I've been lurking

[Rebecca]

Hello all,
I am a life drawing teacher in the San Francisco Bay Area. I'm not going to be much of a contributor here, because of being busy, but I thought I'd at least let you know I'm watching. I don't have time to write out tips on works I see posted here, but I enjoy reviewing the discussions. I am also reading some of the other channels. Here is a link to one figure painting I made:

http://art.net/rebecca/Seated.jpg

...and here is a sketch to view with this post:

[MichaelRH]

Rebecca_A

Do you have room in your classes for one more!! (I'll start packing..just let me know!).

I'm really at a loss for words. Exceptional work! Do you show your work in the Bay area? I know that there are a number of galleries in the Bay area...that represent figurative artists.

I truly hope you might find time to post more of your work here..and or comment on some of the work that appears here.

Is your area of instruction classical figure?. And..are you familiar with the work (I'm sure you are!!) of Eric Fischl??

The figure that is bending over...and your use of washes...reminded me of Eric's work. I really enjoy this kind of expressive...realism (?). Your other study...well...just amazing!
Thank you Rebecca_A...for joining in. No need to lurk any longer!

[ZOTMA]

gorgeous!!!!!!!!!!!
Love your touch. Just came back from the BA of CA. where do you teach? Hope to see more, oh please?!!!!!!!

[djstar]

drool.
I missed where, as in what kind of school, you are teaching.
Your exceptional academic style would be much appreciate in the rooms. I hope you will stay up late like the rest of us and post at night.
Welcome, truly.
dj*

[Rebecca]

I teach at the Palo Alto Art Center. Although I have been approached many times to teach in local colleges, they back off when they hear that I haven't got a Master's. I never wanted to teach full time, so I didn't pursue the Master's Degree. Instead, my main goal has always been a studio career. Luckily the local Art Center doesn't stipulate "qualifying" degrees. I've been teaching there for over 12 years, one night per week. I get very high quality students -- many travel from miles and miles away -- some are animators and art school teachers, and students who can't get the information they need in college. Many have one or two Degrees in art. Unfortunately, I can't give them the intensive training they need in this community class setting. I can, however, introduce everyone to a systematic set of universal guidelines to help them work either loose or tight, depending on their temperament. Each night's topic could be expanded into a semester long study, but with the limits placed on me in a community service situation, I maintain this class as an introductory course each quarter. Meantime, I enjoy the luxiory of having a studio practice, which I am very grateful for. I showed my work in Denver last year, and I think that it would be a good idea to find local (San Francisco) representation. This is on my to-do list for the year 2001. About Eric F., I'm afraid that I am unimpressed by his work. I am most impressed with the greater expressive range shown by earlier painters from the Rennaisance through the 19th century. These are the painters who genuinely excite me. You can find amazingly loose and expressive painting in the collections of all those otherwise "tight" painters of the past, just by examining their oil studies. Once an artist learns to know the figure intimately well, plus, once s/he understands the nature of light and color on the form and in spatial settings, "loose" painting in any color combination is so easy, it can be done without special effort. Not everyone is well disposed to loose painting, but if you are, and you have made a careful study of the figure first, these loose studies are mere play.

Here is a detail of another painting:
http://art.net/~rebecca/mocaDShow/DispensibleDtl.jpg

...here is another "play" painting:

[Robert]

Nice work, Rebecca. Are you familiar with Ben Long's work in NC?

Best Regards,

Bob

[Rebecca]

"Are you familiar with Ben Long's work in NC?"
Best Regards,
Bob
------
Yes. I am completely unimpressed. :-/

[Robert]

Just wondered...

I've known him a few years.

Glad you're posting. I admire your work.

Bob

[Rebecca]

I am so sorry that I cannot effusively praise any living artists' work that I have seen. I have not yet seen anything in the realm of realism by living artists that deeply wows me. Certainly, my schooling would have been much easier if I could have found a living example I wanted to emmulate. Compared with current works I've seen being made, the works of certain past painters are so much more effective to my eye, I just can't put them on the same plane. There are numerous reasons, depending on the look of the different artworks. I'm not saying that I don't respect the people who are making art today. I respect them. I respect my students. I respect everyone who loves art. I respect my own efforts. But am I wowed? No. I might say, "I like that effort," or "that's not working," or "that's working pretty well here and there," or "that might be technically fine, but it has no soul." I might even rather like something, but I can't say any living artist is a hero in my eyes. I never seek to put down any artist. But since I'm getting questions about other artists' work, that they like, I figure I may as well come clean. I'm afraid that I won't be a major player in any living-artist fan clubs.

