the act of creating
In The Unabridged Journals of Sylvia Plath, Sylvia Plath writes:
“I can never read all the books I want; I can never be all the people I want and live all the lives I want. I can never train myself in all the skills I want. And why do I want? I want to live and feel all the shades, tones and variations of mental and physical experience possible in... See more
Luisa • I Want to Do Everything, So I Do Nothing
The Bhagavad-Gita says, “It is better to follow your own path, however imperfectly, than to follow someone else’s perfectly.” Consider the people who have found their voice and made a real impact: their paths always differ, but their practices overlap in many ways. At the heart of the creative’s practice is trust: the difficult journey to trust in
... See moreSeth Godin • The Practice: Shipping Creative Work
Learning that Jackson Pollock laid his canvases on the ground and incorporated whole body movement into creating his paintings has made me appreciate abstract art a little more than I did. I love the idea of using direction and speed to drip paint instead of precision. I learned that his method was very intuitive and meant to represent his psyche.
... See moreArtists spent their time to explain as if making sense was important
“The private details of artmaking are utterly uninteresting to audiences,” write Bayles and Orland, “because they’re almost never visible—or even knowable—from examining the finished work.”
Austin Kleon • Show Your Work!: 10 Ways to Share Your Creativity and Get Discovered
By this definition, art is less an object and more a process of exploration.
Amy Whitaker • Art Thinking: How to Carve Out Creative Space in a World of Schedules, Budgets, and Bosses
As art would no longer respond to itself, and no longer had any constraints, other human activities could be drawn from the world into its hungry maw. Art was no longer moving forward. Individual artists were free to consume the present, swallow other cultural forms, and twist them into new experiences.
Dean Kissick • The Painted Protest, by Dean Kissick
“The reviewer’s tacit assumption that sketchy paintings were unfinished paintings shows a reluctance to accept that a finished work was not necessarily one that had been painstakingly worked up to a high state of polished detail. Nevertheless, what is new is the insistence on the right of an artist to show experimental work in public, as well as
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