I am reading this book now for the third time and have purchased many copies for friends - a must for the bookshelf of anyone on a creative journey.

Art & Fear was first published about 15 years ago. Since then it has become a classic and is a must read for any artist serious about their work. There is a chapter that will speak directly to you as an artist, regardless of your current circumstance.

The topics are written for any artist regardless of medium or area of artistic interest. Whether you are a beginning artist or an old hand, this book is for you.

(This is Frank's wife writing.)
My daughter who is a struggling artists recommended this book to us. It's short, but packed with good thoughts about making art and coping with one's fears about the process. It's not only helpful for artists in dealing with their thoughts about why they make art, but also to their friends and relatives. The explanation of the essence art vs. craft (a topic that has long interested me) is excellent. The writing is clear and accessible. There are examples of how real artists in various genres have dealt with the basic problems of making art. The book works for both the professional artist as well as the amateur, regardless of medium.

By naming the fears that artist experience, and giving simple and direct answers to those fears; David and Ted have given artists a tool to name their own fears and overcome them. The book had a profound impact on me and how I approach my work as a potter. I owe a lot to having read this book, in the confidence I gained, and the risks I am willing to take becasue of their writing. I have already recommended it to friends, and have it on display in my gallery. It is the best book on Fear that I have read, outside of the Bible.

I just graduated from art school, major in design & illustration. I've found this book amazingly helpful. I'm not that kind of person who like to read self help book...but this book is just wonderful. Things i've learn from this book: the right attitude of making art, determination over talent, the importance of communication between you and your art, small goals get you going, making art will expose your inner self...etc.

Highly recommended book for designer and illustrator.

A friend recommended this book for me and after reading it bought two copies for other friends. It is practical, realistic and wise. If you need some perspective and engage in any form of creating, this is the book!

This is an absolute must for anyone that "creates", especially if they believe that what they create is "Art". If a person's interest is in the "meaning" of what they create, "Art and Fear" presents, with clarity, sensitivity, and insight, the risks and rewards of the process and the ultimate importance of the effort.

First encountered this book in a workshop I took in the 90s. Nearly 10 years later I bought this book again--will save this copy for sure. This is a well-written little volume that all artists and writers who ever struggle should read. It offers support, encouragement, and inspiration to all creative persons.

In writing Art and Fear, Bayles and Orland deliver a message that all artists, would-be artists and the rest of humanity, come to think of it, would benefit from hearing:

"...becoming an artist consists of learning to accept yourself..."
and "Your job is to work on your work." (Pgs. 3, 5)

There is, of course, more to the effort the authors have put forth. The implication of these two statements, however, is perhaps the most vital. The remainder of the book is comprised of discussing methods for understanding and using these fundamental ideas and observations about the consequences of choosing to embrace them or not.

Art and Fear is divided into two parts that need not be read sequentially. The first dissects more ubiquitous issues - those by no means limited to the artist - acknowledging uncertainty; working through fear about the self, work and/or the opinion and patronage of others. The second section is directed at the various milieus or facets of art communities, targeting such paradigms as the theoretical "common ground" of artists, competition with the self vs. with others, scholastic models and the conjectural world of creativity and the self.

Authors Bayles and Orland refer to themselves as "working artists" - a seemingly unnecessary taxonomy at the outset - and use the rest of their book to explain the distinction saying, in essence, that the characterization can mean the difference between producing work and thinking about producing work. Bayles and Orland make good mechanics for priming that part of the brain that is convinced there is a fuel shortage.

