Artists Best Quotes

I have a friend who's an artist and has sometimes taken a view which I don't agree with very well. He'll hold up a flower and say "look how beautiful it is," and I'll agree. Then he says "I as an artist can see how beautiful this is but you as a scientist take this all apart and it becomes a dull thing," and I think that he's kind of nutty. First of all, the beauty that he sees is available to other people and to me too, I believe. Although I may not be quite as refined aesthetically as he is ... I can appreciate the beauty of a flower. At the same time, I see much more about the flower than he sees. I could imagine the cells in there, the complicated actions inside, which also have a beauty. I mean it's not just beauty at this dimension, at one centimeter; there's also beauty at smaller dimensions, the inner structure, also the processes. The fact that the colors in the flower evolved in order to attract insects to pollinate it is interesting; it means that insects can see the color. It adds a question: does this aesthetic sense also exist in the lower forms? Why is it aesthetic? All kinds of interesting questions which the science knowledge only adds to the excitement, the mystery and the awe of a flower. It only adds. I don't understand how it subtracts.

The artist, and particularly the poet, is always an anarchist in the best sense of the word. He must heed only the call that arises within him from three strong voices: the voice of death, with all its foreboding, the voice of love and the voice of art.

Sure, I can talk like you, but I choose not to, It's like an art, you know? Picasso had to prove to the world he could paint the right way, before he goes putting both eyes on the side of a face... See if you paint wrong because that's the best you can do, you just a chump. But you do it because you want to? Then you're an artist...You can take that to the grave and dig it up when you need it.

So many people will tell you ”no”, and you need to find something you believe in so hard that you just smile and tell them ”watch me”. Learn to take rejection as motivation to prove people wrong. Be unstoppable. Refuse to give up, no matter what. It’s the best skill you can ever learn.

Through all the world there goes one long cry from the heart of the artist: Give me a chance to do my best.

The best advice is not to write what you know, it’s to write what you like. Write the kind of story you like best—write the story you want to read. The same principle applies to your life and your career:

It's freezing up here. What did you use to keep warm?" "Indignation," said Michelangelo. "Best fuel I know. Never burns out.

The advice I like to give young artists, or really anybody who'll listen to me, is not to wait around for inspiration. Inspiration is for amateurs; the rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself. Things occur to you. If you're sitting around trying to dream up a great art idea, you can sit there a long time before anything happens. But if you just get to work, something will occur to you and something else will occur to you and something else that you reject will push you in another direction. Inspiration is absolutely unnecessary and somehow deceptive. You feel like you need this great idea before you can get down to work, and I find that's almost never the case.

Artists work best alone. Work alone.

I cleared my throat and spoke into his kiss. “Sorry, it’s been a while.” “You should expect to hear the same thing from me in about five minutes,” he murmured. “Five minutes, huh?” “I’ll make it the best five minutes of your life.” I bit his lip, hard, then released him and looked into those intense blues. “Clock’s ticking.

I have nothing but contempt for the people who despise money. They are hypocrites or fools. Money is like a sixth sense without which you cannot make a complete use of the other five. Without an adequate income half the possibilities of life are shut off. The only thing to be careful about is that you do not pay more than a shilling for the shilling you earn. You will hear people say that poverty is the best spur to the artist. They have never felt the iron of it in their flesh. They do not know how mean it makes you. It exposes you to endless humiliation, it cuts your wings, it eats into your soul like a cancer.

The best artists know what to leave out.

Purpose and passion - purpose is what will guide you to your best self and the passion will keep you there.

We always do the best we can by the light we have to see by.

The best advice is not to write what you know, it’s to write what you like. Write the kind of story you like best—write the story you want to read.

The best and only thing that one artist can do for another is to serve as an example and an inspiration.

This is the time for every artist in every genre to do what he or she does loudly and consistently. It doesn't matter to me what your position is. You've got to keep asserting the complexity and the originality of life, and the multiplicity of it, and the facets of it. This is about being a complex human being in the world, not about finding a villain. This is no time for anything else than the best that you've got.

Societies never know it, but the war of an artist with his society is a lover's war, and he does, at his best, what lovers do, which is to reveal the beloved to himself and, with that revelation, to make freedom real.

Let me list for you some of the many ways in which you might be afraid to live a more creative life: You’re afraid you have no talent. You’re afraid you’ll be rejected or criticized or ridiculed or misunderstood or—worst of all—ignored. You’re afraid there’s no market for your creativity, and therefore no point in pursuing it. You’re afraid somebody else already did it better. You’re afraid everybody else already did it better. You’re afraid somebody will steal your ideas, so it’s safer to keep them hidden forever in the dark. You’re afraid you won’t be taken seriously. You’re afraid your work isn’t politically, emotionally, or artistically important enough to change anyone’s life. You’re afraid your dreams are embarrassing. You’re afraid that someday you’ll look back on your creative endeavors as having been a giant waste of time, effort, and money. You’re afraid you don’t have the right kind of discipline. You’re afraid you don’t have the right kind of work space, or financial freedom, or empty hours in which to focus on invention or exploration. You’re afraid you don’t have the right kind of training or degree. You’re afraid you’re too fat. (I don’t know what this has to do with creativity, exactly, but experience has taught me that most of us are afraid we’re too fat, so let’s just put that on the anxiety list, for good measure.) You’re afraid of being exposed as a hack, or a fool, or a dilettante, or a narcissist. You’re afraid of upsetting your family with what you may reveal. You’re afraid of what your peers and coworkers will say if you express your personal truth aloud. You’re afraid of unleashing your innermost demons, and you really don’t want to encounter your innermost demons. You’re afraid your best work is behind you. You’re afraid you never had any best work to begin with. You’re afraid you neglected your creativity for so long that now you can never get it back. You’re afraid you’re too old to start. You’re afraid you’re too young to start. You’re afraid because something went well in your life once, so obviously nothing can ever go well again. You’re afraid because nothing has ever gone well in your life, so why bother trying? You’re afraid of being a one-hit wonder. You’re afraid of being a no-hit wonder

The childhood years are the best years of your life… Whoever coined that was an unmitigated fuckwit, a bullshit artist supreme. Life gets better the older you grow, until you grow too old of course.

Artists paint pictures. The best artists paint pictures for children's books.

You have to keep doing it, Even if no one is watching. The best artists, are those Who live from their expressions, Not chasing the impressions.

Behavior reflects personality. The best indicator of future violence is past violence. To understand the "artist," you must study his "art." The crime must be evaluated in its totality. There is no substitute for experience, and if you want to understand the criminal mind, you must go directly to the source and learn to decipher what he tells you. And, above all: Why + How = Who.

...we have the satisfaction of knowing that whatever we did, we did at the time in the best of faith. Of course, we took some bold steps and often did things with much single-mindedness; but this is surely preferable to never putting one's convictions to the test, for lack of will or courage.

I loved buildings that had grown silently with the centuries, catching the best of each generation while time curbed the artist's pride and the philistine's vulgarity and repaired the clumsiness of the dull workman.

I am not a finished poem, and I am not the song you’ve turned me into. I am a detached human being, making my way in a world that is constantly trying to push me aside, and you who send me letters and emails and beautiful gifts wouldn’t even recognise me if you saw me walking down the street where I live tomorrow for I am not a poem. I am tired and worn out and the eyes you would see would not be painted or inspired but empty and weary from drinking too much at all times and I am not the life of your party who sings and has glorious words to speak for I don’t speak much at all and my voice is raspy and unsteady from unhealthy living and not much sleep and I only use it when I sing and I always sing too much or not at all and never when people are around because they expect poems and symphonies and I am not a poem but an elegy at my best but unedited and uncut and not a lot of people want to work with me because there’s only so much you can do with an audio take, with the plug-ins and EQs and I was born distorted, disordered, and I’m pretty fine with that, but others are not.

