web02.fireside.fm Wed, 08 Apr 2026 16:59:56 -0500 Fireside (https://fireside.fm) The Messy Studio with Rebecca Crowell - Episodes Tagged with “Self Improvement” https://messystudio.fireside.fm/tags/self%20improvement Sat, 29 Aug 2020 15:00:00 -0500 Artist Rebecca Crowell shares experiences and thoughts from three decades of painting, teaching and traveling, as well as her conversations with other artists. She is joined by her co-host, producer, and son, Ross Ticknor, who brings an entrepreneurial Millennial perspective. The conversations are broad and eclectic, focused on ideas, information and anecdotes that other artists may find helpful in their work and careers. A new episode is uploaded every weekend! en-us episodic The podcast at the intersection of art, travel, business, philosophy, and life in general. Rebecca Crowell Artist Rebecca Crowell shares experiences and thoughts from three decades of painting, teaching and traveling, as well as her conversations with other artists. She is joined by her co-host, producer, and son, Ross Ticknor, who brings an entrepreneurial Millennial perspective. The conversations are broad and eclectic, focused on ideas, information and anecdotes that other artists may find helpful in their work and careers. A new episode is uploaded every weekend! no Rebecca Crowell rticknor.core@gmail.com Episode 140: Seeking Validation https://messystudio.fireside.fm/140 67c6ab85-992b-4766-a061-a5260e75b2e0 Sat, 29 Aug 2020 15:00:00 -0500 Rebecca Crowell 140 Seeking Validation full Rebecca Crowell As artists, we love knowing that our work is appreciated by other people—whether that comes to us via exhibits, sales, awards, positive comments on social media, or simply from friends and family who respond to what we do. And even though many artists would say that recognition and validation are secondary to making the work, it can be still hard to stay motivated without some positive input. Today we’ll talk about the desire for validation alongside the pure need to create and how they can complement each other in our art practices. 36:42 no As artists, we love knowing that our work is appreciated by other people—whether that comes to us via exhibits, sales, awards, positive comments on social media, or simply from friends and family who respond to what we do. And even though many artists would say that recognition and validation are secondary to making the work, it can be still hard to stay motivated without some positive input. Today we’ll talk about the desire for validation alongside the pure need to create and how they can complement each other in our art practices. Many artists would make their work even in complete isolation because creating is a compulsion, a psychological need. Most of us acknowledge that pure inner drive that helps us weather times when we are not getting attention or recognition—the times in between exhibits, sales, gallery contacts, and other opportunities. That drive is linked to a feeling of validation that comes from our own inner confidence and belief in ourselves, and that is the basis from which we can seek and emotionally accept outside validation. But now, during the pandemic, many of the ways we are validated by the outside world are limited. We experience this as a loss and this loss creates anxiety about when the recognition will return. Art is communication and we long for outside validation to assure us our work is still important to others. And too, with a lack of sales, economic anxiety is compounded by the loss of validation we feel when someone buys our work. The more personal forms of recognition are still available though. Our friends, family, and even social media contacts are sources of support that we can cultivate and appreciate now more than ever. Reaching out to other artists and taking other steps to nurture our work can be very valuable in getting us through these difficult times. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production. Rebecca Crowell, Art, Creativity, Self Improvement, Career, Motivation, Mindset As artists, we love knowing that our work is appreciated by other people—whether that comes to us via exhibits, sales, awards, positive comments on social media, or simply from friends and family who respond to what we do. And even though many artists would say that recognition and validation are secondary to making the work, it can be still hard to stay motivated without some positive input. Today we’ll talk about the desire for validation alongside the pure need to create and how they can complement each other in our art practices.

Many artists would make their work even in complete isolation because creating is a compulsion, a psychological need. Most of us acknowledge that pure inner drive that helps us weather times when we are not getting attention or recognition—the times in between exhibits, sales, gallery contacts, and other opportunities. That drive is linked to a feeling of validation that comes from our own inner confidence and belief in ourselves, and that is the basis from which we can seek and emotionally accept outside validation.

