The Good, the Bad and the … Useful

fort point 2, photograph

“Audiences and critics care about what is good, artists need to care about what is useful.”

Ted Orland

You know the old adage that we learn more from our failures than our successes. I suppose this is true in artmaking as well.

While we relish the successful pieces and are so disappointed in the failures, when you look back on your body of work over a long period of time, it is the failures that are more useful to us. It’s an important distinction – the difference between what feels good and what is good for us. Of course, we need both at times. Once in a while we need to feel good about our work so that we don’t give up hope. But our progress is fueled by the ones we don’t so good about.

It is our failures (which always constitute the majority of our work) we spend our time and thought on – how did that happen, how can I do it better, what worked and what didn’t? I use the term “failure” figuratively because, in some sense, there is no such thing as a failure when it comes to art. But we all have plenty of pieces that we choose to just keep to ourselves – you know the ones I’m talking about. It’s good to hang onto these and spend some time with them periodically. It would be fascinating if some well known, talented artist had a show of their failures, with a brief description of what lesson each taught them.

The trick to making these pieces useful is to learn how to listen to what they have to tell us. This is not as easy as it sounds. Knowing how to learn from our own work takes patience, a fierce resolve and the understanding that feeling good is not the only goal an artist has.

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