Blog Archives

My blog turns 5 years old today! Here is 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

Barbara’s Studio 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 time 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! 

 

If you were to visit my studio now, you would see more tables chock full of pastels and notice other changes from the photo above.  Most importantly though, what I wrote five years ago still rings true! 

Comments are welcome!     

Q: What advice to you have for younger artists who are just beginning their careers?

Barbara's studio

Barbara’s studio

A:  I have two pieces of advice:

  • Build a support network among your fellow artists, teachers, and friends.  It is tough to be an artist starting out.  Also, be sure to read plenty of books by and about artists.  All have experienced similar challenges.
  • Do whatever you must to keep working – no matter what!  Being an artist never really gets easier.  There are always new obstacles and you’ll discover solutions over time.

Comments are welcome!

 

Pearls from artists* # 113

Studio corner

Studio corner

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

In Amsterdam I saw a striking still life painted by Rembrandt van Rijn suspended above a glass case that contained the same objects that he used as a model for the picture.  The contrast between what felt like a drab collection of random objects in the case and the stunning luminescent painting that seemed imbued with nothing less than intense energy and life gave me pause and clarified something I had been thinking about.  I had been thinking about the power of art to transform the frustrations and irritations of daily life into a realm of grace and to embody, through arrangement, composition, light, color and shade, nothing less than the secret elixir of life itself.

We encounter daily frustrations, irritations, and obstacles.  Perhaps we feel hampered and limited by our hit-and-miss upbringing, our apparent limitations and our imperfect ongoing circumstances.  And yet Rembrandt’s still life painting demonstrates that it is within our power to transform the random, the everyday, the frustrating and the prosaic into an arrangement instilled with grace and poetry.  Is it the arrangement of these objects that lends such a spiritual quality to the painting?  Is it the sensation of light captured upon canvas?  How did Rembrandt transform the quotidian into an uplifting vision of life?

Anne Bogart in What’s the Story:  Essays about art, theater, and storytelling  

Comments are welcome!    

Pearls from artists* # 103

Quemado, NM

Quemado, NM

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

There are times when the art-maker’s solitude feels mildly pleasant, or deeply pleasurable, or even blissful.  Many people refer to Mihaly Czikszentmihalyi’s concept of “flow” as their experience of art-making – that state of being in which one is focused and concentrated, removed from time, energized, and not lonely at all.  But flow happens most readily when the task is not too frustrating, and when the obstacles feel manageable.  I feel flow more readily when the writing is going well than when I’m trying to wrangle with some thorny bit of it.  Then I feel unflow and, sometimes, too alone with the labor and very glad to have fond people close at hand in my life and in my memory.

Janna Malamud Smith in An Absorbing Errand:  How Artists and Craftsmen Make Their Way to Mastery

Comments are welcome!      

 

Q: Who is your favorite artist and why?

Catalogue of Matisse's late work

Catalogue of Matisse’s late work

A:  I admire the work of many artists, but if I have to choose only one then I’d say Matisse.  Whenever there is a Matisse exhibition in New York, I try to see it at least once.  Many years ago I read Hillary Spurling’s definitive two-volume biography (The Unknown Matisse, published 1998, and Matisse the Master, 2005) and became fascinated with how his life unfolded, how Matisse struggled and overcame daunting obstacles in order to  make art, and how his work continued to grow and evolve throughout his long life.  

I believe that Matisse and I are kindred souls in three respects:  we both came from unpromising beginnings (he from a textile family in northern France, me from a blue collar family in New Jersey), our fathers did not support our interest in becoming artists, and he famously worked in series (I am well into my third series).

Comments are welcome!