Blog Archives
Pearls from artists* # 356
Some of Barbara’s pastels
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Science is concerned with the general, the abstract, and the knowable. In contrast, art deals with the particular, the unknowable, the singular. This applies not just to the content of artistic works but also to the way this content is received. Even in the case of a film or concert attended by large numbers of people, the artistic experience remains a fundamentally solitary one. Each one of us lives the work from the work alone. Whatever sense of togetherness accompanies the experience comes precisely from the fact that, faced with the singularity of the aesthetic moment, each percipient feels his aloneness before the radical mystery that enfolds us all. Wherever an act of creation is shared with others, then, there is individuation – not just for the author of the work but for the audience too. The singularity of art awakens us to our own singularity, and through it to the singularity in the Other. I have argued that artifice unifies by imposing a univocal image that replicates itself indefinitely in each spectator. True art tears the spectral out of the mass of sameness, calling forth from the numberless crowd a new people and a new communion.
Reclaiming Art in the Age of Artifice: A treatise, Critique, and Call to Action
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Q: What was the first painting you ever sold?
“Bryan’s Ph.D.”, 11″ x 13 1/2″, soft pastel on sandpaper
A: I believe my first sale was “Bryan’s Ph.D.” I made it in 1990 as one of several small paintings created to improve my skills at rendering human hands in pastel. I had recently left the Navy and was building a career as a portrait artist. Bryan, my late husband, was often my model for these studies, not only because it was convenient, but because he had such beautiful hands.
In 1990 Bryan was working on his Ph.D. in economics at the University of Maryland. In this painting he is drawing a diagram that illustrates a theoretical point about “international public goods,” the subject of his research. He was sitting in an old wooden rocking chair in our backyard in Alexandria, VA. I still own the chair and the house. I photographed his hands close-up and then created the painting. I don’t remember which of Bryan’s cameras I used, but it was one that took 35 mm film; perhaps his Nikon F-2. Somewhere I must still have the negative and the original reference photo.
“Bryan’s Ph.D.” is 11″ x 13 1/2″ and it sold for $500 at a monthly juried exhibition at The Art League in Alexandria. I have not seen it since 1990. (Above is a photograph of “Bryan’s Ph.D.” from my portfolio book).
Not long ago the owner contacted me, explaining that she had received the painting as a gift from her now ex-husband. She was selling it because it evoked bitter memories of her divorce. Her phone call was prompted by uncertainty about the painting’s value now. She had a likely buyer and needed to know what price to charge.
I was saddened because I have so many beautiful memories of this particular painting and of an idyllic time in my life with Bryan. He was on a leave of absence from the Pentagon to work on his dissertation, while I was finished with active duty. At last I was a full time artist, busily working in the spare bedroom that we had turned into my first studio.
My conversation with the owner was a reminder that once paintings are let out into the world, they take on associations that have nothing to do with the personal circumstances surrounding their creation. In short, what an artist creates solely out of love, stands a good chance of not being loved or appreciated by others. This is one reason to only sell my work to people I select personally. I ended the telephone conversation hoping that “Bryan’s Ph.D.” fares better in its new home.
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Q: Do you have any essential words that you live by?
Studio wall
A: I certainly do! When I left the active duty Navy in 1989, my co-workers threw a farewell party. One of the parting gifts I received was a small plaque from Tina Greene, a young enlisted woman whom I had supervised. The words on the plaque deeply resonated with me, since I was about to make a significant, risky, and scary career change. It was the perfect gift for someone facing the uncertainty of an art career.
Many years later Tina’s plaque is still a proud possession of mine. It is hanging on the wall behind my easel, to be read every day as I work. It says:
“Excellence can be attained if you…
Care more than others think is wise…
Risk more than others think is safe…
Dream more than others think is practical…
Expect more than others think is possible.”
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Pearls from artists* # 69
Masks from Sri Lanka, Mexico, and 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.
The mission is to stay hungry. Once you need to know, you can proceed and draw distinctions. From the heat of this necessity, you reach out to content – the play, the theme, or question – and begin to listen closely, read, taste, and experience it. You learn to differentiate and interpret the sensations received while engaged with content. The perception forms the basis for expression.
Have you ever been so curious about something that the hunger to find out nearly drives you to distraction? The hunger is necessity. As an artist, your entire artistic abilities are shaped by how necessity has entered your life and then how you sustain it. It is imperative to maintain artistic curiosity and necessity. It is our job to maintain in this state of feedforward as long as humanly possible. Without necessity as the fuel for expression, the content remains theoretical. The drive to taste, discover, and express what thrills and chills the soul is the point. Creation must begin with personal necessity rather than conjecture about audience taste or fashion.
Anne Bogart in and then, you act: making art in an unpredictable world
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