Blog Archives
Pearls from artists* # 717
In the 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
Go slowly. Success is a kind of energy field. You vibrate in it like a charged particle. There are new demands on your tine and talents, new interview requests and business questions, new possibilities and opportunities. In this context, when you have a free half-hour you may continue spinning like a top. Walk, breathe, stretch, meditate. Do the mundane: scrape a carrot, sweep the patio. Calm down.
Manage your money. You may or may not have paydays like this again. Study a book on money management. Learn your options. Think before you have a full-time personal trainer or buy Adar that corners too tightly at 100 miles an hour. Think before you find yourself in the position of needing to earn half a million a year in order to cover expenses and feed your vast retinue.
Protect your privacy. Begin to calculate how public and accessible you want to be. Learn how not to give yourself away. Be able to say “Thank you” and “I don’t have an answer for that question.” Have an interview persona and a public persona. At the same time be able to access your humanity.
Manage your anxiety. New stresses exist in your life. More is expected of you. The ante on each project rises. Success is not a magic pill that allays anxieties.
Expect setbacks. The next book you write after your bestseller may disappoint you, your publisher, or your readers. The movie you directed after your blockbuster May bomb. But even if your stock is lowered in the eyes of the world, it need not sink in your own eyes. Virtually no artist experiences one success after another. Determine to come back. If doors have closed to you, consult your business adviser. Plan and analyze ways to reopen them. Demonstrate your courage all over again.
Remain human. Guard your privacy and your person; decline to become a stereotype or a frozen icon. Be more than the bad-boy rock singer, the sex goddess, the reclusive dancer, the brilliant violin virtuoso. Remember that you have a heart and mind as well as a reputation.
Eric Maisel in A Life in the Arts: An Expanded Workbook Edition of Staying Sane in the Arts
Comments are welcome!
Pearls from artists* # 624
View from 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.
Van Gogh’s drawings show a truly remarkable improvement over the course of the two years he set aside to intensely practice drawing. At the start of that period his sketches look clumsy and amateurish. With great ardor, thoughtfulness, and effort – by manifesting his creativity, in short – at the end of those two years Van Gogh was producing drawings that showed not only that he had mastered elements of technique but also that he had educated himself in ways that moved him far ahead of his classically trained peers.
Van Gogh’s progress excites the artist. It seems to hold the clear implication that by acting creatively the artist may significantly increase his talents or make manifest significant talent he didn’t know he possessed. Maybe a brilliant novel is within his grasp. Maybe he can achieve a breakthrough in the visual arts. Maybe he can play his instrument like a god.
Eric Maisel in A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists
Comments are welcome!
Q: What do you like most about being an artist?
Entrance to Barbara’s studio
A: I love walking into my studio in the morning, knowing that I will spend the day doing what I love, using all my talents, skills, and experience to solve whatever problems lie ahead in the work. As artists we create our own tasks and then go about solving them. Yes, the day to day challenges are significant, but having the freedom to do meaningful work that we love is priceless.
When I was a Lieutenant in the Navy working at the Pentagon, I was very unhappy (and one doesn’t just give two weeks notice and leave the Navy behind)! I still remember what it was like having a soul-crushing job. I am grateful for this turn in my life journey. How much better life is as a professional artist!
Comments are welcome!
Q: What advice would you give to a young artist with potential?
Barbara’s studio (since April 1997)
A: I last answered this question in my blog more than ten years ago and I would say similar things now to what I said then.
Be sure that you love your process unconditionally because there is no relationship between how hard you will work and how much money you will earn, period. Indeed, with inflation and rapidly evolving ways of doing business, it seems to cost more money every year to be an artist. As I’ve said often, be prepared to work very, very hard. Really it’s all about making the most of your gifts as an artist. If you don’t feel a deep responsibility to developing your talents as far as possible, you won’t have what it takes to keep going. Countless artists quit and no one can blame them. You absolutely must love your materials and your creative process and be willing to do whatever it takes to continue making art.
This is not a life for slackers!
Comments are welcome!
Q: How do you think about risk? What role has taking risks played in your life/career? (Question from Emma Jacobs, VoyageMIA.com)
A: My journey to becoming a visual artist was circuitous, to say the least. Risk-taking gave me the life and career I enjoy now.
The biggest – and scariest – risk I’ve ever taken was deciding to leave my active duty Naval career to pursue art full-time. The second most significant risk was moving to New York City in 1997. I have never regretted doing either one.
When I was 25, and a civilian, I earned my private pilot’s license and spent the next two years amassing other flying licenses and ratings, culminating in a Boeing-727 flight engineer’s certificate. Two years later I joined the Navy.
