Barbara Rachko's Blog, page 13

Pearls from artists* # 625

Downtown 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.

Think of one of those rare, truly exceptional outings to the cinema. In the lobby afterward the experience elicits from us a language of paralysis and disappearance: “I forgot myself. It could have gone on forever.” Stepping out onto the street, we feel that somehow nothing is as it was before. The passing cars, the night sky above the glass towers, the streetlights reflected on the wet pavement: everything glows with a strange immediacy and newness. It is as if the film had done something to the world. A similar thing might happen when we put down a great novel or take in a powerful piece of music.

The Book of Revelation contains a memorable line: “Behold, I make all things new.” Reflecting on this ancient text, the critic Northrop Frye defined the Apocalypse as “the way the world looks once the ego has disappeared.” Every great artistic work is a quiet apocalypse. It tears off the veil of ego, replacing old impressions with new ones at once inexorably alien and profoundly meaningful. Great works of art have a unique capacity to arrest the discursive mind, raising it to a level of reality that is more expansive than the egoic dimension we normally inhabit. In this sense, art is the transfiguration of the world.

J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise,Critique, and Call to Action

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Q: What’s on the easel today?

“Apparition,” soft pastel on sandpaper, 58” x 38”

A: “Apparition,” soft pastel on sandpaper, 58” x 38,” awaits some finishing touches.

Comments are welcome!

Pearls from artists* # 624

Machu Picchu (Peru), June 2016

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

If we were speaking from the point of view of the historian, and if we desired to know as concretely as possible how those peoples of the past or present conceived of their world, we should have to turn to their philosophy to find how they thought about their world, and to their sciences to analyze the atomic factors that contributed to those thoughts, and to their applied arts for the understanding of how this notion appeared when necessarily vulgarized to the common denominator of intelligence. But we would have to turn to their art to understand how they “felt about their world,” to know how their notions of reality found expression in their sensual perception of the world. And we know, of course, how those expressions can differ by simply examining Christian art, which consciously discarded the reality of its predecessor, Greek Hellenistic art.

Mark Rothko in The Artist’s Reality: Philosophies of Art

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Q: Many artists can’t bear to face a blank canvas. How do you feel about starting a new piece?

Starting a 26” x 20”pastel painting!

A:  That’s an interesting question because I happen to be re-reading The War of Art by Steven Pressfield and this morning I saw this:  

You know, Hitler wanted to be an artist.  At eighteen he took his inheritance, seven hundred kronen, and moved to Vienna to live and study.  He applied to the Academy of Fine Arts and later to the school  of architecture.  Ever see one of his paintings?  Neither have I.  Resistance beat him.  Call it overstatement but I’ll say it anyway:  it was easier for Hitler to start World War II than it was for him to face a blank square of canvas.

I’ve never understood this fear of “the blank canvas” because I am always excited about beginning a new painting.  When you think about it, artists can often say,  “In the history of the planet no one has ever made what I am about to make!”  Once again  I am looking at something new on my easel,  even if it is only a blank 26” x 20” piece of sandpaper clipped to a slightly larger piece of foam core. 

Unlike artists who are paralyzed before “a blank canvas,” I am energized by the imagined possibilities of all that empty space! I spend three or four months on a pastel painting so this experience of looking at a blank piece of paper on my easel happens three or four times a year at most. 

Excluding travel to remote places, which is essential to my work and endlessly fascinating, the first day I get to spend blocking in a new painting is the most exhilarating part of my whole creative process.  It’s when I feel the freest!  I select the pastel colors quickly, without thinking too much about them, first imagining them, then feeling, looking, and reacting intuitively, always correcting and trying to make the painting look better and better!

Comments are welcome!

Pearls from artists* # 623

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.

Jealousy? Hmmm. Jealousy links up with competition. It’s hard to compete, really compete, in the art world. That’s why award ceremonies are a little suspect. Athletes can compete. I don’t know how much you can really compete as an artist. You can compete with yourself.

