Blog Archives
Pearls from artists* # 508
* an ongoing series of quotations – mostly from artists to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Wherever I’ve lived my room and soon
the entire house is filled with books;
poems, stories, histories, prayers of
all kinds stand up gracefully or are
heaped on shelves, on the floor, on
the bed. Strangers old and new offering
their words bountifully and thoughtfully,
lifting my heart.
But wait! I’ve made a mistake! How
could these makers of so many books
that have given so much to my life –
how could they possibly be strangers?
Mary Oliver in Upstream: Selected Essays
Comments are welcome!
Q: How do you think about risk? What role has taking risks played in your life/career? (Question from Emma Jacobs, VoyageMIA.com)
A: My journey to becoming a visual artist was circuitous, to say the least. Risk-taking gave me the life and career I enjoy now.
The biggest – and scariest – risk I’ve ever taken was deciding to leave my active duty Naval career to pursue art full-time. The second most significant risk was moving to New York City in 1997. I have never regretted doing either one.
When I was 25, and a civilian, I earned my private pilot’s license and spent the next two years amassing other flying licenses and ratings, culminating in a Boeing-727 flight engineer’s certificate. Two years later I joined the Navy.
As an accomplished civilian pilot with thousands of flight hours, I had expected to fly jets in the Navy. However, women were barred from combat in those days (the 1980s) so there were very few women Navy pilots. There were no female pilots on aircraft carriers and no female Blue Angels. Women were restricted to training male pilots for combat jobs and priority was given to Naval Academy graduates. My BA was from a different university.
In the mid-1980s I was in my early 30s and a Lieutenant on active duty in the Navy. I worked a soul-crushing job as a computer analyst on the midnight shift in a Pentagon sub-basement. It was literally and figuratively the lowest point of my life. I hated my job! Not only was it boring, I was not using my hard-won flying skills. In short I was miserable – miserable and trapped because a Naval officer cannot just resign with two weeks notice.
Remembering the joyful Saturdays of my youth when I had taken art classes with a local New Jersey painter, I enrolled in a drawing class at the Art League School in Alexandria, Virginia. Initially I wasn’t very good, but it was wonderful to be around other women and a world away from the “warrior mentality” of my mostly male Pentagon co-workers. Plus, I was having fun!
Soon I enrolled in more classes and became a very motivated full-time art student who worked nights at the Pentagon. As I studied and improved my skills, I discovered my preferred medium – soft pastel on sandpaper.
Although I was certain I had found my life’s calling as a fine artist, I had grown used to a regular paycheck and the many benefits of being a Navy Lieutenant. For more than a year I agonized over whether or not to leave the Navy and lose my financial security. I’d be taking a huge risk: could I ever support myself as an artist? Was I making the dumbest mistake of my life?
Eventually, I decided I HAD TO take a leap. I simply adored making art – it challenged me to use all of my skills and talents – while I was unhappy, bored, and unfulfilled working at the Pentagon.
But once my mind was finally made up, I still could not leave. Due to geopolitical circumstances, there was a significant delay. The Navy was experiencing a manpower shortage and Congress had enacted a stop-loss order, which prevented officers from resigning for one year. I submitted my resignation effective exactly one year later: on September 30, 1989. Being stuck in a job I no longer wanted nor had the slightest interest in, was truly the longest year of my life!
Unlike most people, I can pinpoint exactly when I became an artist. I designate October 1, 1989 as the day I became a professional artist! I have never regretted my decision and I never again needed, nor had, a day job.
However, I must mention that I remained as a part-time Naval Reservist for the next 14 years, working primarily at the Pentagon for two days every month and two weeks each year. The rest of the time was my own to pursue my art career. After I moved to Manhattan in 1997, I commuted by train to Washington, DC to work for the Navy.
Finally on November 1, 2003, I officially retired as a Navy Commander. Now, I daresay, I am the rare fine artist who can point to a Navy pension as a source of income.