As an accomplished civilian pilot with thousands of flight hours, I had expected to fly jets in the Navy. However, women were barred from combat in those days (the 1980s) so there were very few women Navy pilots. There were no female pilots on aircraft carriers and no female Blue Angels. Women were restricted to training male pilots for combat jobs and priority was given to Naval Academy graduates. My BA was from a different university.
In the mid-1980s I was in my early 30s and a Lieutenant on active duty in the Navy. I worked a soul-crushing job as a computer analyst on the midnight shift in a Pentagon sub-basement. It was literally and figuratively the lowest point of my life. I hated my job! Not only was it boring, I was not using my hard-won flying skills. In short I was miserable – miserable and trapped because a Naval officer cannot just resign with two weeks notice.
Remembering the joyful Saturdays of my youth when I had taken art classes with a local New Jersey painter, I enrolled in a drawing class at the Art League School in Alexandria, Virginia. Initially I wasn’t very good, but it was wonderful to be around other women and a world away from the “warrior mentality” of my mostly male Pentagon co-workers. Plus, I was having fun!
Soon I enrolled in more classes and became a very motivated full-time art student who worked nights at the Pentagon. As I studied and improved my skills, I discovered my preferred medium – soft pastel on sandpaper.
Although I was certain I had found my life’s calling as a fine artist, I had grown used to a regular paycheck and the many benefits of being a Navy Lieutenant. For more than a year I agonized over whether or not to leave the Navy and lose my financial security. I’d be taking a huge risk: could I ever support myself as an artist? Was I making the dumbest mistake of my life?
Eventually, I decided I HAD TO take a leap. I simply adored making art – it challenged me to use all of my skills and talents – while I was unhappy, bored, and unfulfilled working at the Pentagon.
But once my mind was finally made up, I still could not leave. Due to geopolitical circumstances, there was a significant delay. The Navy was experiencing a manpower shortage and Congress had enacted a stop-loss order, which prevented officers from resigning for one year. I submitted my resignation effective exactly one year later: on September 30, 1989. Being stuck in a job I no longer wanted nor had the slightest interest in, was truly the longest year of my life!
Unlike most people, I can pinpoint exactly when I became an artist. I designate October 1, 1989 as the day I became a professional artist! I have never regretted my decision and I never again needed, nor had, a day job.
However, I must mention that I remained as a part-time Naval Reservist for the next 14 years, working primarily at the Pentagon for two days every month and two weeks each year. The rest of the time was my own to pursue my art career. After I moved to Manhattan in 1997, I commuted by train to Washington, DC to work for the Navy.
Finally on November 1, 2003, I officially retired as a Navy Commander. Now, I daresay, I am the rare fine artist who can point to a Navy pension as a source of income.
I love my life as an accomplished New York fine artist! With the help of two social media assistants, I work hard to make and promote the art I create. My pastel paintings and my pastel skills continue to evolve and grow, gaining wider recognition and a larger audience along the way.
In addition to making art, I have been a blogger since 2012. The audience for my blog, https://barbararachkoscoloreddust.com/ increases by 1,000 – 2,000 new subscribers each month. Today I have more than 72,000 readers!
Comments are welcome!
Q: Why do people need art in their daily lives?
With Ida Bagus Anom, Mas, Bali; Photo: Donna Tang
A: That is for each person to decide, but as someone who devotes every waking moment to my work and to becoming a better artist, I cannot imagine my life without art.
I will tell you a little about what art has done for me. In my younger days boredom was a strong motivator. I left the active duty Navy out of boredom. I couldn’t bear not being intellectually challenged (most of my jobs consisted of paper-pushing), not using my flying skills (at 27 I was a licensed commercial pilot and Boeing-727 flight engineer), and not developing my artistic talents. In what surely must be a first, the Navy turned me into a hard-working and disciplined artist. And once I left the Navy there was no plan B. There was no time to waste. It was “full speed ahead.”
Art is a calling. You do not need to be told this if you are among those who are called. It’s all about “the work,” that all-consuming focus of an artist’s life. If a particular activity doesn’t seem likely to make me a better artist, I tend to avoid it. I work hard to nourish and protect my gifts. As artists we invent our own tasks, learn whatever we need in order to progress, and complete projects in our own time. It is life lived at its freest.
My art-making has led me to fascinating places: Mexico, Guatemala, Brazil, Argentina, Uruguay, France, England, Italy, Bali, Java, Sri Lanka, and more; and to in-depth studies of intriguing subjects: drawing, color, composition, art and art history, the art business, film and film history, photography, mythology, literature, music, jazz and jazz history, and archaeology, particularly that of ancient Mesoamerica (Olmec, Zapotec, Mixtec, Aztec, Maya, etc.). And this rich mixture continually grows! For anyone wanting to spend their time on earth learning and meeting new challenges, there is no better life!
Comments are welcome!
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