Blog Archives
Q: What inspires you to create? (Question from “Cultured Focus Magazine”)
A: You remember the expression, to whom much is given, much is expected? Having discovered around the age of 5 or so that I could draw anything I could see, I know I have been given a tremendous gift. I remember being completely surprised as a kid to realize that not everyone can do this.
Therefore, I feel a kind of sacred obligation to develop my abilities as far as possible, to make the most of my short time on this earth. It is a thrill to see not only what is going to happen next in the studio, but also in my life. For example, I have become a world traveler. I wonder, which new country will I visit next?
Comments are welcome!
Q: What was it like having a documentary made about you? (Question from Culture Focus Magazine)
With Jennifer Cox at the 2023 Newport Beach Film Festival!
A: I loved the whole experience! Before this happened, I had wanted to make a film for ten years or so, ever since Brainard Carey, an artists’ coach, suggested the idea when I told him about my unusual background. Often I hear from artist friends and others that my life story is truly inspiring. Finally being able to make “Barbara Rachko: True Grit” and now to share it with a wider audience is a dream come true! Jennifer Cox, our director, and Annette Apitz, our co-producer, were ideal collaborators over the fifteen months it took to make the film.
It is truly gratifying to hear so many positive responses from viewers of our film. Surprisingly, the film has even gone on to have a life in film festivals. “Barbara Rachko: True Grit” made it’s World Premier at the prestigious 2023 Newport Beach Film Festival in Orange County, California, where it received both the Audience Award and the Best in category Award for Art, Architecture, and Design. In addition, we earned Honorable Mention at the 2023 International Fine Arts Film Festival Santa Barbara and were recognized as an Award Nominee at the 2023 Montreal Women Film Festival.
To date in 2024 our film has screened at New Plaza Cinema on the Upper West Side of Manhattan, and at Noise Media Art Fair in Vienna, Austria. I think I speak for the filmmakers and myself when I say, “Barbara Rachko: True Grit” has exceeded all of our expectations!
Watch here: https://www.youtube.com/watch?v=JJWLy84kXI0
Comments are welcome!
Q: Would you talk about your early art exhibitions? (Question from “Culture Focus Magazine”)
Review of my first exhibition at Brewster Arts, New York City!
A: Certainly! My very first group exhibition was in a juried show in the late 1980s at the Art League Gallery in Alexandria, VA. This was a gallery that offered monthly juried shows for members. I applied regularly, had work accepted many times, and frequently won first prize for my pastel paintings.
Early exhibitions at the Art League were followed by group and solo exhibitions at nonprofit and university spaces in Virginia, Washington, D.C., Maryland, North Carolina, Pennsylvania, Ohio, Rhode Island, Connecticut, Massachusetts, New Jersey, and New York; more or less up and down the mid-Atlantic states and the northeast, which were all places I could drive my truck to hand-deliver fragile pastel paintings.
My very first solo exhibition at a commercial gallery was at 479 Gallery in SoHo (New York City) in July 1996. In 1995 I had submitted work to a juried group show and was awarded first prize, which was a solo exhibition at 479 the following year.
My exhibition with 479 Gallery was quickly followed by representation at a prestigious New York gallery, Brewster Arts Ltd., which specialized in Latin American masters such as Frida Kahlo, Leonora Carrington, Diego Rivera, Rufino Tamayo, and many others. I was awarded my first two-person exhibition there in October 1996 and got to meet fellow gallery artist Leonora Carrington when she came to the opening. I could hardly believe my good fortune at gaining representation at such a revered and elegant gallery!
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Q: Many artists can’t bear to face a blank canvas. How do you feel about starting a new piece?
Starting a 26” x 20”pastel painting!
A: That’s an interesting question because I happen to be re-reading The War of Art by Steven Pressfield and this morning I saw this:
You know, Hitler wanted to be an artist. At eighteen he took his inheritance, seven hundred kronen, and moved to Vienna to live and study. He applied to the Academy of Fine Arts and later to the school of architecture. Ever see one of his paintings? Neither have I. Resistance beat him. Call it overstatement but I’ll say it anyway: it was easier for Hitler to start World War II than it was for him to face a blank square of canvas.
I’ve never understood this fear of “the blank canvas” because I am always excited about beginning a new painting. When you think about it, artists can often say, “In the history of the planet no one has ever made what I am about to make!” Once again I am looking at something new on my easel, even if it is only a blank 26” x 20” piece of sandpaper clipped to a slightly larger piece of foam core.
Unlike artists who are paralyzed before “a blank canvas,” I am energized by the imagined possibilities of all that empty space! I spend three or four months on a pastel painting so this experience of looking at a blank piece of paper on my easel happens three or four times a year at most.
