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Q: What do you see when you look back at your early efforts?

"Myth Meets Dream," soft pastel on sandpaper, 47" x 38,” 1993

“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!

Q: It is well known that you gain inspiration from foreign travel. Has anyone ever accused you of stealing their culture?

The Bolivian side of Lake Titicaca

The Bolivian side of Lake Titicaca

A:  Yes, a few people have done so via comments on Facebook.  It came as a shock.  

The logic of such an accusation presumes ownership.   I don’t believe any person has a claim to owning culture.

Travel is arguably the best education there is.  My travels around the world, supplemented with lots of research once I return home, are an important part of my creative process.  This is how I develop ideas to forge a way ahead.  It is difficult and solitary work.

Every artist is tasked with remaining open to influences – however, wherever, and whenever they appear.   Somewhat late in life, travel as a source of inspiration found ME.  And it has been a blessing!

People around the world have become fans.  Many send messages of thanks saying they are proud that some aspect of their country’s culture has inspired my work.  I am always grateful and touched to know this.

Comments are welcome!

Q: Do you plan your work in advance or is it improvisation?

Barbara’s studio

Barbara’s studio

A:  My process is somewhere in between those two.  I work from my own set-up or on-site photographs and make a preliminary sketch in charcoal before I start a pastel painting.  Thousands of decisions about composition, color, etc. occur as I go along. 

Although it starts out somewhat planned, I have no idea what a pastel painting will look like when it’s finished.  Each piece takes about three months, not counting foreign travel, research, and a gestation period of several months to determine what the next pastel painting will even be.

Comments are welcome!

Pearls from artists* # 227

Madurai, India

Madurai, 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.

 As George Grosz said, at that last meeting he attended at the National Institute, “How did I come to be a great artist?  Endless curiosity, observation, research – and a great amount of joy in the thing.”  It is a matter of taking a liking to things.  Things that were in accordance with your taste.  I think that was it.  And we didn’t care how unhomogenous they might seem.  Didn’t Aristotle say that it is the mark of a poet to see resemblances between apparently incongruous things?  There was any amount of attraction about it. 

Ezra Pound in Writers at Work:  The Paris Review Interviews Second Series, edited by George Plimpton

Comments are welcome! 

Q: What historical art movement do you most identify with?

Barbara's studio

Barbara’s studio

A:  I’d have to say that I identify most with surrealism, although my work does not exactly fit into any particular art historical movement.  When I was first finding my way as an artist, I read everything I could find about surrealism in art and in literature.  This research still res0nates deeply and is a tremendous influence on my studio practice.  Elements of surrealism DO fit my work.  Here’s an excerpt from Wikipedia:

Surrealism is a cultural movement that began in the early 20s and is best known for its visual artworks and writings.  The aim was to “resolve the previously contradictory conditions of dream and reality.”  Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself.  

Surrealist works feature the element of surprise, unexpected juxtapositions and non sequitur; however, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact.  Leader Andre Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement.

I hope to expand on this in a future post.

Comments are welcome!            

Pearls from artists* # 187

"Big Wow," soft pastel on sandpaper, 38" x 58"

“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.

As George Grosz said, at that last meeting he attended at the National Institute, “How did I come to be an artist?  Endless curiosity, observation, research – and a great amount of joy in the thing.”  It was a matter of taking a liking to things.  Things that were in accordance with your taste.  I think that was it.  And we didn’t care how unhomogenous they might seem.  Didn’t Aristotle say that it is the mark of a poet to see resemblances between apparently incongruous things?  There was any amount of attraction about it.

Marianne Moore in Writers at Work:  The Paris Review Interviews  Second Series, edited by George Plimpton

Comments are welcome! 

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.  

Comments are welcome!     

Q: How did you happen to have a photograph published in The Wall Street Journal?

