|
BOOK REVIEW-ART AND FEAR
Observations on The Perils (and Rewards) of ARTMAKING
If you intend to read this book in order to learn how or where to sell your photographs-don't bother. There are a pile of books that attempt those tasks. This book is about the creation of art and the fears that most of us have about that process. The authors explore the making of art, why art often does not get made and the difficulties experienced by people who used to make art and stopped.
The writers, David Bayles and Ted Orland are teachers and working artists. Their comments are not confined to photography. They resinate through the entire spectrum of artistic and creative endeavors. Almost everything they say applies to all of the arts, and most artists as well.
The authors have come up with a slim but worthwhile book of engaging and sometimes controversial concepts. For example, their views on the long term benefits of talent differ radically from the time worn concept of the magically gifted artist and give hope to those of us who sometimes feel talent-less. The writers state; "...talent is rarely distinguishable, over the long run, from perseverance and lots of hard work". Their notion is that art is made by ordinary people, working hard and focusing their endeavors on things they care about.
ART AND FEAR discusses the difference between making and viewing art and the interaction between the creator and the observer. The authors speculate on what the artist and the former artist have in common, and what separates them. The authors opine on many of the issues that artists throughout history have faced since artmaking began. The style of writing is almost in outline form. The authors use a word or phrase that highlight a concept, discuss it and move on to the next one.
Most importantly, as the title implies, the authors identify, demystify and explore many of the fears that artists experience. They help artists understand that many of these fears are universal. This simple discovery alone is reassuring.
Stuck in a rut? The authors believe that; "Artists get better by sharpening their skills or by acquiring new ones, they get better by learning to work, and by learning from their work."
The authors are firm believers that the one's work is the artist's primary teacher. They espouse that one's art is made the best it can be by doing it, learning from one's mistakes and then making more art with the knowledge that has been gained. A combination of quantity and thoughtfulness is often what counts. However, being prolific is not a virtue in and of itself. The authors contend that the more proliferate the artist, the more that can be learned from the work and the better one's work will become. Simply put, when we work and critically review the results, we learn from our mistakes and successes. That, in large part, is how we improve our work.
While you may not agree with all or even much of what the authors have to say, the book is worthwhile for the questions it asks. They are the questions that artists are asking, or should be asking. The authors admit they do not have all of the answers. It is the questions and the provocative responses that make this book so relevant. The writers also confront the fears that most artists have and often never articulate; Am I talented enough to do this work?, How important is it that others like what I do?..., and many others.
For those who make art, and for those that did and wish they could again, this book is a must read.
Normally, the images that appear with these articles attempt to illustrate a point I am making or show an example of what is being discussed. The accompanying image has little to do with the writing itself (except perhaps to show my level of talent, or lack thereof). Normally I focus my image making on Street Photography. However, it is refreshing and renewing to sometimes step outside of your norm. Recently, I had the privilege of working with Lisa Crofts, of West Palm Beach, Florida, the model shown in the accompanying image. Her profession is modeling, for artists, students, photographers and others. Modeling for her is an art form, much like acting. When working with Lisa, one does not need an art director. The pictures almost took themselves.
(The author, Michael Dubiner is a professional image maker and lawyer who lives in Wellington, Florida. His articles will appear twice monthly on PixiPort. His work can be seen at PixiPort.com and at his web site, duby.com.)
|
|