But I care deeply about the pursuit of continued development. This, I support. So, for Bob and Michael, I appreciate your enthusiastic welcomes, and I know that we are all seeking a common meeting ground where we can begin to discuss our love of art -- and our craving to improve our own works. I hope that you will not be stopped by my refusal to join in the praise of living heros.

Thanks again for all your warm welcomes.

[deevaa]

Well about 2 seconds ago I said i wanted to be inside Michaels head for just a few days, now I have to choose! hehe.

The first image is stunning, I love the use of colours and line, the movement is fab. I'll be next to Michael in the class.

:D and welcome.

[MichaelRH]

Rebecca_A...

Thank you for all of the information..and your thoughts/comments.

I've been looking again, at the figure you posted of the woman sitting on the ground. Wonderful contrast between the softness of the figure and the background. I also admire you sense of color......quite a range in the flesh of this figure. I'm especially drawn to the pale areas along the side of this figure.

I'm being rather foreward..in asking, but would you mind if I copy all three of your figures onto my hard-drive? I would also like to print them, and place them on my bulletin board...just to view.
(I'll understand completely if you decline), and I must admit I was so taken with your figure sitting....that copied it prior to leaving to work earlier today. I'll delete if you indicate you'd rather I did not keep them. I really enjoy and admire your work.

btw: I think it is most unfortunate that so MUCH emphasis is placed on academic credentials. I'm quite certain that there are instructors who do not have nearly the command of the figure that you do....and prominently display their "Masters" degree. Ironic..and truly unfortunate. But, on a happy note..you seem quite happy with your teaching arrangement. I would hope you would have lots of time for your OWN...work.

[mARZ]

Um, will wow....suffice? I love the sitting figure... I am very partial to realism. I hope you will keep posting.

:D

[Rebecca]

Bob,
No problem lifting my art for your own display. I'm glad you asked. It sounds like you'd be interested in seeing more of my work. I have a large web site (listed in my wc profile). Here is the url:

http://art.net/rebecca

It is incredibly unfortunate that I am shut out of the local colleges as a teacher. My Masters Degree'd students have told me that they only wish that they had gotten the info in school that they were finally getting with me. I also know, when they are telling me this, that they have only seen me scratch the surface. However, given the way our local instructors have their time in the studio restricted by heavy schedules, I think I'm better off. I only feel sorry for the students.

Here is a drawing for everyone's entertainment:

[MichaelRH]

Rebecca, I thoroughly enjoyed my first visit to your website. I won't be able to say enough about it here in this post.

btw: I hope you are granting me (as well as "Bob" ) permission to copy/print your examples (the ones you have posted here) for my own study.

The examples, notes...your suggestions..plans.. well, everything I saw...at your website is well..just very inspirational.

I say this, because I truly identify with so much that you are saying. (Rebecca, you'll find this perhaps contradictory, coming from an artist that..often...has not spent the time necessary to become a master), (excuses, excuses),but I've always admired academic approaches and the discipline that it requires. Draftsmanship ..and.. the knowledge and technical skills that result in works of great accomplishment...are not to be taken lightly.

You have also shown that (with your passion for the figure) and sincere desire, artists CAN realize their goals.

I think it is to our good fortune that you have decided NOT to remain on the side-lines here at Wetcanvas. I would like to recommend your website to everyone here at Wetcanvas. Thank you Rebecca for your insight and generosity.

[jerryW]

michael just told me about this new person to check out.
holy toledo.
now I'm all figured-out!
(actually I'm headed to your website for more...)
thanks a lot for posting.
and thanks mike for the alert

[MichaelRH]

Rebecca, I'm name dropping again...but are you familiar with the work of Harry Carmean? He taught classical figure drawing at Art Center College of Design-Pasadena. I was very fortunte to have (a) class with him.

[bbbilly1326]

I'm agog. Thanks Rebecca, I'll be visiting your site.