Art and Fear is a good book, filled with good idea compost, written by good authors who know good and well that they're on target. It's all good. It's also a little plodding after the first forty or so pages. I am not one of the "jaded sophisticates" the authors refer to (pg. 42). I have no quarrel with the advice, revelations, practices or suggestions that Bayles and Orland put their stamp on. They are encouraging, insightful and they are usually spot-on in their summations. I feel strongly however that the bulk of their work could be whittled from its original 120 pages to almost half that amount without suffering. If one were to buy a used copy of Art and Fear hoping for pristine pages disappointment would be inevitable as every page of my copy (and every other copy I found on the shelf at my favorite second-hand store) was virtually bathed in multi-colored highlighter and margin annotations. The book is a veritable fortune cookie of quirky stories and one-liners repeated unto the screaming point. It's tailored specifically to inform and encourage, something I can sincerely appreciate. At the same time, the repetition of that same encouragement becomes so intrusive at times that I am reminded of the difference between, say, Oprah Winfrey and Jerry Springer. The former is straightforward, usually instructive, occasionally silly but still useful. The latter, in contrast, is a force-feeding of what the consumer believes s/he wants to hear, up to and past the point of queasiness.

An excellent short overview of the psychology of the artistic process. It confirms feelings and processes are "normal" and also introduces some ideas over which to ponder. Very easy to read, this book is a breath of fresh air, which can be read all a once or just pick out your favourite section. I will keep it in a prominent place to give me inspiration.

I bought this book as a requirement for a BFA senior level course. It is a very worthy purchase, though the tone can be somewhat negative at times, but I believe that must might be because it is an honest look at what it feel like to be an artist in today's market.

I found this book extremely helpful. I would recommend this book to any artist who finds themselves frustrated or contemplating quiting their art because of set backs or lack of self confidence.

Art & Fear
This book was recommended to me by my professor and she was right. This book has helped me reduce fear in my art work, it has been a big help.

This is the kind of book you read slowly, put it down, think about the chapter you've just read, and then go back to read it again with fresh eyes, open mind and new understanding. This is high on my list of "books you must read". As an artist, it is really food for the mind and soul.

i think the book 'art and fear' is probably one of the most sound and enlightening books i've ever read on art. it won't matter if you're an established artist or becoming - this book allows for those things we think, but don't say; and for those things that we say but aren't thinking about. besides this book i would also reccomend "the view from the studio door" and of course, "the blank canvas". while we may not always agree as to "what is art?" we can agree (i think) that as artists (no matter what medium) we are in a different world then anything that this planet has seen before, and new ways of looking at our roles as artists and audience requires new thinking.

One of the best books i've ever read, art & fear is highly relatable and is a quick and enjoyable read. i was actually a little sad when i was finished. you would think that this book is only directed for those in artistic careers but it can be applied to so many others, i can honestly say that this is a book i will keep with me well in to my adult hood (unless a better one comes along..lol) . if you are debating wheather to get this book, i say GET IT!! i'm sure you won't regret it.

I think this is a wonderful material to read, I don't think that this book is more depressing than reality.

I recommend Art & Fear, it gave me a sense that I'm not the only one questioning myself as artist; kind of a feedback.

The only problem I found is that there is no info about the authors

Why do we procrastinate? Why are we afraid to start, or even, finish a piece? Although this book will not stop these behaviors, it will explain them. When we understand why we behave the way we do during the creative process, the knowledge lets us choose our own path of healing and overcoming our fears. I find it an excellent book. Vicki Stone-artist

I love this book. I take it with me when I go drink coffee, then I come home and start working on my music. It's like anything else-- take from it what's useful for you and disregard what's not. There are sections in here that I've read over and over and it doesn't get old. If I met you, I'd tell you to buy it. In fact, I popped onto Amazon today to buy a copy to mail to a friend. This book is the next best thing to having a group of other tuned-in artistic people to hang out with (which I can't seem to find around this town.) I like that it covers a variety of mediums in its examples.

I read somewhere that an artist read this book whenever she needed motivation and a push to creativity. I think I will do the same. The book discusses how art happens and how necessary freedom of expression relates to our personal lives and to the lives that might share your vision by seeing your work. It's not a how-to, but a philosophy that I feel is worth studying.
Jackie, NC

This book helped to get me motivated about my art that I was neglecting.

Art & Fear was written a long time ago, but is very relevant today. It is a quick read, but I found myelf rereading sections, because of the helpful and intriguing information and viewpoints. A must read for artists who are struggling.