The best things, he always used to say, are put together of a night and vanish with the morning. What people call the floating world, Ono, was a world Gisaburo knew how to value.

There are certain bad habits we've groomed our whole life -- from personality flaws to fashion faux pas. And it has been the role of parents and friends, outside of some minor tweaking, to reinforce the belief that we're okay just as we are. But it's not enough to just be yourself. You have to be your best self. And that's a tall order if you haven't found your best self yet.

It is often during the worst of times that we see the best of humanity–awakening within the most ordinary of us that which is most sublime. I do not believe that it is circumstance that produces such greatness any more than it is the canvas that makes the artist. Adversity merely presents the surface on which we render our souls’ most exacting likeness. It is in the darkest skies that stars are best seen.

With you I'd dance in the rain in my best dress, fearless

The best incentive for an artist are the harshest criticism

It has been my personal experience that as I allow the painting to speak I become lost, it is delicious and at the same time frightening. The best ones, to me, have a life of their own.

There are no forms in nature. Nature is a vast, chaotic collection of shapes. You as an artist create configurations out of chaos. You make a formal statement where there was none to begin with. All art is a combination of an external event and an internal event… I make a photograph to give you the equivalent of what I felt. Equivalent is still the best word.

No man is equal to his book. All the best products of his mental activity go into his book, where they come separated from the mass of inferior products with which they are mingled in his daily talk.

When one is young, one venerates and despises without that art of nuances which constitutes the best gain of life, and it is only fair that one has to pay dearly for having assaulted men and things in this manner with Yes and No. Everything is arranged so that the worst of tastes, the taste for the unconditional, should be cruelly fooled and abused until a man learns to put a little art into his feelings and rather to risk trying even what is artificial — as the real artists of life do.

But I realized something. About art. And psychiatry. They're both self-perpetuating systems. Like religion. All three of them promise you a sense of inner worth and meaning, and spend a lot of time telling you about the suffering you have to go through to achieve it. As soon as you get a problem in any one of them, the solution it gives is always to go deeper into the same system. They're all in rather uneasy truce with one another in what's actually a mortal battle. Like all self-reinforcing systems. At best, each is trying to encompass the other two and define them as sub-groups. You know: religion and art are both forms of madness and madness is the realm of psychiatry. Or, art is the study and praise of man and man's ideals, so therefore a religious experience just becomes a brutalized aesthetic response and psychiatry is just another tool for the artist to observe man and render his portraits more accurately. And the religious attitude I guess is that the other two are only useful as long as they promote the good life. At worst, they all try to destroy one another. Which is what my psychiatrist, whether he knew it or not, was trying, quite effectively, to do to my painting. I gave up psychiatry too, pretty soon. I just didn't want to get all wound up in any systems at all.

I've had people come up to me with the strangest interpretations of what my lyrics might mean, and I'm like, "You go! I never thought of that, but that works,"...I think that true art is a universal reflection, and true artists are just messengers of that reflection or, at best, skilled presentors.

During the nuit blanche I think: Henry, my love, I can love you better now that you cannot hurt me. I can love you more gaily. More loosely. I can endure space and distance and betrayals. Only the best, the best and the strongest. Henry, my love, the wanderer, the artist, the faithless one who has loved me so well. Believe me, nothing has changed in me toward you except my courage. I cannot walk with one love ever. My head is strong, my head, but to walk, to walk into love I need miracles, the miracles of excess, and white heat, and two-ness! Lie here, breathing into my hair, over my neck. No hurt will come from me. No criticalness, no judgment. I bear you in my womb.

If I were an opera singer, I"d have sung you an aria. If I were an artist, I would have painted your portrait. But cooking is what I'm best at.

See, if you paint wrong because that’s the best you can do, you just a chump. But you do it because you want to? Then you’re an artist.

Creative people need time to just sit around and do nothing. I get some of my best ideas when I'm bored, which is why I never take my shirts to the cleaners. I love ironing my shirts-it's so boring, I almost always get good ideas. If you're out of ideas, wash the dishes. Take really long walk. Stare at a spot on the wall for as long as you can. As the artist Maira Kalman says, "Avoiding work is the way to focus my mind.

When I propose a candidate for a job I don't do it because the person in question is the best but because he is the one the client will employ. I provide them with a head that is good enough, placed on a body they want. [...] The world is full of people who pay serious money for bad pictures by good artists. And mediocre heads on tall bodies.

While I was backstage before presenting the Best New Artist award, I talked to George Strait for a while. He's so incredibly cool. So down-to-earth and funny. I think it should be known that George Strait has an awesome, dry, subtle sense of humor. Then I went back out into the crowd and watched the rest of the show. Keith Urban's new song KILLS ME, it's so good. And when Brad Paisley ran down into the front row and kissed Kimberley's stomach (she's pregnant) before accepting his award, Kellie, my mom, and I all started crying. That's probably the sweetest thing I've ever seen. I thought Kellie NAILED her performance of the song we wrote together "The Best Days of Your Life". I was so proud of her. I thought Darius Rucker's performance RULED, and his vocals were incredible. I'm a huge fan. I love it when I find out that the people who make the music I love are wonderful people. I love Faith Hill and how she always makes everyone in the room feel special. I love Keith Urban, and how he told me he knows every word to "Love Story" (That made my night). I love Nicole Kidman, and her sweet, warm personality. I love how Kenny Chesney always has something hilarious or thoughtful to say. But the real moment that brought on this wave of gratitude was when Shania Twain HERSELF walked up and introduced herself to me. Shania Twain, as in.. The reason I wanted to do this in the first place. Shania Twain, as in.. the most impressive and independent and confident and successful female artist to ever hit country music. She walked up to me and said she wanted to meet me and tell me I was doing a great job. She was so beautiful, guys. She really IS that beautiful. All the while, I was completely star struck. After she walked away, I realized I didn't have my camera. Then I cried. You know, last night made me feel really great about being a country music fan in general. Country music is the place to find reality in music, and reality in the stars who make that music. There's kindness and goodness and....honesty in the people I look up to, and knowing that makes me smile. I'm proud to sing country music, and that has never wavered. The reason for the being.. nights like last night.

He’s made me believe that I belong with him, with this kind of life, that this is the best that I can get.” “He’s right.

Write immediately, yes! But as artist! Write with the task in mind—always trying to say the thing in the best way you can. The how! Not the what!

Funny how we do not realize the true value and legacy of a living icon until they suddenly pass away. Truth is, there are many living legends among us, we just do not stop and take time to notice their worth until it's too late.

Things wabi-sabi have no need for the reassurance of status or the validation of market culture. They have no need for documentation of provenance. Wabi-sabi-ness in no way depends on knowledge of the creator's background or personality. In fact, it is best if the creator is no distinction, invisible, or anonymous.

If you ask yourself 'What's the best thing that happened today?' It actually forces a certain kind of cheerful retrospection that pulls up from the recent past things to write about that you wouldn't otherwise think about.

Art is a high calling – fears are coincidental. Coincidental, sneaky and disruptive, we might add, disguising themselves variously as laziness, resistance to deadlines, irritation with materials or surroundings, distraction over the achievements of others – indeed as anything that keeps you from giving your work your best shot. What separates artists from ex-artists is that those who challenge their fears, continue; those who don't, quit.

An illustration is an enlargement, and interpretation of the text, so that the reader will comprehend the words better. As an artist, you are always serving the words. You must never illustrate exactly what is written. You must find a space in the text so that the pictures can do the work. Then you must let the words take over where words do it best. It’s a funny kind of juggling act.

Business art is the step that comes after art. I started as a commercial artist, and I want to finish as a business artist. Being good in business is the most fascinating kind of art. During the hippie era people put down the idea of business. They’d say “money is bad” and “working is bad”. But making money is art, and working is art - and good business is the best art.