Bill

[Danny]

WOW!!!!WOW!!!!:clap: I See Why Your A Teacher!!! This Is Great.Now If You'll Excuse Me I'm Going To Visit Your Websight!!!Rubbing Hands Togather!!!:).......Ok Back. Just Viewed Your Gallery. All I Can Say Is.:eek: :eek: :eek: :eek: :eek: WOW!!!!!!!!!!!! (***Clap...Clap...Clap...Clap...Clap...Clap...Clap...Clap...Clap***:clap: :clap:

[Danny]

Originally posted by Danny
WOW!!!!WOW!!!!:clap: I See Why Your A Teacher!!! This Is Great.Now If You'll Excuse Me I'm Going To Visit Your Websight!!!Rubbing Hands Togather!!!:).......Ok Back. Just Viewed Your Gallery. All I Can Say Is.:eek: :eek: :eek: :eek: :eek: WOW!!!!!!!!!!!! (***Clap...Clap...Clap...Clap...Clap...Clap...Clap...Clap...Clap***:clap: :clap: .....OK Here It Is Rebeca! There's Only Been 4 Liveing Artist In My Lifetime I Really Wanted To Meet.Henri Mattise, Poblo Picasso,Ancel Nunn,andNowRebecca Alzonfono.Of These Artist All But One Is Decest Now. We Lost My Friend Ancel Nunn Christmas A Year Ago. The Time We Spent Togather Was Way Too Short.And Of Course Poblo And Henri Are Both Gone.There Have Only Been Three Women In Art HistoryThat Have Really Impressed Me To This Degree. Elizabeth Louise LaBurn, Alexandria Nechiti The Child Prodigy, And You.If You Are Ever In Texas Let Me Know. Please!!!You Say You Don't Have Your Masters Degree. But I Personally Think History Will Remember You As A Master Lady. .......Sincerely Danny Meazell

[Rebecca]

Michael wrote...
"btw: I hope you are granting me (as well as "Bob" ) permission to copy/print your examples (the ones you have posted here) for my own study."

"Rebecca, I'm name dropping again...but are you familiar with the work of Harry Carmean? He taught classical figure drawing at Art Center College of Design-Pasadena. I was very fortunte to have (a) class with him."
----

Michael,
Oops. Sorry I addressed Bob instead of you. That message was, indeed, for you.

I haven't seen Harry Carmean's work -- well, not that I know of, anyway. Is he on-line anywhere? It sure would be fun to have real control of a classical figure drawing and painting class, like I'm sure that Carmean taught/teaches. As it is, I work with all different types of art students, and it would be unfair to many of them if I refused to help them with the experimental approach that they want in a community class. The students who want classical training get some in this class -- at least a little. I never did find a teacher for classical figure drawing when I was in college. I had to train myself later. I've had fantasies of running a little classical school, but no money to make it a reality.

To Danny, Bill, Jerry, and all the rest of you nice folks -- thanks very much for your enthusiastic reactions to my work. I like knowing that my efforts can reach a positive and receptive audience like you.

[PJL]

Rebecca,

I have been watching this thread unfold... I hhavce to agree with everyone else in that we are indeed fortunate that you have decided to reveal yourself, and your truly, very, very, fine art.

I was particularly taken by your comments regarding loose and tight paintings...

"Once an artist learns to know the figure intimately well, plus, once s/he understands the nature of light and color on the form and in spatial settings, "loose" painting in any color combination is so easy, it can be done without special effort. "

I am self taught, and have had a lot of trouble with the human form (which I happen to consider one of the wonders of nature). I started with pencils and charcoal, and once I had reached a level of draftmanship I was OK with I started painting in Acrylics and oils. The "Nature of color and light on the human form " is something I have not yet achieved, and I admire anybody who has mastered this.

You most definatly have. Your paintings are something to aspire to, and I do hope you continue to post as an example and inspiration to us all... I have learnt from you work already, and for that I thank you.

Bravo!!!!!

[sue ellen]

:clap:
I was delighted to see that you decided to post some of your work!
This tread is becomming very interesting and I can see that it is ( and will continue ) opening up good discussions!

I have been exploring your site more....amazing..and very moving...what a treat!

