Pearls from artists* # 415

Agosto 12, 2020
Staten Island Ferry

Staten Island Ferry

*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 like to think of myself (and each of you) as a high priest of memory protection.  Using our cameras, we protect the memories of our subjects; we protect the memories we have while interacting with those subjects; we help to protect the memories of our audience who sees our work.  This is truly a sacred calling, and one that deserves respect and a thoughtful approach.   

Scott Bourne in Photo Therapy Motivation and Wisdom by Rick Sammon 

Comments are welcome!

Q: I understand your comments to mean that being at the studio challenges you to be your best. How (why) do you think that works? (Question from Nancy Nikkal)

Agosto 8, 2020
"Avenger," soft pastel on sandpaper, 58" x 38"

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

A: I am always trying to push my pastel techniques further, seeking to figure out new ways to render my subject matter, expanding my technical vocabulary. It would be monotonous to keep working the same old way.  Wasn’t it John Baldessari who said, “No more boring art?”  He was talking about art that’s boring to look at.  Well, as someone who CREATES art I don’t want to be bored during the making so I keep challenging myself.  I love learning, in general, and I especially love learning new things about soft pastel.

Very often I start a project because I have no idea how to depict some particular subject using pastel.  For example, one of the reasons I undertook “Avenger” was to challenge myself to render all of that hair!  Eventually I managed to figure it out and I learned a few new techniques in the process.

Comments are welcome!

Pearls from artists* # 414

Agosto 5, 2020
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.

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 

Comments are welcome!

Travel photo of the month*

Agosto 1, 2020
Ollantaytambo in Peru‘s Sacred Valley

Ollantaytambo in Peru‘s Sacred Valley

* Favorite travel photos that have not yet appeared in this blog

Because reminiscing while looking through old photographs is one of the few ‘travel’ options open to Americans now… sigh!

Comments are welcome!

Pearls from artists* # 413

Julio 29, 2020
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.

We photographers are particularly drawn to light in all of its manifestations.  Who knows why?  We just simply seem to be attracted to light more than other people, even when we’re not taking photos.  We notice little things.  The way a curtain might cut a shadow across the floor.  The way a blue iris might fold light into itself.  The way a child’s skin has a glow without any filters.  And as we all know, beautiful caverns can be created by the manner in which water flows through rock.  I think there is a parallel with us.  The light that flows through us carves our souls.

Rick Sammon in Photo Therapy Motivation and Wisdom   

Comments are welcome!

Q: What’s on the easel today?

Julio 25, 2020
Work in progress

Work in progress

A:  Amidst the noisy construction happening next door,  I continue slowly working on “Jokester” (tentative title), soft pastel on sandpaper, 58” x 38.”  I’ve just begun to add stripes into the shirt.

It is the fifteenth piece in the “Bolivianos” series.  Read more about this work at https://barbararachko.art/en/paintings/bolivianos

Comments are welcome!

Pearls from artists* # 412

Julio 22, 2020
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.

The obstacles faced by women who hoped to leave a mark on humankind have, through the millennium, varied in height but not in stubborn persistence.  And yet, a great many women have stubbornly ignored them. The desire to put words on a page or marks on a canvas was greater than the accrued social forces that told them they had no right to do so, that they were excluded by their gender from that priestly class called artist.  The reason, according to Western tradition, was as old as creation itself:  For many, God was the original artist and society had assigned its creator a gender – He.  The woman who dared to declare herself an artist in defiance of centuries of such unwavering belief required monstrous strength, to fight not for equal recognition and reward but for something at once more basic and vital:  her very life.  Her art was her life.  Without it, she was nothing.  Having no faith that society would broaden its views on artists by dethroning men and accommodating women, in 1928 [Virginia] Woolf offered her fellow writers and painters a formula for survival that allowed them to create, if not with acceptance, then at least unimpeded.  A woman artist, she said, needed but two possessions:  “money and a room of her own.”          

Mary Gabriel in Ninth Street Women

Comments are welcome!

Q: Are pastel paintings easy to care for?