As an artist suffering from insomnia and working from my apartment, I had an artistic freedom to explore and create awesome stuff. I wore a robe and slippers as my work dress code. These are the days when creativity is my best imaginary friend. And I was crazy enough to create what people would call masterpieces.

Think outside the box? Indeed. But to add balance to that, one should not in the process forget what the inside of the box looks like as well. Those who are best at thinking outside the box do it not to puff themselves up, but to see how small they really are. As a contented fish in its fish tank appears to have a small, boring existence to us, imagine a larger, more perceptive kingdom (even by scientific taxonomy) to whom our contented existences may appear to be small and boring. This is where true creativity and massive perceptive abilities spawn a sense of intellectual humility; the kind which God adores.

A skillful literary artist has constructed a tale. If wise, he has not fashioned his thoughts to accommodate his incidents; but having conceived, with deliberate care, a certain unique or single effect to be wrought out, he then invents as may best aid him in establishing this preconceived effect. If his very initial sentence tend not to the outbringing of this effect, then he has failed in his first step. In the whole composition there should be no words written, of which the tendency, direct or indirect, is not to the one pre-established design. And by such means, with such care and skill, a picture is at length painted which leaves in the mind of him who contemplates it with a kindred art, a sense of the fullest satisfaction. The idea of the tale has been presented unblemished because undisturbed: and this is an end unattainable by the novel. Undue brevity is just as exceptionable here as in the poem; but undue length is yet more to be avoided.

There is a certain proper and luxurious way of lying in bed. Confucius, that great artist of life, "never lay straight" in bed, "like a corpse", but always curled up on one side. I believe one of the greatest pleasures of life is to curl up one's legs in bed. The posture of the arms is also very important, in order to reach the greatest degree of aesthetic pleasure and mental power. I believe the best posture is not lying flat on the bed, but being upholstered with big soft pillows at an angle of thirty degrees with either one arm or both arms placed behind the back of one's head.

To put it another way: having gone about as high up Hemingway Mountain as I could go, having realized that even at my best I could only ever hope to be an acolyte up there, resolving never again to commit the sin of being imitative, I stumbled back down into the valley and came upon a little shit-hill labeled “Saunders Mountain.” “Hmm,” I thought. “It’s so little. And it’s a shit-hill.” Then again, that was my name on it. This is a big moment for any artist (this moment of combined triumph and disappointment), when we have to decide whether to accept a work of art that we have to admit we weren’t in control of as we made it and of which we’re not entirely sure we approve. It is less, less than we wanted it to be, and yet it’s more, too—it’s small and a bit pathetic, judged against the work of the great masters, but there it is, all ours. What we have to do at that point, I think, is go over, sheepishly but boldly, and stand on our shit-hill, and hope it will grow.

In the best of all possible worlds, art would be unnecessary. Its offer of restorative, placative therapy would go begging a patient. The professional specialization involved in its making would be presumption. The generalities of its applicability would be an affront. The audience would be the artist and their life would be art.

History repeated itself. The 'don't do the things I did' mantra was tiresome pish. The best way to make sure your children don't grow up as cunts is not to be one yourself - or not to let them SEE you being one. This is easier as a sober artist in Santa Barbara than as an alcoholic jailbird in Leith.

Donneven," I said, in my best Monica imitation, and he laughed. "We're not talking about me." "We could be," he said, as I watched Bert take note of a group of what looked like ninth graders who had just come into the living room. "I'm not gorgeous," I said. "Sure you are." I just shook my head, knowing this was him evading the question. "You," I said, "have this whole tall, dark stranger thing going on. Not to mention the tortured artist bit." "Bit?" "You know what I mean." He shook his head, clearly discounting this description. "And you," he said, "have that whole blonde, cool and collected, perfect smart girl thing going on." "You're the boy all the girls want to rebel with," I said. "You," he replied, "are the unattainable girl in homeroom who never gives a guy the time of day.

Art at its best draws attention not only to the way things are but also to the way things will be, when the earth is filled with the knowledge of G-D as the waters cover the sea. That remains a surprising hope, and perhaps it will be the artists who are best at conveying both the hope and the surprise.

The allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as example. The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good. Touched by a masterpiece, a person begins to hear in himself that same call of truth which prompted the artist to his creative act. When a link is established between the work and its beholder, the latter experiences a sublime, purging trauma. Within that aura which unites masterpieces and audience, the best sides of our souls are made known, and we long for them to be freed. In those moments we recognize and discover ourselves, the unfathomable depths of our own potential, and the furthest reaches of our emotions.

I've never believed that they're separate. Leonardo da Vinci was a great artist and a great scientist. Michelangelo knew a tremendous amount about how to cut stone at the quarry. The finest dozen computer scientists I know are all musicians. Some are better than others, but they all consider that an important part of their life. I don't believe that the best people in any of these fields see themselves as one branch of a forked tree. I just don't see that.People bring these things together a lot. Dr. Land at Polaroid said, "I want Polaroid to stand at the intersection of art and science," and I've never forgotten that. I think that that's possible, and I think a lot of people have tried.

Some Americans appear to believe that there would be no arts in America were it not for the National Endowment for the Arts (NEA), an institution created in 1965. They cannot imagine things being done any other way, even though they were done another way throughout our country's existence, and throughout most of mankind's history. While the government requested $121 million for the NEA in 2006, private donations to the arts totaled $2.5 billion that year, dwarfing the NEA budget. The NEA represents a tiny fraction of all arts funding, a fact few Americans realize. Freedom works after all. And that money is almost certainly better spent than government money: NEA funds go not necessarily to the best artists, but to people who happen to be good at filling out government grant applications. I have my doubts that the same people populate both categories.

Just as the universal family of gifted writers transcends national barriers, so is the gifted reader a universal figure, not subject to spatial or temporal laws. It is he—the good, the excellent reader—who has saved the artists again and again from being destroyed by emperors, dictators, priests, puritans, philistines, political moralists, policemen, postmasters, and prigs. Let me define this admirable reader. He does not belong to any specific nation or class. No director of conscience and no book club can manage his soul. His approach to a work of fiction is not governed by those juvenile emotions that make the mediocre reader identify himself with this or that character and “skip descriptions.” The good, the admirable reader identifies himself not with the boy or the girl in the book, but with the mind that conceived and composed that book. The admirable reader does not seek information about Russia in a Russian novel, for he knows that the Russia of Tolstoy or Chekhov is not the average Russia of history but a specific world imagined and created by individual genius. The admirable reader is not concerned with general ideas; he is interested in the particular vision. He likes the novel not because it helps him to get along with the group (to use a diabolical progressive-school cliche); he likes the novel because he imbibes and understands every detail of the text, enjoys what the author meant to be injoyed, beams inwardly and all over, is thrilled by the magic imageries of the master-forger, the fancy-forger, the conjuror, the artist. Indeed of all the characters that a great artist creates, his readers are the best. (“Russian Writers, Censors, and Readers”)