You are an explorer. You understand that every time you go into the studio you are after something that does not yet exist. Maybe it’s the same for a runner. I don’t know. But with running, or swimming, or gymnastics, or tennis, the achievement is measurable. Forget about competition. Rather, commit yourself to find out the true nature of your art. How does it really work; what’s the essence of it? Go for that thing that no one can teach you. Go for that communion, that real communion with your soul, and the discipline of expressing that communion with others. That doesn’t come from competition. That comes from being one with what you are doing. It comes from concentration, and from your own ability to be fascinated endlessly with the story, the song, the jump, the color you are working with.

I know this sounds a little monkish or even sort of “holier than thou,” but I really do believe it. And that said, jealousy is a human sentiment. Few of us are above it. John Lahr, a writer, told me that the major emotion in Los Angeles is envy. I have to say he’s probably right. And a lot of it has to do with how close or far from an Academy Award one is. And LA, the capital of smoke and mirrors, would have sone believe that the award is just a step away. When you drive down Hollywood Boulevard, some of the dreamers look as though the dream ate them alive.

Anna Deavere Smith in Letters to a Young Artist: Straight-Up Advice on Making a Life in the Arts

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Q: How has photography changed your approach to painting?

Untitled chromogenic print, 24″ x 24″ on 30″ x 40″ Fujicolor crystal archives paper, edition of 5

A: From the beginning in the 1980s I used photographs as reference material and my late husband, Bryan, would shoot 4” x 5” negatives of my elaborate setups using his Toyo-Omega view camera. In those days I rarely picked up a camera except when we were traveling.

After Bryan was killed on 9/11, I inherited his extensive camera collection – old Nikons, Leicas, Graphlex cameras, etc. – and I wanted to learn how to use them. Starting in 2002 I enrolled in a series of photography courses (about 10 over 4 years) at the International Center of Photography in New York. I learned how to use all of Bryan’s cameras and how to make my own big color prints in the darkroom.

Along the way I discovered that the sense of composition and color I had developed over many years as a painter translated well into photography. The camera was just another medium with which to express my ideas. Astonishingly, in 2009 I had my first solo photography exhibition in New York.

It’s wonderful to be both a painter and a photographer. Pastel painting will always be my first love, but photography lets me explore ideas much faster than I ever could as a painter. Paintings take months of work. Photographs – from the initial impulse to create a setup to hanging a framed chromogenic print on the wall – can be made in minutes.

Comments  are welcome!

Pearls from artists* # 622

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.

Diving meaning from a painting is not so simple that it can be codified in a book, and [Mark] Rothko certainly would not have wanted such a guide to his work. So much of understanding his work is personal, and so much of it is made up of the process of getting inside the work. It is like the “plastic journey” he describes in his “Plasticity” chapter – you must undertake a sensuous adventure within the world of the painting in order to know it at all. He cannot tell you what his paintings, or anyone else’s, is about. You have to experience them. Ultimately, if he could have expressed the truth – the essence of these works – he probably would not have bothered to paint them. As his works exemplify, writing and painting involve different kinds of knowing.

Christopher Rothko in The Artist’s Reality: Philosophies of Art by Mark Rothko

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Travel photo of the month*

Omaha Beach, Normandy, France. Photo: Christine Marchal

*favorite travel photos that have not yet been published in this blog

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Pearls from artists* # 621

Montpelier, VT

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

Try to walk as much as you can, and keep your love for nature, for that is the way to learn to understand art more and more. Painters understand nature and love her and teach us to see her. If one really loves nature, one can find beauty everywhere.

Irving Sandler in Dear Theo: The Autobiography of Vincent Van Gogh

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Q: What’s on the easel today?

Work in progress!

A: I continue working on two 58” x 38” pastel paintings. The one on the left does not yet have a title. On the right is “Apparition.” I hope to finish this one soon.

Comments are welcome!