Blog Archives
Q: Foreign travel has long been a significant aspect of your work. What are your views on cultural appropriation?
A: For more than three decades my inspiration and subject matter have come mainly from international travel to remote parts of the globe. I daresay there is no better education than travel. The result is that I possess a deep love and reverence for people and cultures all over the world. We are all connected by our shared humanity.
I wholeheartedly agree with what Henry Louis Gates eloquently expressed in the NY Times Book Review of October 12, 2021. Additions are mine.
Any teacher, any student, any writer, [any artist] sufficiently attentive and motivated, must be able to engage freely with subjects of their choice. That is not only the essence of learning; it’s the essence of being human.
And
What I owe to my teachers – and to my students – is a shared sense of wonder and awe as we contemplate works of the human imagination across space and time, works created by people who don’t look like us and who, in so many cases, would be astonished that we know their work and their names. Social identities can connect us in multiple and overlapping ways; they are not protected but betrayed when we turn them into silos with sentries. The freedom to write [and make art] can thrive only if we protect the freedom to read – and to learn. And perhaps the first thing to learn, in these storm-battered days, is that we could all do with more humility, and more humanity.
Comments are welcome!
Q: When did you decide and what prompted you to become an artist? (Question from artamour)
A: In the mid-1980s I was a thirty-three-year-old Navy lieutenant, working a soul-crushing job as a computer analyst on the midnight shift in a Pentagon basement. We were open 24/7 and supported the Joint Chiefs of Staff.
Remembering the joyful Saturdays of my youth in New Jersey when I had studied with a local painter, I enrolled in a drawing class at the Art League School in Alexandria, Virginia. I loved it! I took more classes and became a highly motivated, full-time art student who worked nights at the Pentagon. After two years and as my skills improved, I discovered my preferred medium – soft pastel on sandpaper.
I knew I had found my calling, submitted my resignation, and left the active duty Navy. On October 1, 1989 I became a professional artist. However, I remained in the Navy Reserve for another fourteen years, working at the Pentagon one weekend a month. On November 1, 2003, I retired as a Navy Commander.
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!
Q; What was the spark that got you started? (Question from Barbara Smith via Facebook)
A: If I had to select one factor, I would say, profound unhappiness with my professional life. In 1986 I was a 33-year-old Navy Lieutenant working as a computer analyst at the Pentagon. I hated my job, was utterly miserable, and moreover, I was trapped because unlike many jobs, it’s not possible to resign a Naval commission with two weeks notice.
My bachelor’s degree had been in psychology. When I was in my 20s and before I joined the Navy, I had spent two years and my own money training to become a licensed commercial pilot and Boeing-727 Flight Engineer. I had planned to become an airline pilot, but due to bad timing (airlines were not hiring pilots when I was looking for a job), that did not come to pass.
So there I was with absolutely no interest, nor any training in computers, working for the Joint Chiefs of Staff, and completely bored. I knew I must have taken a wrong turn somewhere and resolved to make a significant change. Searching around, I discovered a local art school, the Art League School in Alexandria, VA, and began taking drawing classes.
One drawing class lead to more. Within a couple of years, due to being highly motivated to change my life, my technical skills rapidly improved. Even then, I believe, it was obvious to anyone who knew me that I had found my calling. I resigned my active duty Naval commission and have been a fulltime professional artist since October 1989. (Note: For fourteen more years I remained in the Naval Reserve working, mostly at the Pentagon, one weekend a month and two weeks each year, and retired as a Navy Commander in 2003).
Life as a self-employed professional artist is endlessly varied, fulfilling, and interesting. I have never once regretted my decision to pursue art fulltime!
Comments are welcome!
Q: How do you stay motivated to create new work?
“False Friends,” 50” x 70,” one of Cheryll and John’s pastel paintings
A: There are many reasons to continue to make art. First, I am fascinated by my months- if not years-long creative process. It begins with travel to remote destinations and ends in framed pastel paintings in my studio, hanging in galleries, at art fairs, in collectors’ homes, etc. Each new pastel painting is another thread in an expanding tapestry that is my entire body of work. It’s fascinating to never know where the process, or the paintings, will end up nor who will be touched by the work.
My pastel paintings continue to garner appreciation among a growing list of collectors. Here’s a recent email from a couple that has been collecting my work from the beginning.
hello barbara,
merry christmas!
we are thrilled and thrilled and thrilled for your good news from miami and naples.