You will not remember much from school. School is designed to teach you how to respond and listen to authority figures in the event of an emergency. Like if there's a bomb in a mall or a fire in an office. It can, apparently, take you more than a decade to learn this. These are not the best days of your life. They are still ahead of you. You will fall in love and have your heart broken in many different, new and interesting ways in college or university (if you go) and you will actually learn things, as at this point, people will believe you have a good chance of obeying authority and surviving, in the event of an emergency. If, in your chosen career path, there are award shows that give out more than ten awards in one night or you have to pay someone to actually take the award home to put on your mantlepiece, then those awards are more than likely designed to make young people in their 20's work very late, for free, for other people. Those people will do their best to convince you that they have value. They don't. Only the things you do have real, lasting value, not the things you get for the things you do. You will, at some point, realise that no trophy loves you as much as you love it, that it cannot pay your bills (even if it increases your salary slightly) and that it won't hold your hand tightly as you say your last words on your deathbed. Only people who love you can do that. If you make art to feel better, make sure it eventually makes you feel better. If it doesn't, stop making it. You will love someone differently, as time passes. If you always expect to feel the same kind of love you felt when you first met someone, you will always be looking for new people to love. Love doesn't fade. It just changes as it grows. It would be boring if it didn't. There is no truly "right" way of writing, painting, being or thinking, only things which have happened before. People who tell you differently are assholes, petrified of change, who should be violently ignored. No philosophy, mantra or piece of advice will hold true for every conceivable situation. "The early bird catches the worm" does not apply to minefields. Perfection only exists in poetry and movies, everyone fights occasionally and no sane person is ever completely sure of anything. Nothing is wrong with any of this. Wisdom does not come from age, wisdom comes from doing things. Be very, very careful of people who call themselves wise, artists, poets or gurus. If you eat well, exercise often and drink enough water, you have a good chance of living a long and happy life. The only time you can really be happy, is right now. There is no other moment that exists that is more important than this one. Do not sacrifice this moment in the hopes of a better one. It is easy to remember all these things when they are being said, it is much harder to remember them when you are stuck in traffic or lying in bed worrying about the next day. If you want to move people, simply tell them the truth. Today, it is rarer than it's ever been. (People will write things like this on posters (some of the words will be bigger than others) or speak them softly over music as art (pause for effect). The reason this happens is because as a society, we need to self-medicate against apathy and the slow, gradual death that can happen to anyone, should they confuse life with actually living.)

The primary math of the real world is one and one equals two. The layman (as, often, do I) swings that every day. He goes to the job, does his work, pays his bills and comes home. One plus one equals two. It keeps the world spinning. But artists, musicians, con men, poets, mystics and such are paid to turn that math on its head, to rub two sticks together and bring forth fire. Everybody performs this alchemy somewhere in their life, but it’s hard to hold on to and easy to forget. People don’t come to rock shows to learn something. They come to be reminded of something they already know and feel deep down in their gut. That's when the world is at its best, when we are at our best, when life feels fullest, one and one equals three. It’s the essential equation of love, art, rock ’n’ roll and rock ’n’ roll bands. It’s the reason the universe will never be fully comprehensible, love will continue to be ecstatic, confounding, and true rock ’n’ roll will never die.

Beauty is the only human aspect which cannot be captured on any canvas howsoever hard an artist tries. At the most, the undaunted artist can replicate the beauty on paper but what is a replica in comparison to the original! The humbling resemblance can only be respected, not truly adored. Beauty cannot be imprisoned in the lens of a camera. The images of beauty are a moment of its essence. Beauty cannot be displayed to evoke pleasure for all on a cinema screen. Those are just its imprints, mere illusions of its existence. Beauty cannot be described by words; it cannot be written or read about. There are no suitable words in all the languages of the world, ancient or modern to hold it between a paper and a pen or a script and an eye. Beauty can only be experienced from far, its delightful aroma can only be tasted through one’s eyes and its pleasurable sight can only be felt from the soul. Beauty can only be best described at its origin through a befuddling silence, the kind that leaves one almost on the verge of a pleasurable death, just because one chooses beauty over life. There is nothing in this world to hold something so pure, so divine except a loving heart. And it is the only manner through which love recognises love; the language of love has no alphabet, no words.

She would have thought that working and living in continuous happiness, harmony, and security day after day would lead to mental lethargy, that her writing would suffer from too much happiness, that she needed a balanced life with down days and miseries to keep the sharp edge on her work. But the idea that an artist needed to suffer to do her best work was a conceit of the young and inexperienced. The happier she grew, the better she wrote.

There are two kinds of sufferers in this world: those who suffer from a lack of life and those who suffer from an overabundance of life. I’ve always found myself in the second category. When you come to think of it, almost all human behavior and activity is not essentially any different from animal behavior. The most advanced technologies and craftsmanship bring us, at best, up to the super-chimpanzee level. Actually, the gap between, say, Plato or Nietzsche and the average human is greater than the gap between that chimpanzee and the average human. The realm of the real spirit, the true artist, the saint, the philosopher, is rarely achieved. Why so few? Why is world history and evolution not stories of progress but rather this endless and futile addition of zeroes. No greater values have developed. Hell, the Greeks 3,000 years ago were just as advanced as we are. So what are these barriers that keep people from reaching anywhere near their real potential? The answer to that can be found in another question, and that’s this: Which is the most universal human characteristic – fear or laziness?

Some years ago, I was lucky enough invited to a gathering of great and good people: artists and scientists, writers and discoverers of things. And I felt that at any moment they would realise that I didn’t qualify to be there, among these people who had really done things. On my second or third night there, I was standing at the back of the hall, while a musical entertainment happened, and I started talking to a very nice, polite, elderly gentleman about several things, including our shared first name. And then he pointed to the hall of people, and said words to the effect of, “I just look at all these people, and I think, what the heck am I doing here? They’ve made amazing things. I just went where I was sent.” And I said, “Yes. But you were the first man on the moon. I think that counts for something.” And I felt a bit better. Because if Neil Armstrong felt like an imposter, maybe everyone did. Maybe there weren’t any grown-ups, only people who had worked hard and also got lucky and were slightly out of their depth, all of us doing the best job we could, which is all we can really hope for.

Athena came to represent a very particular form of nous—eminently practical, feminine, and earthy. She is the voice that comes to heroes in times of need, instilling in them a calm spirit, orienting their minds toward the perfect idea for victory and success, then giving them the energy to achieve this. To be visited by Athena was the highest blessing of them all, and it was her spirit that guided great generals and the best artists, inventors, and tradesmen. Under

I see you drinking at a fountain with tiny blue hands, no, your hands are not tiny they are small, and the fountain is in France where you wrote me that last letter and I answered and never heard from you again. you used to write insane poems about ANGELS AND GOD, all in upper case, and you knew famous artists and most of them were your lovers, and I wrote back, it’ all right, go ahead, enter their lives, I’ not jealous because we’ never met. we got close once in New Orleans, one half block, but never met, never touched. so you went with the famous and wrote about the famous, and, of course, what you found out is that the famous are worried about their fame –– not the beautiful young girl in bed with them, who gives them that, and then awakens in the morning to write upper case poems about ANGELS AND GOD. we know God is dead, they’ told us, but listening to you I wasn’ sure. maybe it was the upper case. you were one of the best female poets and I told the publishers, editors, “ her, print her, she’ mad but she’ magic. there’ no lie in her fire.” I loved you like a man loves a woman he never touches, only writes to, keeps little photographs of. I would have loved you more if I had sat in a small room rolling a cigarette and listened to you piss in the bathroom, but that didn’ happen. your letters got sadder. your lovers betrayed you. kid, I wrote back, all lovers betray. it didn’ help. you said you had a crying bench and it was by a bridge and the bridge was over a river and you sat on the crying bench every night and wept for the lovers who had hurt and forgotten you. I wrote back but never heard again. a friend wrote me of your suicide 3 or 4 months after it happened. if I had met you I would probably have been unfair to you or you to me. it was best like this.

You may feel the human realm is a difficult place, but there is surely no better world to live in. You will find another only by going to the nonhuman; and the nonhuman realm would surely be a far more difficult place to inhabit than the human. So if this best of worlds proves a hard one for you, you must simply do your best to settle in and relax as you can, and make this short life of ours, if only briefly, an easier place in which to make your home. Herein lies the poet's true calling, the artist's vocation. We owe our humble gratitude to all practitioners of the arts, for they mellow the harshness of our human world and enrich the human heart. Yes, a poem, a painting, can draw the sting of troubles from a troubled world and lay in its place a blessed realm before our grateful eyes.

