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Pearls from artists* # 719
With “Magisterial,” soft pastel on sandpaper, 70” x 50” framed
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on
The secret of success is to find out what your talent is for and then seek to develop the technical abilities you will need to assist you in acquiring the necessary skills. It is here that the secret of success or the forming of great achievements lies for every noble artist, no matter what their medium is. Passion and inspiration will come automatically to assist your noble vision when you broaden your experience and knowledge to become an expert in your particular field, thus helping to improve the lives of mankind. Believing that what you are creating will bring advancement to man’s life will also follow as will hopefulness for the future. Those who benefit from your service, directly or indirectly, will reward you for that which your rare talent has produced and for improving their lives while contributing to the advancement of mankind.
Samuel Adoquei in Origin of Inspiration: Seven Short Essays for Creative People
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Pearls from artists* # 717
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
Go slowly. Success is a kind of energy field. You vibrate in it like a charged particle. There are new demands on your tine and talents, new interview requests and business questions, new possibilities and opportunities. In this context, when you have a free half-hour you may continue spinning like a top. Walk, breathe, stretch, meditate. Do the mundane: scrape a carrot, sweep the patio. Calm down.
Manage your money. You may or may not have paydays like this again. Study a book on money management. Learn your options. Think before you have a full-time personal trainer or buy Adar that corners too tightly at 100 miles an hour. Think before you find yourself in the position of needing to earn half a million a year in order to cover expenses and feed your vast retinue.
Protect your privacy. Begin to calculate how public and accessible you want to be. Learn how not to give yourself away. Be able to say “Thank you” and “I don’t have an answer for that question.” Have an interview persona and a public persona. At the same time be able to access your humanity.
Manage your anxiety. New stresses exist in your life. More is expected of you. The ante on each project rises. Success is not a magic pill that allays anxieties.
Expect setbacks. The next book you write after your bestseller may disappoint you, your publisher, or your readers. The movie you directed after your blockbuster May bomb. But even if your stock is lowered in the eyes of the world, it need not sink in your own eyes. Virtually no artist experiences one success after another. Determine to come back. If doors have closed to you, consult your business adviser. Plan and analyze ways to reopen them. Demonstrate your courage all over again.
Remain human. Guard your privacy and your person; decline to become a stereotype or a frozen icon. Be more than the bad-boy rock singer, the sex goddess, the reclusive dancer, the brilliant violin virtuoso. Remember that you have a heart and mind as well as a reputation.
Eric Maisel in A Life in the Arts: An Expanded Workbook Edition of Staying Sane in the Arts
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Pearls from artists* # 711
Barbara’s 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
The people considered ‘most accomplished’ in our culture pass through a standardized education conveyor belt to be indoctrinated into a cutthroat hamster wheel success ladder. Yet the production and consumption of those goods are destroying the planet that sustains our very lives. Those who question the absurdity of these choices are considered deviant. Try to carve a different path for yourself that makes sense to you, and every societal force conspires to push you back into that absurd groove that virtually everyone else swerved into long ago.
Artists also deal with vocation specific stress. We confront repeated rejection in a way that most other professionals do not. Our relationships may suffer from family members who fail to understand how art careers ‘work.’ They may resent that we bring in little money. There is often a maddening lack of congruity between artists’ abilities, sustained hard work, and reward. Engineers who excel at their job can make a good living, while highly skilled creatives may never reap financial benefits, even after a lifetime of effort. Frequently, artists must reckon with the success of others who have far less talent, depth, and dedication, while endlessly struggling to keep their own practice afloat. Finally, although many people suffer from early trauma and manage to survive and move on, it is in the nature of sone artists’ work to repeatedly re-expose themselves to pain through their practice.
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice
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Pearls from artists* # 563
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
[John] Graham defined art as a “process of abstracting” thought and emotion by the use of paint or metal or stone. Because art was therefore intrinsically abstract, the duty of the artist would be to push abstraction “fearlessly to its logical end instead of evading it under the disguises of charm or being ‘true to nature.’” The artist created for society, he said, but if that society didn’t like what he or she had produced, the artist”does not trade his ideals for success. Martyrs and saints love luxury and success just as much as ordinary people, only they love something else even more.” Graham said, if the artist is a true genius, he can expect to be misunderstood and alone. “The beauty of genius is frightful to behold, few can envisage it. Others find subterfuge in scepticism.” The abstract artist, he said, would be repeatedly challenged by such skeptics asking, “‘What does it mean?’… Is it a sky, a house, a horse?’” To which they should respond with confidence and honesty, “‘No, it is a painting.’”
Mary Gabriel in Ninth Street Women
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Pearls from artists* # 520
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Ondaatje: Do you think success and failure can distort the lessons an artist is able to learn?
Murch: There’s that wonderful line of Rilke’s, “The point of life is to fail at greater and greater things.” Recognizing that all of our achievements are doomed, in one sense – the earth will be consumed by the sun in a billion years or so – but in another sense the purpose of our journey is to go farther each time. So you’re trying things out in every film you make, with the potential of failure. I think we’re always failing, in Rilke’s sense – we know there’s more potential that we haven’t realized. But because we’re trying, we develop more and more talent, or muscles, or strategies to improve, each time.