I appreciate the author's effort to make its universal message apply to a wide spectrum of art disciplines.

I'm a music composer and find myself torn between meeting the expectations of academia while trying to make music that I can feel good about. I have said before that I feel like an artistic surrogate birthing music that only serves the interest of the academic BORG. Any artist that feels trapped or paralyzed for whatever reason should definitely read this book.

This book is not only focused and rehabilitative, but is also very funny and well paced.

I recommend it highly!

After closing the book I felt I had shared an immense conversation with two friends. The explanations were more logical than definitive and harp on various twists and turns of art-making. I identified most of the authors' keen ideas and incisive views with the problems and solutions in business. -Ziem Nguyen

Concise, revelatory, witty. My absolute favorite on the topic of creativity and the role of the artist in understanding his or her own process. An essential companion.

I purchased this book quite some time ago. I have read it more than once since whenever I begin to doubt my abilities to paint and draw the book is there to aid me.
The book is not a crutch or an easy way to do anything artistic. It is rather a way of knowing that the feelings we have are legitimate and shared by many who struggle to produce their art.
When you can read words that are exactly what you are feeling at the time you begin to feel an ease that allows you to continue on your path.
I would recommend this book to anyone who is attempting an artistic endeavor.

Experiencing a creative block? Read this book for the cure.
This is an absolute must read for all artists and art lovers. The book is well written, easy to read, and quite inspiring. It eliminates all the fears of artmaking and explores the reasons why artists make art or not. This book makes a wonderful gift to patrons. It gives them a deep understanding of the art making process and will guarantee their appreciation of your art. This book should be required reading for all art students of all genre. Bravo! A great reference for artmaking without becoming a 'how to'. Quite impressive. You will read it over and over.

Art & Fear by David Bayles and Ted Orland is a Great read. I recommend it highly. This book gives form to truth, and inspired me beyond measure. The observations contained in Art & Fear were "right on," and will speak directly to the minds and hearts of any artist serious about their craft . Art & Fear should be required reading for anyone seeking to become the best artist they can be. If you are serious about creating meaningful art, buy it now! It's just that good.

As a clinical psychologist, I have found Art and Fear valuable in my work with creative people. It is one of the few books I just went out and bought several copies of to loan patients. This book has been useful as we sort though the various obstacles that confront those who are moved to create. As an artist, I have found it valuable in my own work as well. I am comfortable recommending this book to anyone who takes creating art, music, literature, photography and the like seriously. And, of course, to anyone who wants to understand such people.

The best 122 pages you will ever read to inspire enlighten and give understanding to an artist life. Not a text book on how to create art or a highbrow telling you what is and is not art. Just pure down to earth truth of what an artist life is like. I read this book in three days between classes and working 40 hour week. As and artist reading Art & Fear I found my self speaking out loud in agreement with the text, which was some what funny in a public place. Anyway read it if you are an artist or know an artist or just want to know more about artist life. After I read Art & Fear I wrote this "When I in my studio and my work is following, the world is at peace, time falls away, heaven and hell are at my command until hunger and sleep over take me, then reality comes back" from William Mizell. And that how it feels

A thoughtful and insightful guide to dealing with the various twists and turns of making art: from dealing with inner fears about success (or failure), how to keep doing art when others are critical of your style, how to get the most out of going to art school, and much more. A sweet little book to refer to when the going gets rough and you need someone to believe in you!

This book should be required reading for all college freshman regardless of their major. It not only gives practical advice on approaching art, but it encourages experimentation and expression. I encourage anyone to pick up this book you won't be able to stop reading it until it is done.


Kushner, M
A u t h o r
Truth about Caffeine, The Truth About Caffeine: How Companies That Promote It Deceive Us and What We Can Do about It

I've never finished the book. It's so well written that all you need is in first three pages. Maybe all I need?

I'm a painter. I know The Fear all too well. It's the one Hunter Thompson talks about in Fear and Loathing. You've just got to ride that wave- this book is some simple but excellent coaching.

I have a quote from this book on screensaver that guilts me into the studio instead of wasting time online. Most days...