But now, during the pandemic, many of the ways we are validated by the outside world are limited. We experience this as a loss and this loss creates anxiety about when the recognition will return. Art is communication and we long for outside validation to assure us our work is still important to others. And too, with a lack of sales, economic anxiety is compounded by the loss of validation we feel when someone buys our work.

The more personal forms of recognition are still available though. Our friends, family, and even social media contacts are sources of support that we can cultivate and appreciate now more than ever. Reaching out to other artists and taking other steps to nurture our work can be very valuable in getting us through these difficult times.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

]]> As artists, we love knowing that our work is appreciated by other people—whether that comes to us via exhibits, sales, awards, positive comments on social media, or simply from friends and family who respond to what we do. And even though many artists would say that recognition and validation are secondary to making the work, it can be still hard to stay motivated without some positive input. Today we’ll talk about the desire for validation alongside the pure need to create and how they can complement each other in our art practices.

Many artists would make their work even in complete isolation because creating is a compulsion, a psychological need. Most of us acknowledge that pure inner drive that helps us weather times when we are not getting attention or recognition—the times in between exhibits, sales, gallery contacts, and other opportunities. That drive is linked to a feeling of validation that comes from our own inner confidence and belief in ourselves, and that is the basis from which we can seek and emotionally accept outside validation.

But now, during the pandemic, many of the ways we are validated by the outside world are limited. We experience this as a loss and this loss creates anxiety about when the recognition will return. Art is communication and we long for outside validation to assure us our work is still important to others. And too, with a lack of sales, economic anxiety is compounded by the loss of validation we feel when someone buys our work.

The more personal forms of recognition are still available though. Our friends, family, and even social media contacts are sources of support that we can cultivate and appreciate now more than ever. Reaching out to other artists and taking other steps to nurture our work can be very valuable in getting us through these difficult times.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

]]> Episode 139: Those Awkward Moments https://messystudio.fireside.fm/139 78cd90e6-87ca-4ccf-9d25-4bda06d4223e Sat, 22 Aug 2020 04:00:00 -0500 Rebecca Crowell 139 Those Awkward Moments full Rebecca Crowell In a recent podcast, we talked about the remark often made about abstract artists --” my kid could paint that.” But there are lots of other things people say to and about artists that show a lack of understanding or even hostility toward art. When these happen in conversation, they can create some awkward moments. Most of us tend to feel defensive when this happens, and we can miss an opportunity to elevate the conversation. Today we’ll talk about some of these common remarks, consider why people make them, and ways to handle them gracefully. 42:22 no In a recent podcast, we talked about the remark often made about abstract artists --” my kid could paint that.” But there are lots of other things people say to and about artists that show a lack of understanding or even hostility toward art. When these happen in conversation, they can create some awkward moments. Most of us tend to feel defensive when this happens, and we can miss an opportunity to elevate the conversation. Today we’ll talk about some of these common remarks, consider why people make them, and ways to handle them gracefully. As artists we’ve all had these moments. Sometimes, what we hear is an innocent question with a complicated answer, for example, “how long did it take you to paint that?" --when clock time is not the issue. Sometimes a question or remark comes across as aggressive, as when people ask about the price in order to look askance when you answer. Or an observation like “it must be so fun to just paint all day” can come across as “how nice to do whatever you please-- most of us can’t do that.” Most remarks are well-meant though. People who know little about art are usually just trying to find a way into the conversation, as we all do when trying to understand another person's profession that is unfamiliar to us. But many times, a remark that indicates basic ignorance of our work can seem offensive and awkward. If we make an attempt to move the conversation forward, though, it can be an opportunity to help the other person understand. It's easy though to feel misunderstood or hurt. Sometimes artists consider remarks critical or insulting but from an objective point of view are simply misinformed or out of context. Many times these remarks are much more about the person making them than about the artist. They are attempts to relate the artist's lifesto their own experience and as such, they should not be taken personally. Take opportunities to educate people when you feel there is an opening for a more elevated conversation and use compassion and humor to do so if you can. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production. Rebecca Crowell, Art, Creativity, Marketing, Self Improvement, Career, Conversation, Criticism In a recent podcast, we talked about the remark often made about abstract artists --” my kid could paint that.” But there are lots of other things people say to and about artists that show a lack of understanding or even hostility toward art. When these happen in conversation, they can create some awkward moments. Most of us tend to feel defensive when this happens, and we can miss an opportunity to elevate the conversation. Today we’ll talk about some of these common remarks, consider why people make them, and ways to handle them gracefully.

