A Late Bloomer?
This morning Natalya Aikens emailed a link to an article in the New York Times titled Late Bloomers by Malcolm Gladwell and I second her recommendation.
Wow. I think I might have found myself.
The article starts by chronicling the writing career of Ben Fountain, an author who spent 18 years writing before getting his first big hit at the age of 48. The article goes on to postulate on 2 different approaches to creative work – conceptual vs experimental. Prodigies, like Picasso, tend to be conceptual, they are born to genius. Late bloomers take a more incremental and experimental approach to their work.
The biggest "wow" part of the article for me is an excerpt from an article by David Galenson which comments on late bloomers:
The imprecision of their goals means that these artists rarely feel they have succeeded, and their careers are consequently often dominated by the pursuit of a single objective. These artists repeat themselves, painting the same subject many times, and gradually changing its treatment in an experimental process of trial and error. Each work leads to the next, and none is generally privileged over others, so experimental painters rarely make specific preparatory sketches or plans for a painting. They consider the production of a painting as a process of searching, in which they aim to discover the image in the course of making it; they typically believe that learning is a more important goal than making finished paintings. Experimental artists build their skills gradually over the course of their careers, improving their work slowly over long periods. These artists are perfectionists and are typically plagued by frustration at their inability to achieve their goal.
Okay – wow – that is almost exactly how I feel about my work. I often say that I’m still in the student/learning part of my career, believing that my work is no where near where I think it should be. I’m okay with this, going along one piece at a time trying out a new idea to see what it will bring me. After 7 years I have 99 textile paintings in the Structures series and I have no intention of stopping anytime soon. I’m searching for something that I know is there and seems rather illusive.
So now I have a whole theory about why I do what I do. I’m a late bloomer. Excellent – when I’m 60 my work will be selling for millions. Woohoo!
A Patron
The article makes an interesting point:
If you are the type of creative mind that starts without a plan, and has to experiment and learn by doing, you need someone to see you through the long and difficult time it takes for your art to reach its true level.
and goes on to discuss the patrons that Cezzanne (also a late bloomer) had in his life, such as Vollard and Pissaro.
The late blooming author, Ben, quit his job in his 20s and when I first read that I felt I was some how a slacker for not suffering the poor artist life and slogging through 18 years of hard work til I made it. Then around page 4 or 5 they reveal that Ben was able to quit because his wife was making a big chunk of money as a lawyer and he was a stay at home dad. Although his kids were in day care until the afternoon so he had large piece of uninterrupted time to work.
Aha – okay – so I no longer have such a patron, no wonder I’m going to work. I was a stay at home mom for 10 years and it was during this time I launched my art career in full. So I am quite grateful for that opportunity. My kids were never in daycare and I got a divorce as soon as my daughter went to kindergarten so I had naptimes to make art, but still, it was really great to not to have to work.
I’m now my own patron and this line from the article gave me pause:
This is the final lesson of the late bloomer: his or her success is highly contingent on the efforts of others.
Hm. Is that true? I’m a pretty self sufficient person that rarely asks for help and am pretty determined that I can do this, even with the day job (for now). Maybe I need to go hunting for some patrons. Anyone want to provide me a nice stipend to make art til I’m brilliant?
Posted by Lisa in: Being an Artist
Tagged: art career, david galenson, experimental artists, kids, malcolm gladwell, new york times, perfectionists, success, the day job
thanks for the link Lisa, but the credit must go to Sue Reno who sent the link to the SAQA yahoo group.. I read it and was amazed and forwarded it to friends in different professions. It seems that I must be a late bloomer too and my husband is my patron of the arts. But I think that patrons can be in many forms. While monetary support is extremely important, emotional support is also invaluable. And that kind of support you can get from your friends…
I agree that we all, artist or not, need support from others. As natalya says, you have your friends for the intangibles. For the tangibles, I think you are doing a great job balancing your own life, and hiring out the jobs you need other people to do. Since there is only so much time in a day, the people you hire (contractors for work on your house, or what have you) give you time, and you give them financial support, and all benefit.
It all comes down to community, in my mind.
Interesting article…
as far as patrons I have mixed feelings about that. I often think of richard tuttle and how so many artists would never have ‘made it’ without patrons. For me personally, there is something intrinsically not right when I think about not taking care of myself. I don’t want someone handing me loads of money and ‘keeping me’, I want to just sell my art and be free!
Hi! Lisa,
Thanks for the link to this article it makes fascinating reading. I’m a 68 year old retiree in Oz I relate to being a late bloomer having tried many things in my life while raising my kids; since my hubby retired some years back I took up quilting, now art quilting and for me the learning is paramount and the sense of adventure, if I get somewhere great but it isn’t my prime aim. I’d have to say though without my hubbies support I wouldn’t be doing what I do, I supose I have a sponor didn’t think of it that way If I had pots of money I would be all for sponsoring an artist – wish you could find a sponsor!
I always refer to myself as a “late bloomer”! You’re not alone. Better late to the party, than not at all is all I can say.
I think a part of the realization I’ve come to is that I have to acknowledge my successes, not just the failures. I also need to take more risks and put myself out there a bit more.
BTW, I consider you to be very successful ;)
I think one of the problems facing ‘late bloomers’ is the fact that many gallery owners rush to young artists. Everyone wants to represent the next art star. However, the truth is that embracing younger artists rarely pays off. The dealers get lured in by stories of 20-something artists selling for $20,000 a pop. In doing so they forget that life experience can matter. In the end they would be better off sticking with experience I think.
For example, I know an artist who you could say is a ‘late bloomer’. She was recently booted from a gallery that had represented her for three years– she started painting two years before being picked up by the gallery– even though she was one of the top sellers at the gallery. She later found out that her spot had been filled with an artist who had recently graduated from art school. It happens all the time. Fortunately she is now at a gallery that appreciates her.
The art star mentality needs to go.
Wow – all of you – really excellent comments. Much to think about here. I’m sure I’ll have more to say about this topic once it sinks in.
Natalya – I agree – it’s not just monetary support we need.
Paula – I’m not sure I’d object to having a patron – but it would really depend on what strings might be attached. I truly believe my art is worth investing in so would be okay accepting someone making that investment so I could focus on it. But I’d want to know upfront what is expected in return.
Judy – absolutely nothing wrong just loving the learning – not having a specific destination sounds like a great adventure.
Cynthia – thanks! I view myself successful also – and I’m ready to be successful without having the day job also.
Brian – glad to hear the artist found a gallery that does support her. That’s the good part of the story!