Blog Archives

Pearls from artists* # 705

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.

There are infinitely many ways to structure art and as many ways to construe it once it exists. One mark of a great poem, novel, symphony, or painting is that innumerable interpretations are generated—different people see it differently from one time to another. The hundredth time I taste an artwork I love, I still find something new in it, because I am different, and because there is some largeness or manyness in the art that can resonate with the changing versions of myself.

Stephen Nachmanovitch in Free Play: Improvisation in Life and Art

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Pearls from artists* # 704

“Wise One,” soft pastel on sandpaper, 58” x 38” image, 70” x 50” framed

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

Why do we do art? There may be multiple and serious motivations, such as opening people’s eyes to injustice or saving the world; but if the activity to save the world doesn’t give us joy, what’s the point of having a world, and how will we have the wholeness and energy to carry on? This whole adventure of creativity is about joy and love. We live for the pure joy of being, and out of that joy unfold the ten thousand art forms and all the branches of learning and compassionate activity.

Stephen Nachmanovitch in Free Play: Improvisation in Art and Life

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Pearls from artists* # 703

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.

Artmaking embodies freedom, in a way that few vocations do. But, while we have no supervisors in our studios, we are not quite as free as we imagine. We all carry sone cumulative art baggage. All the people and ideas that have influenced us over the years have shaped the art we make today. Sone guidance served us well, seamlessly dovetailing into our own divine direction. Yet others may hold us back, constraining the distinct development of our creative articulation.

The work we do is affected by logistical limitations, such as time, space, and money. But we also possess biases, assumptions, rules, values, methodologies, goal structures, and conceptual frameworks we have assimilated into our practice along the way. We may delude ourselves into thinking we have actively chosen these limiting parameters, instead of recognizing that we may have absorbed them purely by default. Authority figures, over the course of our entire lives, have provided positive or negative reinforcement, not only through overt criticism or praise, but also through omission. These pressures are frequently tacit, wordlessly shaping the direction of our practice when a piece was changed or ignored by the powers that be.

Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice

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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

Comments are welcome!

Pearls from artists* # 696

At the Whitney Museum
At the Whitney Museum with fellow artists

*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!


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Pearls from artists* #694

At MoMA, New York, NY
At MoMA, New York, NY

*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

In the studio
In the 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.


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

With “Wise One” (left) and “The Moralist”
With “Wise One” (left) and “The Moralist”

*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

Comments are welcome!

Pearls from artists* # 686

Working on “Sacrificial”  Photo: Jennifer Cox
Working on “Sacrificial” Photo: Jennifer Cox

*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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