As artists we’ve all had these moments. Sometimes, what we hear is an innocent question with a complicated answer, for example, “how long did it take you to paint that?" --when clock time is not the issue. Sometimes a question or remark comes across as aggressive, as when people ask about the price in order to look askance when you answer. Or an observation like “it must be so fun to just paint all day” can come across as “how nice to do whatever you please-- most of us can’t do that.”

Most remarks are well-meant though. People who know little about art are usually just trying to find a way into the conversation, as we all do when trying to understand another person's profession that is unfamiliar to us. But many times, a remark that indicates basic ignorance of our work can seem offensive and awkward. If we make an attempt to move the conversation forward, though, it can be an opportunity to help the other person understand.

It's easy though to feel misunderstood or hurt. Sometimes artists consider remarks critical or insulting but from an objective point of view are simply misinformed or out of context. Many times these remarks are much more about the person making them than about the artist. They are attempts to relate the artist's lifesto their own experience and as such, they should not be taken personally. Take opportunities to educate people when you feel there is an opening for a more elevated conversation and use compassion and humor to do so if you can.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

]]> In a recent podcast, we talked about the remark often made about abstract artists --” my kid could paint that.” But there are lots of other things people say to and about artists that show a lack of understanding or even hostility toward art. When these happen in conversation, they can create some awkward moments. Most of us tend to feel defensive when this happens, and we can miss an opportunity to elevate the conversation. Today we’ll talk about some of these common remarks, consider why people make them, and ways to handle them gracefully.

As artists we’ve all had these moments. Sometimes, what we hear is an innocent question with a complicated answer, for example, “how long did it take you to paint that?" --when clock time is not the issue. Sometimes a question or remark comes across as aggressive, as when people ask about the price in order to look askance when you answer. Or an observation like “it must be so fun to just paint all day” can come across as “how nice to do whatever you please-- most of us can’t do that.”

Most remarks are well-meant though. People who know little about art are usually just trying to find a way into the conversation, as we all do when trying to understand another person's profession that is unfamiliar to us. But many times, a remark that indicates basic ignorance of our work can seem offensive and awkward. If we make an attempt to move the conversation forward, though, it can be an opportunity to help the other person understand.

It's easy though to feel misunderstood or hurt. Sometimes artists consider remarks critical or insulting but from an objective point of view are simply misinformed or out of context. Many times these remarks are much more about the person making them than about the artist. They are attempts to relate the artist's lifesto their own experience and as such, they should not be taken personally. Take opportunities to educate people when you feel there is an opening for a more elevated conversation and use compassion and humor to do so if you can.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

