Blog Archives
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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Pearls from artists* # 180
Lower Manhattan
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
We eat light, drink it in through our skins. With a little more exposure to light, you feel part of things physically. I like the power of light and space physically because then you can order it materially. Seeing is a very sensuous act – there’s a sweet deliciousness of feeling yourself feel something.
James Turrell in A Retrospective: James Turrell, Michael Govan and Christine Y. Kim
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Pearls from artists* # 160
“A Promise, Meant to be Broken,” soft pastel on sandpaper, 58″ x 38″
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
When I get asked what one piece of advice I have for young photographers, this is what I tell them: if you are working on a project, and you’re thinking maybe it’s time to put it out into the world, make sure you have already started your next body of work. Not just started, either; you should be well along on it. You will know that the first project is finished when you find yourself joylessly going through the motions to eke out a few more pictures while, like a forbidden lover, the new ones call seductively to you. This new lover should be irresistible, and when it calls, you will be in its urgent thrall, making the work of your heart.
Sally Mann in Hold Still: A Memoir with Photographs
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Pearls from artists* # 149
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.
Real collecting begins in lust: I have to have this, live with this, learn from this, figure out how to pay for this. It cannot be about investment or status. Like making art, writing about it or organizing its public display (in galleries or in museums), collecting is a form of personal expression. It is, in other words, a way to know yourself, and to participate in and contribute to creativity, which is essential to human life on earth.
Roberta Smith in Collecting for Pleasure, Not Status, The New York Times, May 15, 2015
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Pearls from artists* # 140
“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.
Frankly, I think you’re better off doing something on the assumption that you will not be rewarded for it, that it will not receive the recognition it deserves, that it will not be worth the time and effort invested in it.
The obvious advantage to this angle is, of course, if anything good comes of it, then it’s an added bonus.
The second, more subtle and profound advantage is that by scuppering all hope of worldly and social betterment from one creative act, you are finally left with only one question to answer:
Do you make this damn thing exist or not?
And once you can answer that truthfully for yourself, the rest is easy.
Hugh MacLeod in Ignore Everybody and 39 Other Keys to Creativity
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Pearls from artists* # 136
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.
Francis Bacon interview with David Sylvester
DS: What do you think are the essential things that go to make an artist, especially now?
FB: Well, I think there are lots of things. I think that one of the things is that, if you are going to decide to be a painter, you have got to decide that you are not going to be afraid to make a fool of yourself. I think another thing is to be able to find subjects which really absorb you to try and do. I feel without a subject you automatically go back into decoration because you haven’t got the subject which is always eating into you to bring it back – and the greatest art always returns you to the vulnerability of the human situation.
The Art Life: On Creativity and Career by Stuart Horodner
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Pearls from artists* # 133
“Broken,” soft pastel on sandpaper, 50″ x 70″ framed
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
O writer, with what words will you describe the entire configuration of objects with the perfection that the drawing gives? If you are unable to draw, you will describe everything confusedly and convey little knowledge of the true form of objects; and you will deceive yourself in imagining that you can satisfy your hearer when you speak of the configuration of any corporeal object bounded by surfaces.
– Leonardo da Vinci
Quoted in Leonardo’s Brain: Understanding da Vinci’s Creative Genius by Leonard Shlain
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