Sorry, But On This Fine Art Generalization You Are Flat Out Wrong

 

I’m a fan of Stapleton Kearns.  I enjoy his blog for the information he shares, but sometimes I just have to answer back, particularly to this post about the difference between art and craft – although probably not for the reasons you imagine. 

The discussion about art vs. craft was intended to arouse controversy, something Stape does and does quite well – part of why I like him because he gets people to think, sometimes, and generates a lively conversation.  But it was this statement – which has nothing to do with either art or craft – that was slipped in before the main event and snagged my attention:

"I had someone tell me on Facebook that it was too bad I didn't like older painters. I like em fine, and well enough not to jive em about what their chances are of achieving mastery and competing with those who have done nothing else all their lives."

So here’s the pebble in my shoe: It is human nature to interpret the world from our own viewpoint and to then extend our own reality into the lives of others with similar experiences.  But this interpretation that it takes an extended length of time (i.e. doing nothing else all your life) to reach mastery is flat out wrong from a research standpoint. 

Consider this - in my recent research into creativity and age I came away with these ideas:

• According to psychologist Mihaly Csikszentmihalyi, creativity is a function of our cognitive abilities as well as certain personality traits that are strengthened with age, such as the ability to persevere despite setbacks, to be less influenced by conventional wisdom or peer acceptance, and the emergence of a stronger sense of personal calling or purpose. In this post that I wrote in 2008, The Seven Characteristics That Distinguish Older Artists From Their Younger Peers you will find more information on this idea.

• Recent brain science supports the theory that, with the development of efficient neural networks within the mature brain, mature adults have the ability to process information faster, discover unique insights due to both education and life experience, and focus more intently upon mastering a technique or subject, making it possible to condense the standard generalization of 10 years of concerted effort to attain mastery into a shorter period of time. 

• According to research by Stephanie Z Dudek and others from the University of Quebec at Montreal, personality and the level of commitment are the most significant determinants for success in the profession of art.  In their definition, commitment comes from self-awareness and an intense identification with the work, manifesting as a “difficulty in distinguishing where the self ends and the work begins,” adding, “It is possible to work at a profession for a lifetime and never be committed to it.”

• Early development of artistic skill is often more the result of the artist finding himself in a nurturing and supportive environment, enabling the sustained growth necessary to realize potential; but success as an artist has nothing to do with “when you started,” only that you were able to start at age twelve instead of age fifty.  There is no genuine reason why - if you have the commitment, the willingness to put in the concerted, hard effort to learn and master skills necessary, and the ability to resist conventional wisdom - that you cannot achieve some level of success in the profession of art if you want it bad enough. 

The only difference is the length of time you will have to enjoy the success before really old age takes a toll, but we are living healthy, productive lives well into our 80’s and 90’s so there’s no reason to conclude that if you start to pursue the profession of art at age fifty you cannot realize a measure of success by the time you are sixty, which allows at least two decades or more of pure enjoyment, artistic commitment and creative success. 

Those seem like good enough odds to me.   

________________

 

As an aside, my painting, Chokecherry Farm, won the Cheap Joe's Award for Excellence in the 12th National American Impressionist Society's Exhibition going on right now at Mountainsong Galleries in Carmel-by-the-Sea, California.  Plus, the painting sold.  I am both humbled and honored. 

 

Comments

[sue]

Stacey - this is part of the reason why I wrote Ancient Wisdom: Emerging Artist - because even though there are many, many success stories about people who start to create after the age of 35 or 40, there is still a stubborn resistance which we encounter - whether it comes from others or hidden in our own belief system. The best way to counter this is to see it, read it in a book, and experience it in our own lives. The book just helps us remember the important stuff and keep us motivated when we are feeling insecure.

[Stacey Mayer]

Sue, you're my hero. Thousands of artists and friends need to read this. I had a dear friend, Alice Joy, who won many awards for her breathtaking pastels of Native Americans, and she was past 60 when she began. We're certainly blessed to live in this day and age. I intend to live past 90, painting away!

[sue smith]

Carole - such a beautiful story! I also believe that in later life, a new-found courage emerges that opens the door to creative work.

Deborah - what is it they say about success being the best...ah...educational tool?

[Deborah Paris]

This is a prejudice which is sadly common among Stape's generation of mostly male artists. I have a male student in his early 40s (young!) who actually told me he had to quit reading Stape's blog because his attitude on this was so discouraging. We won't ever change his mind-but we will prove him wrong.

[Carole Buschmann]

Have you read "The Paper Garden" by Molly Peacock http://www.mollypeacock.org/, that's her blog. Anyway the story(based on truth) is about Mrs. Delaney who began focusing on her art at the age of 72. Now hold on to your hats this was in the summer of 1722. Her beautiful collages can be seen at the Victoria and Albert Museum in London (and they are not considered Craft). Take heart. Sometimes the late life practitioner of the arts has spent a lifetime internalizing and thinking about art and is able to draw upon that with a particular freshness.

[John Kelley]

Great post Sue and congratulations on the AIS award!

[Sue Smith]

Yvonne - youare right - it takes hard work and believing in the outcome.

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[Sue Smith]

Bea - I cant think of a better description of being committed than that!

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[Bea Lancton]

Sue, what an excellent point. I am interested in this topic for two reasons: I'm an artist who didn't become serious until her 50s, and I'm also a former nurse in the neuroscience field. Even though I majored in art as a young person in college and loved it dearly, I ended up in other fields during the intervening decades. It wasn't until I turned 50 that I began to have a change of heart about the direction of my life. Initially, I regretted losing all those years away from painting and sketching, but I soon came to realize that it took those years to bring me to the maturity in which I now find myself - this time much more solidly focused upon the art that I still love even more dearly, and for which I am willing to give up almost everything in its pursuit.

[R Yvonne Colclasure]

Thank you, Sue. I, as an older starter, was feeling a bit disappointed that I would never reach my goal as a professional artist because I didn't start early enough according to Stape's thinking. I am glad to know that the ball is back on my side of the court. I believe if we want something bad enough and work hard enough to achieve it, we will succeed.