Most inventors and engineers I’ve met are like me—they’re shy and they live in their heads. They’re almost like artists. In fact, the very best of them are artists. And artists work best alone where they can control an invention’s design without a lot of other people designing it for marketing or some other committee. I don’t believe anything really revolutionary has been invented by committee. If you’re that rare engineer who’s an inventor and also an artist, I’m going to give you some advice that might be hard to take. That advice is: Work alone. You’re going to be best able to design revolutionary products and features if you’re working on your own. Not on a committee. Not on a team

Jobs tended to be deeply moved by artists who displayed purity, and he became a fan. He invited Ma to play at his wedding, but he was out of the country on tour. He came by the Jobs house a few years later, sat in the living room, pulled out his 1733 Stradivarius cello, and played Bach. “This is what I would have played for your wedding,” he told them. Jobs teared up and told him, “You playing is the best argument I’ve ever heard for the existence of God, because I don’t really believe a human alone can do this.” On

On arrival at Orly Airport, Fritz and Magda hired a taxi which drove them to the city. They saw before them a metropolis crowned with triumphal architecture and magnificent monuments. The first Parisian landmark that caught their eye was the majestic Eiffel Tower and, in the background, on a distant hill, the white church of Montmartre. They immediately opted that their hotel could wait and asked the driver to take them around the city, though they knew that this would cost them a whole day's budget. What they began to see was simply spectacular: wide areas edified with splendid monuments, fantastic fountains, enchanting gardens and bronze statues representing the best exponents who flourished in the city, amongst whom artists, philosophers, musicians and great writers. The River Seine fascinated them, with boatloads of tourists all eager to see as much as they could of the city. They also admired a number of bridges, amongst which the flamboyant Pont Alexandre III. The driver, a friendly, balding man of about fifty, with moustaches à la Clemenceau, informed them that quite nearby there was the famous Pont Neuf which, ironically, was the first to be built way back in 1607. They continued their tour...

Mitchell Maxwell’s Maxims • You have to create your own professional path. There’s no longer a roadmap for an artistic career. • Follow your heart and the money will follow. • Create a benchmark of your own progress. If you never look down while you’re climbing the ladder you won’t know how far you’ve come. • Don’t define success by net worth, define it by character. Success, as it’s measured by society, is a fleeting condition. • Affirm your value. Tell the world “I am an artist,” not “I want to be an artist.” • You must actively live your dream. Wishing and hoping for someday doesn’t make it happen. Get out there and get involved. • When you look into the abyss you find your character. • Young people too often let the fear of failure keep them from trying. You have to get bloody, sweaty and rejected in order to succeed. • Get your face out of Facebook and into somebody’s face. Close your e-mail and pick up the phone. Personal contact still speaks loudest. • No one is entitled to act entitled. Be willing to work hard. • If you’re going to buck the norm you’re going to have to embrace the challenges. • You have to love the journey if you’re going to work in the arts. • Only listen to people who agree with your vision. • A little anxiety is good but don’t let it become fear, fear makes you inert. • Find your own unique voice. Leave your individual imprint on the world, not a copy of someone else. • Draw strength from your mistakes; they can be your best teacher.

...will those who seek power and resist change destroy our country before we get to make it better?... Will our entire world as we know it be destroyed before we get to make it better? Is there even a path to better...? The chaos may bring clarity, may breed heros and artists and empathy, but it also destroys. I think we are each trying to find how best to resist the despair that such evil breeds and relies upon, and find a way forward that finds (or makes) meaning, value, some kind of order. What else can we do?

Something was happening while you waited. The most essential thing was happening. And even if he himself was doing nothing, it was happening through him nevertheless. He had done his best. He had employed all his artistic skill. He had made not one single mistake. His performance had been unique. It would be crowned with success.... He need only wait a few more hours. It filled him with profound satisfaction, this waiting. He had never felt so fine in all his life, so peaceful, so steady, so whole and at one with himself

And we're not alone, you know, children," came Mrs. Whatsit, the comforter. "All through the universe, it's being fought, all through the cosmos, and my, but it's a grand and exciting battle. I know it's hard for you to understand about size, how there's very little difference in the size of the tiniest microbe and the greatest galaxy. You think about that, and maybe it won't seem strange to you that some of our very best fighters have come right from your own planet, and it's a little planet, dears, out on the edge of a little galaxy. You can be proud that it's done so well." "Who have our fighters been? Calvin asked. "Oh, you must know them, dear," Mrs. Whatsit said. Mrs. Who's spectacles shone out at them triumphantly. "And the light shineth in darkness; and the darkness comprehended it not." "Jesus!" Charles Wallace said. "Why of course, Jesus!" "Of course!" Mrs. Whatsit said. "Go on, Charles, love. There were others. All your great artists. They've been lights for us to see by.

If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?

That is what the highest criticism really is, the record of one's own soul. It is more fascinating than history, as it is concerned simply with oneself. It is more delightful than philosophy, as its subject is concrete and not abstract, real and not vague. It is the only civilized form of autobiography, as it deals not with events, but with the thoughts of one's life; not with life's physical accidents of deed or circumstance, but with the spiritual moods and imaginative passions of the mind...The best that one can say of most modern creative art is that it is just a little less vulgar than reality, and so the critic, with his fine sense of distinction and sure instinct of delicate refinement, will prefer to look into the silver mirror or through the woven veil, and will turn his eyes away from the chaos and clamor of actual existence, though the mirror be tarnished and the veil be torn. His sole aim is to chronicle his own impressions. It is for him that pictures are painted, books written, and marble hewn into form.

It is customary for adults to forget how hard and dull school is. The learning by memory all the basic things one must know is the most incredible and unending effort. Learning to read is probably the most difficult and revolutionary thing that happens to the human brain and if you don't believe that watch an illiterate adult try to do it. School is not so easy and it is not for the most part very fun, but then, if you are very lucky, you may find a teacher. Three real teachers in a lifetime is the very best of luck. I have come to believe that a great teacher is a great artist and that there are as few as there are any other great artists. Teaching might even be the greatest of the arts since the medium is the human mind and spirit. My three had these things in common. They all loved what they were doing. They did not tell - they catalyzed a burning desire to know. Under their influence, the horizons sprung wide and fear went away and the unknown became knowable. But most important of all, the truth, that dangerous stuff, became beautiful and precious.

The function of the overwhelming majority of your artwork is simply to teach you how to make the small fraction of your artwork that soars. One of the basic and difficult lessons every artist must learn is that even the failed pieces are essential. X-rays of famous paintings reveal that even master artists sometimes made basic mid-course corrections (or deleted really dumb mistakes) by overpainting the still-wet canvas. The point is that you learn how to make your work by making your work, and a great many of the pieces you make along the way will never stand out as finished art. The best you can do is make art you care about — and lots of it!

The primary math of the real world is one and one equals two. The layman (as, often, do I) swings that every day. He goes to the job, does his work, pays his bills and comes home. One plus one equals two. It keeps the world spinning. But artists, musicians, con men, poets, mystics and such are paid to turn that math on its head, to rub two sticks together and bring forth fire. Everybody performs this alchemy somewhere in their life, but it’s hard to hold on to and easy to forget. People don’t come to rock shows to learn something. They come to be reminded of something they already know and feel deep down in their gut. That when the world is at its best, when we are at our best, when life feels fullest, one and one equals three. It’s the essential equation of love, art, rock ’n’ roll and rock ’n’ roll bands. It’s the reason the universe will never be fully comprehensible, love will continue to be ecstatic, confounding, and true rock ’n’ roll will never die.

