Pearls from artists* # 425

Outubro 21, 2020
Gladstone, NJ

Gladstone, NJ

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

And yet books were faithful companions for Vincent, an important source of sustenance during his times of melancholy:  he periodically re-read his favourites, finding new meaning in the text and illustrations each time.  Van Gogh read in at least two ways: first “breathlessly,’ and then ‘by careful exploration.’  But we could add a third and a fourth way:  thirdly as an artist, and fourthly from the perspective of the writer he perhaps knew himself to be.  To Vincent, reading books meant above all to ‘seek in them the artist who made them,’ as he wrote to his sister Willemien.  He sought to open an internal dialogue with other writers as artists, and meditated on their words, stopping to consider and reconsider a phrase to make it resonate within him  He did this in more than one language – internalizing words, ruminating, bending them to his will, and finally assigning them to a fate of his choosing, over the years.  Remarkably several Prefaces by French Naturalist novelists such as Zola, De Goncourts or Maupassant (today considered genuine manifestos) were among the pages that truly challenged and engaged his mind.  In them he found the freedom that he was seeking in painting – the ‘confirmation’ of his own ideas, inspiration and encouragement.  The work of the illustrators of his favorite books and magazines equally attracted him and had a lingering effect on him, on which he paused to reflect repeatedly, extracting inspiration indirectly.              
Mariella Guzzoni in Vincent’s Books:  Van Gogh and the Writers Who Inspired Him 

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Q: What’s on the easel today?

Outubro 17, 2020
Work in progress
Work in progress

A:  I continue slowly refining and adding more detail to “Raconteur,” soft pastel on sandpaper, 58” x 38.”

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Pearls from artists* # 424

Outubro 14, 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.

What the unproductive artist describes as his failure of will or insufficient motivation may rather be an absence in his belief system of the meaningfulness of art or of the art-making he’s presently doing. The most salient difference between the regularly blocked artist and the regularly productive artist may not be the greater talent of the latter, but the fact that the productive artist possesses and retains his missionary zeal.

Carlos Santana likened artists to “warriors in the trenches who have the vision of saving us from going over the edge.”  The artist who possesses this vision will pursue his art even if he sometimes blocks.  The artist who is less certain about the sacredness of his profession or the value of his work is hard-pressed to battle for art’s sake.  

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

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Q: What kind of art do you create?

Outubro 10, 2020

At work

At work

A:  I live in the West Village in New York City and have been a working artist for thirty-four years. I create original pastel paintings that use my large collection of Mexican and Guatemalan folk art – masks, carved wooden animals, papier mache figures, and toys – as subject matter. Blending with my fingers, I spend months painstakingly applying dozens of layers of soft pastel onto acid-free sandpaper. My self-invented technique achieves extraordinarily rich, vibrant color and results in paintings that uniquely combine reality, fantasy, and autobiography. Please see https://barbararachko.art/en/

For the last three years I have been working on a series called, “Bolivianos,” based on an exhibition of Carnival masks seen in La Paz. Art critics and others have said that these are my strongest pastel paintings so far. As I write I am working on the fifteenth piece in the series.  

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Pearls from artists* # 423

Outubro 7, 2020

"Epiphany," soft pastel on sandpaper, 38" x 58"

“Epiphany,” 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.

I’ve mentioned that Kenneth Clark, the British art historian, said you could take the four best paintings of any artist in history and destroy the rest and the artist’s reputation would still be intact.  This is because in any artist’s life there are moments when everything goes right.  The artist is so in tune with his or her inner vision that there is no restriction.  The divine is being expressed.  Each mark becomes like a note of music in a divine order.

That experience, that prayer of expression, transcends its material and becomes spiritual.  The experience is overwhelming, the joys it communicates explosive.

When on another occasion we can’t find that spiritual level of experience, and so can’t repeat it, the frustration can be cruel and the separation painful.  Here lies the myth of the suffering artist.  It isn’t the art making when it goes well that has any suffering in it.  That is the union with the beloved.  It’s the loss that causes the suffering.  And the problem isn’t something we can necessarily control.  We are instruments, conduits for that expression.  It comes through us by grace.

The idea that we “make” art is perhaps a bit misleading.  The final product is at its best the result of a collaboration with spirit.  We may be separated from a flow within our spirit for weeks.  We continue to paint because there is no knowing at what precise moment it will return.  And when it does we need our faculties alert and our skills honed.  Then the poetry is everywhere.    

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

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Q: Do you have a home studio or do you go to an outside studio to work? Which do you prefer and why?

Outubro 3, 2020

At work

At work

A: I have always preferred a separate studio. Pastel creates a lot of dust, it’s toxic to breathe, plus I do not want to live with the mess! I need a place to go in the mornings, someplace where I can focus and work without any distractions. It’s difficult to do that at home.

From the beginning of my time as an artist, in the mid-1980’s, I had a studio. My first one was in the spare bedroom of the Alexandria, Virginia, house that I shared with my late husband, Bryan, and that I still own.

