Blog Archives

(My blog turned 9 years old on July 15! As I have done for past anniversaries, I am republishing 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 (in 2012) with works in progress

Barbara’s Studio (in 2012) 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 the ime 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! 

__________

What I wrote nine years ago still rings true – and it’s good, even for me, to be reminded.  Since then my studio setup has changed tremendously.

Most importantly, THANK YOU to my 75,000+ subscribers for taking this journey with me!

Comments are welcome!     

Pearls from artists* # 460

Recent pastel paintings 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.

Precious realm of painting! That silent power that speaks at first only to the eyes and then seizes and captivates every faculty of the soul! Here is your real spirit; here is your own true beauty, beautiful painting, so much insulted, so much misunderstood and delivered up to fools who exploit you. But there are still hearts ready to welcome you devoutly, souls who will no more be satisfied with mere phrases than with inventions and clever artifices. You have only to be seen in your masculine and simple vigor to give pleasure that is pure and absolute. I confess that I have worked logically, I, who have no love for logical painting. I see now that my turbulent mind needs activity, that it must break out and try a hundred different ways before reaching the goal towards which I am always straining. There is an old leaven working in me, some black depth that must be appeased. Unless I am writhing like a serpent in the coils of a pythoness I am cold. I must recognize this and accept it, and to do so is the greatest happiness. Everything good that I have ever done has come about in this way. No more ‘Don Quixotes’ and such unworthy things!

The Journal of Eugene Delacroix edited by Hubert Wellington

Comments are welcome!

Q: What is the most important factor behind your success?

At work
At work

A: In a word, I’d say it’s love. I love soft pastel! I love being an artist! I love looking at the thousands of pastels in my studio while I think about the possibilities for mixing new colors and making exciting new pastel paintings. Soft pastels are rich and intense.

Even after more than thirty years as an artist, I still adore what I am able to accomplish. I continually refine my craft as I push pastel to new heights. My business card says it all: “Revolutionizing Pastel as Fine Art!”

The surfaces of my finished pastel paintings are velvety and demanding of close study and attention. Soft pastel on sandpaper – no other medium is as sensuous or as satisfying. Who could argue with that!

Comments are welcome!

Pearls from artists* # 433

Chatting with Jenny Holzer.  It looks like she did not want her picture taken, but she was actually waiving. VIGIL: Jenny Holzer and @creativetime

Chatting with Jenny Holzer.  It looks like she did not want her picture taken, but she was actually waiving.

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

…Two positions exist, the artistic and the commercial.  Between these two an abiding tension persists.  The eighteenth-century American painter Gilbert Stuart complained, “What a business is that of portrait painter.  He is brought a potato and is expected to paint a peach.”  The artist learns that the public wants peaches, not potatoes.  You can paint potatoes if you like, write potatoes, dance potatoes, and compose potatoes, you can with great and valiant effort communicate with some other potato-eaters and peach-eaters.  In so doing you contribute to the world’s reservoir of truth and beauty.  But if you won’t give the public peaches, you won’t be paid much.

Repeatedly artists take the heroic potato position.  They want their work to be good, honest, powerful – and only then successful.  They want their work to be alive, not contrived and formulaic.  As the Norwegian painter Edvard Munch put it:  “No longer shall I paint interiors, and people reading, and women knitting.  I shall paint living people, who breathe and feel and suffer and love.”

The artist is interested in the present and has little desire to repeat old, albeit successful formulas.  As the painter Jenny Holzer put it, “I could do a pretty good third generation-stripe painting, but so what? 

The unexpected result of the artist’s determination to do his [sic] own best art is that he is put in an adversarial relationship with the public.  In that adversarial position he comes to feel rather irrational for what rational person would do work that’s not wanted? 

…Serious work not only doesn’t sell well, it’s also judged by different standards.  If the artist writes an imperfect but commercial novel it is likely to be published and sold.  If his screenplay is imperfect but commercial enough it may be produced.  If it is imperfect and also uncommercial it will not be produced.  If his painting is imperfect but friendly and familiar it may sell well.  If it is imperfect and also new and difficult, it may not sell for decades, if ever.

Ironically enough, the artist attempting serious work must also attain the very highest level of distinction possible.  He must produce Crime and Punishment and The Brothers Karamazov but not also The Insulted and Injured or A Raw Youth, two of Dostoevsky’s nearly unknown novels.  He is given precious little space in this regard.      

I daresay, this last is why I devote my life to creating the most unique, technically advanced pastel paintings anyone will see!

Eric Maisel, A Life in the Arts:  Practical Guidance and Inspiration for Creative and Performing Artists

Comments are welcome!

Q: What do you enjoy most about being an artist?

Barbara’s studio

Barbara’s studio

A:  This is a question I like to revisit every so often because life as an artist does not get easier; just the opposite, in fact. Visual artists tend to be “one man bands.” We do it all notwithstanding the fact that everything gets more difficult as we get older. It’s good to be reminded about what makes all the sacrifice and hard work worthwhile.

Even after thirty-four years as an artist, there are so many things to enjoy! I make my own schedule, set my own tasks, and follow new interests wherever they may lead. I am curious about everything and am rarely bored. I continually push my pastel technique as I strive to become a better artist. There is still so much to learn!

