58,” soft pastel on sandpaper
A: As I continue to evolve my studio practice, I study and learn from various artists, living and long gone, who have mastered visual art and many other disciplines. I cannot point to any particular artists that directly influenced “Incognito” or any other specific paintings.
With “Pearls from artists,” published every Wednesday in this blog, I quote passages from books I am reading that resonant with ideas regarding my work. Readers can perhaps infer some of my influences from those posts.
Comments are welcome!