~sue ellen

[Rebecca]

Both PJL and Michael reacted to my color. Maybe PJL was particularly teased by my color comments. Perhaps, then, I should comment on the seated nude, "Hecuba's Child," that Michael was intriqued by. This painting was designed to have as much spatial depth as possible, right from the start. The underpainting was applied as a veil of two colors, Payne's gray for the far, and raw umber for the near. The far leg and arm began as a Payne's gray underpainting, united by color with the backdrop. The front leg, torso, arm, head and foreground were raw umber. Or, maybe I used Payne's gray in the foreground, I think to appear as a reflection of the rock wall in the wet sand. I'd have to look at the painting in person to confirm. In this first layer, flake white was also used in both fields to control the values. As much as possible, the values seen in the finished painting would be the values applied through to the finish. The raw umber that I use, Old Holland brand, is rather yellow. Payne's gray, blue. As in deep landscape, blue is commonly associated with distance. Yellow is associated with closer forms. As I painted the second layer over the underpainting, I added Naples yellow to the knee region of the close leg, Venetian red and white to the far regions, and various blends of raw umber and white between. Each layer was applied thinly enough to permit the painting below to influence the color of the top. So the Payne's gray of the far leg became somewhat violet with the Venetian red mixture over it, etc. The blue influence stayed to the finish, which helps the perception of deep separation between the two legs. In the well lit area of the torso, I changed planes by shifting from warm to cool, in this case, with Venetian red and particularly blue-green terra verte. I separated the closer foot from the farther, also by color temperature change. All this work with color had to first conform to the value arrangement in the design. Every color had to match the original values in the plan. Value is the most important compositional control in paintings. Color adds excitement.

[MichaelRH]

Originally posted by Rebecca_A
Value is the most important compositional control in paintings. Color adds excitement.

Rebecca, I thoroughly enjoyed your detailed account of your use of color in your painting "Hecuba's Child". I certainly agree with your emphasis on the importance of value!

Would you also say that how one paints (edges) ie: diffused as opposed to emphasized -- can also play an important part..if not in compositional control...but certainly in establishing a credible sense of distance (fore-ground/middle-ground, and back-ground)?

I seem to recall that spatial concerns...can be (at least in part) developed by diffusing ("edges", for lack of a better term) in distant objects...and by retaining a degree of crispness (as in---sharper edges) in objects closer to the viewer. Of course color value and intensity are also factors. Or am I over-simplifying all that is required in creating convincing perspective in paint?

(Of course you needn't waste time discussing any of the above with Wayne Thiebaud-(sp?) lol

[Chuck]

Hi Rebecca: Just found this post...please add me to the long WC list of dazzled admirers. I hope to see more of your exceptional work!

[djstar]

See Rebecca!
Great place to hang out while underpainting is drying!
dj*

[Oberschlake]

Rebecca,

Your posts here are done with such an extraordinary ease...and the painting on your site is one that shows your complete devotion to the figure. You are truly a modern master! If you don't mind even more name dropping, I was wondering if the work of Lucian Freud falls short of "wowing" you? I also think you would enjoy the paintings of a lesser known artist, "Odd Nerdrum". Nerdrum is the closest to the old masters that I have found.

[cagathoc]

40 "Creative work doesn't start without stillness." painter Rebecca Alzofon



Thinking about a potential reader of this column -- a woman who is not a professional artist, but wants to paint because it is a passion of hers -- painter Rebecca Alzofon points out that being an artist is demanding. "First of all, I'd say you won't reach your potential if you share your painting with any other job," she says.

"And if you decide to quit your job to paint, be ready to spend fifty percent of your time staring, with your mind blank. If you don't have that time, you won't be able to make your art. It's a required part of the creative process, to be sitting still and letting ideas pass through you. If you don't have that, then the creative work doesn't start."

"A lot of people panic at first, if they're not used to this, they find themselves just sitting and not doing anything, and they think they're wasting their time, and make themselves get up and do something while they're waiting for inspiration. But you have to hold still, and be peaceful. You might be able to look through a book, or look at pictures, or just scratch on paper.

"This has probably caused a lot of people to stop, because they have a belief you need to be physically active, and productive. They think if you're not doing that, you're failing, and you don't have it in you."

Rebecca says selling enough to support herself as an artist is definitely an issue. "Finding a marketplace would enable me to continue making it, and support generating more of it, and better conditions for making it better," she notes. "But the struggle is, if you have unique ideas, and a method which is considered a little off-center, there's a problem.

She says many people, professional women and others, see her art and love it. "But art historians and the critics want something that makes sense to them in the context of recent art history," she says. So in terms of career, this is where it gets difficult.