But sometimes, very occasionally, songs and books and films and pictures express who you are perfectly. And they don’t do this in words or images, necessarily; the connection is a lot less direct and more complicated than that. When I was first beginning to write seriously, I read Anne Tyler’s Dinner at the Homesick Restaurant, and suddenly knew what I was, and what I wanted to be, for better or worse. It’s a process something like falling in love. You don’t necessarily choose the best person, or the wisest, or the most beautiful; there’s something else going on. There was a part of me that would rather have fallen for Updike or Kerouac, or DeLillo – for someone masculine, or at least, maybe somebody a little more opaque, and certainly someone who uses more swearwords- and, though I have admired those writers, at various stages in my life, admiration is a very different thing from the kind of transference I’m talking about. I’m talking about understanding – or at least feeling like I understand- every artistic decision, every impulse, the soul of both the work and its creator. “This is me,” I wanted to say when I read Tyler’s rich, sad, lovely novel. “I’m not a character, I’m nothing like the author, I haven’t had the experiences she writes about. But even so, this is what I feel like, inside. This is what I would sound like, if I ever I were to find a voice.” And I did find a voice, eventually, and it was mine, not hers; but nevertheless, so powerful was the process of identification that I still don’t feel as though I’ve expressed myself as well, as completely, as Tyler did on my behalf.

NINA Your life is beautiful. TRIGORIN I see nothing especially lovely about it. [He looks at his watch] Excuse me, I must go at once, and begin writing again. I am in a hurry. [He laughs] You have stepped on my pet corn, as they say, and I am getting excited, and a little cross. Let us discuss this bright and beautiful life of mine, though. [After a few moments' thought] Violent obsessions sometimes lay hold of a man: he may, for instance, think day and night of nothing but the moon. I have such a moon. Day and night I am held in the grip of one besetting thought, to write, write, write! Hardly have I finished one book than something urges me to write another, and then a third, and then a fourth--I write ceaselessly. I am, as it were, on a treadmill. I hurry for ever from one story to another, and can't help myself. Do you see anything bright and beautiful in that? Oh, it is a wild life! Even now, thrilled as I am by talking to you, I do not forget for an instant that an unfinished story is awaiting me. My eye falls on that cloud there, which has the shape of a grand piano; I instantly make a mental note that I must remember to mention in my story a cloud floating by that looked like a grand piano. I smell heliotrope; I mutter to myself: a sickly smell, the colour worn by widows; I must remember that in writing my next description of a summer evening. I catch an idea in every sentence of yours or of my own, and hasten to lock all these treasures in my literary store-room, thinking that some day they may be useful to me. As soon as I stop working I rush off to the theatre or go fishing, in the hope that I may find oblivion there, but no! Some new subject for a story is sure to come rolling through my brain like an iron cannonball. I hear my desk calling, and have to go back to it and begin to write, write, write, once more. And so it goes for everlasting. I cannot escape myself, though I feel that I am consuming my life. To prepare the honey I feed to unknown crowds, I am doomed to brush the bloom from my dearest flowers, to tear them from their stems, and trample the roots that bore them under foot. Am I not a madman? Should I not be treated by those who know me as one mentally diseased? Yet it is always the same, same old story, till I begin to think that all this praise and admiration must be a deception, that I am being hoodwinked because they know I am crazy, and I sometimes tremble lest I should be grabbed from behind and whisked off to a lunatic asylum. The best years of my youth were made one continual agony for me by my writing. A young author, especially if at first he does not make a success, feels clumsy, ill-at-ease, and superfluous in the world. His nerves are all on edge and stretched to the point of breaking; he is irresistibly attracted to literary and artistic people, and hovers about them unknown and unnoticed, fearing to look them bravely in the eye, like a man with a passion for gambling, whose money is all gone. I did not know my readers, but for some reason I imagined they were distrustful and unfriendly; I was mortally afraid of the public, and when my first play appeared, it seemed to me as if all the dark eyes in the audience were looking at it with enmity, and all the blue ones with cold indifference. Oh, how terrible it was! What agony!

Poetic Terrorism WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earth-works as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy. Pick someone at random & convince them they're the heir to an enormous, useless & amazing fortune--say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. ... Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc. Go naked for a sign. Organize a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty. Graffiti-art loaned some grace to ugly subways & rigid public monuments--PT-art can also be created for public places: poems scrawled in courthouse lavatories, small fetishes abandoned in parks & restaurants, Xerox-art under windshield-wipers of parked cars, Big Character Slogans pasted on playground walls, anonymous letters mailed to random or chosen recipients (mail fraud), pirate radio transmissions, wet cement... The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is "signed" or anonymous, if it does not change someone's life (aside from the artist) it fails. PT is an act in a Theater of Cruelty which has no stage, no rows of seats, no tickets & no walls. In order to work at all, PT must categorically be divorced from all conventional structures for art consumption (galleries, publications, media). Even the guerilla Situationist tactics of street theater are perhaps too well known & expected now. An exquisite seduction carried out not only in the cause of mutual satisfaction but also as a conscious act in a deliberately beautiful life--may be the ultimate PT. The PTerrorist behaves like a confidence-trickster whose aim is not money but CHANGE. Don't do PT for other artists, do it for people who will not realize (at least for a few moments) that what you have done is art. Avoid recognizable art-categories, avoid politics, don't stick around to argue, don't be sentimental; be ruthless, take risks, vandalize only what must be defaced, do something children will remember all their lives--but don't be spontaneous unless the PT Muse has possessed you. Dress up. Leave a false name. Be legendary. The best PT is against the law, but don't get caught. Art as crime; crime as art.

Artists and artisans both demonstrate with perfect clarity that a person is least able to appropriate for himself those things which are most peculiarly his. His works leave him as birds do the best in which they were hatched. In this respect an architect's fate is the strangest of all. How often he employs his whole intellect and warmth of feeling in the creation of rooms from which he must exclude himself. Royal halls owe their splendor to him, and he may not share in the enjoyment of their finest effects. In temples he draws the line between himself and the holy of holies; the steps he built to ceremonies that lift up the heady, he may no longer climb; just as the goldsmith worships only from afar the monstrance which he wrought in the fire and set with jewels. With the keys of the palace the architect hands over all it's comforts to the wealthy man, and has not the least part in them. Surely in this way art must little by little grow away from the artist, if the work, like a child provided for, no longer teaches back to touch its father.

Does God exist? Unlike many people, this had not been the great inner debate of her life. Under the old Communist regime, the official line in schools had been that life ended with death, and she had gotten used to the idea. On the other hand, her parents’ generation and her grandparents’ generation still went to church, said prayers, and went on pilgrimages, and were utterly convinced that God listened to what they said. At twenty-four, having experienced everything she could experience—and that was no small achievement—Veronika was almost certain that everything ended with death. That is why she had chosen suicide: freedom at last. Eternal oblivion. In her heart of hearts, though, there was still a doubt: What if God did exist? Thousands of years of civilization had made of suicide a taboo, an affront to all religious codes: Man struggles to survive, not to succumb. The human race must procreate. Society needs workers. A couple has to have a reason to stay together, even when love has ceased to exist, and a country needs soldiers, politicians and artists. If God exists, and I truly don’t believe he does, he will know that there are limits to human understanding. He was the one who created this confusion in which there is poverty, injustice, greed, and loneliness. He doubtless had the best of intentions, but the results have proved disastrous; if God exists, he will be generous with those creatures who chose to leave this Earth early, and he might even apologize for having made us spend time here. To hell with taboos and superstitions. Her devout mother would say: “God knows the past, the present, and the future.” In that case, he had placed her in this world in the full knowledge that she would end up killing herself, and he would not be shocked by her actions. Veronika began to feel a slight nausea, which became rapidly more intense.