]]> Episode 119: Staying Focused https://messystudio.fireside.fm/119 e2c6c960-02f8-4e4d-a177-f1f88848c354 Sat, 04 Apr 2020 14:00:00 -0500 Rebecca Crowell 119 Staying Focused full Rebecca Crowell One of the challenges of maintaining a creative practice is keeping focused in the studio; it can seem like daily life is constantly pulling us in other directions. This podcast was recorded before the COVID 19 pandemic, and for many artists, focus has become more important than ever as a way to lose ourselves in our work. Yet even if we have time to work, it can still be difficult to find a rhythm and path to follow. 28:44 no One of the challenges of maintaining a creative practice is keeping focused in the studio; it can seem like daily life is constantly pulling us in other directions. This podcast was recorded before the COVID 19 pandemic, and for many artists, focus has become more important than ever as a way to lose ourselves in our work. Yet even if we have time to work, it can still be difficult to find a rhythm and path to follow. Merriam Webster Dictionary defines focus as “a point of concentration, or a state or condition permitting clear perception or understanding. As a verb, to concentrate attention or effort.” Focus is a powerful force that brings with it excitement and momentum. It is also a relative term,; perfect focus during studio time is an ideal state that is not easily, if ever achieved. But there are strategies to limit distractions and increase our ability to focus. For many people, this starts with organizing a to-do list, then setting priorities and a schedule. While this kind of organizing works, it needs to be considered in light of your own work habits and energy levels, and also should include the othernon-art related things you need and want to do. In aiming for a holistic, integrated view of your time, you can count on your studio hours while not neglecting other aspects of life. A key to fthis approach to focus is giving smaller blocks of time to specific activities. While many of us cling to the idea of an 8-hour workday as ideal, in fact most people take about 15-20 minutes to achieve focus and enter a flow state, and then can maintain productive work for only a few hours. So your blocks of studio time, and the time given to other aspects of life, should be whatever works best for you, not the length of time you think you "should" be working at them. By working intensely for a few hours, then shifting to something else, your time can be more productive and energized. Focus is so often thwarted by outside forces, some of which are beyond out control, and some of which we can limit by asserting our needs as artists. These distractions may be internal as well, however. Sometimes it is difficult to separate outside factors from internal struggles. It can be easy to blame yourself when you go off track, but be kind to yourself. We're affected by everything that happens in our lives, and there will be times when focus is elusive, another of the many ups and downs of the art life. If you;re struggling with focus, consider what works best for you, rather than trying to attain an ideal. Making some changes in that direction can ease your mind and allow focus back into your art practicve. For more Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com The Messy Studio Pocast is a CORE Publication MGMT Production. Rebecca Crowell, Art, Self Improvement, Focus One of the challenges of maintaining a creative practice is keeping focused in the studio; it can seem like daily life is constantly pulling us in other directions. This podcast was recorded before the COVID 19 pandemic, and for many artists, focus has become more important than ever as a way to lose ourselves in our work. Yet even if we have time to work, it can still be difficult to find a rhythm and path to follow.

Merriam Webster Dictionary defines focus as “a point of concentration, or a state or condition permitting clear perception or understanding. As a verb, to concentrate attention or effort.” Focus is a powerful force that brings with it excitement and momentum. It is also a relative term,; perfect focus during studio time is an ideal state that is not easily, if ever achieved. But there are strategies to limit distractions and increase our ability to focus.

For many people, this starts with organizing a to-do list, then setting priorities and a schedule. While this kind of organizing works, it needs to be considered in light of your own work habits and energy levels, and also should include the othernon-art related things you need and want to do. In aiming for a holistic, integrated view of your time, you can count on your studio hours while not neglecting other aspects of life.

A key to fthis approach to focus is giving smaller blocks of time to specific activities. While many of us cling to the idea of an 8-hour workday as ideal, in fact most people take about 15-20 minutes to achieve focus and enter a flow state, and then can maintain productive work for only a few hours. So your blocks of studio time, and the time given to other aspects of life, should be whatever works best for you, not the length of time you think you "should" be working at them. By working intensely for a few hours, then shifting to something else, your time can be more productive and energized.

Focus is so often thwarted by outside forces, some of which are beyond out control, and some of which we can limit by asserting our needs as artists. These distractions may be internal as well, however. Sometimes it is difficult to separate outside factors from internal struggles. It can be easy to blame yourself when you go off track, but be kind to yourself. We're affected by everything that happens in our lives, and there will be times when focus is elusive, another of the many ups and downs of the art life.

If you;re struggling with focus, consider what works best for you, rather than trying to attain an ideal. Making some changes in that direction can ease your mind and allow focus back into your art practicve.

For more Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

The Messy Studio Pocast is a CORE Publication MGMT Production.

]]> One of the challenges of maintaining a creative practice is keeping focused in the studio; it can seem like daily life is constantly pulling us in other directions. This podcast was recorded before the COVID 19 pandemic, and for many artists, focus has become more important than ever as a way to lose ourselves in our work. Yet even if we have time to work, it can still be difficult to find a rhythm and path to follow.

Merriam Webster Dictionary defines focus as “a point of concentration, or a state or condition permitting clear perception or understanding. As a verb, to concentrate attention or effort.” Focus is a powerful force that brings with it excitement and momentum. It is also a relative term,; perfect focus during studio time is an ideal state that is not easily, if ever achieved. But there are strategies to limit distractions and increase our ability to focus.

