Blog Archives
Pearls from artists* # 440
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Most artists desire recognition, and the persistent lack of it may be a bitter pill to swallow. The artist who is too-soon recognized, as Norman Mailer felt himself to be, might argue that early fame is harder on the artist than years of obscurity. But the composer with a score for a powerful symphony locked away in his drawer, and the actress who has never found a way into a great drama, are hard-pressed to agree with Mailer. Similarly, the painter who has her entire output of paintings to enjoy for herself because she cannot sell them may praise her fortitude and applaud her accomplishments, but still experiences great sadness.
If you are not honored with real, appropriate recognition, you struggle not to consider yourself a failure. You may argue that it is the world that has failed you… but it is hard to take comfort in that knowledge. You need recognition more than you need accurate understanding of why recognition has eluded you. And as you deal, during your years in the trenches, with what may turn out to be a maddingly insufficient lack of recognition, you are challenged to find ways of maintaining your faith, courage, good cheer, and emotional equilibrium.
Eric Maisel, A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists
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Pearls from artists* # 426
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
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Pearls from artists* # 414
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.
As we grow into our true artistic selves, we start to realize that the tools don’t matter, the story does. Your point of view and the way that you express yourself as a photographer are how you tell the stories that matter to you. And that, my friends, is therapeutic.
There’s a certain amount of Zen in that act. Peace and tranquility are hard to come by in today’s world. But through photography, we all have a chance to find both.
As photographers, we sometimes lose sight of the fact that our ability to use a camera gives us a chance to show everyone else who we are. Young photographers often obsess over doing something new. Older photographers, like Rick and I, realize that the real goal is in being you. So focus on being you not on being new for new’s sake. This is the path to both inner and outer success.
People will ask you what you photograph. I personally am often described as a bird photographer. But we are not what we do. It’s important to note the difference. And that is because people don’t care what you do. They care why you do it. If you are doing what you are meant to do, you will be able to articulate your own why.
Scott Bourne in Photo Therapy Motivation and Wisdom by Rick Sammon
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Pearls from artists* # 400
In the studio with friends
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
A student in the audience raised her hand and asked me:
“Why should I live?”
… In the very act of asking that question, you are seeking reasons for your convictions, and so you are committed to reason as the means to discover and justify what is important to you. And there are so many reasons to live!
As a sentient being, you have the potential to flourish. You can refine your faculty of reason itself by learning and debating. You can seek explanations of the natural world through science, and insight into the human condition through the arts and humanities. You can make the most of your capacity for pleasure and satisfaction, which allowed your ancestors to thrive and thereby allowed you to exist. You can appreciate the beauty and the richness of the natural and cultural world. As the heir to billions of years of life perpetuating itself, you can perpetuate life in turn. You have been endowed with a sense of sympathy – the ability to like , love, respect, help, and show kindness – and you can enjoy the gift of mutual benevolence with friends, family, and colleagues.
And because reason tells you that none of this is particular to you, you have the responsibility to provide to others what you expect for yourself. You can foster the welfare of other sentient beings by enhancing life, health, knowledge, freedom, abundance, safety, beauty, and peace. History shows that when we sympathize with others and apply our ingenuity to improving the human condition, we can make progress in doing so, and you can help to continue that progress.
Stephen Pinker in Enlightenment Now: The Case for Reason, Science, Humanism, and Progress
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Pearls from artists* # 393
With my favorite interview
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
… Fernhoffer’s a man in love with our art, a man who sees higher and farther than other painters. He’s meditated on the nature of color, on the absolute truth of line, but by dint of so much research, he has come to doubt the very object of his investigations. In moments of despair, he claims that drawing doesn’t exist and that lines are only good for rendering geometrical figures, which is far from the truth, since with line and with black, which is not a color, we can create a human figure. There’s your proof that our art is like nature itself, composed of an infinity of elements: drawing accounts for the skeleton, color supplies life, but life without a skeleton is even more deficient than a skeleton without life. Lastly, there’s something even truer than all this, which is that practice and observation are everything to a painter; so that if reasoning and poetry argue with our brushes, we wind up in doubt, like our old man here, who’s as much a lunatic as he is a painter — a sublime painter who had the misfortune to be born into wealth, which has allowed him to wander far and wide. Don’t do that to yourself! A painter should philosophize only with a brush in his hand!
Honore Balzac in The Unknown Masterpiece
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Pearls from artists* # 387
Barbara at work on “Schemer,” Soft Pastel on Sandpaper, 26” x 20”
* 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 know, you don’t go into the studio and say, “Oh, here I am this marvelous heroine, this wonderful woman doing my marvelous painting so all these marvelous women artists can come after me and do their marvelous painting.” There you are alone in this huge space and you are not conscious of the fact that you have breasts and a vagina. You are inside yourself, looking at a damned piece of rag on the wall that you are supposed to make a world out of. That is all you are conscious of. I simply cannot believe that a man feels differently… Inside yourself, you are looking at this terrifying unknown and trying to feel, to pull everything you can out of all your experience, to make something. I think a woman or a man creating feels very much the same way. I bring my experience, which is different from a man’s, yes, and I put it where I can. But once that is done, I don’t know if it is a woman’s experience I’m looking at.
Grace Hartigan quoted in Ninth Street Women by Mary Gabriel
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Pearls from artists* # 380
“John,” Soft Pastel on Sandpaper, 22” x 28” (image), 1989.
* 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 freedom he enjoyed came at a cost. But those fears and irritations evaporated amid the support the artists gave one another immediately after the war. A community developed that sustained them and gave them courage. “You have to have confidence amounting to arrogance, because particularly at the beginning, you’re making something that nobody asked you to make,” Elaine [de Kooning] said. “And you have to have total confidence in yourself, and in the necessity of what you’re doing.” That was much easier done in a group of like-minded individuals.
Mary Gabriel in Ninth Street Women
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Pearls from artists* # 345
Barbara working on an interview. Photo: Maria Cox
*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 begin your journey as an artist from sacred motives, with dreams and high hopes, and also, perhaps, from a place of painful turmoil or other inner necessity. From these powerful drives comes your conscious decision to pursue a life in art, your resolve to call yourself an artist whatever the consequences. You are the one nodding in agreement when the painter John Baldessari says, “Art is about bloody-mindedness. It’s not about living the good life. In the end, it’s just you and the art.”
Eric Maisel in A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists
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Q: Do you believe in “the big break” for artists?
Barbara’s studio
A: Big breaks sometimes happen, but in my experience an artist’s life is made up of single-minded dedication, persistence, hard work, and lots of small breaks. I recently finished reading “Failing Up: How to Take Risks, Aim Higher, and Never stop Learning” by Leslie Odom, Jr. I like what he has to say to artists here:
“The biggest break is the one you give yourself by choosing to believe in your wisdom, in what you love, and in the gifts you have to offer the waiting world.”
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Pearls from artists* # 191
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.
“Do you understand what this is? Jacob Kahn asked me, his strong voice rising. “Do you begin to understand what you are going to be doing to yourself? You understand now what Picasso did, yes? Even Picasso, the pagan, had to do this. At times there is no other way. Do you understand me, Asher Lev? This is not a toy. This is not a child scrawling on a wall. This is a tradition; it is a religion, Asher Lev. You are entering a religion called painting. It has its fanatics and rebels. And I will force you to master it. Do you hear me? No one will listen to what you have to say unless they are convinced you have mastered it. Only one who has mastered a tradition has a right to attempt to add to it or rebel against it. Do you understand me, Asher Lev?”
My Name is Asher Lev by Chaim Potok
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