But the important point here is not that you have — or don’t have — what other artists have, but rather that it doesn’t matter. It's not written by psychologists, so there are none of the familiar catch-words or prescriptive solutions for our malaise.

For me the resonances and intimacy of the first half of the book were more engaging than the second part. I am also letting them get away with using the first-person plural ("we") and referring to themselves as "the authors", because they also clearly have a wry sense of humor and genuine honesty that deflates gestures towards pretention. The scope of the scary in art is never-ending, these examples making up only a small fraction of it. At the individual level, migration represents a literal and conceptual shift away from the world of certainties. In the 2010s the psychological cost of total visibility is under scrutiny, as seen in a number of recent books and artworks.Those being graded on “quality”, however, needed to produce only one pot — albeit a perfect one — to get an “A”. There is a lot of merit to learning how to draw the figure if nothing else, but they never address that school might give you the tools to address technical matters. Hip-hop culture, “outsider” art, and “new media” forms are not examined by these authors, but I enjoyed this observation: “Today artists often back away from engaging the times and places of their life, choosing instead the largely intellectual challenge of engaging the times and places of Art.

Join us today as we explore various ways in which artists have depicted fear throughout art history, from scary paintings to haunting sculpture! Her upcoming shows include the Fourth Plinth, Trafalgar Square in 2020, a major commission for Art on the Underground’s flagship site at Gloucester Road, an online commission for the Museum of Contemporary Art Chicago and a solo show at BALTIC Centre for Contemporary Art (all 2018). I rather liked the anecdote of an artist who took dancing for fun, excelled, then had to relearn how to dance for others when the chance arose for her to be part of a performance troop. All of these have been helpful for different clients and situations, and I continue to use them when they are appropriate.The artist’s life is frustrating not because the passage is slow, but because he imagines it to be fast. It's penned by a pair of working artists who have also fallen into the same hole that we all end up in one time or another. For many people, that alone is enough to prevent their ever getting started at all -- and for those who do, trouble isn't long in coming. Anxiety is now the dominant emotional experience of our time, precisely for this reason: anything and everything is on show, for sale and attainable, but (for too many people) perpetually withheld, out of reach.