"Am I making a living as an artist? The answer is yes, and no. Because I've been doing portraits so long, people ask me to do them, and are so enthused about them. But then I'm in a very long term project that takes me away from the speculative work, which is truly exciting, and what really feeds my soul."

"Gallery people appreciate portraits, but they have no use for them. Galleries are interested in what you have that they can hang on their wall, and sell. And they are the doorkeepers, the ones who are in touch with the museums and the critics, and they coordinate career pathways for artists."

Another of her struggles as an artist is staying on track: "People see my work and I get various reactions, all of them positive, but they would distract me if I went after them. So I have to keep a cap on that, and it's painful to turn so many people away." She teaches an adult class one evening, and sees private students.

She agrees that the label 'artist' commands more respect and higher prices than 'women artist.' "All my women artist friends and I sit around asking if it's still a problem We know it has been. The problem is, making it in the art world is so difficult for anyone, it starts to get pretty foggy about what is causing the problem.

"But I never did promote myself as a 'woman artist' and never thought of myself that way. It's been disturbing to hear people qualify any artist as a 'woman artist' if they're female, and otherwise they're simply an artist.

Referring to the issue of feeling "entitled" to work as an artist, Rebecca notes, "I don't put myself in situations where others expect me to place anything other than my painting at the highest priority. I have always been this way. Because of my aversion to social expectations, this might make me appear eccentric to many people, and I miss out on enjoying the company of more kinds of people, but this is what I do."

She agrees living as an artist can get hard: "There are times when I say, I hate my life and wish I could escape," she admits. "And then I think, the only way to escape is to get better at what I do, and do it harder. Then I will protect myself from these disappointments, and I'm back at work.

"When I'm painting, I'm actually in a meditative state, and problems go away if I just start painting. When I stop, at first I might think, Oh that art adviser was such a miserable so and so... then I might think, They can all go away and leave me alone. And I will just keep working. Nobody is going to stop me from working."

~ ~ ~

Rebecca Alzofon's Studio http://www.art.net/~rebecca/

[cagathoc]

I was blown away, like everyone here seems to be also.

I have posted above a brief article by Rebecca that I have read.

I can delete it if it is inappropriate, Michael?

I just thought it was a great read and everyone here would enjoy it.

[Rebecca]

Originally posted by MichaelRH


Would you also say that how one paints (edges) ie: diffused as opposed to emphasized -- can also play an important part..if not in compositional control...but certainly in establishing a credible sense of distance (fore-ground/middle-ground, and back-ground)?

I seem to recall that spatial concerns...can be (at least in part) developed by diffusing ("edges", for lack of a better term) in distant objects...and by retaining a degree of crispness (as in---sharper edges) in objects closer to the viewer. Of course color value and intensity are also factors. Or am I over-simplifying all that is required in creating convincing perspective in paint?

(Of course you needn't waste time discussing any of the above with Wayne Thiebaud-(sp?) lol

More than edges, _contrast_ enhances that credible sense of distance. Controlling the edges does, however, effect the local curvature of the forms. But edge control cannot be applied equivalantly across the spatial board. It might be best to first assign position to the image's system; then limit the *range* of edge, color, contrast, value assignment, directional indications (such as texture), to the respective positional parts.

Distant forms would not appear distant if edges are varied tremendously. Variation is a trait of the near. If the forms blur in unison in the "distance," in many cases, they may still appear close. Instead, reduced contrast between objects, and associating the color and value of the farthest backdrop with the farthest objects, will get the job done. If all the color, value and contrast is in the correct spatial position for the greatest distance, blurring edges uniformly will help a little bit. Students get into trouble with distant edges when they paint. One of the most difficult things for them to track is the physical texture of the paint, which can completely destroy that feeling of the distant. Great variation in thickness, direction or ridge build-up can undo a deep space, even if the values and color are good.

In a foreground subject like the seated nude in "Hecuba's Child," edge variation helps to express the curvature of forms. The rate of softening usually changes with the turning radius of the local form being described. The same forces (turning radii) influence the rate that shade goes to light on form (not related to cast shadows). Local tonal transition almost always relates to the turning radii of the forms. In every system, there are certain forms that are the most broadly turning, and certain forms that are most tightly turning. Artists can track these facts by controlling the range of tonal change, making certain that no edge transition is out of order. Close subject matter enjoys the possibility of the greatest value range; so greatest expression of form is ideal for the foreground. This correlates nicely with our stereo vision, as human beings. We perceive volume close, but subject matter flattens with distance.