Julio 18, 2020
With “Poseur,” 70” x 50” Framed

With “Poseur,” 70” x 50” Framed

A:  Yes, they are.  I have used only the finest archival and lightfast materials to create and frame them because I want them to last.  Here are some instructions.  

Always treat pastel paintings with the utmost care.  Avoid bumping and other sorts of rough handling.   

Pastel paintings should be kept face up at all times, especially when they are being transported long distances. Use an art shipper and ensure they are familiar with the requirement to ship the work flat and face up.

Never hang pastel paintings (or any art!) in direct sunlght!  Sunlight makes colors fade over time.  Also, moisture droplets can form on the inside of the Plexiglas.  When they dry, it leaves marks.

Use a soft cloth and Plexiglas cleaner to dust off the glazing.  Never use Windex on Plexiglas.  

That’s it!  

If you have questions, please contact me at brachko@erols.com. 

Comments are welcome!  

Pearls from artists* # 411

Julio 15, 2020

On top of an unexcavated pyramid, Veracruz, Mexico

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

… it reasserts that U.S. artists have learned and borrowed from Mexican traditions and, above all, that people of goodwill in both countries share in the belief that art unites, it doesn’t divide; it can be utilized to attack inequity and exploitation of the past and present but it also expresses hope and yearning for a better existence than can be realized in the present. 

Vida Americana:  Mexican Muralists Remake American Art, 1925 – 1945, edited by Barbara Haskell

Comments are welcome!

(My blog turns 8 years old on July 15! As I have done for past anniversaries, I am republishing the very first post from July 15, 2012.) Q: What does it take to be an artist, especially one living and working in New York?

Julio 11, 2020
Barbara's Studio (in 2012) with works in progress

Barbara’s Studio (in 2012) with works in progress.

A:  The three Big P’s – Patience, Persistence, and Passion.  Without all three you will not have the stamina to work tirelessly for very little external reward.  You can expect help from no one. 

There are so many obstacles to art-making and countless reasons to just give up.  When you really think about it, it’s amazing that great art gets made at all.  So why do we do it?  Above all it’s about making our the ime on earth matter, about devotion to our innate gifts and love of our hard-fought creative process. 

And, my God, it even gets harder as we get older!  So what do we do?  We dig in that much deeper.  It’s a most noble and sacred calling – you know when you have it – and that’s what separates those of us who are in it for the long haul from the wimps, fakers, and hangers-on.  I say to my fellow artists who continue to work despite the endless challenges, we are all true heroes! 

__________

What I wrote eight years ago still rings true.  

Most importantly, THANK YOU to my 61,000+ subscribers for taking this journey with me!

Comments are welcome!     

Pearls from artists* # 410

Julio 8, 2020
Mexico City

Mexico 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.

Faced with the disparities between lived reality and America’s professed ideals of inclusion and equity, countless artists have begun embracing the social role of art and using aesthetic means to speak out against all manner of injustice.  In such a climate, the Mexican muralists [Jose Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros] have once again emerged as models of how to marry aesthetic rigor and vitality to socially conscious subject matter that addresses the most fundamental questions concerning our collective pursuit of a more just and equitable society.  Not withstanding the rich cultural ties and decades of migration that have long existed between the United States and Mexico, the relationship between the two countries has always been fraught, marked as much by mutual wariness and bouts of hostility as by a spirit of camaraderie and cooperation  Yet the ugliness and xenophobia of the recent debates on the American side echoes the worst of the past.  It thus seems more imperative than ever to acknowledge the profound and enduring influence Mexican muralism has had on artmaking in the United States and to highlight the beauty and power that can emerge from the free and vibrant cultural exchange between the two countries.  As much as did American artists decades ago, artists in the United States today stand to benefit from an awareness of how dynamically and inventively the Mexican muralists used their art to project the ideals of compassion, justice, and solidarity.  They remain a source of powerful inspiration for their seamless synthesis of ethics, art, and action.

Vida Americana:  Mexican Muralists Remake American Art, 1925 – 1945, edited by Barbara Haskell

Comments are welcome!

    Please wait...