Many a person over the years has tried- both successfully and unsuccessfully, to get rid of their inner demons. Those who are successful are deemed artists, those who are not are call dreamers at best and lunatics at worse. But where exactly resides that line on which two worlds collide? Does somebody know? Is somebody fit to tell? Who's to say that those deemed lunatics are not just successes on the making? Who says that those who claim to be just a tad bit crazy are not just as crazy as those that had completely lost it? Maybe, and bear with me here…everyone is as crazy as the one before them and the next one could ever possibly be. Maybe at the end- it's just that some have mastered creating a façade of calmness and collection while others don't bother going through all that trouble anymore, if they ever did. Perhaps we all have demons…it's just that some people have demons far more toxic and difficult to ignore than others.

The desire to make art begins early. Among the very young this is encouraged (or at least indulged as harmless) but the push toward a 'serious' education soon exacts a heavy toll on dreams and fantasies....Yet for some the desire persists, and sooner or later must be addressed. And with good reason: your desire to make art -- beautiful or meaningful or emotive art -- is integral to your sense of who you are. Life and Art, once entwined, can quickly become inseparable; at age ninety Frank Lloyd Wright was still designing, Imogen Cunningham still photographing, Stravinsky still composing, Picasso still painting. But if making art gives substance to your sense of self, the corresponding fear is that you're not up to the task -- that you can't do it, or can't do it well, or can't do it again; or that you're not a real artist, or not a good artist, or have no talent, or have nothing to say. The line between the artist and his/her work is a fine one at best, and for the artist it feels (quite naturally) like there is no such line. Making art can feel dangerous and revealing. Making art is dangerous and revealing. Making art precipitates self-doubt, stirring deep waters that lay between what you know you should be, and what you fear you might be. For many people, that alone is enough to prevent their ever getting started at all -- and for those who do, trouble isn't long in coming. Doubts, in fact, soon rise in swarms: "I am not an artist -- I am a phony. I have nothing worth saying. I'm not sure what I'm doing. Other people are better than I am. I'm only a [student/physicist/mother/whatever]. I've never had a real exhibit. No one understands my work. No one likes my work. I'm no good. Yet viewed objectively, these fears obviously have less to do with art than they do with the artist. And even less to do with the individual artworks. After all, in making art you bring your highest skills to bear upon the materials and ideas you most care about. Art is a high calling -- fears are coincidental. Coincidental, sneaky and disruptive, we might add, disguising themselves variously as laziness, resistance to deadlines, irritation with materials or surroundings, distraction over the achievements of others -- indeed anything that keeps you from giving your work your best shot. What separates artists from ex-artists is that those who challenge their fears, continue; those who don't, quit. Each step in the artmaking process puts that issue to the test.

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.

And remember that whatever discipline you are in, whether you are a musician or a photographer, a fine artist or a cartoonist, a writer, a dancer, a designer, whatever you do you have one thing that's unique. You have the ability to make art. And for me, and for so many of the people I have known, that's been a lifesaver. The ultimate lifesaver. It gets you through good times and it gets you through the other ones. Life is sometimes hard. Things go wrong, in life and in love and in business and in friendship and in health and in all the other ways that life can go wrong. And when things get tough, this is what you should do. Make good art. I'm serious. Husband runs off with a politician? Make good art. Leg crushed and then eaten by mutated boa constrictor? Make good art. IRS on your trail? Make good art. Cat exploded? Make good art. Somebody on the Internet thinks what you do is stupid or evil or it's all been done before? Make good art. Probably things will work out somehow, and eventually time will take the sting away, but that doesn't matter. Do what only you do best. Make good art. Make it on the good days too.

Your Creative Autobiography 1. What is the first creative moment you remember? 2. Was anyone there to witness or appreciate it? 3. What is the best idea you’ve ever had? 4. What made it great in your mind? 5. What is the dumbest idea? 6. What made it stupid? 7. Can you connect the dots that led you to this idea? 8. What is your creative ambition? 9. What are the obstacles to this ambition? 10. What are the vital steps to achieving this ambition? 11. How do you begin your day? 12. What are your habits? What patterns do you repeat? 13. Describe your first successful creative act. 14. Describe your second successful creative act. 15. Compare them. 16. What are your attitudes toward: money, power, praise, rivals, work, play? 17. Which artists do you admire most? 18. Why are they your role models? 19. What do you and your role models have in common? 20. Does anyone in your life regularly inspire you? 21. Who is your muse? 22. Define muse. 23. When confronted with superior intelligence or talent, how do you respond? 24. When faced with stupidity, hostility, intransigence, laziness, or indifference in others, how do you respond? 25. When faced with impending success or the threat of failure, how do you respond? 26. When you work, do you love the process or the result? 27. At what moments do you feel your reach exceeds your grasp? 28. What is your ideal creative activity? 29. What is your greatest fear? 30. What is the likelihood of either of the answers to the previous two questions happening? 31. Which of your answers would you most like to change? 32. What is your idea of mastery? 33. What is your greatest dream?

I Not my best side, I'm afraid. The artist didn't give me a chance to Pose properly, and as you can see, Poor chap, he had this obsession with Triangles, so he left off two of my Feet. I didn't comment at the time (What, after all, are two feet To a monster?) but afterwards I was sorry for the bad publicity. Why, I said to myself, should my conqueror Be so ostentatiously beardless, and ride A horse with a deformed neck and square hoofs? Why should my victim be so Unattractive as to be inedible, And why should she have me literally On a string? I don't mind dying Ritually, since I always rise again, But I should have liked a little more blood To show they were taking me seriously. II It's hard for a girl to be sure if She wants to be rescued. I mean, I quite Took to the dragon. It's nice to be Liked, if you know what I mean. He was So nicely physical, with his claws And lovely green skin, and that sexy tail, And the way he looked at me, He made me feel he was all ready to Eat me. And any girl enjoys that. So when this boy turned up, wearing machinery, On a really dangerous horse, to be honest I didn't much fancy him. I mean, What was he like underneath the hardware? He might have acne, blackheads or even Bad breath for all I could tell, but the dragon-- Well, you could see all his equipment At a glance. Still, what could I do? The dragon got himself beaten by the boy, And a girl's got to think of her future. III I have diplomas in Dragon Management and Virgin Reclamation. My horse is the latest model, with Automatic transmission and built-in Obsolescence. My spear is custom-built, And my prototype armour Still on the secret list. You can't Do better than me at the moment. I'm qualified and equipped to the Eyebrow. So why be difficult? Don't you want to be killed and/or rescued In the most contemporary way? Don't You want to carry out the roles That sociology and myth have designed for you? Don't you realize that, by being choosy, You are endangering job prospects In the spear- and horse-building industries? What, in any case, does it matter what You want? You're in my way. - Not My Best Side

There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children's book. The reason for that is that in adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness. Adult writers who deal in straightforward stories find themselves sidelined into a genre such as crime or science fiction, where no one expects literary craftsmanship. But stories are vital. Stories never fail us because, as Isaac Bashevis Singer says, "events never grow stale." There's more wisdom in a story than in volumes of philosophy. And by a story I mean not only Little Red Riding Hood and Cinderella and Jack and the Beanstalk but also the great novels of the nineteenth century, Jane Eyre, Middlemarch, Bleak House and many others: novels where the story is at the center of the writer's attention, where the plot actually matters. The present-day would-be George Eliots take up their stories as if with a pair of tongs. They're embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do. But what characterizes the best of children's authors is that they're not embarrassed to tell stories. They know how important stories are, and they know, too, that if you start telling a story you've got to carry on till you get to the end. And you can't provide two ends, either, and invite the reader to choose between them. Or as in a highly praised recent adult novel I'm about to stop reading, three different beginnings. In a book for children you can't put the plot on hold while you cut artistic capers for the amusement of your sophisticated readers, because, thank God, your readers are not sophisticated. They've got more important things in mind than your dazzling skill with wordplay. They want to know what happens next.

