Interview with artist Gerry Bergstein

As a teacher, what do you teach at the School of the Museum of Fine Arts?
I teach painting, although, this semester I’m either talking about painting or teaching studio painting. So I’m either talking to students about their work or teaching history courses for basic painters.

What do you think makes a good art teacher?

I don’t know, because my two most influential teachers were really different from each other. Henry Schwartz was very supportive, but could be brutally tough. My other favorite was just very supportive. I think that a good teacher can talk to a student about the student’s goals and brainstorm with them about how to achieve their goals technically, and also tell them what they should look at and think about. Empathizing with the student’s goals is very important. Also, widening the student’s horizons.

My style of teaching is to be open to almost any idea the student has, and to push them in that idea. Other teachers think “No, you have to do it my way”, and I think that can work too. The teacher has to challenge the student.

How do you go about challenging a student?

I challenge a student by being both supportive and honest at the same time. It’s important that if something is clearly not in synch with what the student is trying to do that you tell them that in a way that makes them think, but doesn’t’ make them want to shoot themselves. Sometimes pushing someone really hard can work. I think the student has to have confidence in their own; you have to listen to critique, but not necessarily obey all the time. You have to keep your center.

Artistic family:

Most artists are part of a family, I love Leonardo and Velázquez, and then Goya, and I think all those artists have things in common. I think they all have a funny, but dark view of humanity. I think that’s kind of my artistic family. Each generation is part of a family, but each makes art in a different way that is relevant to their generation.

Would you say that an artistic family is your influences, or that your share a similar style as them?

They’re your influences, and maybe there’s a psychological connection. For example, maybe you have the same kind of temperament. I would say that they are your influences. They’re the work you love the most, or maybe sometimes the work you hate the most.

What were your influences when you were younger?

I always drew; I wasn’t sure I wanted to be an artist until I went to college. My influences when I was younger were seeing shows at the Museum of Modern Art. My mother and father were both very interested in art and music, and would drag us to museums when we were too young to appreciate them. My mother said one time, “There’s this show at the Museum of Modern Art by Max Ernst, he’s a surrealist. I think you should go see it.” So I went to see it and I fell in love with surrealism, I fell in love with German expressionism. So I went home and tried to draw like those artists that I had just fallen in love with. So I became and artist by falling in love with drawing on my own, and then also falling in love with other artists.

How did growing up in Queens influence you?

My family was interested in the arts, and that influenced me. Then being around museums influenced me. Queens is not like Manhattan; it’s rows and rows and rows of houses right next to each other, and among the neighborhood there was not much interest in art. It was a little depressing. I think I got some of my dark viewpoint from that.

Do you start painting with an original idea?

I do start painting with an initial idea, unless I’m floundering and just experimenting. Usually, I start with an initial idea which often draws from a previous painting. So I if did a painting that explored something, I’ll often get an idea from that painting on how to further explore that idea more fully. Each painting extends from another painting. The original idea often half disappears.

How do you overcome artist’s block?

That’s a really good question. Sometimes keeping a journal helps, writing down things you are anxious or nervous about, sitting down in front of on old work and writing down adjectives, talking to friends, and having some confidence in yourself that you will have blocks and you will get over them. When in doubt do anything; just take out a sketchpad and start doodling. Don’t try to overanalyze, just let your mind and your hand go.

How has your style developed over the years?

I’ve learned technique a little better, and I’ve delved deeper into these themes that interest me; like what is reality, and what is the relationship between autobiography and art. I keep exploring these themes in different ways and different mediums, and also trying to master the techniques that I need for each one. I think I’ve gotten more confident, and that I no longer think that if I think I don’t have an idea for a few weeks that I’m doomed. I’ve realized that I will have an idea, and that it will be ok. I think that taking risk is important. For the first ten years of my career I was terrified of taking risk because I was afraid I couldn’t do anything else, but slowly I’ve learned that you really do learn from failures and you can do something else.

How do you think artists are different from other kinds of people?

I think they’re just as jerky as regular people. I think artists are lucky to be able to pursue their version of human existence as a career. They may have some insight into human existence, but it doesn’t necessarily help them become saints. It’s an interesting career, because you have the opportunity to explore beauty and truth. There are a lot of jerky artists; there always tends to be a lot f narcissist and ego maniacs. I don’t thinks there’s a direct cause and effect that being an artist makes you a better person, but there are subtle things that happen. I think art is good for the world.