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Q: When did your love of indigenous artifacts begin? Where have you traveled to collect these focal points of your works and what have those experiences taught you?

Mexico City

Mexico City

A:  As a Christmas present in 1991 my future sister-in-law sent me two brightly painted wooden animal figures from Oaxaca, Mexico. One was a blue polka-dotted winged horse.  The other was a red, white, and black bear-like figure. 

I was enthralled with this gift and the timing was fortuitous because I had been searching for new subject matter to paint. I started asking artist-friends about Oaxaca and learned that it was an important art hub.  Two well-known Mexican painters, Rufino Tamayo and Francisco Toledo, had gotten their start there, as had master photographer Manuel Alvarez Bravo.  There was a “Oaxacan School of Painting” (‘school’ meaning a style) and Alvarez Bravo had established a photography school there (the building/institution kind). I began reading everything I could find.  At the time I had only been to Mexico very briefly, in 1975.  

The following autumn, Bryan and I planned a two-week trip to visit Mexico. We timed it to see Day of the Dead celebrations in Oaxaca.  (During my research I had become fascinated with this festival).  We spent one week in Oaxaca followed by one week in Mexico City.  My interest in collecting Mexican folk art was off and running!

Along with busloads of other tourists, we visited several cemeteries in small Oaxacan towns for the “Day of the Dead.” The indigenous people tending their ancestors’ graves were so dignified and so gracious, even with so many mostly-American tourists tromping around on a sacred night, that I couldn’t help being taken with these beautiful people and their beliefs. 

From Oaxaca we traveled to Mexico City, where again I was entranced, but this time by the rich and ancient history.  We visited the National Museum of Anthropology, where I was introduced to the fascinating story of ancient Mesoamerican civilizations; the ancient city of Teotihuacan, which the Aztecs discovered as an abandoned city and then occupied as their own; and the Templo Mayor, the historic center of the Aztec empire, infamous as a place of human sacrifice.  I was astounded!  Why had I never learned in school about Mexico, this highly developed cradle of Western civilization in our own hemisphere, when so much time had been devoted to the cultures of Egypt, Greece, and elsewhere? When I returned home to Virginia I began reading everything I could find about ancient Mexican civilizations, including the Olmec, Zapotec, Mixtec, Aztec, and Maya. The first trip to Mexico opened up a whole new world and was to profoundly influence my future work. I would return there many more times, most recently to study Olmec art and archeology. In subsequent years I have traveled to Guatemala, Peru, Bolivia and other countries in search of inspiration and subject matter to depict in my work.

Comments are welcome!

Pearls from artists* # 328

Barbara in her studio, Photo: Izzy Nova

Barbara in her 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.

An artist’s words are always to be taken cautiously… The artist who discusses the so-called meaning of his work is usually describing a literary side-issue.  The core of his original impulse is to be found, if at all, in the work itself.  Just the same, the artist must say what he feels…

I want to explain why I did the piece, I don’t see why artists should say anything because the work is supposed to speak for itself.  So whatever the artist says about it is like an apology, it is not necessary.

I never talk literally; you have to use analogy and interpretation and leaps of all kinds…

I am suspicious of words.  They do not interest me, they do not satisfy me.  I suffer from the ways in which words wear themselves out.  I distrust the Lacans and Bossuets because they gargle with their own words.  I am a very concrete woman.  The forms are everything…

With words you can say anything.  You can lie as long as the day, but you cannot lie in the recreation of experience…        

Louise Bourgeois:  Destruction of the Father, Reconstruction of the Father: Writings and interview 1923-1997, edited and with texts by Marie-Laure Bernadac and Hans-Ulrich Obrist

Comments are welcome!

Q: Why did you first decide to depict Mexican folk art in your work?

"Myth Meets Dream," soft pastel on sandpaper, 47" x 38"

“Myth Meets Dream,” soft pastel on sandpaper, 47″ x 38″

A:  As a Christmas present in 1991 my future sister-in-law sent me two brightly painted wooden animal figures from Oaxaca, Mexico. One was a blue polka-dotted winged horse.  The other was a red, white, and black bear-like figure.  See the two Mexican figures in “Myth Meets Dream” above.

I was enthralled with this gift and the timing was fortuitous because I had been searching for new subject matter to paint. Soon I started asking artist-friends about Oaxaca and learned that it was an important art hub.  Two well-known Mexican painters, Rufino Tamayo and Francisco Toledo, had gotten their start there, as had master photographer Manual Alvarez Bravo.  There was a “Oaxacan School of Painting” (‘school’ meaning a style, not an actual building) and Alvarez Bravo had established a photography school there (the building/institution kind). I began reading everything I could find.  At the time I had only been to Mexico very briefly, in 1975, having made a road trip to Ensenada with my cousin and best friend from college. 

The following autumn my then-boyfriend, Bryan, and I planned a two-week trip to visit Mexico. We timed it to see Day of the Dead celebrations in Oaxaca.  (In my reading I had become fascinated with this unique festival).  We spent one week in Oaxaca followed by one week in Mexico City.  My interest in collecting Mexican folk art was off and running!  

Comments are welcome!

 

Pearls from artists* # 212

Machu Picchu

Machu Picchu

* 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 anthropologist Ellen Disanayake… in Homo Aestheticus, argues that art and aesthetic  interest belong with rituals and festivals – offshoots of the human need to ‘make special,’ to extract objects, events, and human relations from everyday uses and to make them a focus of collective attention.  This ‘making special’ enhances group cohesion and also leads people to treat those things which really matter for the survival of community – be it marriage or weapons, funerals, or offices – as things of public note, with an aura that protects them from careless disregard and emotional erosion.  The deeply engrained need to ‘make special’ is explained by the advantage that it has conferred on human communities, holding them together in times of threat, and furthering their reproductive confidence in times of peaceful flourishing.

