Blog Archives
Pearls from artists* # 224
“Poker Face,” soft pastel on sandpaper, 38″ x 58″ image, 50″ x 70″ 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.
… wise writers decline to engage in debates over the right way to read their words. T.S. Eliot was once approached with a question about a cryptic line from his poem “Ash-Wednesday”: “Lady, three white leopards sat under a juniper-tree.” What did the line mean? The poet replied: “I mean, ‘Lady, three white leopards sat under a juniper-tree .” Creating a text, Eliot seems to be saying, like having a child, only means bringing something into the world. It doesn’t include the power to control it’s destiny.
Adam Kirsch in “Can You Read a Book the Wrong Way?”, The New York Times Book Review, Sept. 27, 2016.
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: “White Star,” 38″ x 58″ is slowly progressing. The title of this painting alludes to David Bowie’s last album, “Dark Star” and is my somewhat more optimistic take on that phrase.
The white Guatemalan figure and the Sri Lankan mask on the top right still could use more details. Over time the “Black Paintings” series is becoming more about what is left out. So how much detail to add is an open question.
Comments are welcome!
Pearls from artists* # 188
“Offering,” 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.
HM: In order to create a work of art, you need an artist, an object, the work, and the audience. Indeed, where there’s no audience, there’s no artist. Renoir used to say, “No painters in Hamlet.” meaning that on a desert island you wouldn’t paint.
( I confess I am a little surprised. For my part, I find it difficult to believe that the true artist cannot work without hope. It seems to me that art is first and foremost an internal necessity, a need to escape from life. It is true that this is closer to the mystics’ point of view and that the artist, if he does not work directly for his contemporaries, at least looks forward to some future resonance. Nonetheless, I ask the same question again.)
PC: Even a true painter wouldn’t paint on a desert island?
HM: No… Painting is a means of communication, a language. An artist is an exhibitionist. Take away his spectators and the exhibitionist slinks off with his hands in his pockets.
The audience is the material in which you work. You don’t see the face of the audience. It’s huge, an immense mass. The public is – listen, it’s the man you encounter one fine day, who says, “Monsieur Matisse, I can’t tell you how much I love your picture, the one you exhibited at the salon,” and this man is a clerk who could never spend a red cent on painting. The public is not the buyer; the public is the sensitive material on which you hope to leave an imprint.
PC: Through the picture, the audience returns to the source of emotion.
HM: Yes, and the artist is the actor, the fellow with the wheedling voice who won’t rest until he’s told you his life story.
Chatting with Henri Matisse: The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbaut, translated by Chris Miller
Comments are welcome!
Q: Why do you make art?
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: How do you decide how much to charge for your paintings?
Barbara’s studio
A: What to charge for my work is a complex question. The prices of my pastel paintings take into account many tangible and intangible factors. Here are a few:
Sales history.
My thirty-year-long exhibition history.
The costs of maintaining a studio in New York. My overhead goes up annually, but I do not raise prices every year to offset these expenses.
The countless hours of labor, cost of art materials, framing, photography, transportation, foreign travel, etc. that go into creating a painting.
Costs for marketing, social media, advertising, website design and upkeep, ongoing education, etc.
Somewhat less quantifiable factors such as my reputation as an artist, the real demand for my work, goodwill, the fact that I work full-time as a professional artist, etc.
Comments are welcome!
Pearls from artists* # 140
“Big Wow,” 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.
Frankly, I think you’re better off doing something on the assumption that you will not be rewarded for it, that it will not receive the recognition it deserves, that it will not be worth the time and effort invested in it.
The obvious advantage to this angle is, of course, if anything good comes of it, then it’s an added bonus.
The second, more subtle and profound advantage is that by scuppering all hope of worldly and social betterment from one creative act, you are finally left with only one question to answer:
Do you make this damn thing exist or not?
And once you can answer that truthfully for yourself, the rest is easy.
Hugh MacLeod in Ignore Everybody and 39 Other Keys to Creativity
Comments are welcome!
Q: In the “Black Paintings” you create a deep intellectual interaction and communicate a wide variety of states of mind. I admit that certain “Black Paintings” unsettle me a bit. I see in this series an effective mix between anguish and happiness. Rather than simply describing something, these paintings pose a question and force us to contemplation. Can you talk about this aspect of your work?
“The Storyteller,” soft pastel on sandpaper, 20″ x 26″
A: I’m sure you and other viewers will see all kinds of states of mind, like anguish, happiness, and everything in between. I think that’s wonderful because it means my work is communicating a message to you. Sometimes people have told me that my images are unsettling and that’s fine, too. I would never presume to tell anyone what to think about my work. As one reviewer put it, “What you bring to my work you get back in spades!”
Some of this is intentional, but some is not. My day-to-day experiences – what I’m thinking about, what I’m feeling, what I’m reading, the music I’m listening to, etc. – get embedded into the work. I don’t understand exactly how that happens, but I am glad it happens. This work does come from a deep place, much deeper than I am able to explain even to myself. After nearly three decades as an artist, the intricacies of my creative process are still a mystery. Personally, I am very fond of mysteries and don’t need to understand it all.
