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Pearls from artists* # 426

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.

You are talented and creative.  You rarely block and when you do block you know how to move yourself along.  Your moods are not incapacitating and you haven’t stepped over into madness.  Your personality is sufficiently integrated that your necessary arrogance doesn’t prevent you from having successful relationships.  Your nonconformity hasn’t made you a pariah, and your skepticism hasn’t bred in you a nihilistic darkness.  You work happily in isolation but can also move into the world and have a life.  You have, in short, met the challenges posed so far.  

Are you home free?  Unfortunately not.  The next challenges you face are as great as any posed so far.  They are the multiple challenges of doing the business of art:  making money, developing a career, acknowledging and making the most of your limited opportunities, living with compromise, dealing with mass taste and commercialism, negotiating the marketplace, and making personal sense of the mechanics and metaphysics of the business environment of art. 

Many an artist grows bitter in this difficult arena.  Many an artist flounders.  Only the rare artist sits himself down to examine these matters, for they are painful to consider.  But you have no choice but to examine them.  If you are an artist, you want an audience.  And if you want an audience, you must do business.

Eric Maisel in A Life in the Arts:  Practical Guidance and Inspiration for Creative and Performing Artists

Comments are welcome!

Q: During one of the most gripping times of your life, you were personally affected by the 9/11 attack on our country. Your husband was killed on the plane that crashed into the Pentagon. Would you mind telling us about it and how it has shaped your work?

‘Mi Teleferico’ line, La Paz, Bolivia

‘Mi Teleferico’ line, La Paz, Bolivia

A:  In the summer of 2002 I was ready to – I HAD to – get back to work in my studio. I knew exactly what I must do.  More than ever before, learning and painting would become the avenues to my well-being.

Because I use reference photos for my pastel paintings, the first challenge was to learn how to use Bryan’s 4 x 5 view camera. At that time I was not a photographer. Bryan had always taken reference photos for me.

In July 2002 I enrolled in a view camera workshop at New York’s International Center of Photography. Much to my surprise I had already absorbed quite a lot from watching Bryan. After the initial workshop, I continued more formal studies of photography for several years. In 2009, I am proud to say, I was invited to present a solo photography exhibition at a New York gallery!

In 2003 I resumed making my Domestic Threats series of pastel paintings, something that had seemed impossible after Bryan’s death. The first large pastel painting that I created using a reference photograph taken by me confirmed that my life’s work could continue. The title of that painting, “She Embraced It and Grew Stronger,” was autobiographical. “She” is me, and “it” meant continuing on without Bryan and living life for both of us.

Having had a long successful run, the Domestic Threats series finally ended in early 2007. Around that time I was feeling happier and had come to better terms with losing Bryan. While this is a tragedy I will never truly be at peace with, dealing with the loss became easier with time.

Then in 2007 I suddenly became blocked and did not know where to take my work next. I had never experienced creative block and especially for a full-time professional artist, this was a painful time. Still, I continued to go to the studio every day and eventually, thanks to a confluence of favorable circumstances, the block ended.

My next pastel painting series was called Black Paintings. I viewed the black background as literally, the very dark place that I was emerging from, exactly like the figures emerging in these paintings. The figures themselves were wildly colorful and full of life, but that black background – one critic has dubbed it my “blackground” – is always there.

Still the work continues to evolve. In 2017 I began my third pastel painting series called Bolivianos, based on a mask exhibition encountered in La Paz at the The National Museum of Ethnography and Folklore. Many people have proclaimed this to be my most bold, daring, and exciting pastel painting series yet. And I think they may be right! Continuing on the journey I began 30+ years ago, I am looking forward to creating many new, striking pastel paintings!

Comments are welcome!

 

Pearls from artists* # 333

Studio entrance

Studio entrance

*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 Greeks and Romans both believed in the idea of an external daemon of creativity – a sort of house elf, if you will, who lived within the walls of your home and who sometimes aided you in your labors.  The Romans had a specific term for that helpful house elf.  They called it your genius – your guardian deity, the conduit of your inspiration.  Which is to say, the Romans didn’t believe that an exceptionally gifted person was a genius; they believed that an exceptionally gifted person had a genius.

It’s a subtle but important distinction (being vs. having) and, I think, it’s a wise psychological construct.  The idea of an external genius helps to keep an artist’s ego in check, distancing him somewhat from the burden of taking either full credit or full blame for the outcome of his work. If your work is successful, in other words, you are obliged to thank your external genius for the help, thus holding you back from total narcissism.  And if your work fails, it’s not entirely your fault.  You can say, “Hey, don’t look at me – my genius didn’t show up today!”

Either way, the vulnerable human ego is protected.

Protected from the corrupting influence of praise.

