There it was again, another discussion of how to determine what a ‘real’ artist was. Shaking my head in utter dismay, I read a plethora of back and forth positions in the online blog. Oh so long ago, I had been introduced to this topic, had no idea what the term ‘real’ artist meant, and hadn’t found it necessary to evaluate whether I was real or unreal. But there it was again and still being discussed, so this morning I began to wonder why this real vs whatever-other-type-of-artist discussion exists and persists. To quote an awesome woman whose name escapes me, “can’t we all be fabulous?” Is a ‘real’ artist more authentic or true in some manner, maybe in skill, or in number of ideas, or simply in their prolific outpouring of repurposed and/or aesthetically pleasing matter? Could it be that the ‘unreal’ artist accrues lower than a certain level of occupational income, such as van Gogh during his lifetime? Or, is it some other distinction that drives this seeded vs seedless rye discussion?
What I can’t figure out is, who has the time and energy to bother with this distinction? Aren’t artists too busy making art?
This question is not often asked, but rather shared as the statement, ‘I’m not artistic.’ Dictionary.com offers that artistic is: “1. conforming to the standards of art; 2. showing skill or excellence in execution: artistic workmanship; 3. exhibiting taste, discriminating judgment, or sensitivity; 4. exhibiting an involvement in or appreciation of art; or 5. involving only aesthetic considerations. So, it looks like there are several ways to be artistic. But how did ‘skill or excellence’ become equivalent to replication representation as a means of defining one’s artistic ability?
Usually when my students or friends share their perspectives about their lack of an artistic nature/ability, I discover that they’re referring to a perceived lack of representational replication skill in their completed or expected execution – notably of a final product. This eye-on-the-replication-representational-prize perspective can get in the way of the ‘space’ needed for artistic creation – for making and creating art may require decision making, a discerning eye, analysis, and modification, but more importantly, it demands the freedom of happenstance. While discriminating judgement is necessary, and confidence in that judgement needs to be nurtured, serendipitous discovery occurs during process rather than deliberate map-following to a pre-determined end product.
Confidence is the fuel that moves artists forward and allows risk-taking action that moves us past a simple conformity to the standards of art and catapults us into the realm of real artistic possibility. Confidence can be present in artwork long after the artist hand leaves the paper, canvas, clay, or stone; just look at Dali’s line drawings of well…anything. The confident energy of an artist’s hand is embedded in that bold line, daringly pounded brushstroke, or unrepentant application of glaze; for self confidence in one’s artistic nature documents concrete evidence of human creative energy.
Simply put, developing an artistic nature requires the ability to allow plenty of room for our self confidence, as we respond with our senses, to our surroundings.