Blog Archives
Pearls from artists* # 703
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.
Artmaking embodies freedom, in a way that few vocations do. But, while we have no supervisors in our studios, we are not quite as free as we imagine. We all carry sone cumulative art baggage. All the people and ideas that have influenced us over the years have shaped the art we make today. Sone guidance served us well, seamlessly dovetailing into our own divine direction. Yet others may hold us back, constraining the distinct development of our creative articulation.
The work we do is affected by logistical limitations, such as time, space, and money. But we also possess biases, assumptions, rules, values, methodologies, goal structures, and conceptual frameworks we have assimilated into our practice along the way. We may delude ourselves into thinking we have actively chosen these limiting parameters, instead of recognizing that we may have absorbed them purely by default. Authority figures, over the course of our entire lives, have provided positive or negative reinforcement, not only through overt criticism or praise, but also through omission. These pressures are frequently tacit, wordlessly shaping the direction of our practice when a piece was changed or ignored by the powers that be.
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice
Comments are welcome!
Q: Why art? (Question from “Arts Illustrated”)
A: I love this question! I remember being impressed by Ursula von Rydingsvard’s exhibition at the National Museum of Women in the Arts a few years ago. What stayed with me most was her wall text, “Why Do I Make Art by Ursula von Rydingsvard.” There she listed two dozen benefits that art-making has brought to her life.
I want to share some of my own personal reasons for art-making here, in no particular order. My list keeps changing, but these are true at least for today.
1. Because I love the entire years-long creative process – from foreign travel whereby I discover new source material, to deciding what I will make, to the months spent in the studio realizing my ideas, to packing up my newest pastel painting and bringing it to my Virginia framer’s shop, to seeing the framed piece hanging on a collector’s wall, to staying in touch with collectors over the years and learning how their relationship to the work changes.
2. Because I love walking into my studio in the morning and seeing all of that color! No matter what mood I am in, my spirit is immediately uplifted.
3. Because my studio is my favorite place to be… in the entire world. I’d say that it is my most precious creation. It’s taken more than twenty-two years to get it this way. I hope I never have to move!
4. Because I get to listen to my favorite music all day.
5. Because when I am working in the studio, if I want, I can tune out the world and all of its urgent problems. The same goes for whatever personal problems I am experiencing.
6. Because I am devoted to my medium. How I use pastel continually evolves. It’s exciting to keep learning about its properties and to see what new techniques will develop.
7. Because I have been given certain gifts and abilities and that entails a sacred obligation to USE them. I could not live with myself were I to do otherwise.
8. Because art-making gives meaning and purpose to my life. I never wake up in the morning wondering, how should I spend the day? I have important work to do and a place to do it. I know this is how I am supposed to be spending my time on earth.
9. Because I have an enviable commute. To get to my studio it’s a thirty-minute walk, often on the High Line early in the morning before throngs of tourists have arrived.
10. Because life as an artist is never easy. It’s a continual challenge to keep forging ahead, but the effort is also never boring.
11. Because each day in the studio is different from all the rest.
12. Because I love the physicality of it. I stand all day. I’m always moving and staying fit.
13. Because I have always been a thinker more than a talker. I enjoy and crave solitude. I am often reminded of the expression, “She who travels the farthest, travels alone.” In my work I travel anywhere.
14. Because spending so much solitary time helps me understand what I think and feel and to reflect on the twists and turns of my unexpected and fascinating life.
15. Because I learn about the world. I read and do research that gets incorporated into the work.
16. Because I get to make all the rules. I set the challenges and the goals, then decide what is succeeding and what isn’t. It is working life at its most free.
17. Because I enjoy figuring things out for myself instead of being told what to do or how to think.
18. Because despite enormous obstacles, I am still able to do it. Art-making has been the focus of my life for thirty-nine years – I was a late bloomer – and I intend to continue as long as possible.
19. Because I have been through tremendous tragedy and deserve to spend the rest of my life doing exactly what I love. The art world has not caught up as much as I would like yet, but so be it. This is my passion and my life’s work and nothing will change that.
20. Because thanks to the internet and via social media, my work can be seen in places I have never been to and probably will never go.
21. Because I would like to be remembered. The idea of leaving art behind for future generations to appreciate and enjoy is appealing.
Comments are welcome!
Pearls from artists* # 618
Lower Manhattan
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Today, instead of one voice, we have dozens issuing demands. There is no longer one truth, no single authority – instead there is a score of would-be masters who would usurp their place. All are full of histories, statistics, proofs, demonstrations, facts, and quotations. First they read and exhort, and finally they resort to intimidation by threats and moral imprecations. Each pulls the artist this way and that, telling him what he must do if he is to fill his belly and save his soul.
