The Messy Studio with Rebecca Crowell

Latest Episodes:

Episode 140: Seeking Validation Aug 29, 2020

Show notes

As artists, we love knowing that our work is appreciated by other people—whether that comes to us via exhibits, sales, awards, positive comments on social media, or simply from friends and family who respond to what we do. And even though many artists would say that recognition and validation are secondary to making the work, it can be still hard to stay motivated without some positive input. Today we’ll talk about the desire for validation alongside the pure need to create and how they can complement each other in our art practices.

Many artists would make their work even in complete isolation because creating is a compulsion, a psychological need. Most of us acknowledge that pure inner drive that helps us weather times when we are not getting attention or recognition—the times in between exhibits, sales, gallery contacts, and other opportunities. That drive is linked to a feeling of validation that comes from our own inner confidence and belief in ourselves, and that is the basis from which we can seek and emotionally accept outside validation.

But now, during the pandemic, many of the ways we are validated by the outside world are limited. We experience this as a loss and this loss creates anxiety about when the recognition will return. Art is communication and we long for outside validation to assure us our work is still important to others. And too, with a lack of sales, economic anxiety is compounded by the loss of validation we feel when someone buys our work.

The more personal forms of recognition are still available though. Our friends, family, and even social media contacts are sources of support that we can cultivate and appreciate now more than ever. Reaching out to other artists and taking other steps to nurture our work can be very valuable in getting us through these difficult times.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 139: Those Awkward Moments Aug 22, 2020

Show notes

In a recent podcast, we talked about the remark often made about abstract artists --” my kid could paint that.” But there are lots of other things people say to and about artists that show a lack of understanding or even hostility toward art. When these happen in conversation, they can create some awkward moments. Most of us tend to feel defensive when this happens, and we can miss an opportunity to elevate the conversation. Today we’ll talk about some of these common remarks, consider why people make them, and ways to handle them gracefully.

As artists we’ve all had these moments. Sometimes, what we hear is an innocent question with a complicated answer, for example, “how long did it take you to paint that?" --when clock time is not the issue. Sometimes a question or remark comes across as aggressive, as when people ask about the price in order to look askance when you answer. Or an observation like “it must be so fun to just paint all day” can come across as “how nice to do whatever you please-- most of us can’t do that.”

Most remarks are well-meant though. People who know little about art are usually just trying to find a way into the conversation, as we all do when trying to understand another person's profession that is unfamiliar to us. But many times, a remark that indicates basic ignorance of our work can seem offensive and awkward. If we make an attempt to move the conversation forward, though, it can be an opportunity to help the other person understand.

It's easy though to feel misunderstood or hurt. Sometimes artists consider remarks critical or insulting but from an objective point of view are simply misinformed or out of context. Many times these remarks are much more about the person making them than about the artist. They are attempts to relate the artist's lifesto their own experience and as such, they should not be taken personally. Take opportunities to educate people when you feel there is an opening for a more elevated conversation and use compassion and humor to do so if you can.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 138: My Kid Could Do That! Aug 15, 2020

Show notes

Saying that an abstract painting is something a preschooler could do sounds like the ultimate putdown for abstract art. It implies that abstraction is a scam, meant to fool the viewer into thinking it has actual importance and ridiculing the fact that it is sold for thousands of dollars. It also denies that it takes effort, skill, or seriousness to make the work. But can that same remark be viewed in a positive light instead? What do we lose as adult artists that children have naturally, before becoming self-conscious about their work? And is child art really the equivalent of adult work?

We're talking here about gestural, expressionistic abstraction like the work of Cy Twombly, and Jackson Pollock. Obviously, there are many other kinds of more cerebral, controlled, and planned abstraction that would be less likely to elicit the disparaging comparisons to child art. But the idea persists with expressionistic abstraction that it is some kind of joke even though it has been practiced widely for decades and holds a significant place in art history.

Are child art and adult art actually interchangable? In a Boston college study done in 2011, people with no art background were asked to distinguish between child art and abstract expressionist adult art. They answered correctly in numbers significantly better than chance. The conclusion was that most of the time, we can sense intentionality and structure in an adult painting that distinguish it from child art. Children, with their fantasy-oriented, unselfconscious approach, simply have other concerns.