Protected from the corrosive effects of shame.       

Elizabeth Gilbert in Big Magic:  Creative Living Beyond Fear

Comments are welcome!

Q: Do you have a mentor?

"Alone Together," soft pastel on sandpaper, 20" x 26"

“Alone Together,” soft pastel on sandpaper, 20″ x 26″

A:  No, but I often wish I did.  How wonderful it would be to consult someone who’s been there, a productive and successful artist who could provide advice on all the concerns, especially the problems and dangers, inherent in a professional artist’s life. 

But I have been at this for thirty years and found no such person!  I think it’s because each artist’s career is highly unique as we chart are own individual paths.  Unlike most professions, there are no firm rules or straight forward career milestones for making your way as an artist.

Besides the countless hours spent in the studio, I have always worked diligently to understand the art business.  Certainly getting work seen, exhibited, reviewed, sold, etc. is as important as making it in the first place.  It’s all part of being a professional artist. 

Early on I developed the habit of relying on my own best judgment, both in creating the work and in getting it seen and collected.  Certainly I have made plenty of mistakes.  As a result though, I know a tremendous amount about the art business.  And I enjoy sharing what I know in the hopes of steering other artists away from making similar missteps.

Comments are welcome!    

Pearls from artists* # 173

Collector, "False Friends," and ARTNews article that shows the painting in progress

Collector, “False Friends,” and ARTNews article that shows the painting in progress

* 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, by nature, are gamblers.  Gambling is a dangerous habit.  But whenever you make art, you’re always gambling.  You’re rolling the dice on the slim odds that your investment of time, energy, and resources now might pay off later in a big way – that somebody might buy your work, and that you might become successful.

Elizabeth Gilbert in Big Magic:  Creative Living Beyond Fear

Comments are welcome! 

 

Pearls from artists* # 148

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.

I want Bob Iger, the head of Disney, to invest in my ideas.  In fact … one of my ideas is … I love Walt Disney … I feel Disney should have an art fund that completely supports all of the arts.  And I feel that there should be a responsibility, recruiters, constantly looking for new thinkers and connecting them directly to companies that already work.  Why does the person who has the most genius idea or cultural understanding or can create the best art have to figure out how to become a businessman in order to become successful at expressing himself?  I think it’s important for anyone that’s in power to empower.

Kanye West in Choice Quotes from Kanye’s Address at the School of the Art Institute of Chicago, in Hyperallergic, May 12, 2015

Comments are welcome!

Q: Is it possible to sum up your creative practice in seven words?

“Motley,” soft pastel on sandpaper, 38″ x 58″

A:  Steadily striving to become a better artist.  Of course, others determine how successful we have been in this regard.

Comments are welcome! 

Pearls from artists* # 132

 

Las Cruces, NM

Las Cruces, NM

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

… To feel confident and successful is not natural to the artist.

To feel insufficient.

to experience disappointment and defeat in waiting for

inspiration

is the natural state of mind of an artist.

As a result praise to most artists is a little embarrassing.

They cannot take credit for inspiration,

for what we can see perfectly, but we cannot do perfectly…

Agnes Martin quoted in The Art Life:  On Creativity and Career by Stuart Horodner

Comments are welcome!

Pearls from artists* # 112

New York, NY

New York, NY

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

If the goal of art is Beauty and if we assume that the goal is sometimes reached, even if always imperfectly, how do we judge art?  Basically, I think, by whether it reveals to us important Form that we ourselves have experienced but to which we have not paid adequate attention.  Successful art rediscovers Beauty for us.

One standard, then, for the evaluation of art is the degree to which it gives us a fresh intimation of Form.  For a picture to be beautiful it does not have to be shocking, but it must in some significant respect be unlike what has preceded it (this is why an artist cannot afford to be ignorant of the tradition within his medium).  If the dead end of the romantic vision is incoherence, the failure of classicism, which is the outlook I am defending, is the cliché, the ten thousandth camera-club imitation of a picture by Ansel Adams.

Robert Adams in Beauty in Photography 

Comments are welcome!

 

 

 

Q: Can you describe your entire body of work in six words or less?

In the studio, Photo:  Britta Konau

In the studio, Photo: Britta Konau

A:  Only if I forget what it took to get me to this point!  I remember all too well the long periods of study, hard work, self-doubt, self-nurturing, disappointments, setbacks, risks, focus, drive, discipline, joy, detours, fallow periods, rejections, perseverance, etc. that have gone into sustaining an art career for nearly thirty years.  There are no blueprints and few role models for a successful artist’s life.  (Even the meaning of “success” as an artist is difficult to define).  I invite others, who surely can be more objective, to attempt a summation of my entire body of work in a few words.

Comments are welcome!  

 

 

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