Joined in 2023 
82 
63 About this deal
With that notion in mind, the authors explore different forms of fear that lead people to stop making art, and explain concisely why each one is silly, surmountable, and ultimately up to you to overcome. It's a beautiful piece of quasi-self-help that offers only blunt and useful considerations without any of the fluff and hand-holding with which self-help, as a genre, is infested. It seemed like the book was aimed at male artists looking to have galleries. It's not something I would recommend to female artists, and certainly not to artists pursuing other careers.
The book is supposed to be about what it means to make art in the real world. It explores how art gets made and what stops it being made. Sometimes I have to remind myself of the journey I embarked upon to get here today. It was a brave step to follow my heart and ambitions. I proved myself worthy every step of the way and reached my goal of a master’s degree in painting. That’s something. Every painting is better than the last, so get to work! — Kim H Paul Virilio's vision of war, art and technology has informed contemporary debates about techno-capitalist modernity for some time. Often perceived as a prophet of doom and pessimism, Virlio has consistently interrogated the effects of modern technology on the human condition....John Armitage's introduction offers a concise overture to both Art and Fear and to Virlio's general trajectory of thought. Art and Fear itself, relying almost exclusively on the historical development of genres as transgenic art, does a commendable job of providing a stereoscopic view of the political contexts of such art - Auschwitz, genocide, war." -Pramod Naya, International Journal of Baudrillard Studies, January 2006 After teaching art to high schoolers for 18 years, I have learned that to conquer fear you must face it head on. With that your insecurities will disappear. — Robin D As part of the community, there are a couple of “book clubs” running and this book is the first book we are discussing together.
About the contributors
Sometimes the emotions are expressed unexpectedly or naturally arise from a directive that is not directly about feelings. For example, in “playing” with watercolors through a sensory-based activity, the client might discover that emotions are coming up in themselves or through the art. Or a prompt for a client to create a collage about family is likely to lead to an exploration of feelings that are reflected in the chosen images. French artist Camille Claudel also explored the subjective human experience in her work, this time in the form of sculpture. Having arrived in Paris aged 17, she was denied entry to the École des Beaux Arts which was male-only at the time. Nonetheless, she went on to become an accomplished artist. Learned of this term recently, ‘imposter syndrome’. I struggled with this much of my life without knowing it was common among most of us. Recognizing these feelings and understanding it’s normal helps. I keep my head down and create. — Kate S I make lots of sketches and color maps before starting most of my watercolors. It increases my confidence to know I’ve worked some of the kinks out before I begin. It’s most important to just show up and create something. Everyone has a unique perspective that needs to be shared with the world. — Candice M fears about yourself prevent you from doing your best work, while fears about your reception by others prevent you from doing your own work.”
If you’re a nerd for personality types, then you’ll appreciate what I’m about to divulge. When it comes to the Myers-Briggs Personality Test, I’m an INFJ. As far as Enneagrams are concerned, I’m a Type 4 — “The Artist,” go figure. A common attribute of these specific “types” is the deep disdain for small talk. Instead, I crave raw, real, and meaningful conversations. I feel more seen and heard when I can let it all hang out with someone who also wants to share their deepest thoughts. I also feel a lot less alone in my struggles, insecurities, and fears. This vulnerable type of expression and connection is also, in my humble opinion, the pinnacle of art itself. The session will provide a concise introduction to the core theme and its significance for philosophy and the arts. We’ll then break into smaller groups for a guided discussion in which participants can explore the ideas and develop their own take on them in relation to the exhibition and to contemporary events.
Reviews
This event is part of the three-part series: What Makes Us Human: Conversations on Art and Philosophy. Those who continue to make art are those who have learned how to continue—or more precisely, have learned how not to quit.
Great Deal 
New Comment