Art & Fear: Observations On the Perils (and Rewards) of Artmaking

Bayles, David; Orland, Ted

ISBN 10: 0961454733 / ISBN 13: 9780961454739

Published by Image Continuum Press, 2001

About this Item

Seller Inventory # ABE-1785876877582

Bibliographic Details

• Title: Art & Fear: Observations On the Perils (and Rewards) of Artmaking
• Publisher: Image Continuum Press
• Publication Date: 2001
• Language: English
• ISBN 10: 0961454733
• ISBN 13: 9780961454739
• Binding: Soft cover
• Edition: 1st Edition
• Condition: Very Good
• Dimensions: 13.97W x 20.32H x 1.02D centimeters 13.97 centimeters width by 20.32 centimeters height by 1.02 centimeters depth
• Weight: 1050 grams

About this title

Synopsis

"This is a book about making art. 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."
---from the Introduction

Art & Fear explores the way art gets made, the reasons it often doesn't get made, and the nature of the difficulties that cause so many artists to give up along the way. 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. Their insights and observations, drawn from personal experience, provide an incisive view into the world of art as it is expeienced by artmakers themselves.

This is not your typical self-help book. This is a book written by artists, for artists --- it's about what it feels like when artists sit down at their easel or keyboard, in their studio or performance space, trying to do the work they need to do. First published in 1994, Art & Fear quickly became an underground classic. Word-of-mouth response alone--now enhanced by internet posting--has placed it among the best-selling books on artmaking and creativity nationally.

Art & Fear has attracted a remarkably diverse audience, ranging from beginning to accomplished artists in every medium, and including an exceptional concentration among students and teachers. The original Capra Press edition of Art & Fear sold 80,000 copies.

An excerpt:

Today, more than it was however many years ago, art is hard because you have to keep after it so consistently. On so many different fronts. For so little external reward. Artists become veteran artists only by making peace not just with themselves, but with a huge range of issues. You have to find your work...

From the Author

This book is written by working artists, for working artists
Art & Fear is a book about the way art gets made, the reasons it often does not get made, and about the difficulties that cause so many artists to give up along the way. The authors (David Bayles & Ted Orland) are both working artists, grappling daily with the problems of making art in the real world. The observations we make are drawn from personal experience, and relate more to the needs of fellow artists than to the interests of viewers. Do not mistake Art & Fear for a pop psychology self-help book -- we are not interested in freeing your inner child! This is a book about what it feels like to sit down at your wheel or keyboard, easel or camera, trying to do the work you need to do. Simply put, you have a choice between giving your art your best shot and risking that it will not make you happy, or not giving it your best shot and thereby GUARANTEEING that it will not make you happy. What we have tried to do is illuminate the obstacles you face, and offer some artistic strategies for getting past them. Art & Fear has never been advertised and was never reviewed by a major publication, but it has nonetheless become something of an underground classic in the three years since it was published. Our distributor says it has become required reading for at least a few hundred university art courses across the country. (One painting instructor told us that, over the course of the semester, she reads the entire book aloud to her drawing class as background input while theyıre at work in the classroom studio.) It is now in its seventh printing.