In The Conversation: Walter Murch and the Art of Editing Film by Michael Ondaatje
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Pearls from artists* # 505
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
… I myself was once “at the top: – with a book that sat on the bestseller list for more than three years. I can’t tell you how many people said to me during those years, “How are you ever going to top that?” They’d speak of my great good fortune as though it were a curse, not a blessing, and would speculate about how terrified I must feel at the prospect of not being able to reach such phenomenal heights again.
But such thinking assumes there is a “top” – and that reaching that top (and staying there) is the only motive one has to create. Such thinking assumes that the mysteries of inspiration operate on the same scale as we do – on a limited human scale of success and failure, of winning and losing, of comparison and competition, of commerce and reputation, of units sold and influence wielded. Such thinking assumes that you must be constantly victorious – not only against your piers, but also against an earlier version of your own poor self. Most dangerously of all, such thinking assumes if you cannot win, then you must not continue to play.
But what does any of that have to do with vocation? What does any of that have to do with the pursuit of love? What does any of that have to do with the strange communion between the human and the magical? What does any of that have to do with faith? What does any of that have to do with the quiet glory of merely making things, and then sharing those things with an open heart and no expectations?
Elizabeth Gilbert in Big Magic: Creative Living Beyond Borders
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Pearls from artists* # 451
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Your attitude towards resistance determines the success of your work and your future. Resistance should be cultivated. How you meet these obstacles that present themselves in the light of any endeavor determine the direction of your life and career.
Allow me to propose a few suggestions about how to handle the natural resistances that your circumstances might offer. Do not wait for enough time or money to accomplish what you think you have in mind. Work with what you have right now. Work with the architecture you see around you right now. Do not what for what you assume is the appropriate, stress-free environment in which to generate expression. Do not wait for maturity or insight or wisdom. Do not wait till you are sure you know what you are doing. Do not wait until you have enough technique. What you do now, what you make of your present circumstances will determine the quality of your future endeavors.
And, at the same time, be patient.
Anne Bogart in A Director Prepares: Seven Essays on Art and Theatre
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Q: What is the most important factor behind your success?
A: In a word, I’d say it’s love. I love soft pastel! I love being an artist! I love looking at the thousands of pastels in my studio while I think about the possibilities for mixing new colors and making exciting new pastel paintings. Soft pastels are rich and intense.
Even after more than thirty years as an artist, I still adore what I am able to accomplish. I continually refine my craft as I push pastel to new heights. My business card says it all: “Revolutionizing Pastel as Fine Art!”
The surfaces of my finished pastel paintings are velvety and demanding of close study and attention. Soft pastel on sandpaper – no other medium is as sensuous or as satisfying. Who could argue with that!
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Pearls from artists* #447
Cameron Crowe: I think this collection is a powerful gift, especially to young artists. It’s a portrait of you at a certain time in your life when you were having success. You could have plateaued at this stage for an entire career. Many did. But I listen to this and think the hidden message is don’t stop growing. Don’t stop heading to those deeper waters… challenge yourself… look where it may take you.
Joni Mitchell: That’s what the Van Gogh exhibition was to me. When I went to see the Van Gogh exhibition they had all his paintings arranged chronologically, and you’d watch the growth as you walk along. That was so inspiring to me, and I started to paint again. If it serves that purpose, that would be great. Really, that would make me very happy. It shows that from this… because the latter work is much richer and deeper and smarter, and the arrangements are interesting, too. Musically I grow, and I grow as a lyricist, so there’s a lot of growth taking place. The early stuff – I shouldn’t be such a snob against it. A lot of these songs, I just lost them. They fell away. They only exist in these recordings. For so long I rebelled against the term: “I was never a folk singer.” I would get pissed off if they put that label on me. I didn’t think it was a good description of what I was. And then I listened, and… it was beautiful. It made me forgive my beginnings. And I had this realization…
CC: What was it?
Joni: Oh God! (Laughs) I was a folksinger!
In A Conversation with Joni Mitchell by Cameron Crowe from Joni Mitchell Archives Volume I: The Early Years (1963-1967) 5 CD set
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Pearls from artists* # 414
New York, NY
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
As we grow into our true artistic selves, we start to realize that the tools don’t matter, the story does. Your point of view and the way that you express yourself as a photographer are how you tell the stories that matter to you. And that, my friends, is therapeutic.
There’s a certain amount of Zen in that act. Peace and tranquility are hard to come by in today’s world. But through photography, we all have a chance to find both.
As photographers, we sometimes lose sight of the fact that our ability to use a camera gives us a chance to show everyone else who we are. Young photographers often obsess over doing something new. Older photographers, like Rick and I, realize that the real goal is in being you. So focus on being you not on being new for new’s sake. This is the path to both inner and outer success.
People will ask you what you photograph. I personally am often described as a bird photographer. But we are not what we do. It’s important to note the difference. And that is because people don’t care what you do. They care why you do it. If you are doing what you are meant to do, you will be able to articulate your own why.
Scott Bourne in Photo Therapy Motivation and Wisdom by Rick Sammon
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