1 / 12

Risk Taking

Risk Taking. Or, you mean I could, dum dum dum, FAIL!. I never make the same mistake twice. I make it like five or six times, you know, just to be sure!. Art and Fear. Observations on the Perils (and Rewards) of Artmaking David Bayles & Ted Orland 1993, Image Continuum Press

pooky
Download Presentation

Risk Taking

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Risk Taking Or, you mean I could, dum dum dum, FAIL!

  2. I never make the same mistake twice. I make it like five or six times, you know, just to be sure!

  3. Art and Fear Observations on the Perils (and Rewards) of Artmaking David Bayles & Ted Orland 1993, Image Continuum Press ISBN: 0-9614547-3-3

  4. Writing is easy: all you do is sit staring at a blank sheet of paper until drops of blood form on your forehead. Gene Fowler

  5. Making art and viewing art are different. Making art provides uncomfortably accurate feedback about the gap that inevitably exists between what you intended to do, and what you did. (pp,4-5)

  6. You learn how to make your work by making your work. The best you can do is make art you care about—and lots of it.

  7. The critique When “the critique” is the only validated destination for work made during the first half-decade of an artist’s productive life, small wonder that attrition rates spiral. . .

  8. Free Play: Improvisation in Life and ArtStephen Nachmanovitch Two kinds of judgment: Constructive and Obstructive. The trick for the creative person is to be able to tell the difference. (p. 134)

  9. Approval The difference between acceptance and approval is subtle, but distinct. Acceptance means having your work counted as the real thing; approval means having people like it

  10. Those who can, do. . . The greatest gift you have to offer your students is the example of your own life as a working artist.

  11. Carl Jung The artist’s life cannot be otherwise than full of conflicts, for two forces are at war within him (her)—on the one hand the common human longing for happiness, satisfaction and security in life, and on the other a ruthless passion for creation which may go so far as to override every personal desire. . . There are hardly any exceptions to the rule that a person must pay dearly for the divine gift of creative fire.

  12. A final thought The role of the university has always been to provide an education, which is a small but significant step removed from providing training. Training prepares you for a job; an education prepares you for life. (p87, Art & Fear)

More Related