Blog Archives
Pearls from artists* # 702
“Oblate,” 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.
The most noteworthy hurdle we face as artists is the brutal ‘Why should I care?’ Why, out of all the millions of art objects and experiences vying for our attention, should someone spend time on ours? We cannot share our visions with people if we cannot get them to stop and look at our work. Louise Bourgeois said, ‘Art is a seduction,’ but there are many different types of seduction. There should be something about our work that speaks to those with similar sensibilities, that sends them a secret signal.
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice
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Pearls from artists* # 696
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Although it’s important to make communities with like-minded people — people who are your age, your generation, who are working on projects that have resonance with yours — I am a firm believer in crossing generations to find mentorship and inspiration, and a sense of furthering the craft. So I’d say that as you begin to seek mentorship, be creative about where you look. Look in unlikely places, and make it more likely that you will cross boundaries and reach a wider, more culturally and intellectually diverse audience.
Anna Deavere Smith in Letters to a Young Artist: Straight-Up Advice on Making a Life in the Arts — for Actors, Performers, Writers, and Artists of Every Kind”
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Q: How do you think your recent trip to Bolivia will affect your work?
Reference photo from my trip to Bolivia
A: I have been back in the United States for one month and I know from past trips that there is always a long gestation period as I reflect on colorful new experiences, new sights, sounds, etc. My three and a half-weeks in Bolivia were non-stop, intense, and just full of so many high points. Bolivia is a fascinating country with profound cultural riches, and exceptionally warm and welcoming people. I experienced new friendships and events that were way beyond anything I could have imagined. In short, there’s a lot to process!
In the immediate aftermath, back in the studio I am deliberately selecting more vibrant colors and bumping up the contrast and drama in the painting on my easel (“Gatecrasher”) as I attempt to reflect some of what I saw and experienced in Oruro during Carnaval. I have begun to plan a pastel painting based on the mask pictured above, which I photographed in La Paz. We shall see what new work is created over the coming months and years. For now, it’s exciting to be reenergized and to have new subject matter with which to work. And, at this early date, I can barely conceive what our new Bolivia documentary will be like!
Comments are welcome!
Pearls from artists* #694
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Long ago, when I was in my insecure twenties, I met a clever, independent, creative, and powerful woman in her mid-seventies, who offered me a superb piece of life wisdom.
She said: “We all spend our twenties and thirties trying so hard to be perfect, because we’re so worried about what other people will think of us. Then we get into our forties and fifties, and we finally start to be free, because we’re so worried decide that we don’t give a damn about what anyone thinks of us. But you won’t be completely free until you reach your sixties and seventies, when you realize this liberating truth—nobody was ever thinking about you, anyhow.”
They aren’t. They weren’t. They never were.
People are mostly thinking about themselves. People don’t have time to worry about what you’re doing, or how well you’re doing it, because they’re all caught up in their own dramas. People’s attention may be drawn to you for a moment (if you succeed or fail spectacularly and publicly, for instance), but that attention will soon enough revert back to where it’s always been—on themselves. While it may seem lonely and horrible at first to imagine that you aren’t anyone’s first order of business, there is also a great release to be found in this idea. You are free, because everyone is too busy fussing over themselves to worry that much about you.
Go be whomever you want to be, then.
Do whatever you want to do.
Pursue whatever fascinates you and brings you to life.
Create whatever you want to create—and let it be stupendously imperfect, because it’s exceedingly likely that no one will even notice.
And that’s awesome.
Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear
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Pearls from artists* # 693
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Earlier I wrote that I as an artist must concern myself with painting and not waste energy on trying to decipher other people’s intentions or motives. I still believe this to be correct.
(My main purpose in life is to paint, this is my profession. I am most happy when I am alone in the studio working. The other problems of politics exist outside my studio.)
note: I am not sure of this. I am sure of one thing that I am most happy when I am alone working in the studio. The distance between art + politics is one of grey. I have thought of my involvement in art as being one of combat—the paintings are weapons designed to destroy oppressors i.e., the establishment. Art is none of This! Art is Art.