The Dead Father was slaying, in a grove of music and musicians. First he slew a harpist and then a performer upon the serpent and also a banger upon the rattle and also a blower of the Persian trumpet and one upon the Indian trumpet and one upon the Hebrew trumpet and one upon the Roman trumpet and one upon the Chinese trumpet of copper-covered wood. Also a blower upon the marrow trumpet and one upon the slide trumpet and one who wearing upon his head the skin of a cat performed upon the menacing murmurous cornu and three blowers on the hunting horn and several blowers of the conch shell and a player of the double aulos and flautists of all descriptions and a Panpiper and a fagotto player and two virtuosos of the quail whistle and a zampogna player whose fingering of the chanters was sweet to the ear and by-the-bye and during the rest period he slew four buzzers and a shawmist and one blower upon the water jar and a clavicytheriumist who was before he slew her a woman, and a stroker of the theorbo and countless nervous-fingered drummers as well as an archlutist, and then whanging his sword this way and that the Dead Father slew a cittern plucker and five lyresmiters and various mandolinists, and slew too a violist and a player of the kit and a picker of the psaltery and a beater of the dulcimer and a hurdy-gurdier and a player of the spike fiddle and sundry kettledrummers and a triangulist and two-score finger cymbal clinkers and a xylophone artist and two gongers and a player of the small semantron who fell with his iron hammer still in his hand and a trictrac specialist and a marimbist and a maracist and a falcon drummer and a sheng blower and a sansa pusher and a manipulator of the gilded ball. The Dead Father resting with his two hands on the hilt of his sword, which was planted in the red and steaming earth. My anger, he said proudly. Then the Dead Father sheathing his sword pulled from his trousers his ancient prick and pissed upon the dead artists, severally and together, to the best of his ability-four minutes, or one pint. Impressive, said Julie, had they not been pure cardboard. My dear, said Thomas, you deal too harshly with him. I have the greatest possible respect for him and for what he represents, said Julie, let us proceed.

Moral for psychologists. -- Not to go in for backstairs psychology. Never to observe in order to observe! That gives a false perspective, leads to squinting and something forced and exaggerated. Experience as the wish to experience does not succeed. One must not eye oneself while having an experience; else the eye becomes "an evil eye." A born psychologist guards instinctively against seeing in order to see; the same is true of the born painter. He never works "from nature"; he leaves it to his instinct, to his camera obscura, to sift through and express the "case," "nature," that which is "experienced." He is conscious only of what is general, of the conclusion, the result: he does not know arbitrary abstractions from an individual case. What happens when one proceeds differently? For example, if, in the manner of the Parisian novelists, one goes in for backstairs psychology and deals in gossip, wholesale and retail? Then one lies in wait for reality, as it were, and every evening one brings home a handful of curiosities. But note what finally comes of all this: a heap of splotches, a mosaic at best, but in any case something added together, something restless, a mess of screaming colors. The worst in this respect is accomplished by the Goncourts; they do not put three sentences together without really hurting the eye, the psychologist's eye. Nature, estimated artistically, is no model. It exaggerates, it distorts, it leaves gaps. Nature is chance. To study "from nature" seems to me to be a bad sign: it betrays submission, weakness, fatalism; this lying in the dust before petit faits [little facts] is unworthy of a whole artist. To see what is--that is the mark of another kind of spirit, the anti-artistic, the factual. One must know who one is. Toward a psychology of the artist. -- If there is to be art, if there is to be any aesthetic doing and seeing, one physiological condition is indispensable: frenzy. Frenzy must first have enhanced the excitability of the whole machine; else there is no art. All kinds of frenzy, however diversely conditioned, have the strength to accomplish this: above all, the frenzy of sexual excitement, this most ancient and original form of frenzy. Also the frenzy that follows all great cravings, all strong affects; the frenzy of feasts, contests, feats of daring, victory, all extreme movement; the frenzy of cruelty; the frenzy in destruction, the frenzy under certain meteorological influences, as for example the frenzy of spring; or under the influence of narcotics; and finally the frenzy of will, the frenzy of an overcharged and swollen will. What is essential in such frenzy is the feeling of increased strength and fullness. Out of this feeling one lends to things, one forces them to accept from us, one violates them--this process is called idealizing. Let us get rid of a prejudice here: idealizing does not consist, as is commonly held, in subtracting or discounting the petty and inconsequential. What is decisive is rather a tremendous drive to bring out the main features so that the others disappear in the process. In this state one enriches everything out of one's own fullness: whatever one sees, whatever one wills, is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power--until they are reflections of his perfection. This having to transform into perfection is--art. Even everything that he is not yet, becomes for him an occasion of joy in himself; in art man enjoys himself as perfection.

The Heiligenstadt Testament" Oh! ye who think or declare me to be hostile, morose, and misanthropical, how unjust you are, and how little you know the secret cause of what appears thus to you! My heart and mind were ever from childhood prone to the most tender feelings of affection, and I was always disposed to accomplish something great. But you must remember that six years ago I was attacked by an incurable malady, aggravated by unskillful physicians, deluded from year to year, too, by the hope of relief, and at length forced to the conviction of a lasting affliction (the cure of which may go on for years, and perhaps after all prove impracticable). Born with a passionate and excitable temperament, keenly susceptible to the pleasures of society, I was yet obliged early in life to isolate myself, and to pass my existence in solitude. If I at any time resolved to surmount all this, oh! how cruelly was I again repelled by the experience, sadder than ever, of my defective hearing! — and yet I found it impossible to say to others: Speak louder; shout! for I am deaf! Alas! how could I proclaim the deficiency of a sense which ought to have been more perfect with me than with other men, — a sense which I once possessed in the highest perfection, to an extent, indeed, that few of my profession ever enjoyed! Alas, I cannot do this! Forgive me therefore when you see me withdraw from you with whom I would so gladly mingle. My misfortune is doubly severe from causing me to be misunderstood. No longer can I enjoy recreation in social intercourse, refined conversation, or mutual outpourings of thought. Completely isolated, I only enter society when compelled to do so. I must live like art exile. In company I am assailed by the most painful apprehensions, from the dread of being exposed to the risk of my condition being observed. It was the same during the last six months I spent in the country. My intelligent physician recommended me to spare my hearing as much as possible, which was quite in accordance with my present disposition, though sometimes, tempted by my natural inclination for society, I allowed myself to be beguiled into it. But what humiliation when any one beside me heard a flute in the far distance, while I heard nothing, or when others heard a shepherd singing, and I still heard nothing! Such things brought me to the verge of desperation, and well-nigh caused me to put an end to my life. Art! art alone deterred me. Ah! how could I possibly quit the world before bringing forth all that I felt it was my vocation to produce? And thus I spared this miserable life — so utterly miserable that any sudden change may reduce me at any moment from my best condition into the worst. It is decreed that I must now choose Patience for my guide! This I have done. I hope the resolve will not fail me, steadfastly to persevere till it may please the inexorable Fates to cut the thread of my life. Perhaps I may get better, perhaps not. I am prepared for either. Constrained to become a philosopher in my twenty-eighth year! This is no slight trial, and more severe on an artist than on any one else. God looks into my heart, He searches it, and knows that love for man and feelings of benevolence have their abode there! Oh! ye who may one day read this, think that you have done me injustice, and let any one similarly afflicted be consoled, by finding one like himself, who, in defiance of all the obstacles of Nature, has done all in his power to be included in the ranks of estimable artists and men. My brothers Carl and [Johann], as soon as I am no more, if Professor Schmidt be still alive, beg him in my name to describe my malady, and to add these pages to the analysis of my disease, that at least, so far as possible, the world may be reconciled to me after my death. I also hereby declare you both heirs of my small fortune (if so it may be called). Share it fairly, agree together and assist each other. You know that any