My relationship with collectors is another perk. I love to see pastel paintings hanging on collectors’ walls, especially when the work is newly installed and the owners are excited to take possession. This means that the piece has found a good home, that years of hard work have come full circle! And it’s often the start of a long friendship. After living with my pastel paintings for years, collectors tell me they see new details never noticed before and they appreciate the work more than ever. It’s extremely gratifying to have built a network of supportive art-loving friends around the country.  I’m sure most artists would say the same!

Comments are welcome!

Q: How many days a week do you work on your art?

Working on “Jokester”

At work

A:  My life is devoted to art and to art-making.  Working in pastel is slow and labor-intensive – in a good year I make four or five pastel paintings – so maintaining good work habits is imperative.  As a fulltime professional artist, I strive to  keep regular studio hours.  I work five days a week, roughly seven hours a day.

However, running the business side of things is an every day activity:  marketing, interviews, applying for exhibitions, making photographs, documenting my professional activities, sending JPEGs, responding to inquiries, etc.  There is always something to do!

Comments are welcome!   

Q: Are pastel paintings easy to care for?

With “Poseur,” 70” x 50” Framed

With “Poseur,” 70” x 50” Framed

A:  Yes, they are.  I have used only the finest archival and lightfast materials to create and frame them because I want them to last.  Here are some instructions.  

Always treat pastel paintings with the utmost care.  Avoid bumping and other sorts of rough handling.   

Pastel paintings should be kept face up at all times, especially when they are being transported long distances. Use an art shipper and ensure they are familiar with the requirement to ship the work flat and face up.

Never hang pastel paintings (or any art!) in direct sunlght!  Sunlight makes colors fade over time.  Also, moisture droplets can form on the inside of the Plexiglas.  When they dry, it leaves marks.

Use a soft cloth and Plexiglas cleaner to dust off the glazing.  Never use Windex on Plexiglas.  

That’s it!  

If you have questions, please contact me at brachko@erols.com. 

Comments are welcome!  

Q: What do you enjoy most about being an artist?

With “Majordomo,” soft pastel on sandpaper, 20” x 26”

With “Majordomo,” soft pastel on sandpaper, 20” x 26”

A: This is a question I enjoy revisiting every so often because life as an artist does not get easier; just the opposite, in fact.  Visual artists tend to be “one man bands.”  We do it all notwithstanding the fact that everything gets harder as we get older.  So it’s good to be reminded about what makes all the sacrifice and hard work worthwhile.

There are so many things to enjoy!  I make my own schedule, set my own tasks, and follow new interests wherever they may  lead.  I am curious about everything and am rarely bored.  I continually push my pastel technique and strive to become a better artist.  There is still so much to learn!  

My relationship with collectors is another perk.  I love to see pastel paintings hanging on collectors’ walls, especially when they’re newly installed and the owners are excited to take possession.  This means that the piece has found a good home, that years of hard work have come full circle!  And it’s often the start of a long friendship.  After living with my pastel paintings for years, collectors tell me they see new details never noticed before and they appreciate the work more than ever.  It’s extremely gratifying to have built a network of supportive art-loving friends around the country.  I’m sure most artists would say the same!

Comments are welcome!

Q: You have worked with twenty-plus galleries during your career. Which ones do you consider the best?

"Myth Meets Dream," 1993, soft pastel on sandpaper, the earliest painting that includes Mexican figures

“Myth Meets Dream,” 1993, soft pastel on sandpaper, the earliest painting that includes Mexican figures

A:  Probably the most prestigious gallery that represented my work was Brewster Fine Arts on West 57th Street in Manhattan.  Brewster was my first New York gallery.  In the summer of 1996 I mailed the gallery a sheet of slides, as we did in those days.  I was living in Virginia and had been a working artist for ten years.  In July while traveling around Mexico, I decided to check the phone messages at home in Virginia.  I was thrilled to receive an invitation from Mia Kim, the gallery director, to exhibit pastel paintings in October!  And she had not yet even seen my work in person.

Beginning that fall, I gained representation with Brewster Fine Arts, an elegant gallery specializing in Latin American Masters like Rufino Tamayo, Diego Rivera, and others.  I am not Latina, of course, but I showed there due to my subject matter.  At my October opening, I remember Mia declaring to the attendees, “Barbara has the soul of a Latina!”  That night I met fellow gallery artist Leonora Carrington. She and I were the only non-Latina artists respresented.  I knew I was on my way! 

The gallery continued to present my work in group exhibitions and the staff gave brilliant talks about me and my creative process.  For many years whenever I introduced myself to a new art aficionado, they already knew my work from having seen it at Brewster.  I continued to be represented there until the gallery closed years later.

Also, Gallery Bergelli in Larkspur, CA did an excellent job of representing my work.  I applied for one of their juried exhibitions, was accepted, and afterwards, they offered permanent representation.  Soon they introduced me to one of my best collectors, with whom I am still friends.

I have worked with many galleries, some good, some not, for various reasons.  Ours is an extremely tough business.  Unfortunately, many of the best and formerly-great galleries are gone forever.   

Comments are welcome!   

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