Blog Archives
Pearls from artists* # 411
On top of an unexcavated pyramid, Veracruz, Mexico
*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 reasserts that U.S. artists have learned and borrowed from Mexican traditions and, above all, that people of goodwill in both countries share in the belief that art unites, it doesn’t divide; it can be utilized to attack inequity and exploitation of the past and present but it also expresses hope and yearning for a better existence than can be realized in the present.
Vida Americana: Mexican Muralists Remake American Art, 1925 – 1945, edited by Barbara Haskell
Comments are welcome!
Pearls from artists* # 384
Overlooking Copacabana, Bolivia and Lake Titicaca
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Carnival in Oruro [Bolivia] is a glorious spectacle. It’s flash, pomp and brilliance can be enjoyed without understanding its long history and intricate mythologies. Still, the onlooker is left with a thousand questions that are not so easily answered. Behind the glitter of Carnival lie the history, the timeless myths and the distinct traditions of this mining community.
According to the Spanish writer Jean Laude, “The function of the mask is to reaffirm, at regular intervals, the truth and presence of myths in everyday life.” This suggests that masks should be studied in context, noting their association with the individual dancer and the history, myths and traditions of the community that produces them. The mask has to be animated within its ritual, comic or social role.
A first step in appreciating the masks is to understand something of the land and people that crafted them. Oruro is a mining city on the open Altiplano at 3,700 meters (12,144 ft.) above sea level. The sky appears a rarified blue, it is intensely cold and a constant wind lifts dust to the eyes. During the year no more than 125,000 people live in the city. Suddenly in the weeks of Carnival, the population doubles or triples.
Three languages, Quechua, Aymara, and Spanish are spoken in Oruro. Their use reflects an ancient pattern of conquest in the history of this land. It is said that the Urus, whose language is now almost lost, were the first inhabitants. In time they were dominated by the Aymara tribes. Later, Quechua was introduced as the Inca advanced their empire from Cuzco. Ultimately the Spanish arrived and founded the present city in 1601 to exploit rich mineral deposits found in the seven hills.
Today, descendants of the Urus live near Oruro around the shore of Lake Poopo. Elements of their distinctive culture remain but they have no wealth in comparison with the more dominant Aymara and Quechua who surround them. A further change came in the recent past because Oruro has acted as a magnet, attracting many people from the countryside to work in the mines.
On one side were the Urus, ancient owners of all the land which now only carries their name (Uro Uro = Oruro). On the other side were the miners, many of whom were Quechua and Aymara migrants. In the middle is “Carnival.”
El Carnaval de Oruro by Manuel Vargas in Mascaras de los Andes Bolivianos, Editorial Quipus and Banco Mercantil
Comments are welcome!
Pearls from artists* # 378
With “Poseur,” Soft Pastel on Sandpaper, 70” x 50,” 2019
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
[John] Graham told Lee [Krasner] and Jackson [Pollock] they were at the most wonderful part of their artistic journey because they were unknown and therefore free, and that there was only one thing they had to dread: fame.
How many men of great talent on their way to remarkable achievement in the present day are ruthlessly destroyed by critics, dealers, and public while mediocre, insensitive hacks, who by intrigue and industrious commercial effort have gained recognition and success, will go down in history with their inane creations. Success, fame, and greatness coincide very seldom. The great are not recognized during their life-time… Poe, Van Gogh,Rembrandt, Cezanne, Gauguin, Modigliani, Pushkin, Rimbaud, Baudelaire, and others could not make even a miserable living out of their art.
As Graham described it, true art could never be of the world because it was always steps, decades, light-years ahead of it. Artists, therefore, had no need to be part of the world, either. Their only duty was to persevere. Humanity, he said, depended on it.
Mary Gabriel in Ninth Street Women
Comments are welcome!
Q: Do you enjoy being interviewed?
In the studio
A: I do very much. Each new interview is another opportunity to discover what is remembered, what is kept because it still seems important, and how certain details are selected from amongst all the accumulated memories of a lifetime. My own story is continually evolving as some facts are left out or rearranged, and others added. New connections keep being made while some others are discarded. I find it fascinating to read over old interviews and compare them with what I remember in the present.
Comments are welcome!
Pearls from artists* # 355
“The Champ,” 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.
True art provides us with truth in a manner analogous to science. Its prophetic dimension – its knack for showing us the side of things that our interests blind us to – make it a source of knowledge, even though it is knowledge of a kind that instrumental reason has little time for. The psychologists who revolutionized our understanding of human psychology in the earliest twentieth century drew on two principal sources to build their concepts: the dream life of their patients and the great art of the past. Without this recognition of the primacy of imagination, Freud and Jung could never have drawn their maps of the psyche. Those who work for a better world would do well to follow their example and find the guiding patterns of life in the prophetic artistic works of the past and present. Only art can act as a counter-weight to that uniquely modern mentality that, wherever it becomes the only game in town, seeks to persuade us that the proper goal of human beings is to contain, dissect, and control everything – that even the most persistent mysteries are just problems to be solved.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
Comments are welcome!