. . . “tense peace, a tumultuous stillness” . . .
we know we love you and we love your work.
how lucky are we to live with your work in our home, in our lives.
we love to read how others describe it.
thanks for sharing.
happy us to have you and your art in our lives,
love to you,
john & cheryll
your work stopped me in my tracks decades ago.
the sight of your work never left me.
i knew that i had to have it near me at some time, no matter what the cost.
i began immediately to negotiate with john.
you know the story . . .
i promised that i would not buy a single thing for five years if i could have one piece of your art.
i held true for the five years and beyond, adding three more pieces of your work.
if we had the wherewithal, your work would be on every floor.
there is never a day that goes by without thinking how brilliant that work is and how it has enriched our deepest sense of visual joy.
we see the rain pouring down, the snow falling, the clouds scudding by, in false friends.
i admit, we don’t allow the sun to shine on them. i couldn’t bear for her to be damaged.
your thoughtful, brilliant words kept us from changing the highly-reflective plexi to something that would have dulled the drama of us walking in front of and being a part of the work.
we still have those words.
it took about one-half of one second for my thinking to change.
and, man, are we grateful.
it never occurred to us that your work wouldn’t be sought after.
always, we walk into a museum and see your work on the walls.
on the walls of the hemi-cycle at the corcoran.
on the walls of the whitney.
on the walls of the met breurer.
on any large white space that would allow each piece to breathe.
we have always known, deep in our marrow that your work is singular.
you have always had our hearts . . . since the second i walked into the torpedo factory, a first-grade teacher with a first-grade teacher’s salary, and knew that i’d sell my honda civic and walk rather than not have in reality, the frogs thought they were men (i know that the title of the piece is something like that . . . the decades have blurred the words).
so, we waited and then . . .
sigh . . .
all the best to you.
we are excited out of our ever-loving minds for you.
but . . . we’ve always known . . .
love,
c & j
Comments are welcome!
Q: How did you prepare yourself to change careers and work as a professional artist?
“Krystyn,” charcoal, 22″ x 30″, 1989
A: At the age of 33 I was a Lieutenant in the Navy, working as computer analyst at the Pentagon. I was very unhappy with my job. I began looking for something else to do and discovered The Art League School in Alexandria, VA. I enrolled in classes with Lisa Semerad, then spent the next two years developing my drawing skills using black and white media (charcoal, pencils, conte crayon, etc.).
After that I moved on to color media and began studying soft pastel with Diane Tesler. During this time I was still in the Navy, working the midnight shift at the Pentagon and taking art classes during the day. I was a very motivated student.
After three years or so I was getting quite proficient as an artist, entering local juried shows, winning prizes, garnering press coverage, etc. Prior to my career change, I worked hard to develop my portrait skills. I really didn’t know how I could make a living other than by making commissioned portraits. I volunteered to run a weekly life drawing class at The Art League School in Alexandria, VA, where I made hundreds of figure drawings using charcoal.
I spent a semester commuting between Washington, DC and New York to study artistic anatomy at the New York Academy of Art. I spent another semester studying gross anatomy with medical students at Georgetown University Medical School. Over time I became skilled at making photo-realistic portraits. In 1989 I resigned from the Navy and have worked full-time as a visual artist ever since.
Comments are welcome!
Q: In light of the realities you discussed last week (see blog post of Aug. 24), what keeps you motivated to make art?
A favorite book
A: In essence it’s that I have always worked much harder for love than for money. I absolutely love my work, my creative process, and my chosen life. I have experienced much tragedy – no doubt there is more to come – but through it all, my journey as an artist is a continual adventure that gives me the ultimate freedom to spend my time on this earth as I want. In my work I make the rules, set my own tasks, and resolve them on my own timetable. What could be better than that?
Furthermore, I know that I have a gift and with that comes a profound responsibility, an obligation to develop and use it to the best of my ability, regardless of what it may cost. And when I say “cost,” I do not mean only money. Art is a calling and all self-respecting artists do whatever is necessary to use and express our gifts.
In “The Gift” Lewis Hyde says, “A gift is a thing we do not get by our own efforts. We cannot buy it, we cannot acquire it through an act of will. It is bestowed upon us. Thus we rightly speak of “talent” as a “gift” for although a talent can be perfected through an act of will, no effort in the world can cause its initial appearance. Mozart, composing on the harpsichord at the age of four, had a gift.”
Comments are welcome!
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