Before you even buy this book, I believe you need to determine what you hope to get out of it.

If you're hoping to identify with other artists who have faced doubts, fears and obstacles, you'll not be disappointed. This book delivers on its title: it is about ART & FEAR. It will describe where you are or have been. It could even help you stay there, if you choose.

This book says it explores "the way art gets made", why it often does not, and the difficulties along the way. As such, it is, in its own words "observational", not instructive. So it is not a "How To" book. It is also analytical, though not necessarily insightful, so it's not intended for your next meditation. And though other reviewers have said otherwise, I wouldn't recommend this book to help rouse anyone from their creative slumber.

If you're a practicing artist or would-be artist who is stuck, I don't believe this book will help free you. You may find identification or sympathy with other artists - maybe even justification - but not the inspiration, motivation or plain old instruction to get you going again.

Better to read something that is designed to be instructive or inspiring. (One inspiring book that springs to mind is Denise Sherkerjian's UNCOMMON GENIUS which profiles 40 winners of the MacArthur Prize. These artists cross all creative disciplines, face numerous obstacles and still create. It says a lot worth listening to and applying to the process of creating.)

I received ART & FEAR as a gift and read it as much out of curiosity as to honor the giver. I rated it 3 STARs because it (a.) has some good quotes, and (b.) helped me appreciate how differently I think about and respond to the doubt, ambiguity and chaos in my art. Compared to the Bayles & Orland landscape, I have more faith, trust and love in the process and the results of my creation.

Statements like the following tend to characterize the overall mindset of this book:

"The is view is inherently fatalistic - even if it's true, it's fatalistic - and offers no useful encouragement to those who would make art."
- (page 2)

To me, this is basically saying "[this may be true, but that truth is devastating to your/my inner child, so we recommend ignoring it, instead of perhaps growing as a person, or braving the scary forests of reality, to dig deeper to the actual truths of the matter/s]."

I chose that particular passage, because it illustrates, what I found to be the overall theme of the book, so succinctly.

I do however recommend this book for two types of people:

1: Those that don't mind reading something wrong - They'll learn from it anyway through introspection - thinking about the absurd statements and figuring out the actual truth of the matter.
This is the sole reason why I actually finished reading it myself; and I concede that it is genuinely useful in that regard.

2: Those that are massively insecure about their art that, instead of desiring to get to the truth of the matter, and also grow emotionally, they seek out ignorant Band-Aid philosophy that MIGHT protect their inner child, through their life as an 'artist.'

If you want a book to read, one full of accurate insight, that you can just take and directly apply... I don't recommend this book at all.

Art & Fear is a superb little tome (100+ pages). This is to try to make up for messing up bookseller feedback. Let it be known that montg118 mailed out my copy within 24 hours of order placement. In my book THAT'S super-good service...Thanks, Bev.

Art and Fear by David Bayles and Ted Orland is a real favorite of mine. It "explores the way art gets made, the reasons it often doesn't get made, and the nature of the difficulties that cause so many artists to give up along the way." It was written for visual artists, but I think it's also perfect for writers, musicians ... virtually anyone who creates.

This is one book you'll go back to again and again. I certainly have!

Anyone who is seriously about their art should read this book. It is a quick and easy read, and does a good job of putting things into perspective.

The fear to which the authors refer in the title is the fear that an individual may have that will lead him to quit being an artist. The authors believe that artists quit either when they believe their next effort will fail or when they lose the destination for their work. This is a book about the process of making art.

This book is a road map, not a survival guide. The authors provide a list of the obstacles that the artist will encounter in making his art, but they do not provide methods for overcoming these obstacles. In fact they seem to say that the artist must expect these obstacles and if he or she wants to make art, keep plowing through them.

The book is beautifully written with flowing, majestic language that brooks no questions about the authors' pronouncements about the difficulties the artist faces. As factors that interfere with the ordinary individual's ability to make art, the authors dismiss fear that you are pretending, or that you lack talent or that you must seek perfection. Ordinary people, they say, can learn to make art. Similarly they dismiss the artist's fear of others, whether because the others lack understanding, or acceptance, or approval of the artist's work.

