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Pearls from artists* # 209

"So What?", soft pastel on sandpaper, 20" x 26"

“So What?”, soft pastel on sandpaper, 20″ x 26″

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

For a young painter, life is difficult.  If he’s sincere, if he’s entirely taken up with what he’s researching, he can’t do painting that flatters art lovers.  If he’s concerned with success, he works with just the one idea:  pleasing people and selling.  He loses the support of his own conscience and is dependent on how others are feeling. He neglects his gifts and eventually loses them.

For us, the problem was simple:  the buyer simply didn’t exist.  We were working for ourselves.  We were in a trade that offered no hope at all.  So we had fun with any little thing.  I suppose people shipwrecked on a desert island must find it very jolly – all their problems have ceased to exist.  Nothing left to do but have a laugh, tell jokes, and play jokes.  Painters?  How could they ever expect to sell anything? 

Chatting with Henri Matisse:  The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbaut, translated by Chris Miller

Comments are welcome! 

   

Pearls from artists* # 202

 

Soft pastels

Soft pastels

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

When you’re working on something, you always wonder, “Can I get away with this?  Is it working?”  It’s the space between that I’ve been interested in for a long time.  I think that when I started to make, say, a triptych that came from an observation of a little Picasso drawing, the spaces in between became as important as the three actual pieces.  It’s especially true of the Wallpaper piece.  But most of the changes in my own work really evolve from one piece to the next:  from looking at my own work, the works of others, and things in my studio.  It happens when you see something that you didn’t see previously, like those scraps of clay that became the wall pieces.  It’s similar to the space that I’ve explored for years and years between artist and craftsperson, which is both interesting and challenging, and I don’t think that one thing is inferior to the other.  Each has a different goal, a different function.  Its my responsibility how nd where my work is viewed in different contexts.

In Conversation:  Betty Woodman with Phong Bui, The Brooklyn Rail, April 2016

Comments are welcome!    

Pearls from artists* # 197

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

“Charade,” 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 Kenneth Burke says in ‘Counter-Statement:’  “[Great] artists feel as opportunity what others feel as menace.  This ability does not, I believe, derive from exceptional strength, it probably arises purely from professional interest the artist may take in his difficulties.”  

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

Comments are welcome! 

 

Pearls from artists* # 181

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

“Epiphany,” 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 takes courage to face the unfamiliar, to espouse the different; courage to fight one’s own prejudices only less than those of others.  Was it not a little child who first dared call the emperor naked?  It took great fortitude for Kepler to adhere to his new notion of infinity (as the second focus of a parabola), for, as he said, “The idea seems absurd, but I can find no flaw in it”; just as it did for Galileo to murmur among his inquisitors, “Yet the world does move.”  Most of us will never achieve great imaginative insights; we might at least attempt to be tolerant of those offered by others.

The Biological Basis of Imagination by R.W. Gerard in The Creative Process edited by Brewster Ghiselin

Comments are welcome!

 

Pearls from artists* # 166

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.

An interesting discussion at Leblond’s about geniuses and outstanding men.  Dimier thinks that great passions are the source of all genius!  I think that it is imagination alone or, what amounts to the same thing, a delicacy of the senses that makes some men see where others are blind, or rather, makes them see in a different way.  I said that even great passions joined to imagination usually lead to a disordered mind.  Dufresne made a very true remark.  He said that fundamentally, what made a man outstanding was his absolutely personal way of seeing things.  He extended this to include great captains, etc. and, in fact, great minds of every kind.  Hence, no rules whatsoever for the greatest minds; rules are only for people who merely have talent, which can be acquired.  The proof is that genius cannot be transmitted.

The Journal of Eugene Delacroix edited by Hubert Wellington

Comments are welcome! 

Q: Why do you make art?

Barbara's studio

Barbara’s studio

A:  This is an excellent question and one I like to revisit because with all the day-to-day frustrations and disappointments that are a normal part of an artist’s life, it is easy to forget what is important.  

First, I make art because I have a gift and a desire to share it with others.  To not develop, express, and share all that I have to say through my work is unthinkable.

Second, I make art because it is what gives my life direction and purpose.  I believe that each human being has his or her own quest, driven by passion, to fulfill a certain duty. Recall Joseph Campbell’s, “The Hero’s Journey.”  I need to make art in order to feel that I am living up to my highest potential. 

Third, for inexplicable reasons (to me, anyway) soft pastel is an undervalued medium.  I fell in love with pastel above all other media and hope to demonstrate that great art can be created with it.  This is one of the drives that keeps me steadily working.

Comments are welcome! 

Q: Is it possible to sum up your creative practice in seven words?

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

A:  Steadily striving to become a better artist.  Of course, others determine how successful we have been in this regard.

Comments are welcome! 

Q: So much of the art one sees in New York is ugly, but your art is consistently beautiful. Is beauty important to you?

Barbara's studio

Barbara’s studio

A:  Yes, beauty is extremely important.  In some art circles it is not fashionable to say so, but I completely agree with the photographer, Robert Adams, who writes,  “… the goal of art is Beauty.”  I’ll leave it to others to decide if this quality is reached in my pastel paintings, but I certainly strive towards it. 

Comments are welcome!  

Q: Do you have any essential words that you live by?

Studio wall

Studio wall

A:  I certainly do!  When I left the active duty Navy in 1989, my co-workers threw a farewell party.  One of the parting gifts I received was a small plaque from Tina Greene, a young enlisted woman whom I had supervised.  The words on the plaque deeply resonated with me, since I was about to make a significant, risky, and scary career change.  It was the perfect gift for someone facing the uncertainty of an art career. 

Many years later Tina’s plaque is still a proud possession of mine.  It is hanging on the wall behind my easel, to be read every day as I work.  It says:

“Excellence can be attained if you…

Care more than others think is wise…

Risk more than others think is safe…

Dream more than others think is practical…

Expect more than others think is possible.”

Comments are welcome!

Pearls from artists* # 110

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.

A well-lived life should be worth attention.  At the very least, you should find your own story engaging.  In presenting yourself to yourself and others, then, you should keep in mind the rules that good playwrights follow.  Like a good character – you should be making choices that are explicable – choices that appear to be coming from a mind in working order.  Your choices should be reasonably coherent with each other, also, so as to support the thought that there is a real person – you – behind those choices.

Paul Woodruff, philosopher, quoted in What’s the Story:  Essays about art, theater, and storytelling by Anne Bogart

Comments are welcome!