Seneca: On the Shortness of Life
Art & fear : observations on the perils (and rewards) of artmaking
The best you can do at any moment is the best you can do at that moment. Your job is to learn to work on your work. You learn how to make your work by making your work make art you care about, and lots of it. The function of most of your work is to teach you how to make that small fraction of artwork that soars. When the artist becomes a form of identity, when the artist is identified with self, then flawed art means a flawed self, or no art means no self. When the pain of working is less than the pain of not working you get down to the work! Those who continue are those who have learned how to continue, or not to quit.
Discipline: No category Subject: No topic. Ordinary art. Ordinary art means something like: all art not made by Mozart. After all, art is rarely made by Mozart-like people; essentially—statistically speaking—there aren't any people like that. Geniuses get made once-a-century or so, yet good art gets made all the time, so to equate the making of art with the workings of genius removes this intimately human activity to a strangely unreachable and unknowable place. For all practical purposes making art can be examined in great detail without ever getting entangled in the very remote problems of genius. The book's co-authors, David Bayles and Ted Orland, are themselves both working artists, grappling daily with the problems of making art in the real world.
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