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Pearls from artists* # 263

"Alone Together," soft pastel on sandpaper, 20" x 26"

“Alone Together,” soft pastel on sandpaper, 20″ x 26″

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

Making art and viewing art are different at their core.  The sane human being is satisfied that the best he/she can do at any given moment is the best he/she can do at any given moment.  That belief, if widely embraced, would make this book unnecessary, false, or both.  Such sanity is, unfortunately, rare.  Making art provides uncomfortably accurate feedback about the gap that inevitably exists between what you intended to do, and what you did.  In fact, if artmaking did not tell you (the maker) so enormously much about yourself, then making art that matters to you would be impossible.  To all viewers but yourself, what matters is the product:  the finished artwork.  The viewers’ concerns are not your concerns (although it’s dangerously easy to adopt their attitudes).  Their job is whatever it is:  to be moved by art, to be entertained by it, to making a killing off it, whatever.  Your job is to learn to work on your work.

David Bayles and Ted Orlando in Art & Fear:  Observations On the Perils (and Rewards) of ARTMAKING

Comments are welcome!

Pearls from artists* # 262

"Big Deal," soft pastel on sandpaper, 58" x 38"

“Big Deal,” soft pastel on sandpaper, 58″ x 38″

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

It may have been easier to paint bison on the cave walls long ago than to write this (or any other) sentence today.  Other people, in other times and places, had some robust institutions to shore them up:  witness the Church, the clan, ritual, tradition.  It’s easy to imagine that artists doubted their calling less when working in the service of God than when working in the service of self.

Not so today.  Today almost no one feels shored up.  Today artwork does not emerge from secure common ground:  the bison on the wall is someone else’s magic.  Making art now means working in the face of uncertainty; it means living with doubt and contradiction, doing something no one much cares whether you do, and for which there may be neither audience nor reward.  Making the work you want to make means setting aside these doubts so that you may see clearly what you have done, and thereby see where to go next.  Making the work you want to make means finding nourishment within the work itself.  This is not the Age of Faith, Truth, and Certainty.

David Bayles and Ted Orlando in Art & Fear:  Observations On the Perils (and Rewards) of ARTMAKING

Comments are welcome!