Blog Archives

Pearls from artsts* # 417

With “Sentinels,” soft pastel on sandpaper, 38” x 58” image, 50” x 70” framed

With “Sentinels,” soft pastel on sandpaper, 38” x 58” image, 50” x 70” framed

*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 we all know deep down, it is not by submission, coolness, remoteness, apathy, and boredom that great art is created, no matter what the cynics might tell us, the secret ingredient of great art is what is most difficult to learn:  it is courage.    

Boris Lurie quoted in Ninth Street Women by Mary Gabriel

Comments are welcome!

Q: I understand your comments to mean that being at the studio challenges you to be your best. How (why) do you think that works? (Question from Nancy Nikkal)

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

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

A: I am always trying to push my pastel techniques further, seeking to figure out new ways to render my subject matter, expanding my technical vocabulary. It would be monotonous to keep working the same old way.  Wasn’t it John Baldessari who said, “No more boring art?”  He was talking about art that’s boring to look at.  Well, as someone who CREATES art I don’t want to be bored during the making so I keep challenging myself.  I love learning, in general, and I especially love learning new things about soft pastel.

Very often I start a project because I have no idea how to depict some particular subject using pastel.  For example, one of the reasons I undertook “Avenger” was to challenge myself to render all of that hair!  Eventually I managed to figure it out and I learned a few new techniques in the process.

Comments are welcome!

Pearls from artists* # 414

New York, NY

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.

As we grow into our true artistic selves, we start to realize that the tools don’t matter, the story does.  Your point of view and the way that you express yourself as a photographer are how you tell the stories that matter to you.  And that, my friends, is therapeutic.

There’s a certain amount of Zen in that act.  Peace and tranquility are hard to come by in today’s world.  But through photography, we all have a chance to find both.

As photographers, we sometimes lose sight of the fact that our ability to use a camera gives us a chance to show everyone else who we are.  Young photographers often obsess over doing something new. Older photographers, like Rick and I, realize that the real goal is in being you.  So focus on being you not on being new for new’s sake.  This is the path to both inner and outer success.

People will ask you what you photograph.  I personally am often described as a bird photographer.  But we are not what we do.  It’s important to note the difference.  And that is because people don’t care what you do.  They care why you do it.  If you are doing what you are meant to do, you will be able to articulate your own why. 

Scott Bourne in Photo Therapy Motivation and Wisdom by Rick Sammon 

Comments are welcome!

(My blog turns 8 years old on July 15! As I have done for past anniversaries, I am republishing the very first post from July 15, 2012.) Q: What does it take to be an artist, especially one living and working in New York?

Barbara's Studio (in 2012) with works in progress

Barbara’s Studio (in 2012) with works in progress.

A:  The three Big P’s – Patience, Persistence, and Passion.  Without all three you will not have the stamina to work tirelessly for very little external reward.  You can expect help from no one. 

There are so many obstacles to art-making and countless reasons to just give up.  When you really think about it, it’s amazing that great art gets made at all.  So why do we do it?  Above all it’s about making our the ime on earth matter, about devotion to our innate gifts and love of our hard-fought creative process. 

And, my God, it even gets harder as we get older!  So what do we do?  We dig in that much deeper.  It’s a most noble and sacred calling – you know when you have it – and that’s what separates those of us who are in it for the long haul from the wimps, fakers, and hangers-on.  I say to my fellow artists who continue to work despite the endless challenges, we are all true heroes! 

__________

What I wrote eight years ago still rings true.  

Most importantly, THANK YOU to my 61,000+ subscribers for taking this journey with me!

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* # 187

"Big Wow," soft pastel on sandpaper, 38" x 58"

“Big Wow,” 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 George Grosz said, at that last meeting he attended at the National Institute, “How did I come to be an artist?  Endless curiosity, observation, research – and a great amount of joy in the thing.”  It was a matter of taking a liking to things.  Things that were in accordance with your taste.  I think that was it.  And we didn’t care how unhomogenous they might seem.  Didn’t Aristotle say that it is the mark of a poet to see resemblances between apparently incongruous things?  There was any amount of attraction about it.