The pithy statements that fill the book can certainly provide a ready source of affirmations if that's the way one deals with fears. For example the authors say:

"Vision, Uncertainty, and Knowledge of Materials are inevitabilities that all artists must acknowledge and learn from: vision is always ahead of execution, knowledge of materials is your contact with reality, and uncertainty is a virtue."

And they say:

"Unreal expectations are easy to come by....Unfortunately expectations based on illusion lead almost always to disillusionment."

Although the book is brief there are many opportunities for deeper contemplation. For example the authors distinguish between craft and art. Consideration of this distinction may help the artist to realize whether he is really creating art or just doing the same old thing. And yet as the critic Mark Schorer noted, "technique is discovery". Squaring away the distinction is important to an artist.

Who should read this book? Not the consumer of art. The authors make it clear that there is no relationship between looking at art and making art. Probably every aspiring artist. It might be that the list of difficulties could lead one to quit before starting. But foreknowledge of the difficulties of making art may help the would-be artist to take those difficulties in his or her stride. Certainly the practicing artist will benefit from reading the book, with its message not to despair when fear occurs, but to keep pushing on if one really wants to make art.

I'm immediately skeptical about the quality of a book that uses parentheses within its title. It caught my eye because of my own ruminations on fear in artmaking. Unfortunately it quickly substantiated my suspicion of its dark parenthetical omen.

The book wasn't complete hogwash. There were some good, if generally mundane, observations in the chapter I read, but there was enough crap to make me feel just fine abandoning it. I suppose I do have to qualify this little review by saying that I did only read the first chapter, and a few lines here and there throughout, so this is not what you could call a genuine comprehensive analysis. It's a short book, and I was quite surprised that based on it's length and the general lack of nuance in the first chapter that the authors would admit in the epilogue that it took them seven years to write. Seriously, it should never take two grown men seven years to write a book this short, good or bad, and they should know that a book like this doesn't need an epilogue, let alone one that talks about the long arduous writing process? Really.

I knew we were in trouble by the bottom of page one when I read this:

"Other people, in other times and places, had some robust institutions to shore them up: witness the Church, the clan, ritual tradition. It's easy to imagine that artists doubted their calling less when working in the service of God than when working in the service of self."

Imagine that!

My difficulty here, apart from those elements obviously left to be desired (Other people? Other times and places? Gimme something to work with here...), is that rather than at least briefly addressing all of the questions this statement begs, they forge ahead as if they've stated some rock-solid anthropological axiom. What if those "other people" (who G.K. Chesterton would point out, are unjustly disqualified if it's done merely on account of their being dead) doubted their calling less because God does exist and working in God's service is a rightly orienting dimension of human life? What if those shoring institutions were serving a long-forgotten, basic human need? What if it's true? Just asking.

The problem is that the authors took no time to discuss this. The self is preeminent, and so you have to learn to persevere in art, control your fear, and overcome. From what I read, the book should have been titled, "Art and Fear: A practical guide for artists trying to survive in these troubling times since the announcement of God's death (we expect to find his body any day now)." The book is not dishonest or stupid. It was just annoying in its simplistic brushing aside of what a Christian like myself believes. Granted, that's not what the book was about, but I'm only complaining because seven years had to have been enough time to at least touch on it.

The best part of the book, by far, were the quotes heading each chapter. That's probably why authors put them in, and it made picking up the the little piece of literary detritus worth it. My favorite was a Constantin Brancusi quote that I identified with readily in light of my installation experiences:

"To see far is one thing; going there is another."

This book is a must read for any artist. It provides insight into your sole and other artists before you. I have given it as a gift to other artists and it has changed their attitude and given them great confidence, as it did me.

An excellent book for artists of all types!!! This book addresses the everyday ups and downs of creating art and how to handle the times when we are uninspired. A book that all can relate to at some point as an artist. It provides the type of coaching that helps get us to the next creative moment. This is a good book to keep and read whenever you feel stalled or worthless.