For many people, this starts with organizing a to-do list, then setting priorities and a schedule. While this kind of organizing works, it needs to be considered in light of your own work habits and energy levels, and also should include the othernon-art related things you need and want to do. In aiming for a holistic, integrated view of your time, you can count on your studio hours while not neglecting other aspects of life.

A key to fthis approach to focus is giving smaller blocks of time to specific activities. While many of us cling to the idea of an 8-hour workday as ideal, in fact most people take about 15-20 minutes to achieve focus and enter a flow state, and then can maintain productive work for only a few hours. So your blocks of studio time, and the time given to other aspects of life, should be whatever works best for you, not the length of time you think you "should" be working at them. By working intensely for a few hours, then shifting to something else, your time can be more productive and energized.

Focus is so often thwarted by outside forces, some of which are beyond out control, and some of which we can limit by asserting our needs as artists. These distractions may be internal as well, however. Sometimes it is difficult to separate outside factors from internal struggles. It can be easy to blame yourself when you go off track, but be kind to yourself. We're affected by everything that happens in our lives, and there will be times when focus is elusive, another of the many ups and downs of the art life.

If you;re struggling with focus, consider what works best for you, rather than trying to attain an ideal. Making some changes in that direction can ease your mind and allow focus back into your art practicve.

For more Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

The Messy Studio Pocast is a CORE Publication MGMT Production.

]]> Episode 96: Dealing With Rejection https://messystudio.fireside.fm/96 9efc32aa-3d06-4240-8115-7f052e31f1ba Sat, 02 Nov 2019 14:00:00 -0500 Rebecca Crowell 96 Dealing With Rejection full Rebecca Crowell We’ve all suffered through rejections both major and minor. Like the cycle of ebbs and flows that we talked about in episode 94 of The Messy Studio Podcast, rejection in various forms is a part of an art career that we have to deal with on a regular basis. How can we stay positive and motivated when we are being told we didn’t make the cut? What does rejection really mean in the big picture of our lives as artists? 27:04 no Dealing With Rejection We’ve all suffered through rejections both major and minor. Like the cycle of ebbs and flows that we talked about in episode 94 of The Messy Studio Podcast, rejection in various forms is a part of an art career that we have to deal with on a regular basis. How can we stay positive and motivated when we are being told we didn’t make the cut? What does rejection really mean in the big picture of our lives as artists? The common wisdom in the entrepreneurial world is that if you haven’t suffered a lot of rejections, then you haven’t been trying hard enough or aiming high enough. The question is, what do rejections really mean in the big picture? They hurt at the time, but they are actually positive signs that you are aiming for something higher and further than where you are now. Rejection means you aren’t just playing it safe, but pushing yourself out of your comfort zone. Facing rejection is a sign of ambition, and your intention to grow your career and audience. Rejection can also be seen as part of a process. Finding the right path for yourself isn’t easy. You have to try a lot of different things to find out what works. Rejection is an indicator that your current path may not be the right one. This may help you to expand your thinking. You may be focused on acceptance to a particular gallery, a grant, or some other opportunity. Being rejected may lead you to consider other ways to achieve the same goal. The old cliche of “when one door closes, another one opens” can be true, but probably involves a conscious shifting of focus toward a new idea or solution... www.messystudiopodcast.com www.squeegeepress.com www.rebeccacrowell.com www.facebook.com/messystudiopodcast Rebecca Crowell, Art, Business, Self Improvement, Rejection Dealing With Rejection

We’ve all suffered through rejections both major and minor. Like the cycle of ebbs and flows that we talked about in episode 94 of The Messy Studio Podcast, rejection in various forms is a part of an art career that we have to deal with on a regular basis. How can we stay positive and motivated when we are being told we didn’t make the cut? What does rejection really mean in the big picture of our lives as artists?

The common wisdom in the entrepreneurial world is that if you haven’t suffered a lot of rejections, then you haven’t been trying hard enough or aiming high enough. The question is, what do rejections really mean in the big picture? They hurt at the time, but they are actually positive signs that you are aiming for something higher and further than where you are now. Rejection means you aren’t just playing it safe, but pushing yourself out of your comfort zone. Facing rejection is a sign of ambition, and your intention to grow your career and audience.

