Artists become veteran artists only by making peace not just with themselves, but with a huge range of issues. Today, more than it was however many years ago, art is hard because you have to keep after it so consistently. The original Capra Press edition of Art & Fear sold 80,000 copies. Word-of-mouth response alone-now enhanced by internet posting-has placed it among the best-selling books on artmaking and creativity nationally.Īrt & Fear has attracted a remarkably diverse audience, ranging from beginning to accomplished artists in every medium, and including an exceptional concentration among students and teachers. First published in 1994, Art & Fear quickly became an underground classic. This is a book written by artists, for artists - it's about what it feels like when artists sit down at their easel or keyboard, in their studio or performance space, trying to do the work they need to do. Their insights and observations, drawn from personal experience, provide an incisive view into the world of art as it is expeienced by artmakers themselves. The book's co-authors, David Bayles and Ted Orland, are themselves both working artists, grappling daily with the problems of making art in the real world. For all practical purposes making art can be examined in great detail without ever getting entangled in the very remote problems of genius.'Īrt & Fear explores the way art gets made, the reasons it often doesn't get made, and the nature of the difficulties that cause so many artists to give up along the way. Geniuses get made once-a-century or so, yet good art gets made all the time, so to equate the making of art with the workings of genius removes this intimately human activity to a strangely unreachable and unknowable place.

After all, art is rarely made by Mozart-like people essentially-statistically speaking-there aren't any people like that. Ordinary art means something like: all art not made by Mozart.

Art and fear observations on the perils