For about three years in the 1990s I had a studio on the third floor of the Torpedo Factory Art Center, a building in Alexandria, VA that is open to the public. People would come in, watch artists at work, and sometimes buy a piece of art.

In April 1997 an opportunity to move to New York arose and I didn’t look back. By then I was showing in a good 57th Street gallery, Brewster Arts Ltd. (the gallery focused exclusively on Latin American artists; I was in the company of Leonora Carrington, Rufino Tamayo, Diego Rivera, etc.), and I had managed to find a New York agent, Leah Poller, with whom to collaborate.

I looked at only one other space before finding my West 29th Street studio and knew instantly it was the one! An old friend of Bryan’s from Cal Tech rented the space next door and he had told us it was available. Initially the studio was a sublet. The lease-holder was a painter headed to northern California to work temporarily for George Lucas at the Lucas Ranch. After several years she decided to stay so I was able to take over the lease. I feel extremely fortunate to have been in my West 29th Street, New York City space now for twenty-three years. In a city where old buildings are perpetually knocked down to make way for new ones this is rare.

My studio is an oasis in a chaotic city, a place to make art, to read, and to think. I love to walk in the door every morning and I feel calmer the moment I arrive. It’s my absolute favorite place in New York! Sometimes I think of it as my best creation. For more about this please see

https://artofcollage.wordpress.com/2020/04/30/artists-and-their-relationship-to-their-studio

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Pearls from artists* # 422

Setembro 30, 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.

There is always work that is ahead of its time and receives little acknowledgement in its own day.  This is often where an artist follows a line of discovery that is outside a rigid stricture or style or common understanding.  Usually, even if the artist is ahead of public taste, there are a few admirers who recognize what the artist is doing.  If his or her work has truth, eventually the public will catch up.  Even Impressionism, of course, that most bucolic of art forms, which today is the public’s darling, was reviled in its day.    

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

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Travel photo of the month*

Setembro 26, 2020

Calder Room at the National Gallery of Art, Washington, DC

Calder Room at the National Gallery of Art, Washington, DC

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

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Pearls from artists* # 421

Setembro 23, 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.

The economic meltdown that followed the crash of the U.S. stock market in 1929 shattered the country’s faith in itself.  With one third of the country unemployed and droughts devastating the Midwest, many Americans doubted their ability to endure and triumph.  More than ever, as the American novelist John Dos Passos asserted, the country needed to know “what kind of firm ground other men, belonging to generations before us, have found to stand on.”  Guided by the Mexican muralists, whose art they had ample opportunities to study in reproduction and exhibition, American artists responded by seeking elements from the country’s past, which they mythologized into epics of strength and endurance in an effort to help the nation revitalize itself.

Thomas Hart Benton led the charge.  Long a vociferous critic of European abstraction as elitist and out of touch with ordinary people, Benton hailed the Mexican muralists for the resolute public engagement of their art and for portraying the pageant of Mexican national life, exhorting his fellow American artists to follow their example in forging a similar public art for the U.S., even as he firmly rejected the communist ideology that often inflected the Mexican artists’ work.  African American artists were likewise inspired by the Mexican muralists’ celebration of the people’s fight for emancipation.  In creating redemptive narratives of social justice and liberation, artists such as Charles White and Jacob Lawrence transformed that struggle for freedom and equality into a new collective identity, one that foregrounded the contribution of African Americans to national life.        

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

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Q: What’s on the easel today?

Setembro 19, 2020

Work in progress

Work in progress

A:  I’m continuing to work on a 58” x 38” pastel painting.  The title is not definite yet, although I do have two that I am considering.

Comments are welcome!

Pearls from artists* # 420

Setembro 16, 2020

‘Science in Surrealism,” published by Gallery Wendy Norris

‘Science in Surrealism,” published by Gallery Wendy Norris

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

During the early period of Einstein’s great fame, which began in 1919, Breton wrote an essay for the first one-man show in Paris of Max Ernst.  There, for the first time, he expressed what would become the central mechanism of Surrealism’s theory of poetry:  the experience of ‘disorientation,’ engendered by what Breton called ‘the marvelous ability to reach out, without leaving the field of our experience, to two distinct realities and bring them together to create a spark.’  Perhaps in search of authorization, Breton gave this definition in the context of the ‘separate systems of reference’ posited by Einstein’s Relativity.  This, Breton argued, helped make sense of weird juxtapositions to be found in Ernst’s collages of the time, shown in Paris in the same year that the German to French translations of both Einstein’s Relativity:  The Special Theory and the General Theory and [Sir Arthur] Eddington’s, Space, Time, and Gravitation were published.  This in turn gave Breton and his friends a glimpse of the ‘real’ world ushered in by the new physics.      

Sibylline Strangeness:  Surrealism and Modern Physics,” by Gavin Parkinson in Science in Surrealism, published by Gallery Wendy Norris

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