Rejection can also be seen as part of a process. Finding the right path for yourself isn’t easy. You have to try a lot of different things to find out what works. Rejection is an indicator that your current path may not be the right one. This may help you to expand your thinking. You may be focused on acceptance to a particular gallery, a grant, or some other opportunity. Being rejected may lead you to consider other ways to achieve the same goal. The old cliche of “when one door closes, another one opens” can be true, but probably involves a conscious shifting of focus toward a new idea or solution...

www.messystudiopodcast.com
www.squeegeepress.com
www.rebeccacrowell.com
www.facebook.com/messystudiopodcast

]]> Dealing With Rejection

We’ve all suffered through rejections both major and minor. Like the cycle of ebbs and flows that we talked about in episode 94 of The Messy Studio Podcast, rejection in various forms is a part of an art career that we have to deal with on a regular basis. How can we stay positive and motivated when we are being told we didn’t make the cut? What does rejection really mean in the big picture of our lives as artists?

The common wisdom in the entrepreneurial world is that if you haven’t suffered a lot of rejections, then you haven’t been trying hard enough or aiming high enough. The question is, what do rejections really mean in the big picture? They hurt at the time, but they are actually positive signs that you are aiming for something higher and further than where you are now. Rejection means you aren’t just playing it safe, but pushing yourself out of your comfort zone. Facing rejection is a sign of ambition, and your intention to grow your career and audience.

Rejection can also be seen as part of a process. Finding the right path for yourself isn’t easy. You have to try a lot of different things to find out what works. Rejection is an indicator that your current path may not be the right one. This may help you to expand your thinking. You may be focused on acceptance to a particular gallery, a grant, or some other opportunity. Being rejected may lead you to consider other ways to achieve the same goal. The old cliche of “when one door closes, another one opens” can be true, but probably involves a conscious shifting of focus toward a new idea or solution...

www.messystudiopodcast.com
www.squeegeepress.com
www.rebeccacrowell.com
www.facebook.com/messystudiopodcast

]]> Episode 94: Ebbs and Flows https://messystudio.fireside.fm/94 91bbbf3a-ae55-49fd-96fb-2288e70d6961 Fri, 18 Oct 2019 14:00:00 -0500 Rebecca Crowell 94 Ebbs and Flows full Rebecca Crowell The ebbs and flows of income (and other positive events) are challenges for any self-employed person. But we have to learn to deal with slack times if we want to persist. Once you become discouraged it can be easy to lose your motivation and even think about giving up. Today we’ll cover some strategies and thoughts that can help if you’re in the midst of a downturn, and also ways to take the best advantage of the good times. 32:08 no The ebbs and flows of income (and other positive events) are challenges for any self-employed person. But we have to learn to deal with slack times if we want to persist. Once you become discouraged it can be easy to lose your motivation and even think about giving up. Today we’ll cover some strategies and thoughts that can help if you’re in the midst of a downturn, and also ways to take the best advantage of the good times. www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Rebecca Crowell, Art, Business, Self Improvement, Mindset, Ebbs And Flows The ebbs and flows of income (and other positive events) are challenges for any self-employed person. But we have to learn to deal with slack times if we want to persist. Once you become discouraged it can be easy to lose your motivation and even think about giving up. Today we’ll cover some strategies and thoughts that can help if you’re in the midst of a downturn, and also ways to take the best advantage of the good times.

www.messystudiopodcast.com
www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

]]> The ebbs and flows of income (and other positive events) are challenges for any self-employed person. But we have to learn to deal with slack times if we want to persist. Once you become discouraged it can be easy to lose your motivation and even think about giving up. Today we’ll cover some strategies and thoughts that can help if you’re in the midst of a downturn, and also ways to take the best advantage of the good times.

www.messystudiopodcast.com
www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