Excluding travel to remote places, which is essential to my work and endlessly fascinating, the first day I get to spend blocking in a new painting is the most exhilarating part of my whole creative process. It’s when I feel the freest! I select the pastel colors quickly, without thinking too much about them, first imagining them, then feeling, looking, and reacting intuitively, always correcting and trying to make the painting look better and better!
Comments are welcome!
Q: Is there a particular challenge you are currently facing? (Question from “Bold Journey”)
A: Yes! It’s one that has been unresolved for a few years now, but I just keep working on it. Now I have a new and valuable tool. A short documentary, “Barbara Rachko: True Grit” tells the story of my life and work. Our film recently premiered at the Newport Beach Film Festival in California, where we won the Audience Award and the Best in Category Award. You can view it here. https://www.youtube.com/watch?v=JJWLy84kXI0
The online audience for my paintings keeps steadily growing. I am represented by galleries in the UK, India, Sweden, and in the US. However, I do not have commensurate gallery representation in New York City, the world’s art capital, and New York is where I live and work. I hope to change this situation very soon!
Comments are welcome!
Pearls from artists* # 607
*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 paint at all? A question well worth asking all those thousands who, in the catacombs or the garrets of Paris and New York, in the tombs of Egypt or the monasteries of the East, have throughout the ages covered millions of yards of surface with the panoramas of their imaginings. The hopes of immortality and reward, I dare say, might claim their share of motivation. Yet immortality is nigardly, and we know that in many ages the dispensers of official immortality have specifically withheld their gifts from the makers of images. No man of business would admit that the possibilities of gain are ever worth such a risk.
Mark Rothko in The Artist’s Reality: Philosophies of Art
Comments are welcome!
Q: What would you say collectors of your work have in common?
Barbara’s Studio
A: That’s a great question! I’d say that collectors of my work typically range in age from about 40 to their late 70s, they are college graduates with advanced degrees, they often don’t have kids, which is why they have disposable income and time to pursue their interests in art and culture. When I meet them (presuming my work was sold through a gallery or other third party), we usually have much to talk about – art, art history, photography, cinema, film history, dance, drama, music, travel, archaeology, Mexico, Central and South America, India, Asia – the list goes on and on.
Comments are welcome!
Q: Do you ever erase the color? Can you do that with pastel? (Question from Hollis Hildebrand-Mills via Facebook)
My “eraser”
A: Yes, sort of. I take a bristle brush and wipe it off. I do this only occasionally, when the sandpaper’s tooth is filled up and the paper will no longer accept more pastel. So I brush off what’s there and then I can start over.
Comments are welcome!
Q: You make it look effortless when we know it is not. Would you explain how you started your blog 11 years ago? (Question from Colette C. McBratney via Facebook)
An Early Blog Post, Above
A: My blog turned 11 on July 15th. To learn how to set up, publish, and maintain a blog, I took a class at the International Center of Photography in New York. It was called “The Daily Blog” and that’s where I learned how to work with WordPress.
I decided to use a question and answer format because I had a backlog of material from interviews I had done over the years. During the class, which lasted five weeks, I published blog posts every day. Once the class ended, I cut back to a more manageable schedule of publishing posts twice a week.
Writing about my work quickly became an important part of my creative process. As most people probably know, I am very persistent so these days I just make sure to keep going!
Comments are welcome!
Q: The first pastel painting you see every morning when you arrive at your studio is “Myth Meets Dream.” It must have special meaning. Would you elaborate? (Question suggested by Marlissa Gardner via Facebook)
A: “Myth Meets Dream,” an early pastel painting from the “Domestic Threats” series, is one I have never wanted to sell. It marks the first time I included Mexican folk art figures in my work. In 1992 as a Christmas present, my future sister-in-law sent the two Oaxacan painted wooden figures you see depicted above – the blue winged creature and the red, white, and black figure behind it. The other three figures in this painting are hand-puppets.
Previously, I had been creating elaborate staged photographs in my Alexandria house using stuffed animals and hand-puppets. (The latter were made by a company called “Folk Tails”). I used the photos as reference material for pastel paintings. In other words, rather than work exclusively from life, I mostly looked at these photos while I made the painting. Although I have simplified my process since those early days, I still create pastel paintings using reference photographs.
In “Myth Meets Dream” you can see both puppets and my then new Oaxacan folk art figures. This pastel painting marks an important transition in subject matter and was the start of decades-worth of foreign travel, study, adventure, hard work, and yes, fun. It’s true that “Myth Meets Dream” hangs in my studio and is the first thing I see every morning. It brings back so many precious memories.
Every painting has a story!
If you’re interested to learn more, please see https://barbararachko.art/en/art-market
Comments are welcome!
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