Pearls from artists* # 352
“Provocateur,” 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 jester was certainly a key player in medieval court politics. His power, however, was commensurate with his acknowledged irrelevance to the state apparatus. As the eternal outsider, ridiculed or at best ignored by the elite unless he was actually entertaining them, he acquired the right to speak truths that others would speak at their peril. Yet if the imprudent king simply saw the Fool as a source of amusement, the wise king saw in his antics and wordplay the pattern of the past, present, and future. In the same way, art is the joker in the hand that was dealt to humanity. Nothing is easier than dismissing it as a frivolity, and yet those who meet it on its own ground gain access to the hidden facets of their situation. It is by virtue of its very separateness, its position outside the realm of the useful and the practical, that art reveals the Real. Paradoxically, art has political value only when appraised outside of any political framework.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
Comments are welcome!
Pearls from artists* # 349
Ahmedabad, India
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
India presents to the visitor an overwhelmingly visual impression. It is beautiful, colorful, sensuous. It is captivating and intriguing, repugnant and puzzling. It combines the intimacy and familiarity of English four o’clock tea with the dazzling foreignness of carpisoned elephants or vast crowds bathing in the Ganga during an eclipse. India’s display of multi-armed images, it’s processions and pilgrimages, it’s beggars and kings, it’s street life and markets, it’s diversity of peoples – all appear to the eye in a kaleidoscope of images. Much that is removed from public view in the modern West and taken into the privacy of rest homes, asylums, and institutions is open and visible in the life of an Indian city or village. The elderly, the infirm, the dead awaiting cremation – these sights, while they may have been expunged from the childhood palace of the Buddha, are not isolated from the public eye in India. Rather, they are present daily in the visible world in which Hindus, and those who visit India, move in the course of ordinary activities. In India, one sees everything. One sees people at work and at prayer; one sees plump, well-endowed merchants, simple renouncers, fraudulent “holy” men, frail widows, and emaciated lepers; one sees the festival procession, the marriage procession, and the funeral procession. Whatever Hindus affirm of the meaning of life, death, and suffering, they affirm with their eyes wide open.
Diana L. Eck in Darsan: Seeing the Diving Image in India
Comments are welcome!
Q: What do you see when you look back at your early efforts?
“Myth Meets Dream,” soft pastel on sandpaper, 47″ x 38,” 1993
A: I see continuity in subject matter and in medium, surely. For thirty-three years I have been inspired by foreign travel and research. In addition, I remain devoted to pushing the limits of what soft pastel can do and to promoting its merits as a fine art medium.
Here and there I see details I would render differently now; not exactly mistakes, but things that maybe could be done better. Fortunately, I think, all of my work is framed behind glass or plexiglas, making it extremely difficult to attempt revisions.
Perhaps most important of all, I see the long personal road that has advanced my work to its present state. Each gain has been hard-fought.
Comments are welcome!
Pearls from artists* # 321
Museum of Ethnography and Folklore, La Paz, Bolivia
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
This is Bolivia, a country rich in cultural expressions. Here many great civilizations have flourished, all of which, fundamentally, are bound to the soil from which both fruits and gods emerged.
As part of the expression of these cultures, masks are not mere accessories to conceal the face or represent a character for an artistic performance. Neither are they simply for diversion.
Their roles as objects of art and diversion make sense only as part of a ceremonial act. Then, masks can be understood as the remembrance of history and myth, the externalization of collective life. They are seen within the context of a religious or social ceremony whose meaning is embedded in the past as well as present of a people.
These collective acts, without being set apart from daily life, are special celebrations where many distinct elements must be taken into account: music, dance, costume, mask, food, drink, theatrical representation, work, history…
Masked Dances of the Altiplano, by Manuel Vargas in Masks of the Bolivian Andes, Photographs: Peter McFarren, Sixto Choque, Editorial Quipos and BancoMercantil
Comments are welcome!
Q: Do you lose yourself in your work?
Barbara at work
A: Of course! When I am having a productive day in the studio, I am completely present and focused, fully immersed in solving technical problems and trying to improve the painting on my easel. I barely notice the time and have to remind myself to take a break or stop for lunch. Nothing else exists except the painting and my relationship with it. The rest of life completely falls away from my consciousness.
I believe most artists regularly experience this feeling of ‘flow.’ It is a state of being that is inherent and necessary to creative work of all kinds.
Comments are welcome!
barbararachkoscoloreddust.com 