]]> Episode 84: What the Creative Process Teaches Us https://messystudio.fireside.fm/84 2be9f46d-d3c6-4d75-8f86-1a0995902622 Sat, 10 Aug 2019 13:00:00 -0500 Rebecca Crowell 84 What the Creative Process Teaches Us full Rebecca Crowell A few weeks ago Rebecca posed the question on Facebook, “what has your art practice taught you? Are there things you’ve learned as an artist that help you with other aspects of life? There were a lot of responses that were deep, insightful and passionate. Today we’re going to talk about this topic and some of what the artists said who responded to the question. 25:21 no A few weeks ago Rebecca posed the question on Facebook, “what has your art practice taught you? Are there things you’ve learned as an artist that help you with other aspects of life? There were a lot of responses that were deep, insightful and passionate. Today we’re going to talk about this topic and some of what the artists said who responded to the question. What does your art mean for you as a person living your life? How does what you do in the studio lead you to be a better person or have a more fulfilling life? I realized in posing the question it is hard to separate out studio practice from the rest of life, or from who we are as people. But thought it would be interesting to get other artists ideas on this. May lead to future podcasts, let us know if you’d like to more about any of these ideas reading the answers was uplifting/ how deeply these artists feel about what they do, central to their lives and who they are. Answers ranged from the somewhat concrete (such as learning to see and pay attention to the world) to others quite spiritual or soulful. A lot had to do with self-esteem, sense of accomplishment, learning to see things through. Probably most people could have gone on at length as their statements were pretty concise and pithy. Not an easy question to sum up, covers a lot of ground. The root of the question: Consider the person you are when making art -- can you and do you access that in dealing with daily life. If not, can be a huge challenge but awareness is a start. some natural, organic change over time though--because you are living it in the studio, a big part of your ife Example— patience, letting things unfold, living with some uncertainty. Letting things go, moving on Is there carry over? These can be big issues—and what we learn from art practice is ongoing—we can glimpse it but forget, over and over. But still there may be progress over time. My own response: my art practice In terms of personality—has made me more trusting and optimistic about life in general –that endless cycle of trial and error and coming through in the end—still learning the big picture--how I process life’s experiences, a loop of input and output, leading to overall deep satisfaction, sense of living a full and self-reflective, life –integration of inner and outer experience. Creative practice and healthy emotional life: Happiness, sense of purpose in life self-knowledge --increased self-awareness on some level: authenticity, what is your true voice; trusting in intuition Self-confidence/self-acceptance /knowing yourself and what you want, what is right in the moment. Helps with business side too. Ability to be happy in solitude and treasure alone time/learning to dedicate your studio time Spiritual aspects: connected with meditation practices, being present, sense of deep gratitude Focus on the moment not the outcome, valuing the journey Humility, letting go, learning that sometimes things turn out best when we step out of the way and stop trying to control everything Lessons learned: Being willing to try and fail, take risks, value of what is learned the hard way problem solving—how to overcome obstacles, “thinking laterally”, letting things evolve Perseverance really seeing the world around us in both visual and conceptual ways Wrap-up: the question tapped into people’s passion for their work—and how much a part of who we are it is. Every one of us can be grateful for what our work brings to our lives in positive ways. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Rebecca Crowell, Art, Self Improvement, Spirituality, Learning A few weeks ago Rebecca posed the question on Facebook, “what has your art practice taught you? Are there things you’ve learned as an artist that help you with other aspects of life? There were a lot of responses that were deep, insightful and passionate. Today we’re going to talk about this topic and some of what the artists said who responded to the question.

What does your art mean for you as a person living your life? How does what you do in the studio lead you to be a better person or have a more fulfilling life?

I realized in posing the question it is hard to separate out studio practice from the rest of life, or from who we are as people. But thought it would be interesting to get other artists ideas on this.

May lead to future podcasts, let us know if you’d like to more about any of these ideas

reading the answers was uplifting/ how deeply these artists feel about what they do, central to their lives and who they are.

Answers ranged from the somewhat concrete (such as learning to see and pay attention to the world) to others quite spiritual or soulful. A lot had to do with self-esteem, sense of accomplishment, learning to see things through.

Probably most people could have gone on at length as their statements were pretty concise and pithy. Not an easy question to sum up, covers a lot of ground.

