Of cabbages and critiques

[Steven Sweeney]

Asked whether the university stifles writers, Flannery O'Connor replied that, in her opinion, "they don't stifle enough of them."

That seems to be the thinking of the fellow with whom Robert Genn begins the latest installment of his newsletter. Genn's own perspective has evolved from the O'Connor/Oudendag take on the subject -- though he does not dismiss their approach. Critiques on this Forum partake of all these philosophies, over time.

I thought Genn's observations thought-provoking -- there is considerable merit and usefulness in articulating our practices and prejudices for closer scrutiny, and Genn does so perceptively and with surprising frequency -- and since he encourages in each letter the forwarding of it to friends, I'll take that as permission to reproduce part of this one, here, for whatever you wish to take from it. (If you're not familiar with Robert Genn and his newsletter, you can begin the search at www.painterskeys.com )

How to help other artists

November 7, 2006

My late friend Egbert Oudendag used to say, "The best way to
help artists is to hinder them." He had the idea that being
tough was the way to bring out their gumption. It was also the
key to finding voice, style, and the ego-force to get noticed.
"You need to struggle on your own," he used to say. "No one can
help you."

In many ways I've agreed with him. But over the years I've also
flirted with the idea that the only input an artist really
needs is approval. That concept has its disadvantages too. When
you are asked and when in your opinion someone's work is truly
lousy, it's dishonest to sit there and say, "Wow, go for it."
For those who might offer help to others, here are a few ideas
that sometimes produce results:

Think empathetically about where the artist is coming from and
try to identify no more than three needs. Predicate your input
with the caveat, "It's only an opinion." Sandwich these needs,
as you see them, between two genuine compliments, no matter how
minor. Don't be afraid to be straight up and honest. In some
ways Egbert had the "tough love" idea right--if they can't take
it, they're not on a growth path and need to be abandoned
anyway. If possible, give specific suggestions--take this
course, go to this school, join this group, go to your room,
phone the Guggenheim. Better still, phone the Guggenheim for
them. Offering up-and-coming artists a simple connection with a
public, commercial or educational venue is one of the best
things a helper can do. Then the rejection or acceptance is in
someone else's hands, and they begin to get a feel for the
sweet-and-sour nature of the real world.

Having said that, many artists need to drop, at least for the
time being, notions of commercial or fame-oriented exposure.
Premature articulation is a main cause of disappointment.
Artists often need to be gently told to get a daily life inside
their own processes. They need to know that in the long run
there is no silver bullet--no school, no club, no gallery.
Robert Henri, one of the greatest helpers of all time, used to
repeat to his students, "All education is self-education." We
owe it to everyone, including those who might eventually
support us, the thought that there's nothing more sacred and
beautiful than the private business of trying to get good on
our own terms.

Best regards,

Robert

PS: "Every artist ought to be an exhibitionist." (Egbert
Oudendag)

Esoterica: Just as the doctor says, "Take this and call me in
the morning," the artist-to-artist exchange can be similar:
"Paint a hundred paintings and tell me when you're done." Some
folks move right on to pharmacy or accounting and are never
seen again. But those who respond to this rigorous request are
generally the serious ones. They intuitively know that the need
to work in series and toward set goals is the main game. The
wise learn to set goals for themselves. There's no other word
for it but "character." In a demanding world where many are
fighting for survival, the real goal is "thrival."