Beauty:  A Very Short Introduction, by Roger Scruton

Comments are welcome!

      

Pearls from artists* # 203

"Palaver,"soft pastel on sandpaper, 26" x 20"

“Palaver,” soft pastel on sandpaper, 26″ x 20″

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

One day, looking for something that might interest those few buyers there were, Marquet and I decided to reconnoiter.  So we went to the Pavillon de Rohan, to the Galeries de Rivoli, where there were dealers in engraving and in all kinds of curiosities that might attract foreign customers.  We each came back with an idea:  mine was to do  a park landscape with swans.  I went to the Bois de Boulogne to do a study of the lake.  Then I went to buy a photo showing swans and tried to combine the two.  Only it was very bad; I didn’t like it – in fact nobody liked it; it was impossible; it was stodgy.  I couldn’t change; I couldn’t counterfeit the frame of mind of the customers on the rue de Rivoli or anywhere else.  So I put my foot through it.  

I understood then that I had no business painting to please other people; it wasn’t possible. Either way, when I started a canvas, I painted it the way I wanted with things that interested me.  I knew very well that it wouldn’t sell, and I kept putting off the confection of a picture that would sell.  And then the same thing would happen the next time.

There are plenty of artists who think it’s smart to make paintings to sell.  Then – when they have acquired a certain reputation, a degree of independence – they want to paint things for themselves.  But that simply isn’t possible.  Painting’s an uphill task and if you want to find out what you’re capable of, you can’t dillydally on the way.  

Chatting with Henri Matisse:  The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbaut, translated by Chris Miller

Comments are welcome!

  

 

 

Pearls from artists* # 197

"Charade," soft pastel on sandpaper, 38" x 58"

“Charade,” soft pastel on sandpaper, 38″ x 58″

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

As Kenneth Burke says in ‘Counter-Statement:’  “[Great] artists feel as opportunity what others feel as menace.  This ability does not, I believe, derive from exceptional strength, it probably arises purely from professional interest the artist may take in his difficulties.”  

Marianne Moore in Writers at Work:  The Paris Review Interviews Second Series, edited by George Plimpton

Comments are welcome! 

 

Q: Why don’t you make political art?

Barbara's studio

Barbara’s studio

A:  I have little interest in dealing with political events in my work because these events come and go.  They have a short shelf life.  Fine art based on current events quickly loses its context and becomes outdated and irrelevant.

I prefer art that is timeless.  My intention is to create personal work about deeper psychological issues and the human condition.  Done well, personal work is more likely to speak to and stay with an audience long after the news cycle has moved on.

Comments are welcome!

Q: When you left the Navy you worked on commission as a portrait artist. Why don’t you accept commissions now?

Barbara's studio

Barbara’s studio

A:  As I have often said, I left the active duty Navy in 1989, but stayed in the Reserves. The Reserves provided a small part-time income and the only requirement was that I work one weekend a month and two weeks each year.  Plus, I could retire after 13 more years and receive a pension.  (In 2003 I retired from the Navy Reserve as a Commander).  The rest of the time I was free to pursue my studio practice. 

For a short time I made a living making commissioned photo-realist portraits in soft pastel on sandpaper.  However, after a year I became very restless.  I remember thinking, “I did not leave a boring job just to make boring art!”  I lost interest in doing commissions because what I wanted to accomplish personally as an artist did not coincide with what portrait clients wanted.  I finished my final portrait commission in 1990 and never looked back. 

To this day I remain reluctant to accept a commission of any kind.  So I am completely free to paint whatever I want, which is the only way to evolve as a serious, deeply committed artist.      

Comments are welcome!

Pearls from artists* # 73

Sri Lanka

Sri Lanka

* 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 primary tool in a creative process is interest.  To be true to one’s interest, to pursue it successfully, one’s body is the best barometer.  The heart races.  The pulse soars.  Interest can be your guide.  It always points you in the right direction.  It defines the quality, energy, and content of your work.  You cannot feign or fake interest or choose to be interested in something because it is prescribed.  It is never prescribed.  It is discovered.  When you sense this quickening you must act immediately.  You must follow that interest and hold on tight. 

Anne Bogart in A Director Prepares:  Seven Essays on Art and Theater 

Comments are welcome!

Pearls from artists* # 51

Road to Roden Crater in Arizona

Road to Roden Crater in Arizona

* 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 most demanding part of living a lifetime as an artist is the strict discipline of forcing oneself to work steadily along the nerve of one’s own most intimate sensitivity.  As in any profession, facility develops.  In most this is a decided advantage, and so it is with the actual facture of art; I notice with interest that my hand is more deft, lighter, as I grow more experienced.  But I find that I have to resist the temptation to fall into the same kind of pleasurable relaxation I once enjoyed with clay.  I have in some subtle sense to fight my hand if I am to grow along the reaches of my nerve.

And here I find myself faced with two fears.  The first is simply that of the unknown – I cannot know where my nerve is going until I venture along it.  The second is less sharp but more permeating:  the logical knowledge that the nerve of any given individual is as limited as the individual.  Under its own law, it may just naturally run out.  If this happens, the artist does best, it seems to me, to fall silent.  But by now the habit of work is so ingrained in me that I do not know if I could bear the silence.

Anne Truitt in Daybook:  The Journal of an Artist  

    

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