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Pearls from artists* # 495

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

Murch: …There’s a wonderful quotation from Goethe – he must have been frustrated at some point about the difficulty of communication. He said, “Utterly futile to try to change, by writing, someone’s fixed inclination. You will only succeed in confirming him in his opinion, or, if he has none, drenching him in yours.”

Ondaatje: There’s a poet in Vancouver who said, “I’ll see it when I believe it.”

M: Exactly. I’m sure Goethe didn’t think that way most of the time, otherwise he wouldn’t have kept on writing. He was talking in black-and-white terms: Agree with me or not! The richest zone of communication is the grey area… where the reader is somewhat receptive to what the author writes but also brings along his own images, and ideas, which in a creative way do violence to the author’s vision and ideas. A synergy results from what the writer presents and what the reader brings. That communication, initially present in neither the sender nor the receiver, is greater than the message of the writer alone or the thoughts of the reader alone.

It’s similar to what happens with human sight. Your left eye sees one thing and your right eye sees something else, a slightly different perspective. They’re so close and yet different enough that when the mind tries to see both simultaneously, to resolve their contradictions, the only way it can do so is to create a third concept, an arena in which both perspectives can exist: three-dimensional space. This “space” doesn’t exist in either of the images – each eye alone sees a flat, two-dimensional view of the world – but space, as we perceive it, is created in the mind’s attempt to resolve the different images it is receiving from the left and the right eye.

In The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje

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Pearls from artists* # 493

Our documentary film crew

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

Professional opportunities in the art world almost always come out of personal connections, and community – almost by definition – is the way to make them. That’s not a prescription for superficial networking or obnoxious self-promotion, neither of which will get you anywhere. It means realizing that the chance to get a piece into a group show or meet a gallerist will probably come through someone you know and rspect, who knows and respects you.

Depending on your temperament, building community can feel daunting, artificial, or fun. There’s no need to subject yourself to awkward conversation at stuffy cocktail parties. Just keep in touch with your friends and professors from art school, attend local openings, and be open to meeting new people at events. If you’re shy, bring a friend along. It’s easier to break your way into conversation when you have a sidekick, and then you can talk about each other’s work instead of your own.

In Art/Work: Everything You Need to Know (and Do) As You Pursue Your Art Career by Heather Darcy Bhandari and Jonathan Melber

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Q: What was the first New York gallery that represented your work and how did they find you?

Exhibition Review

A: My first (and still the best) New York gallery was Brewster Gallery on West 57th Street in what, in 1996, was the most important gallery district in Manhattan. By joining Brewster, my work was exhibited alongside an impressive list of Latin American painters and sculptors such as Leonora Carrington, Frida Kahlo, Francisco Zuniga, Rufino Tamayo, Diego Rivera, Francisco Toledo, and more. Brewster was a prestigious and elegant gallery, well-known throughout the Latin American art world for their superb exhibitions and their contributions to art history scholarship.

Since I am not Latina, my work was selected by virtue of its Mexican subject matter and level of craftsmanship. Mia Kim, the owner/director, told me that amidst so many deserving, unrepresented, and talented artists of Latin American heritage, she was sometimes challenged to defend her decision to represent me. Mia’s response was always, “Barbara may not be of Latin American ancestry, but she most assuredly has the soul of a Latina! Her work has obvious affinities to Leonora’s, the other non-Latina that we represent.”

In July of 1996, while I was still living in Virginia, I mailed a slide sheet and reviews to Brewster, thinking that during the slow summer months, perhaps someone might actually LOOK at my material. Then I forgot all about it as Bryan and I headed off on a trip to Mexico. While we were in Mexico City, something told me to check our phone messages at the house in Alexandria. I did so and was floored to hear Mia offer me representation and a two-person show in October. The first time she would even see my work in person would be when I delivered it to the gallery!

In October my “Domestic Threats” pastel paintings were paired with work by Cuban artist, Tomas Esson, for an exhibition called “Monkey Business.” The opening was extremely well-attended by a sophisticated international New York crowd. A highlight was meeting Leonora Carrington, one of my artist heroes of long standing. Afterwards a large group of us were wined and dined at a French restaurant around the corner on West 58th Street. I remember looking at Bryan and saying, “I think I’ve made it!” The next day there was a favorable review in a publication called, “Open Air.” After working in complete obscurity for thirteen years, I was finally on my way.

Comments are welcome!

Pearls from artists* # 455

New York City

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

You live like this, sheltered, in a delicate world, and you believe you are living. Then you read a book (Lady Chatterley, for instance), or you take a trip, or you talk with [someone], and you discover that you are not living, that you are hibernating. The symptoms of hibernating are easily detectable: first, restlessness. The second symptom (when hibernating becomes dangerous and might degenerate into death): absence of pleasure. That is all. It appears like an innocuous illness. Monotony, boredom, death. Millions live like this (or die like this) without knowing it. They work in offices. They drive a car. They picnic with their families. They raise children. And then some shock treatment takes place, a person, a book, a song, and it awakens them and saves them from death.