Another question to consider is is why spontaneity and intuition are undervalued in abstract painting when those same qualities are respected in forms of art such as jazz, and improv theater. To be able to respond to emotions and materials in a fluid, natural way is actually a challenging skill to learn for adults. As Picasso famously said, "It took me four years to paint like Raphael, but a lifetime to paint like a child."

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 137: Roughing It: All About Texture Aug 08, 2020

Show notes

Along with color, texture is one of the most evocative visual elements, engaging not only our eyes but our sense of touch—as well as our memories and associations. Many artists seek out ways of creating texture and consider it one of the most important aspects of their work. Yet because it is such a powerful element it needs to be used thoughtfully, and often with restraint. How can we use texture most effectively in our work, allowing it to take its place with other visual elements without overpowering them? What are the special qualities of texture that can be used to enhance our work?

Texture is problematic when it is an end goal and not a means to an end but created without meaning or intention. Texture for its own sake alone can lead to a superficial and non-cohesive painting. On the other hand, it can work well as a prominent feature but needs to be part of an overall concept. What do the textures you are interested in evoking? How can you use them as part of a larger idea?

Texture falls into two broad categories--actual, physical texture that can be perceived by touching, and visual or illusionistic texture in which we read something as having physical texture, but in fact the surface of the work is smooth to the touch. Each has its own distinct qualities and uses, and the combination of both in the same work can create intriguing contrast. Either kind of texture can be bold or subtle, organic or mechanical in appearance, and referential or not (whether how it is made has meaning in the painting.)

Texture is a powerful element that when used in a thoughtful, intentional way can bring strong meaning and associations to your work. Like any other visual element, consider its relationship to overall design and to your source ideas and intentions.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 136: Growing Pains and Gains Aug 01, 2020

Show notes

A theme in all of our podcasts over time has been encouraging artistic growth. To us, growth is a given, something all of us strive as artists and as people. But what does it really mean to grow artistically and why is it important? What can you look for in your work to know if it is growing? Today we will look at what growth means in our studio practices and share thoughts about its importance.

The need for growth is embedded in our human psyches, and we all experience immense growth as children and as young people in every aspect of being. At a certain point, however, continuing to grow as artists can become a challenge. Instead it is easy to become complacent in doing what we are good at and what has brought us recognition and success. Yet an honest appraisal of our growth is energizing--offering new ideas and a deeper understanding of past work. Growth is also important to those who admire and collect our work. While not everyone will appreciate every stage of our work, a reputation as someone unafraid of change is positive.

Growth often encompasses elements of past work. So re-visiting past acheivements and exploring paths not taken are good sources of ideas. In the time that has passed since that work, you will have learned a great deal through practice, or an intentional focus on things like use of color or composition. Coming back again to important ideas in new ways is a good sign of growth; these core interests provide consistency as well as variety and expansion. Another sign of a growing artist is a willingness to take side trips into other media or subject matter. These forays can build on one another and contribute to your overall body of work. Intuition plays a role in this--following impulses toward doing things that don't seem related can reveal their importance later.

The desire for forward motion is part of the human condition but we are all free to interpret that in different ways, and we should understand our issues and limitations without berating ourselves. Growth has its own logic and timespan so it does no good to compare ourselves to others. Progress will happen almost inevitably, but fully embracing change and growth can have a powerful impact on your work.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 135: Are You Curious? Jul 25, 2020

Show notes

We were all curious as children and many artists retain that trait as vital to dynamic art practice. Yet curiosity can be fragile, disappearing in the face of information overload or the desire to seem knowledgeable and in control. To be curious, to wonder, to explore –all are aspects of ourselves that keep us young, with room to grow. Today we will look at how to nurture curiosity in your art practice and the importance of exploring and wondering, in art and in life.

During our current COVID-related shut-down, many artists are feeling free of gallery pressures and deadlines and are experiencing exciting growth in their work. But others feel stagnant, or reluctant to move on from an approach that has served them well in the past. By not exercising curiosity, they may be blocking ways to overcome these obstacles.

Some of the most successful artists are life-long learners, always curious, investigating new ideas, and reaching out to other artists for reciprocal conversations. They ask "what-if" questions of their work and are willing to take risks in the studio trying out new media and following their impulses. They are open to change and input. They track their ideas over time, sometimes returning to paths that were abandoned earlier with fresh perspective. And they think of ways to integrate new information, techniques, and materials into their current and developing work.