A painting does not represent anything but itself. It shouldn’t look like anything else or make for any allusions. A painting is a painting just as a Rose is a Rose! May God bless Gertrude Stein!
Jack Whitten Notes From the Woodshed
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Pearls from artists* # 692
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Claiming space, money, and time to do our work requires fortitude. We need to say ‘no’ to projects and people fighting for our attention. We just follow our work through changes, even when it is comfortable, or in other people’s interests, for our work to stay the same. If we want to expand our careers, we get rejected… a lot. But artists are like sharks; we must keep moving to survive, creating authentic, original work as we outgrow it to evolve as human beings.
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice
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Pearls from artists* # 686
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
HM: I’ve never met many people; I’ve never much sought out older painters, first because I didn’t want to disturb them and then because what an artist says is so insignificant, I find, compared to what he does. The same phrases can so easily fit different things when you’re talking about the visual arts.
You can’t describe them. All you can do is create a kind of analogy using words. But even then the words have to reach the same part of the spectator that’s ready and waiting for them.
Henri Matisse in Chatting With Matisse: The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbault
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Q: You read books on Friedrich Nietzsche and other philosophers. How has philosophy and your personal experience shaped the latest series, Bolivianos? (Question from Vedica Art Studios and Gallery)
A: It’s difficult to pinpoint how philosophy specifically shaped my work because my curiosity spans so many subjects. Some critics have described me as a Renaissance woman, remarking on my wide-ranging and voracious reading. It’s true—I’m genuinely interested in practically everything!
In pursuit of making art, I have undertaken in-depth studies of numerous intriguing fields: drawing, color, composition, gross anatomy, art and art history, the art business, film history, photography, psychology, mythology, literature, philosophy, religion, music, jazz history, and archaeology—particularly ancient Mesoamerica (Olmec, Zapotec, Mixtec, Aztec, and Maya) and South America (the Inca and their ancestors).
Since the early 1990s, my inspiration and subject matter have come primarily from international travel to remote parts of the globe, especially Mexico, Central America, and South America. Travel is by far the best education! By visiting distant destinations, I have developed a deep reverence for people and cultures around the world. People everywhere are connected by our shared humanity.
These travels, supplemented by extensive research at home, are essential parts of my creative process. Research can be solitary and demanding, but I truly enjoy it. I want to know as much as possible, and this curiosity generates ideas for new work, propelling me into unexplored creative realms.
Foreign travel always expands our ways of thinking. This rich mixture of creative influences continually evolves and finds its way into my pastel paintings. Working, learning, evolving, and growing—I am perpetually curious and can hardly imagine a better way to spend my time on Earth!
Comments are welcome!
Pearls from artists* # 684
*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 often think that we should invent another word altogether for what real artists are doing… outside of, and despite, the market, so we could divorce ourselves from what ‘Art’ has devolved into. I aspire to create a new and visionary paradigm far away from the old one. I wish all the art magazines and blogs would declare that there is no longer any money to be made or any fame to be had, so all the people who were in for the wrong reasons would simply go away.
I want artists everywhere to figure out how to tap into their own deep well, the unpredictable source inside that can keep their work fresh and alive. I hope they build confidence to consistently preserve their integrity and independence. I long for them to trust their own intuition, to keep them on their true path as their work evolves. Finally, I yearn for them to reject anything that gets in the way of actualizing their deepest voice, so they might step into that expansive space that the universe has intended for them since the day they appeared on this earth.
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice
Comments are welcome!
Q: What’s the most unusual place you have exhibited your art? Was it worth it?
A: In 2004 I exhibited in a group show that was hosted as a fund raiser for Breast Cancer Awareness Month. Artists who had had breast cancer were invited to present our work. The show was titled, “Art of Survival,” and was held in a breast surgeon’s office in West Long Branch, NJ. I had absolutely no expectations of selling anything and reluctantly participated, thinking, “More people are likely to see my work in this show than would see it in my studio during the same period.” Who could have foreseen it, but I sold a $15,000 painting to the surgeon who had organized the exhibition!
Sadly, several years later, the curator of the exhibition informed me that Beth, the breast cancer surgeon, had died from the same disease.
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