I love my life as an accomplished New York fine artist! With the help of two social media assistants, I work hard to make and promote the art I create. My pastel paintings and my pastel skills continue to evolve and grow, gaining wider recognition and a larger audience along the way.
In addition to making art, I have been a blogger since 2012. The audience for my blog, https://barbararachkoscoloreddust.com/ increases by 1,000 – 2,000 new subscribers each month. Today I have more than 72,000 readers!
Comments are welcome!
Pearls from artists* # 369
Central Park, 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.
Salieri wrote a memoir of his own, which his friend Ignacio von Mosel used as the basis for a biography, published in 1827. Salieri’s original document disappeared, but Mosel quoted parts of it. One anecdote is particularly winning. Salieri is recounting the premier, in 1770, of his second opera, “Le Donne Letterate” (“The Learned Woman”). The applause is vigorous, prompting the young composer to follow the audience out into the street, in the hope of soaking up more praise. He overheard a group of operagoers:
“The opera is not bad,” said one. “It pleased me right well,” said a second (that man I could have kissed). “For a pair of beginners, it is no small thing,” said the third. “For my part,” said the fourth, “I found it very tedious.” At these words I struck off into another street for fear of hearing something still worse.
Any creative person who has made the mistake of surreptiously canvassing public opinion will identify with Salieri’s fatal curiosity.
Alex Ross in Salieri’s Revenge in The New Yorker, June 3, 2019
Comments are welcome!
Q: Do you remember the first pastel painting that you ever made?
First framed pastel painting, 1988
A: Yes, it was a small head-and-neck portrait of a live model in a figure drawing class at The Art League School in Alexandria, VA. I don’t know what became of it.
I also remember the first pastel painting that I ever framed because it is still hanging in my Alexandria house. It is dated 1988 (see photo) and was made in a one-week workshop with Diane Tesler at The Art League. The workshop was specifically to teach artists how to paint from photographs and it was my first time studying with Diane. I made the mistake of bringing, as reference material, a magazine photograph that was originally a perfume ad in the The Sunday Times Magazine. Diane tactfully explained that it was wrong to use someone else’s photograph instead of my own, but let me do it this one time.
So many years later walking by my painting I still think of Diane. She taught me a valuable lesson: do not use anyone else’s photographs, ever!
Comments are welcome!
Pearls from artists* # 145
“Stalemate,” 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.
It is a mistake for a sculptor or a painter to speak or write very often about his work. It releases tension needed for his job. By trying to express his aims with rounded-off logical exactness, he can easily become a theorist whose actual work is only a caged-in exposition of conceptions evolved in terms of logic and words.
But though the nonlogical, instinctive, subconscious part of the mind must play its part in his work, he also has a conscious mind which is not inactive. The artist works with a concentration of his whole personality, and the conscious part of it resolves conflicts, organizes memories, and prevents him from trying to walk in two directions at the same time.
Henry Moore: Notes on Sculpture in The Creative Process, edited by Brewster Ghiselin
Comments are welcome!
Pearls from artists* # 131
Self-portrait at an architect’s estate in 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.
Sister Corita
Immaculate Heart College Art Department Rules
Rule 1: Find a place you trust, and then try trusting it for a while.
Rule 2: General duties of a student: pull everything out of your teacher. Pull everything out of your fellow students.
Rule 3: General duties of a teacher: Pull everything out of your students.
Rule 4: Consider everything an experiment.
Rule 5: Be self-disciplined. This means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.
Rule 6: Nothing is a mistake. There’s no win and no fail. There’s only make.
Rule 7: The only rule is work. If you work it will lead to something. It’s the people who do all of the work all of the time who eventually catch on to things.
Rule 8: Don’t try to create and analyze at the same time. They’re different processes.
Rule 9: Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.
Rule 10: “We’re breaking all the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities.” John Cage
Helpful Hints: Always be around. Come or go to everything. Always go to classes. Read anything you can get your hands on. Look at movies carefully, often. Save everything – it might come in handy later.
There should be new rules next week.
Quoted in The Art Life: On Creativity and Career by Stuart Horodner
Comments are welcome!
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