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

Comments are welcome! 

Pearls from artists* # 182

Hudson Yards, NYC

Hudson Yards, 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.

Maybe you know exactly what you dream of being.  Or maybe you’re paralyzed because you have no idea what your passion is.  The truth is, it doesn’t matter.  You don’t have to know.  You just have to keep moving forward.  You just have to keep doing something, seizing the next opportunity, staying open to trying something new.  It  doesn’t have to fit your vision of the perfect job or the perfect life.  Perfect is boring, and dreams are not real.  Just… DO.   You think, “I wish I could travel” – you sell your crappy car and buy a ticket and go to Bangkok right now.  I’m serious.  You say, “I want to be a writer” – guess what? A writer is someone who writes every day.  Start writing.  Or:  You don’t have a job?  Get one.  ANY JOB.  Don’t sit at home waiting for the magical dream opportunity.  Who are you?  Prince William?  No.  Get a job.  Work.  Do until you can do something else.

Commencement address to Dartmouth College, Shonda Rhimes in Year of Yes:  How to Dance It Out, Stand in the Sun and Be Your Own Person 

Comments are welcome! 

        

Pearls from artists* # 177

Barbara's studio

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.

Everyone but a lunatic has a reason for what he does.  Yes, in that sense I am a determinist.  But I believe, with Kant, that the mind is self-determined.  That is, I believe intensely in the creative freedom of the mind.  That is indeed absolutely essential to man’s security in a chaotic world of change.  He is faced all the time with unique complex problems.  To sum them up for action is an act of creative imagination.  He fits the different elements together in a coherent whole and invents a rational act to deal with it.  He requires to be free, he requires his independence and solitude of mind, he requires his freedom of mind and imagination.  Free will is another matter – it is a term, or rather a contradiction in terms, which leads to continual trouble.  The will is never free – it is always attached to an object, a purpose.  It is simply the engine in the car – it can’t steer.  It is the mind, the reason, the imagination that steers.

Joyce Carey in The Paris Review Interviews:  Writers at work 1st Series, edited and with an introduction by Malcolm Cowley

Comments are welcome!

Pearls from artists* # 174

Barbara's studio, Photo:  Marianne Barcellona

Barbara’s studio, 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.

If you are older, trust that the world has been educating you all along.  You already know so much more than you think you know.  You are not finished; you are merely ready.  After a certain age, no matter how you’ve been spending your time, you have very likely earned a doctorate in living.  If you’re still here – if you have survived this long – it is because you know things.  We need you to reveal to us what you know, what you have learned, what you have seen and felt.  If you are older, chances are strong that you may already possess absolutely everything you need to possess in order to live a more creative life – except the confidence to actually do your work.  But we need you to do your work.

Whether you are young or old, we need your work in order to enrich and inform our own lives.

Elizabeth Gilbert in Big Magic:  Creative Living Beyond Fear

Comments are welcome!  

Pearls from artists* # 170

Barbara at work, Photo: Marianne Barcellona

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.

Every novelist ought to invent his own technique, that is the fact of the matter.  Every novel worthy of the name is like another planet, whether large or small, which has its own laws just as it has its own flora and fauna.  Thus, Faulkner’s technique is certainly the best one with which to produce Faulkner’s world, and Kafka’s nightmare has produced its own myths that make it communicable.  Benjamin Constant, Stendahl, Eugene Fromentin, Jaques Riviere, Radiquet, all used different techniques, took different liberties, and set themselves different tasks. The work of art itself, whether its title is Adolphe, Lucien Leuwen, Dominique, Le Diable au corps or A la Recherché du temps perdu, is the solution to the problem of technique.  

Francois Mauriac in The Paris Review Interviews:  Writers at Work 1st Series, edited and with an Introduction by Malcolm Cowley

Comments are welcome!

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