Thoughts on the book, “Art & Fear”, by David Bayles and Ted Orland
But First, Misconceptions on My Part
I have dabbled in artmaking (as the authors call it) over the span of my life, but not seriously. For some reason, I didn’t understand that it takes time, dedication, and a willingness to learn to become a good artist. I thought that all people were born with no artistic talent or a measure of it, from small to great, and I got the small art talent stick. I was discouraged because I figured I had nowhere near the talent of some artists whose works I’d admired. This belief is partially why I didn’t start to seriously create until I was in my 40s.
If only I would have read this book when it came out. I suppose I was 19 at that time. Ironically, it was gifted to me by a boy I dated in my early 20s. He was an artist as well, and he was saddened that I didn’t work on my art. I didn’t read the book when he gave it to me, because I thought it would be about being afraid to finish things because of a fear of showing art. Maybe I didn’t want to face up to that because I knew there was truth in that. However, after finally listening to the audiobook twice, I can honestly say that there is more in the book than a discussion of fear in sharing your work.
I’m going to underscore a few of the parts of this book that I found most useful. It’s a very short book, though, and I would recommend you read it yourself if you are any kind of creative: a crafter, knitter, writer, painter, sculptor, pencil artist, etc. It pertains to any artist who is in the business of creating.
About the Authors
David Bayles is an artist who photographs the conflicts and harmony between human beings, trees, and forests. He resides in Oregon and is still creating. Ted Orland is also a photographer, and he was Ansel Adam’s assistant. Ted lives in Santa Cruz, California, where he continues his parallel careers of teaching, writing, and photography.
Snares & Remedies for Artists
While researching for this blog, I came across a statement that said that Art & Fear was the ultimate artist’s survival guide. I like that description. We creatives have a lot of snares to navigate. The book goes over quite a few, but below are some that really resonate with me. After I describe a snare, I briefly overview the authors’ recommendations to overcome these obstacles. Of course, the authors go into each snare and remedy in more detail in the book. Each topic is typically one chapter.
Talent- As I stated in my introduction, I fell into the trap of believing that talent is what is needed to be a good artist. I thought that if you don’t have a certain level of talent, then you should not even bother. The authors insist that this is poppycock. Bayles and Orland tell us that art is made by ordinary people who work hard and persevere. They go on to state that most artists are not like Mozart or other geniuses. I had never really thought about that, and I think it’s beneficial because it removes some of the pressure we put on ourselves. Therefore, we can stop thinking about how much talent we are born with and just get to work! The more you practice your art and learn about your craft, the better you will get regardless of talent.
Perfection- Woah boy, I can identify with this snare as well. Bayles and Orland state that perfectionism only serves to paralyze the artist. I have to admit that perfectionism used to stop me from bothering to draw anything at all. Ask my mother and my old art teacher, Mr. Fabin. I received at least one F in high school in art class because I didn’t want to finish and turn in work that I didn’t like. I think it was because I didn’t want to be judged as an artist based on what I turned in to the class.
Sometimes Mr. Fabin would have us create things I wasn’t comfortable with, which of course was his job. I would find the task too hard, and I wouldn’t like my progress so I would rather quit than try and fix it or turn it in. As any artist knows, it’s pretty soul-exposing to have your work viewed by others, and I was embarrassed by my lack of progress. Of course, in hindsight, now I see how this stubbornness made me progress slower. I didn’t understand that in order to make good art, we have to make a lot of bad art first, and we have to push through being uncomfortable. I was too immature in high school to understand this, but now it makes perfect sense.
I have also learned from this book that trying to be perfect is just a form of fear. It’s almost an excuse that you use so that you don’t have to do something. To remedy this, you just have to churn out work and try not to worry about mistakes. Bayles and Orland remind us that artists are humans, and all humans make mistakes. You have to make lots of not-so-good work to eventually make good work. I’ll add that thicker skin is a good thing as well. Not everyone will like our art, and that’s okay.
Imposter syndrome- This is a term for when an artist feels like a fake and like they shouldn’t even be trying. I suppose I struggle with this one as well, especially because of social media. It’s easy to look at other people’s work and compare myself, and then I feel inadequate. Bayles and Orland say that you can’t be an imposter when you create art, because you are in the actual process of artmaking. So once again, they suggest putting your head down and continuing to make art as a solution. I agree with this 100%. Sometimes it’s good to just get off of Instagram and get to creating.
Audience- The authors refer to an audience as to who is viewing your work. They suggest that we shouldn’t be concerned about what the audience says or thinks because the audience isn’t concerned with our work over time. They are only focusing on one piece. This is great to remember if you hear any negativity from someone. Just remember that you are improving and that you are making art for yourself. If your art touches someone else, well that is just a bonus.
Comparison- Bayles and Orland suggest that comparison with other artists is not a good thing. They say that when artists compete, the focus is on accolades and not the work it has taken the artist to get where he or she is. I would also add that if you enter into a competition, the outcome is somewhat subjective based on the judges. I try and remember that if I don’t receive an accolade for a piece I entered into a competition. The authors say what we really learn from other artists is courage by association. I love that. We need to support each other as artists, and I think some of the social media platforms actually help us with that. We can ask each other for guidance and support, and we can cheer each other on. Which is pretty amazing.
Final Thoughts
I hope that I have spurred you on to check out this artist’s survival guide, Art& Fear. My main takeaway from the book is that I need to churn out more work in order to get better. I need to push past the fear and keep moving or I will feel that I have missed my calling. Yes, it can be painful to create art, but the authors have some great quotes that I think will sum up why we need to persevere:
“What separates artists from ex-artists is that those who challenge their fears continue. Those who don’t quit.”
“Of course, you can deny your dreams, but the result will be uniformly dreary.”
“Insist that world must always remain x, and x is exactly what you will get, but that’s all the world or your art will ever be.”