Mark Rothko in The Artists’ Reality: Philosophies of Art
Comments are welcome!
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
Comments are welcome!
Our 2024 Winter Newsletter!
Laurels for our new documentary, “Barbara Rachko: True Grit”!
For today I have decided to forego my usual post and instead share our 2024 Winter Newsletter! Lots of exciting things have been (and are) happening! Please check out the link.
https://mailchi.mp/d71e7ada17b3/2024winternewsletter
Comments are welcome!
Pearls from artists* # 568
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Some people say they work best under pressure, but working under pressure is a bit of a fallacy. It’s not waiting till the last minute that gives you the good work; it’s the focus that’s required when you wait till the last minute that brings about the good work. So think of it this way: your focus is the center of your brilliance; why not avail yourself of that brilliance on a regular basis? Everyone has her own rhythm, but if you don’t like the fact that you procrastinate, one way to get out of it is to think what the alternative is. The alternative is, instead of trying to do a month’s work in a few intense days in the studio, to give yourself the pleasure of yourself in flow, in focus, on a regular basis.
Anna Deavere Smith in Letters to a Young Artist: Straight-Up Advice on Making a Life in the Arts for Actors, Performers, Writers, and Artists of Every Kind
Comments are welcome!
Pearls from artists* # 563
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
[John] Graham defined art as a “process of abstracting” thought and emotion by the use of paint or metal or stone. Because art was therefore intrinsically abstract, the duty of the artist would be to push abstraction “fearlessly to its logical end instead of evading it under the disguises of charm or being ‘true to nature.’” The artist created for society, he said, but if that society didn’t like what he or she had produced, the artist”does not trade his ideals for success. Martyrs and saints love luxury and success just as much as ordinary people, only they love something else even more.” Graham said, if the artist is a true genius, he can expect to be misunderstood and alone. “The beauty of genius is frightful to behold, few can envisage it. Others find subterfuge in scepticism.” The abstract artist, he said, would be repeatedly challenged by such skeptics asking, “‘What does it mean?’… Is it a sky, a house, a horse?’” To which they should respond with confidence and honesty, “‘No, it is a painting.’”
Mary Gabriel in Ninth Street Women
Comments are welcome!
Pearls from artists* # 543
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Although the struggles that I faced involved me as an individual, I didn’t feel alone. I was forbidden to travel, but this forced immobility didn’t adversely affect my work; instead it gave me sustenance. For me, inspiration comes from resistance – without that, my efforts would be fruitless. Having a real – and powerful – adversary was my good fortune, making freedom all the more tangible – freedom comes from all the sacrifices you make to achieve it. Limitations come only from a fear inside the heart, and art is the antidote to fear. I did not need sympathy, for courage itself is an aesthetic feeling, and it’s only when true feeling is transformed into something broadly understood that art can avoid drying up.
Ai Weiwei in 1000 Years of Joys and Sorrows
Comments are welcome!
Pearls from artists* # 542
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Observing these objects and imagining their history broadened my perspective. In China, we were still living in a culturally impoverished era, but art had not abandoned us – its roots were deeply planted in the weathered soil. The stubborn survival of this indigenous artistic tradition demonstrated that our narrow-minded authoritarian state would never be able to remake our culture in its own image. From then on, when I wasn’t spending time with my parents, I was immersing myself in the world of antiques. The dealers found me perplexing, for I followed no prevailing tastes or conventional wisdom. Instead I was taken with obscure objects, and made a point of buying things that seemed to have little or no value; my hungry spirit was nourished as I imagined the stories lurking behind each piece. The observations and insights that came to me from the distant past spurred me on to make art of my own.
– Ai Weiwei in 1000 Years of Joys and Sorrows
This is exactly my experience with the folk art I collect!
Comments are welcome!
Q: What are your current aspirations?
A: During the pandemic I was fortunate to have added three international galleries – in London, New Delhi, and Sweden – to the growing list of galleries that represent my work. (This is in addition to a gallery in Naples, FL that I have been working with for several years). It is extremely gratifying to discover that finally, after 36 years as a devoted and hard-working professional artist, galleries are seeking me out, instead of the other way around. Next I’d like to find a local home gallery in New York with whom to work. This will be the final piece of my business plan… at least for now!
Comments are welcome!
barbararachkoscoloreddust.com 