Unfortunately, other people tend to shut down curious impulses, or immediately look to others for answers rather than figuring out what they want to know. Or they may fear looking ignorant or incompetent. As a result they close off some of the true joys of creating--discovery, honoring impulses, and the pride of independent accomplishment. If you sense a lack of curiosity in your own attitudes, consider what is holding you back. It is easy to fall into habits that cut off new information. We may fail to apprecaite what others have to offer, or resist doing our own investigating when we have a question. Curiosity is a muscle that needs to be exercised.

Curious artists have a big advantage in their art practices, remaining energized and growing in their work. Knowing how to obtain new information and recognizing what may impede your own curiosity can be important steps in opening new pathways in the studio.

Our ad break in this episode is from artist Elizabeth Schowachert, who offers beautiful handmade brushes and specialized art tools on her website. Please visit:
https://elizabethschowachertart.com

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 134: Editing with Energy Jul 18, 2020

Show notes

Artists need to edit, too!. Of course, we’re all familiar with the idea of editing as it applies to writing. It is often said that every author needs an editor to make sure that their writing is technically correct, cohesive, and impactful. But as visual artists we don’t typically involve anyone else in that kind of role --it's up to us to do it ourselves. Today we will talk about editing our work for stronger and more consistent results and point out that it need not be a chore or necessary evil.

Why is editing so important for us as visual artists? Editing brings clarity to our work and allows our viewers to enter without confusion. It is a powerful tool to emphasize our intention and purpose. Editing our work with a clear vision helps provide cohesiveness within a series or a larger body of work.

With all its benefits, why do many artists resist the idea of editing--that is, removing parts of their work that don't contribute, or not pushing on with additions or changes that could be helpful? A common reason is becoming overly attached to certain parts of our work that we see as exceptional. -- a particular combination of colors, a beautiful mark or texture. We hate to get rid of them, even if they are distracting have a random look. Also, settling for "good enough" can seem very appealing, when you know that one small change may lead to many more, and you may find yourself almost starting over. It can be easy to rationalize keeping things that will be difficult to correct. Yet taking the easy way in any of these situations weakens the work and limits your growth.

How can editing be enjoyable, energetic, and exciting? By making it integral to your process and editing with energy and spontaneity throughout your work sessions. Long deliberations, hesitations, and second-guessing yourself are what make it seem like a chore. Listen to your intuition and don't be afraid to make a decisive move, and proceed with positive energy. As with writing and other creative endeavors, early drafts of a project are seldom as strong and satisfying as what you develop through edits and changes.

Ross mentioned Stanley Kubrick's "The Shining" in this episode. For more info on the depth and complexity of Stanley Kubrick's visionary horror masterpiece check out the documentary, "Room 237". https://www.youtube.com/watch?v=gL1fTlH81gU

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Support The Messy Studio Podcast when you buy art supplies from Blick!

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 133: Creative Collections Jul 11, 2020

Show notes

When artists collect, it’s often --but not always --related to our art practices. We tend to collect works of art that we’ve bought or traded for, art books, memorabilia like announcements and posters, and of course, art supplies. But what about the more unexpected things we gather in our homes and studios? What do our collections tell us about ourselves and our attraction to certain kinds of objects? Today we’ll report on what some artists had to say when Rebecca posed the topic on Facebook, along with our own musings about the meaning of collections.

Collecting can be seen as a creative activity in that there are connections to our playful selves and to lifelong interests, and what we collect can illuminate our personal interests and character. Visually, we enjoy the similarities and differences in the objects that have a relationship to one another, and enjoy arranging and displaying our collections. Writer Lydia Yee sees collecting as an extension of the childhood urge to bring objects together, to "explore, understand, and organize the world" which artists seem particularly drawn to as an activity.

In response to our query as to what artists collect, the responses range widely but natural objects were the most popular objects by far. These include rocks,bones, feathers, leaves, shells, insects, and more--it seems that many artists can't resist picking up what artist Emely McConkey called "special gifts" from nature. Some artists use these natural objects in their work in some way, while others just like having them around.