Some never awaken. They are like the people who go to sleep in the snow and never awaken. But I am not in danger because my home, my garden, my beautiful life do not lull me. I am aware of being in a beautiful prison, from which I can only escape by writing.

Anaïs  Nin in The Diary of Anaïs Nin, Volume 3: 1939-1944

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Pearls from artists* # 450

On the road in 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.

All the journeys that have transpired in my life have been animated by interest. Something or someone has stopped me in my tracks. Interest, that thing that cannot really be faked, is an invitation to adventure. It has always been disorienting to do but I have to act on these interests. Somehow I know that in order to keep on working as an artist, I have to keep on changing. And this means that when interest is piqued, I must follow or die. And I know that I will have to hang on tight for the ride. These rides have changed me irrevocably.

The primary tool in a creative process is interest. To be true to one’s interest, to pursue it successfully, one’s body is the best barometer. The heart races. The pulse soars. Interest can be your guide. It always points you in the right direction. It defines the quality, energy and content of your work. You cannot feign or fake interest or choose to be interested in something because it is prescribed. It is never prescribed. It is discovered. When you sense this quickening you must act immediately. You must follow that interest and hold tight.

… If the interest is genuine and large enough and if it is pursued with tenacity and generosity, the boomerang effect is resounding. Interest returns volley to affect your life and inevitably alter it. You must be available and attentive to the doors that open unexpectedly. You cannot wait. The doors close fast. It will change your life. It will give you adventures you never expected. You must be true to it and it will be true to you.

Anne Bogart in A Director Prepares: Seven Essays on Art and Theatre

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Q: What’s the best piece of advice you’ve been given?

A wall in Barbara's studio

A wall in Barbara’s studio

A:  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 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.”

Comments are welcome!

 

 

Pearls from artists* # 372

Barbara’s studio

Barbara’s studio

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

Artists will, in their long education of sifting through what they like and respond to and what they don’t, find they “see” an artist’s work in the environment.  They see a Corot or a Hopper.  They know then that they have found a good subject because of the similarity of poetic attraction.  They see with a set of limits or conventions that speak to them.

But as time goes on and you continue working, you find you do not consider those subjects any longer but they still register.  They belong to someone else.  You have found other affinities.  Or perhaps more importantly you have found your own.  You respond now to your own internal song.  Art is about art as much as it is about nature.  Everything we respond to has passed through our filter of artistic influences.

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

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Q: Do you think artists should post prices on their websites?

Screenshot of Barbara’s homepage

Screenshot of Barbara’s homepage

A:  It depends on what the purpose and objectives of a particular artist’s website are.  I use my website to document all of the work, the process, exhibitions, and press in one central place.  I do not list prices.  If someone is interested in more information, including prices, they can easily email or call me. 

I have two assistants who help with social media and my online presence continues to grow.  Many of my available pastel paintings are included on commercial sites like Artsy.  Current prices are listed there.

Comments are welcome!   

Q: Do you remember the first pastel painting that you ever made?

First framed pastel painting, 1988

First framed pastel painting, 1988

A:  Yes, it was a small head-and-neck portrait of a live model in a figure drawing class at The Art League School in Alexandria, VA.   I don’t know what became of it.

I also remember the first pastel painting that I ever framed because it is still hanging in my Alexandria house. It is dated 1988 (see photo) and was made in a one-week workshop with Diane Tesler at The Art League.  The workshop was specifically to teach artists how to paint from photographs and it was my first time studying with Diane.  I made the mistake of bringing, as reference material, a magazine photograph that was originally a perfume ad in the The Sunday Times Magazine. Diane tactfully explained that it was wrong to use someone else’s photograph instead of my own, but let me do it this one time. 

So many years later walking by my painting I still think of Diane.  She taught me a valuable lesson:  do not use anyone else’s photographs, ever!  

Comments are welcome!   

 

Pearls from artists* # 195

Barbara at work

Barbara at work

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

There is no list of rules.

There is one rule:  there are no rules.

Happiness comes from living as you need to, as you want to.  Happiness comes from being who you actually are instead of who you think you are supposed to be.

Being traditional is not traditional anymore.

Normalize your lives, people.

You don’t want a baby?  Don’t have one.

I don’t want to get married?  I won’t.

You want to live alone?  Enjoy it.

You want to love someone?  Love someone.

Don’t apologize.  Don’t explain.  Don’t ever feel less than.

When you feel the need to apologize or explain who you are, it means the voice in your head is telling you the wrong story.  Wipe the slate clean.  And rewrite it.

No fairy tales.

Be your own narrator.

And go for a happy ending.

One foot in front of the other.

You will make it.

Shonda Rhimes in Year of Yes:  How to Dance It Out, Stand in the Sun and Be Your Own Person     

Comments are welcome!

 

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