Line can be combined with tone in painting. As tonal opportunities are closed off by limits of value or color, line can be introduced to sum up the curvatures and contrasts in form. All the edge transitions that one might conceive of in tonal painting can be distilled into line equivaliants. Line tends to work only in fore and middle grounds. But this is only if the purpose of the painting is to exhaust the entire spatial potential of graphical description.

Artists like Wayne T. are not (apparantly) focused on getting deep space, but instead are toying with ambiguities through color, edge, line, contrast, and such. The de-converging lines of perspective, the intense color throughout, the texture, the line, etc. all suggest an exploration of how to untie the illusions of space possible on the flat canvas. That would seem to be his deliberate purpose, and because of this, I have no beef with the result. Would I enjoy this exploration as a life career? I'm not attracted to that pursuit for myself, although I don't begrudge anyone who wants it. It is easy to tell that Wayne's work is purposeful, and I wouldn't use my own graphical systems to rate his works' success. His work is internally consistant, but not consistant with Nature. Artwork that is internally consistant suggests its own rules for success.

Artists who cannot control the consistancy within their own works are still on the learning curve. It is usually easy to see where the novice is headed, whether it is the way of Nature, or the way of Modernism's attraction to the flat. If it's Nature that the student wants to emmulate, there are fairly universal guidelines that can be followed. Not following essential guidelines will delay mastery.

Also, Note to Oberschlake:
Neither Odd nor Lucian do me, either. Sorry. ...and Odd isn't especially working "like" the old masters, with his edges. I question whether his paint application is like theirs, either. In any case, neither would have been remembered as great masters today, if they painted or drew at their current ability then.

[Oberschlake]

Cindy, Thanks for posting this! It was indeed very inspiring.

quote:---they find themselves just sitting and not doing anything, and they think they're wasting their time, and make themselves get up and do something while they're waiting for inspiration.

This is the number one reason I already have regrets about joining Wetcanvas. It has proved to be a major kill-time. There have obviously been some great benefits, but the bottom line is, we could always be painting or sketching instead. An occasional visit would be great, but I can't seem to do that???

I was also very interested in the brief mention of "women artists". I was blown away when I first discovered the "The Guerrilla Girls". Mainly, a poster that they printed of comparisons to the price of men's and women's art. Ironic to this forum- one of the men was Lucian Freud, another Eric Fischl- It pointed out that for the price of one painting by any of these men, you could purchase at least one painting by close to a hundred "well-established" women artists/artists of color, including Fridha Kahlo, Mary Cassatt, Kathe Kollwitz, Georgia O'Keeffe, on and on.

I don't think it's quite THIS bad anymore is it? I very sincerely hope not.

Michael: Who can quit cold turkey? Over and out.;)

[MichaelRH]

I want to re-read it a few times, but I'm off to work shortly. :(

It is all quite interesting and enlightening...thank you for taking the time to respond is such depth. I'll be back to read..and study this further-- later tonight.

As Oberschlake has noted...I'm hoping that members who need to paint will continue to make time to be here when they can.

I am surprized Rebecca, by the time you took...to share your insights. I realize that you..and others here...are not able to be here as often as we might like... Our work is so very important to us.

[youmna]

Hello Rebecca, everyone,


I'm a new user here (this is my first post), and wanted to express like everybody else my desire to see more of Rebecca's work here! When I read your initial message it rang a bell because I was doing the same thing as you (lurking), and you sort of encouraged me to register. Except that I am at the exact "opposite" of you all in a way, I have started drawing only 2 months ago, and I'm not 8 or 10... but 26! Still I'll pluck up courage and try to post one of my drawings here... I love the human figure as well, and your approach is very enlightning, even if I don't paint (yet... I hope). So please share more.

Thanks,
Youmna

[MichaelRH]

Originally posted by youmna
Hello Rebecca, everyone,


I have started drawing only 2 months ago, and I'm not 8 or 10... but 26! Youmna

Youmna...I waited until I was about 35 before I started to take my artwork seriously. I did not take any art courses (well one..), until I was in college..and even then..at first..not very many at all.

