about art and creativity
If imitation is the sincerest form of flattery, Wayne Thiebaud (1920-2021) knew how to appropriate most ardently. The renowned artist once said, “It’s hard for me to think of artists who weren’t influential on me because I’m such a blatant thief.”
Kate Mothes • Wayne Thiebaud's Passion for Art History Shines in 'Art Comes from Art'
Wayne Thiebaud on Art
The psychology of the flow state
When I have a piece of writing in mind, what I have, in fact, is a mental bucket: an attractor for and generator of thought. It’s like a thematic gravity well, a magnet for what would otherwise be a mess of iron filings. I’ll read books differently and listen differently in conversations. In particular I’ll remember everything better; everything... See more
James Somers • More People Should Write
The challenge is to structure one’s workflow in a way that insight and new ideas can become the driving forces that push us forward. We do not want to make ourselves dependent on a plan that is threatened by the unexpected, like a new idea, discovery – or insight.
Sönke Ahrens • How to Take Smart Notes: One Simple Technique to Boost Writing, Learning and Thinking – for Students, Academics and Nonfiction Book Writers
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monoskop.orgThere is taste in people, visual taste, taste in emotion
- and there is taste in acts, taste in morality. Intelligence, as well, is really a kind of taste: taste in ideas. (One of the facts to be reckoned with is that taste tends to develop very unevenly. It's rare that the same person has good visual taste and good taste in people and taste in ideas.)
A tradeoff occurs every time you get feedback. You become slightly more mainstream, slightly more aligned with the zeitgeist. You become marginally more of an exploiter than an explorer , standing on the shoulders of the giants who conceived the paradigm you’re striving to build upon. This is very effective when you want to align your work with... See more
Leber • The Feedback Tradeoff
“At the same time, art cannot be understood in terms of purpose. As the sculptor Charles Ray has said, art is “for absolutely nothing.” To make, or experience, art is to enter a kind of free zone; it slows us down, places us in some epistemological estuary, takes us into the wild. We make art from our flaws, fragilities, perversities, from our need
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The goal of art isn’t to attain perfection. The goal is to share who we are. And how we see the world. Artists allow us to see what we are unable to see, but somehow already know. It may be a view of the world singularly different from our own. Or one so close, it seems miraculous, as if the artist is looking through our own eyes. In either case,
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