There is also a strong attraction for lots of artists to objects affected by natural processes like weathering, such as beach glass, driftwood, and rusty metal. Other collections that artists mentioned are comprised of whimsical, historical, or symbolic objects.

What quirks of our personalities lead us to certain objects? Often there is no apparent relationship to our studio work, yet collections may express longstanding aspects of our interests and personalities. While collecting may not strike you as a creative pursuit,t looking at it in this light may bring insight into your personal hstory, voice, and desire for play.

mentioned in the podcast:
Joanna Kidney https://www.joannakidney.com

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Support The Messy Studio Podcast when you buy art supplies from Blick!

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 132: The Power Of Beauty Jul 04, 2020

Show notes

We often say “That’s beautiful” in response to a work of art, but the word beautiful can have many meanings. Most of us recognize it as a heartfelt compliment when it is said about our own work, but we may wonder what specifically prompted the viewer to use the word. And while we may strive for beauty in our work we may have not thought much about what that means. Today we look at what deeper ideas or responses the words “beauty” and “beautiful” can hold.

"Beautiful" has a strong impact coming from a viewer of your work, but what the person is actually saying or responding to is usually ambiguous unless they go on to clarify. Perception of beauty is subjective and could be prompted by any of various aspects of the work as well as its total impact. And of course, what one person finds beautiful in your work might strike another person as unappealing.

Beauty is powerful and unique in its capacity to satisfy both the eye and the mind, and often the emotions as well. It may be defined as the quality present in a thing or person that gives intense pleasure or deep satisfaction, arising from our senses , thoughts, or emotions, and encompassing depth and meaning. While "pretty" when applied to art is often thought of as superficial, pleasing the eye only, or relying heavily on sentiment, beauty is a wider concept that can address more difficult aspects of the human condition. These may not not beautiful in themselves, but the artist can express compassion, understanding and humanity in ways that are powerful. Beauty can contain wildness, mourning, anger, and pain. It can be dark and moody as well as uplifting and transcendant. In this sense, beauty and truth are connected; both can express any sincere emotion or response.

What does this mean for an artist? What is your own truth, your own beauty? Is it simple, complex, somber or bright, geometric or organic? How can you explore what you find beautiful in ways that will draw your audience in, give them something to think or wonder about, or respond to in unexpected ways? Are you willing to push past the pleasing aspects of "pretty" into work that challenges rather than only pleases the eye?

This episode is sponsored by Multimedia Artboard. Use promo code "MESSY" at checkout for 30% off!
https://multimediaartboard.com/

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 131: The Power of Intention Jun 27, 2020

Show notes

A key aspect of establishing your personal voice is figuring out what is most important to you in your work. What do you want to communicate to other people? What responses do you hope to evoke? The process of defining these intentions can be challenging, involving some basic but important questions, and may take some time to process and refine. But clear intentions are a powerful tool. Today we will look at the process of clarifying your intentions and the advantages for doing so.

Intentions both describe and create our experiences. They express who you are, your core selfas well as the desire to continue with your ongoing concerns. Writing intentions down can be a powerful exercise, helping you to establish and integrate what you most want into your practice. The act of writing can set these concepts in motion even below conscious awareness.

How can you arrive at a list of intentions? This requires some introspection, including deeply observing your own work, that of others you admire, and asking yourself how you would like viewers of your work to respond. The process may take a while; some ideas may come to you imediately, in an obvious way, while others require contemplation. Intentions should be broad and not feel limiting--opening up ideas and new directions over time. It's also fine to have some that are closer to goals than actualities, because intentions are for the long haul. Shorter term goals and intentions can also be developed as an aside for specific projects, but the core list should be something that provides guidance, and allows for flexibility and new ideas over time.

Intentions provide many benefits in a practical sense. As a framework for statements about your work, they enable you to write and speak clearly. They also help with self-critique and to stay on track in pursuing ideas. They can refresh your sense of what you want when you are blocked creatively, and aid in your self-esteem and identity as an artist by giving you a sense of control over your art practice.

We hope this episode will help you create your own list of intentions or--if you already have one--reaffirm its importance in your art practice.

This episode is sponsored by Multimedia Artboard. Use promo code "MESSY" at checkout for 30% off!
https://multimediaartboard.com/

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

The Messy Studio Podcast is a CORE Publication MGMT production.