Fears About Making Art Fall Into 2 Families What Are Those Two Families?
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Art and Fearfulness: Observations on the Perils (and Rewards) of Artmaking by
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Art and Fear Quotes Showing 31-lx of 77
"The discovery of useful forms is precious. In one case found, they should never exist abandoned for trivial reasons. It's easy to imagine today'south art instructor cautioning Chopin that the Mazurka thing is getting a trivial repetitive, that the work is not progressing. Well, truthful, it may not have been progressing — merely that'south not the issue. Writing Mazurkas may have been useful just to Chopin — as a vehicle for getting back into the piece of work, and as a place to begin making the next piece. For most artists, making good fine art depends upon making lots of fine art, and whatever device that carries the kickoff brushstroke to the next bare canvas has tangible, practical value. Just"
― Art & Fright: Observations on the Perils (and Rewards) of Artmaking
"Merely curiously, while artists always take a myriad of reasons to quit, they consistently await for a handful of specific moments to quit. Artists quit when they convince themselves that their next endeavor is already doomed to fail. And artists quit when they lose the destination for their work — for the place their work belongs."
― Art & Fear: Observations on the Perils (and Rewards) of Artmaking
"Just those who commit to post-obit their ain artistic path can look back and see this consequence in clear perspective: the real question about acceptance is non whether your work volition be viewed equally art, but whether it will be viewed as your art. Approval"
― Art & Fearfulness: Observations on the Perils (and Rewards) of Artmaking
"Your imagination is free to race a hundred works alee, conceiving pieces you could and peradventure should and maybe i day volition execute - but not today, non in the piece at hand. All you can work on today is directly in front end of you. Your job is to develop an imagination of the possible."
― Art and Fear: Observations on the Perils (and Rewards) of Artmaking
"Making fine art depends upon noticing things — things virtually yourself, your methods, your subject matter. Sooner or later on, for case, every visual artist notices the relationship of the line to the picture'south edge. Before that moment the relationship does not exist; afterwards it's impossible to imagine it not existing. And from that moment on every new line talks back and forth with the picture'southward edge. People who have not still fabricated this small-scale leap practise not see the same motion-picture show as those who have — in fact, conceptually speaking, they do non fifty-fifty live in the same world."
― Art & Fright: Observations on the Perils (and Rewards) of Artmaking
"catering to fears of being misunderstood leaves you dependent upon your audience. In the simplest yet most deadly scenario, ideas are diluted to what you imagine your audience can imagine, leading to piece of work that is condescending, big-headed, or both. Worse yet, you condone your own highest vision in the procedure."
― Art and Fear: Observations on the Perils (and Rewards) of Artmaking
"Control, apparently, is not the respond. People who demand certainty in their lives are less probable to make fine art that is risky, destructive, complicated, iffy, suggestive or spontaneous. What'due south really needed is nothing more than than a wide sense of what you lot are looking for, some strategy for how to find it, and an overriding willingess to embrace mistakes and surprises along the fashion."
― Fine art and Fear: Observations on the Perils (and Rewards) of Artmaking
"well, David Bayles, to be exact — who began piano studies with a Master. After a few months' practice, David lamented to his instructor, "Only I can hear the music so much amend in my head than I can become out of my fingers." To which the Master replied, "What makes you think that ever changes?"
― Art & Fearfulness: Observations on the Perils (and Rewards) of Artmaking
"THOSE WHO WOULD MAKE ART might well begin by reflecting on the fate of those who preceded them: well-nigh who began, quit. It's a 18-carat tragedy. Worse yet, information technology's an unnecessary tragedy. Later all, artists who continue and artists who quit share an immense field of common emotional"
― Art & Fear: Observations on the Perils (and Rewards) of Artmaking
"For Charles Darwin, evolution lay revealed when a perfect survival strategy for one generation became, in a irresolute world, a liability for its offspring. For you, the seed for your next fine art work lies embedded in the imperfections of your current piece."
― Fine art and Fear: Observations on the Perils (and Rewards) of Artmaking
"Only is the Mona Lisa actually art? Well and so, what near an undetectably perfect re-create of the Mona Lisa? That comparison (however sneaky) points upwardly the fact that it's surprisingly difficult, maybe even impossible, to view any unmarried work in isolation and dominion definitively, "This is art" or "This is craft." Hit that difference means comparing successive pieces made past the aforementioned person. In"
― Fine art & Fear: Observations on the Perils (and Rewards) of Artmaking
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