...Leave the Ugly alone...

Artists and writers may perhaps be the recipients of some very vocal internal critics.  We edit, we critique every mark, we hem and haw about the subject matter, the colors, the mediums we use…every little ugly bump or blemish.


Our first impulse is to cover it up or get rid of it.  If it helps, pretend I’m your mother (if you ever listened to her) or your favorite teacher that you respect when I say, “Don’t do that!”  Put that gesso bottle down.

If you are convinced your piece is ugly, blemished, ruined, blah blah blah you either need to commit to trash it completely (again, hear this when I say, “Don’t do that!”) or allow it to find a home in your work.  At least for a little while.  Explore why it bothers you but don’t do anything to it.  Work around it and leave it alone.

Okay—this is a kinda gross analogy but think of that Ugly area as if it is a zit.  If you had a mom like mine, she always said, “leave it alone.”  If you mess with it, it could get worse, could cause an infection, or leave a scar.  This is true in art and writing also.  Just leave that Ugly alone.  It is more than possible that if you focus elsewhere it will take care of itself.  Remember, your definition of ugly may be quite narrow and others may have an entirely different view of what you see as ugly.

I’m not saying never cover over anything in your work.  I’m saying to pause to consider how that Ugly could be an asset.  If nothing else, if the work is well and truly Ugly and ruined, consider sending it to the Museum of Bad Art or intentionally making a series of Ugly to put into a gallery show featuring work of the inner Critic.  If you absolutely must cover up the Ugly, do so after you have stopped to consider why you are covering it over.  If you are convinced it must go, then, finally, give yourself the permission to cover up the Ugly.

Thick Skin or Be Bruised Forever

One of the trickier aspects of life as an artist or writer is how to handle criticisms both big and little.  The good news is that throughout life we are given many opportunities to develop the emotional scar tissue or thick skin that helps to carry on beyond negative feedback.

What does it mean to have a thick skin? It means that you are not easily offended and that you are largely unaffected by the needs and feelngs of other people; insensitive.  Now, insensitivitiy does not mean being rude, mean or cold to others, it means that you are that duck on the water swimming calmly, and the water just rolls right off your back. 

Albrecht Durer's Rhinoceros 1515

There are a number of types of "digs" that can occur and can be hurtful.  

Critiques are necessary and can even be helpful.  But that doesn't mean that they cannot also hurt, especially since it may or may not be done in a kind or sweet way.  Critiques can be brutal if the intention behind them is not intended to truly be for your benefit.  And let's face it, even the best critique may hold a tidbit of truth, even when we don't necessarily want to hear it.

Out and out insults--those comments and attitudes that basically tell you that you or your work is not valued.  There are, in my opinion, no nice insult.

Words said out of anger or hurt--when we are emotionally involved with people, words can come out as a result of anger or hurt.  Most of the time, these words are not the truth but aimed where they can do the most damage and pain.

And maybe the worst of the worst is Indifference.  This is when someone really doesn't care about you or your work in any particular way. They aren't mean.  They aren't nice.  They just aren't interested.  

I'm sure that there are many other hits that we all can take.  The bigger question is how to overcome the pains and emotional bruises received.

The biggest and best advice I have to offer is to write down whatever it is that was done or said that caused you harm.  Then set a timer and take a few short minutes to pick that experience apart.  Was there some truth in it? Why was it said? Was there something that happened that might have caused the pain?  And is there anything that was said that you could embrace and use to improve or take into consideration?  Then...let it go.  Get what you can learn from it.  Then burn up, shred or just throw away the paper.  Move on in your mind and don't dwell, stew, or create resentment.

Sometimes we receive the emotional blows by not choosing wisely with whom we share our art, stories or plans.  Let's face it, not everyone has our best interests at heart.  Some people, for their own reasons, sometimes even wish to see others fail.  Develop your relationships and share your treasures only with those you find deserving.  If you know someone isn't trustworthy or may cause harm, don't share with them.

Rockin' Rhino, (c)  Maria Ryan

Develop a positive self-image and self-attitude.  Know for yourself the value of you and your work.  If you are not dependent upon others to validate what it is you are about, you are in a far stronger position.  This is one of the BEST ways to develop a thick skin.  There are many other benefits of this position as well as helping to minimize the "slings and arrows" of life.

Keep your mind, thoughts and heart on your artwork.  Learn what you can from criticism and let the rest go.

Is a Consistently Red Color Field High Art?

In reviewing some more magazines that I'm going through, once again I have to wonder if the art critics and "experts" are on drugs or just get a good laugh from what they claim is "art" and the masses blindly follow along collectively 'oohing' and 'ahhhing' over.  Sometimes, I just think "they" (including, perhaps, the artists) are just playing with "us" (the unsuspecting masses of hysterics.) 

(c) SZing "Pathways" Abstract Expressionism and Color Field work in fused glass

by Stephanie Zing, used by permission of the artist

Now, I like to be as open minded as I possibly can and I truly do not want to diss any artists or their creativity. That said, there are some artworks that garner high praise and I think to myself, 'maybe I just don't get it."  One such piece that flummoxes me is Barnett Newman's "Onement II" from 1948.  He is seen as one of the major figures in abstract expressionism and one of the foremost of the color field painters. 

Personally, Joan Miro, Richard Diebenkorn, Henri Matisse, Mark Rothko, and Paul Klee are all some of my favorite abstract expressionist artists who worked as color field painters.  I, myself, at times, work as a color field painter and prefer abstract expressionism both in painting and glasswork (see photos in this posting). 

Perhaps it is simply a matter of personal subjective taste because Mr. Newman's works seem to be highly regarded--although personally, more than one of them simply reminds me of a "flag" and I wonder whether these works if presented today would be as well-received.  I get that the consistency of the red color field is a part of the "color field" painters goal. 

This particular painting apparently belongs to or is shown at the Contemporary Jewish Museum of San Francisco and perhaps I should a) visit the museum and see the piece in person, or b) read up to see if there is additional information about this piece.  It is a 60" x 36" canvas painted with a reddish/orange oil paint over the entirety of the panel with what appears to be some barely distinguishable dark lines behind the red paint.  That's the entire painting. 

Maybe there is a third option.  c)  the painting does not photograph or translate well in a glossy paged magazine when the image is shrunk down to a 4" x 2 1/2" picture.  Maybe, in fact there are more options.  Like my own open mindedness and willingness to embrace all artworks. 

I am hoping that all three of these scenarios are the case because frankly, when I read the magazine praising this piece of artwork, I scratch my head and say, "really??!!"  If time and resources were no obstacle, I most certainly would hoof my butt out there to San Fran and decide for myself.  That not currently being an option, I have to take what I get in the magazine (and online) and decide for myself. Maybe I'm just having artist envy and wondering how to get my stuff seen and praised better.

(c) SZing "Exploring Spaces" Abstract Expressionism and Color Field work in fused glass

by Stephanie Zing, used by permission of the artist

Since I do not have permission to post the pictures of Mr. Newman's works, I instead refer you to the Internet image searches of his art.  Decide for yourself.  I'm interested in opinions on the subject of critics and experts, as well as abstract expressionism and color field paintings.  What do you think??