I was really surprised by this book because it came so highly recommended and I wasn't very impressed with the contents.

Some valuable ideas about what holds an artist back and what to do about it. A little inspiration when you can't get that poem written or that picture painted. Read it, then get back to that poem or painting!

The artist's powerful facility for truthful observation and keen analysis can be turned inward, and self doubt and a host of negative concerns and can arise as obstacles to making art. This book addresses the psychological difficulties of creating art. The authors examine problems and then offer possible solutions, alternatives and advice. Excellent - a spirited, useful and much needed voice of encouragement and instruction.

This book is a shot in the arm for people with an artistic soul who may be :stuck, blocked, depressed, discouraged, having a dry spell, unproductive, resisting doing their work (whether for a hobby or for an intended career, or to revive a career). No, it is not a workbook and no it will not do miracles, but neither will "The Artist's Way" or any of the other Cameron books. People who are having problems creating art will recognize themselves and possibly some of their problems here, and it makes a person realize some of the obstacles in their way. The book illustrates why it is so incredibly difficult to be a professional artist in the U.S.--so many who graduate with art degrees end up teaching, exhausted, without the time or energy to do their own. This is not a book for the successful, working, happy fine artist or craftsperson, but it does address the problems. This along with "The War of Art" can make you understand you're not alone. However, if you need practical help, take a class, or get a workbook, or start a "bad art" night at your home, church, club, or library.

As if writers don't have enough trouble writing, along comes a book that is supposed to tell us why we and other artists often have trouble practicing our art. First, of course, when one thinks of art, it is not often that literature of any kind comes into the picture. Yet, the authors here say they are including writing. Okay. It is mentioned several times. Writers are quoted many times. Yet, it is usually the traditional trappings of art that are mentioned often. Maybe it is just too difficult for writers to face the fears we have about rejection, not measuring up (to readers, other writers, or ourselves).

In retrospect, however, there are some conventions that are nice to discover. Like being told that a painter may have the same fears as an actor as a playwright, as a sculptor -- as a writer. That following through on a project and getting it completed, is sometimes the biggest achievement of all. And the one thing that all writers agree on is also something other artists experience: ideas are not hard to come by. In fact, they're everywhere.

The one truth in this book that is easy for any artist to agree with is: It isn't as easy as it looks, or as everyone thinks it is, or that we thought it was before we actually got started. Problems and pitfalls are inherent in what we do. It's whether we are able to cope with those, and not only continue to practice our art, but also to grow and improve, that determines if we will be successful. That and talent will always tell in the end.

I just reread this book for the second time, and it's pulled me out of my rut once again. I'm an artist with lots of different mediums, and the first time I read it was for painting... the second time, for writing music. No matter your medium, this book will speak to you. A little cheezy at times, sure, but sometimes you need that. Anyhow, it pulls you through the self doubts and fears and gets you to create again. Good luck!

Art and Fear is a pretty good read and would definitely help someone who's just starting out in their artistic career. The authors make several great points and offer some sound advice, but the best way to deal with issues addressed in this book are through experience.

As an artist, I recognize my own tendencies to short-change my abilities, and this book will help someone who may not be aware of their own self-destructive tendencies to recognize the patterns. However, established artists and those who have survived any amount of critiques by professors, instructors, and fellow artists won't gain the full benefits of this book.

I've read the other reviews.

Last Saturday, Lizzie (10) and I went to the art store with a gift certificate and she was heavily lobbying me for clay - which she got. In the meantime, this book was laying askew on a shelf. I picked it up as a diversion - and became captivated by it. The authors have assembled a distillate of their time and experience. And it resonates so well with mine. And the ideas they provide are not limited to art - they are also important to the modern applications of science which are becoming ever mre individually-oriented and therefore closer to art than perhaps science has ever been. Craft and art are merging.

I finished this book with the same feeling as I had when I read Walden. Utter simplicity, utter verity, utter thanks.

I'd like to meet these authors and enjoy a conversation with them.