So, I feel I was a VERY late starter...... I wouldn't worry about feeling like you are behind. At whatever time in our lives we discover something that we love to do...that is the time to throw yourself into your work ... and make things happen.

I'm looking foreward to seeing your work.

[sun_merman]

I loved your pieces and comments. I think that it is important to remember that many of the greatest masters did not "get a masters".

Some schools would do a lot better to evaluate the criteria for selecting their teachers. I think your local colleges should rethink their mission.

I always have thought that the greatness of a teacher is not just what one produces but in how well that person motivates others to become the best at their own gifts!

You certainly inspire me to do better!

[Rebecca]

So, cagathoc found the on-line interview. Overall, it did reflect my words in the interview. However, his quote, "[sometimes] I hate my life and wish I could escape" was innaccurate. I was responding to a question about a common problem that creative people get into -- getting stuck. That is, not being able to solve a creative problem, or losing track of the muse. I believe I told him that I usually just push on and solve it without the benefit of the muses, but sometimes when I get hopelessly stuck, I step out of the house and take a walk. I gave him an example like, I might get overwrought by some idiotic confrontation with a bureaucratic art advisor, lose track of my creative directive, and decide to take a walk to clear my head. As soon as I get out into my neighborhood, I am reminded of what a horrible place I live in, how it is devoid of inspiration, so I resolve to go back and work to get my career where it needs to be, so I can afford to escape -- to live in a place that can inspire me.

For sun_merman, colleges generally have guidelines that promote the products of their qualifying programs. What would they tell their graduate students, if they hired professors who did not go through the same "training"? These schools produce far more MFA's than there are teaching jobs. The MFA is the qualifying degree for college or high school art instructors. They have to give priority to the people who went through the qualifying programs. Schools are very focused on credentials -- they create credentials; they hire credentials. Because I decided to focus on a studio practice, I became a better artist than those who put their time in on MFA's, where they were required to "do something different" and formulate verbal explanations for their place in art history. Then, if they do get a spot in a school and teach full time, they haven't the time to really get good, studiowise that is. Maybe I have more knowledge and skill to inspire students. My local reputation would seem to say so. But the system simply has no use for someone who didn't chase the MFA. I accept that. I never applied to teach at those schools. They (the professors who were looking for colleages, and one administrator) invited me each time.

Oberschlake, A good deal of your studio time might be simply sitting and staring out into the room. Chances are, if you use that important time doing something else, you won't do as much art making. Unfortunately for me, reading and participating in forums and replying to email do not qualify as the [just sitting doing nothing] lull in the art making process. Maybe there are other artists out there who can switch from being engaged in other activities to making art at the _highest level of focus_. But, so far, I have not met one.

As you all know, because I mentioned this at the start, I won't have a lot of time to post in the future. I knew I had a period of time this week when I didn't need to focus on my work, so I stepped forward. If I get engaged in various discussions, apart from this thread, I'd regret my loss of studio time. As you can see, once I engage, I put intense effort into clarifications. That is OK for now. I still have a little play time left.

So thank you all for your nice and supportive comments about my work and words. I would love to double the time in one day and engage in more threads beyond this one. You are all so welcoming. I will see if or how I could manage this...

[Leopoldo1]

Rebecca, I just was informed of your post here today. You are good and I mean very good. I hope you post more because you have alot to share! Admirer :oL

[Miltz]

All this gushing praise is probably getting old, so I won't add much except a big "thank you". I am going back to school specifically for the elusive masters, your thoughts on teaching and the nature of art in general is extremely helpful.

Like you, I was very disappointed in the quality of instruction when I got my undergraduate degree, and I have found teaching very rewarding. It feels like a way to give back, trite as that sounds.
Powerful work, erudite and clearly stated information and opinion...you are a gem. I will be dropping by your site, of course. Again, thanks, Rebecca. Welcome to Wet Canvas!

[Rebecca]

Originally posted by Miltz
All this gushing praise is probably getting old, so I won't add much except a big "thank you"...

You're welcome Miltz, and thank you too -- and same to Leopoldo for your earlier post. I was thrilled to see that this thread got a rating. I just found a good excuse to post a couple more images here, re: Leah at the Palo Alto Art Center. So, any time you have a question or a comment, just "call my name" anywhere in the wetcanvas forums. I search for posts with my name in them every couple of days or so.