Recently, an aspiring screenwriter friend told me she’d quit her day job. “I tried to just reduce my hours, but they kept creeping back to full time,” she said. “It was really hard to let go. I realized I was afraid of losing something I might never get back, instead of facing forward and going for what I truly wanted, which is to be a writer.” We agreed that committing ample space for a creative venture is a common barrier for would-be pros. “If I don’t go for it now, I’ll never know,” she said. We made a toast to the extravagant void in front of her.
Monthly Archives: July, 2018
In 2004, at home in the south of France, Henri Cartier-Bresson, one of the world’s best-known photographers, died. He was 95.
“One eye looks within, the other eye looks without,” said Cartier-Bresson. Starting with the simplest of box cameras, most of his life he worked in black and white with a quiet Leica, without a flash. He didn’t believe in cropping, staging, tricky developing or dodgy printing. His business was trapping the momentary visual delights of life in motion. “For me, the camera is a sketchbook
A recent study conducted by German neuroscientists scanned the brains of artists to try to figure out why so many of us are broke. When presenting subjects with a button that delivered a cash reward when pushed, researchers noticed that artists’ brain activity flatlined when compared to dentists and insurance agents. MRIs and dopamine measurements showed artists to have a reduced activation in the brain’s reward system. On top of this, a second test showed the artists were having a heightened response in another area of the brain. When told they could reject the cash prize, dopamine surged. Renouncing money, it seemed, is what got artists fired up.
Why do some achieve mastery and others not? How is it that some “get good” and others never seem to? For many of us who teach or practice art — this is a question that we ask every day — about others and about ourselves. With all the interest in formal art education, workshops, self-promotion, sales, and other secondary art activities, there is, after all, no greater value than simply becoming a “master.” How does this happen? In my experience it largely occurs when the artist is alone. It’s a function of individual character.