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Q: What art project(s) are you working on currently? What is your inspiration or motivation for this? (Question from artamour)
A: While traveling in Bolivia in 2017, I visited a mask exhibition at the National Museum of Ethnography and Folklore in La Paz. The masks were presented against black walls, spot-lit, and looked eerily like 3D versions of my Black Paintings, the series I was working on at the time. I immediately knew I had stumbled upon a gift. To date I have completed seventeen pastel paintings in the Bolivianos series. One awaits finishing touches, another is in progress, and I am planning the next two, one large and one small pastel painting.
The following text is from my “Bolivianos” artist’s statement.
“My long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.
The masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.
Carnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.
The exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!
Knowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.”
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Pearls from artists* # 469
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
I feel artists are at the cutting edge of everything created by humans in our society. I would love for artists, young and old, to remember that for the Art World to exist, the first thing that is necessary is art. No gallerist, museum director, preparatory, or museum guard would have a job without an artwork having been created.
Without remembering this, artists can lose sight of their power and worth. We begin to believe that the Art World came first and that we need to change, appropriate, adjust, or edit ourselves and our work to fit into this world. This does not need to happen, and should not happen.
Stephanie Diamond, artist, New York, NY, in Art/Work: Everything You Need to Know (And Do) As You Pursue Your Art Career by Heather Darcy Bhandari and Jonathan Melber
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Travel photo of the month*
*Favorite travel photos that have not yet appeared in this blog
For more info on Hillwood Estate, Museum, and Gardens, please see https://www.hillwoodmuseum.org/
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Q: Where did you grow up and what were some early milestones or experiences that contributed to you becoming an artist later in life?
“The Sleeping Gypsy,” Henri Rousseau, oil on canvas, 1897
A: I grew up in a blue collar family in Clifton, New Jersey, a suburb about fifteen miles west of Manhattan. My father was a television repairman for RCA. My mother stayed home to raise my sister and me (at the time I had only one sister, Denise; my sister Michele was born much later). My parents were both first-generation Americans and no one in my extended family had gone to college yet. I was a smart kid who showed some artistic talent in kindergarten and earlier. I remember copying the Sunday comics, which in those days appeared in all the newspapers, and drawing small still lifes I arranged for myself. I have always been able to draw anything, as long as I can see it.
Denise, a cousin, and I enrolled in Saturday morning “art classes” at the studio of a painter named Frances Hulmes in Rutherford, NJ. I was about 6 years old. I continued the classes for 8 years and became a fairly adept oil painter. Since we lived so close to New York City, my mother often took us to museums, particularly to the Museum of Modern Art, the Metropolitan Museum of Art, and the Museum of Natural History. Like so many young girls, I fell in love with Rousseau’s “The Sleeping Gypsy” and was astonished by Picasso’s “Guernica” when it was on long-term loan to MoMA. I have fond memories of studying the dioramas at the Museum of Natural History (they are still my favorite part of the museum). As far as I know, there were no artists in my family so, unfortunately, I had no role models. At the age of 14 my father decided that art was not a serious pursuit – declaring, it is “a hobby, not a profession” – and abruptly stopped paying for my Saturday morning lessons. With no financial or moral support to pursue art, I turned my attention to other interests, letting my artistic abilities go dormant.
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Pearls from artists* # 206
“Provocateur,” 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.
And a career in higher education and medicine has taught me that creativity – whether in the sciences, arts or humanities – fosters controversy. We neither seek nor avoid controversy – we anticipate it and welcome the opportunity to explain the creative choices we make. We must take risks. We must be involved in the vital issues facing the world.
David J. Skorton, Director of the Smithsonian Institution in “What Do We Value?” Museum, May/June 2016
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Pearls from artists* # 205
National Gallery of Art with self-portrait
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Museums empower people when they are patrons for artists and thinkers; when they amplify civic discourse, accelerate cultural change and contribute to cultural intelligence among the great diversity of city dwellers, visitors, policy makers and leaders… Museums present beautiful, accessible and meaningful spaces in which communities and individuals can meet, exchange ideas and solve problems.
David J. Skorton, Director of the Smithsonian Institution in “What Do We Value?” Museum, May/June 2016
Comments are welcome!
Pearls from artists* # 204
Barbara’s studio with work in progress
* 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 has been said that science helps us understand what we can do; the arts and humanities – our culture and values – help us decide what to do. Studying the arts and humanities develops critical-thinking skills and nimble habits of mind, provides historical and cultural perspective and fosters the ability to analyze, synthesize and communicate.
As author Daniel Pink observed, “The last few decades have belonged to a certain kind of person with a certain kind of mind – computer programmers who could crank code, lawyers who could craft contracts, MBAs who could crunch numbers… The future belongs to a very different kind of mind – creators and empathizers, pattern recognizers and meaning makers. These people – artists, inventors, designers, storytellers, caregivers, consolers, big-picture thinkers – will now reap society’s richest rewards and share its greatest joys.”
David J. Skorton, Director of the Smithsonian Institution in “What Do We Value?” Museum, May/June 2016
Comments are welcome!
Q: What is your favorite art museum?
The Great Hall at the Met
A: My favorite art museum is the Metropolitan Museum of Art in New York. The Met is peerless! The breadth and quality of the collection is nearly inexhaustible. It’s my library, the place I go to for inspiration and to deepen and broaden my knowledge of art. The Met is a treasure for every working artist.
Comments are welcome!
Pearls from artists* # 74
Untitled, chromogenic print, 24″ x 24,” edition of 5
* 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 is known by his or her works. But how often do we consider that much of what we know depends on factors that were beyond the artist’s control? A few that come to mind are value on the art market, the knowledge and forethought of the artist’s survivors as they decide to keep or discard works, research interests of art and photo historians and the ways in which these change over time, willingness of dealers, collectors, and museum curators to provide information about the existence of works, the state of printing technology, and the availability of financing for exhibitions and publications.
Laszlo Moholy-Nagy: Color in Transparency, edited by Jeannine Fiedler and Hattula Maholy-Nagy for the Bauhaus-Archive Berlin
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barbararachkoscoloreddust.com 
Q: What is the reality of the art world today? Do people experience it enough?
Aug 2
Posted by barbararachkoscoloreddust
West 29th Street studio
A: I cannot comment on the art world today or the experience of other people. I can only speak for myself. I am completely devoted to my work; my entire life revolves around art. When I’m not in my studio creating, I am reading about art, thinking about it, gaining inspiration from other artists and from artistic travel, working out new ideas, going to museum and gallery exhibitions, trying to understand the business side of things, etc. Art is a calling and I personally experience it enough as my work continues to evolve!
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Posted in 2014, An Artist's Life, Art in general, Black Paintings, Creative Process, Inspiration, New York, NY, Pastel Painting, Photography, Studio, Working methods
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