Comments are welcome!
Pearls from artists* # 122
Sanur, Bali
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Most significant growth in my life has been the direct result of errors, mistakes, accidents, faulty assumptions and wrong moves. I have generally learned more from my mistakes and my so-called failures than any successes or instances of “being right.” I would venture to propose that this equation is also true in the world at large. Error is a powerful animating ingredient in political, scientific and historical evolution as well as in art and mythology. Error is a necessity. The question I had to ask myself was: how can I cultivate a tolerance and an appetite for being wrong, for error?
In the face of an exceedingly complicated world, there are too many people who are invested in “being right.” These people are dangerous. Their authority is based on their sense of certainty. But innovation and invention do not only happen with smart people who have all of the answers. Innovation results from trial and error. The task is to make good mistakes, good errors, in the right direction.
There are many reasons that we get things as wrong as often as we do. Failures of perception, the cause of most error, are far more common in our daily lives than we like to think. We make errors because of inattention, because of poor preparation and because of haste. We err as a result of hardened prejudices about how things are. We err because we neglect to think things through. Our senses betray us constantly. But the chaos caused by being wrong also awakens energy and consciousness in us. In the moments that we realize our faults of perception, we are jerked into an awareness of our humanity. The Slovenian philosopher Slavoj Zizek wrote, “Consciousness originates with something going terribly wrong.”
Anne Bogart in “What’s the Story: Essays about art, theater, and storytelling
Comments are welcome!
Q: Where do you want your work to go in the future?
Barbara’s studio
A: Recently I answered a question about why I create, but now that I think about it, the same answer applies to what I want to do as an artist in the future:
~ to create bold and vibrant pastel paintings and photographs that have never existed before
~ to continue to push my primary medium – soft pastel on sandpaper – as far as I can and to use it in more innovative ways
~ to create opportunities for artistic dialogue with people who understand and value the work to which I am devoting my life
The last has always been the toughest. I sometimes think of myself as Sisyphus because expanding the audience for my art is an ongoing uphill battle. Many artist friends tell me they feel the same way about building their audience. It’s one of the most difficult tasks that we have to do as artists. I heard Annie Leibovitz interviewed on the radio once and remember her saying that after 40 years as a photographer, everything just gets richer. Notice that she didn’t say it gets any easier; she said, “it just gets richer.” I have been a painter for nearly 30 years and a photographer for 11. I agree completely. All artists have to go wherever our work goes. Creating art and watching the process evolve is an endlessly fascinating intellectual journey. I wouldn’t want to be spending my time on earth doing anything else!
Comments are welcome!
Q: Another interesting series of yours that has impressed me is your recent “Black Paintings.” The pieces in this series are darker than the ones in “Domestic Threats.” You create an effective mix between the dark background and the few bright tones, which establish such a synergy rather than a contrast, and all the dark creates a prelude to light. It seems to reveal such a struggle, a deep tension, and intense emotions. Any comments on your choice of palette and how it has changed over time?
Dec 6
Posted by barbararachkoscoloreddust
West 29th Street studio
A: That is a great question!
You are correct that my palette has darkened. It’s partly from having lived in New York for so long. This is a generally dark city. We famously dress in black and the city in winter is mainly greys and browns.
Also, the “Black Paintings” are definitely post-9/11 work. My husband, Bryan, was tragically killed onboard the plane that crashed into the Pentagon. Losing Bryan was the biggest shock I ever have had to endure, made even harder because it came just 87 days after we had married. We had been together for 14 ½ years and in September 2001 were happier than we had ever been. He was killed so horribly and so senselessly. Post 9/11 was an extremely difficult, dark, and lonely time.
In the summer of 2002 I resumed making art, continuing to make “Domestic Threats” paintings. That series ran its course and ended in 2007. Around then I was feeling happier and had come to better terms with losing Bryan (it’s something I will never get over but dealing with loss does get easier with time). When I created the first “Black Paintings” I consciously viewed the background as literally, the very dark place that I was emerging from, exactly like the figures emerging in these paintings. The figures themselves are wildly colorful and full of life, so to speak, but that black background is always there.
Comments are welcome!
Posted in An Artist's Life, Art in general, Art Works in Progress, Black Paintings, Creative Process, Domestic Threats, Inspiration, Painting in General, Pastel Painting, Photography, Studio, Working methods
Comments Off on Q: Another interesting series of yours that has impressed me is your recent “Black Paintings.” The pieces in this series are darker than the ones in “Domestic Threats.” You create an effective mix between the dark background and the few bright tones, which establish such a synergy rather than a contrast, and all the dark creates a prelude to light. It seems to reveal such a struggle, a deep tension, and intense emotions. Any comments on your choice of palette and how it has changed over time?
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