Sun Tunnels by Nancy Holt

Sun Tunnels by Nancy Holt

   A.  That is a long story.  To get far away from New York for the ten-year anniversary of 9/11, my friend, Donna Tang, and I planned a two-week road trip to see land art sites in Arizona, New Mexico, Utah, and Colorado. (Donna did excellent research).                                                      

We hoped for a private tour of Roden Crater with James Turrell, which is not easy to arrange.  I had also invited my friend Ann Landi, an art critic and arts writer, to join us, hoping she might get an interview with Turrell and write an article for Artnews.  Turrell has been working on Roden Crater for 30+ years so Ann was interested in seeing it too!  Ann contacted Turrell’s gallery – Gagosian – but they later relayed Turrell’s refusal.  

We were planning to see other land art sites.  As an alternative to Roden Crater and Turrell, Ann pitched a story to The Wall Street Journal about Sun Tunnels and Nancy Holt (Robert Smithson’s wife, who as the only woman in the land art movement, has never been given her due).   The Journal said yes, so Ann made plans to join Donna and me in Salt Lake City.  

The three of us visited Sun Tunnels, Spiral Getty, and other sites together.  Ann had a brand new point-and-shoot camera that she hadn’t yet learned how to use.  I always take lots of photos whenever I travel.  After we returned home, I sent Ann a few images and she asked permission to submit them with her article.  I was thrilled when The Wall Street Journal requested JPEGs.  It was the first time I’ve had a photograph published in a major newspaper.

Comments are welcome!

Pearls from artists* # 74

Untitled, chromogenic print, 24" x 24," edition of 5

Untitled, chromogenic print, 24″ x 24,” edition of 5

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

An artist is known by his or her works.  But how often do we consider that much of what we know depends on factors that were beyond the artist’s control?  A few that come to mind are value on the art market, the knowledge and forethought of the artist’s survivors as they decide to keep or discard works, research interests of art and photo historians and the ways in which these change over time, willingness of dealers, collectors, and museum curators to provide information about the existence of works, the state of printing technology, and the availability of financing for exhibitions and publications.

Laszlo Moholy-Nagy:  Color in Transparency, edited by Jeannine Fiedler and Hattula Maholy-Nagy for the Bauhaus-Archive Berlin

Comments are welcome! 

Q: What have you learned about the people of Mexico through your travels, reading, and research?

A corner of the studio

A corner of the studio

A:  It didn’t take long to become smitten with these beautiful people.  It happened on my first trip there in 1992 when Bryan and I, along with busloads of other tourists, were visiting the Oaxacan cemeteries on The Day of the Dead.  The Oaxaquenos tending their ancestor’s graves were so dignified and so gracious, even with so many mostly-American tourists tromping around on a sacred night, that I couldn’t help being taken with them and with their beliefs.  My studies since that time have given me a deeper appreciation for the art, architecture, history, mythology, etc. that comprise the extremely rich and complex story of Mexico as a cradle of civilization in the West.  It is a wonderfully heady mix and hopefully some of it comes through in my work as a painter and a photographer.

By the way I often wonder why the narrative of Mexico’s fascinating history was not taught in American public schools, at least not where I went to public school in suburban New Jersey.  Mexico is our neighbor, for goodness sake, but when I speak to many Americans about Mexico they have never learned anything about the place!  It’s shocking, but many people think only “Spring Break” and/or “Drug Wars,” when they hear the word “Mexico.”  As a kid I remember learning about Egypt, Mesopotamia, Greece, and other early civilizations in the Middle East, Europe, and Asia, but very little about Mexico.  We learned about the Maya, when it was still believed that they were a peaceful people who devoted their lives to scientific and religious pursuits, but that story was debunked years ago.  And I am fairly sure that not many Americans even know that Maya still exist in the world … in Mexico and in Guatemala.   There are a few remote places that were not completely destroyed by Spanish Conquistadores in the 16th century and later.  I’ve been to Mayan villages in Guatemala and seen shamans performing ancient rituals.  For an artist from a place as rooted in the present moment as New York, it’s an astounding thing to witness!  

Comments are welcome!

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