The root of the question: Consider the person you are when making art -- can you and do you access that in dealing with daily life. If not, can be a huge challenge but awareness is a start.

some natural, organic change over time though--because you are living it in the studio, a big part of your ife

Example—
patience, letting things unfold, living with some uncertainty.
Letting things go, moving on
Is there carry over?

These can be big issues—and what we learn from art practice is ongoing—we can glimpse it but forget, over and over. But still there may be progress over time.

My own response: my art practice
In terms of personality—has made me more trusting and optimistic about life in general –that endless cycle of trial and error and coming through in the end—still learning
the big picture--how I process life’s experiences, a loop of input and output, leading to overall deep satisfaction, sense of living a full and self-reflective, life –integration of inner and outer experience.

Creative practice and healthy emotional life:

Happiness, sense of purpose in life

self-knowledge --increased self-awareness on some level: authenticity, what is your true voice; trusting in intuition

Self-confidence/self-acceptance /knowing yourself and what you want, what is right in the moment. Helps with business side too.

Ability to be happy in solitude and treasure alone time/learning to dedicate your studio time

Spiritual aspects: connected with meditation practices, being present, sense of deep gratitude
Focus on the moment not the outcome, valuing the journey

Humility, letting go, learning that sometimes things turn out best when we step out of the way and stop trying to control everything

Lessons learned:

Being willing to try and fail, take risks, value of what is learned the hard way

problem solving—how to overcome obstacles, “thinking laterally”, letting things evolve

Perseverance

really seeing the world around us in both visual and conceptual ways

Wrap-up: the question tapped into people’s passion for their work—and how much a part of who we are it is. Every one of us can be grateful for what our work brings to our lives in positive ways.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

]]> A few weeks ago Rebecca posed the question on Facebook, “what has your art practice taught you? Are there things you’ve learned as an artist that help you with other aspects of life? There were a lot of responses that were deep, insightful and passionate. Today we’re going to talk about this topic and some of what the artists said who responded to the question.

What does your art mean for you as a person living your life? How does what you do in the studio lead you to be a better person or have a more fulfilling life?

I realized in posing the question it is hard to separate out studio practice from the rest of life, or from who we are as people. But thought it would be interesting to get other artists ideas on this.

May lead to future podcasts, let us know if you’d like to more about any of these ideas

reading the answers was uplifting/ how deeply these artists feel about what they do, central to their lives and who they are.

Answers ranged from the somewhat concrete (such as learning to see and pay attention to the world) to others quite spiritual or soulful. A lot had to do with self-esteem, sense of accomplishment, learning to see things through.

Probably most people could have gone on at length as their statements were pretty concise and pithy. Not an easy question to sum up, covers a lot of ground.

The root of the question: Consider the person you are when making art -- can you and do you access that in dealing with daily life. If not, can be a huge challenge but awareness is a start.

some natural, organic change over time though--because you are living it in the studio, a big part of your ife

Example—
patience, letting things unfold, living with some uncertainty.
Letting things go, moving on
Is there carry over?

These can be big issues—and what we learn from art practice is ongoing—we can glimpse it but forget, over and over. But still there may be progress over time.

My own response: my art practice
In terms of personality—has made me more trusting and optimistic about life in general –that endless cycle of trial and error and coming through in the end—still learning
the big picture--how I process life’s experiences, a loop of input and output, leading to overall deep satisfaction, sense of living a full and self-reflective, life –integration of inner and outer experience.

Creative practice and healthy emotional life:

Happiness, sense of purpose in life

self-knowledge --increased self-awareness on some level: authenticity, what is your true voice; trusting in intuition

Self-confidence/self-acceptance /knowing yourself and what you want, what is right in the moment. Helps with business side too.

Ability to be happy in solitude and treasure alone time/learning to dedicate your studio time

Spiritual aspects: connected with meditation practices, being present, sense of deep gratitude
Focus on the moment not the outcome, valuing the journey

Humility, letting go, learning that sometimes things turn out best when we step out of the way and stop trying to control everything

Lessons learned:

Being willing to try and fail, take risks, value of what is learned the hard way

problem solving—how to overcome obstacles, “thinking laterally”, letting things evolve

Perseverance

really seeing the world around us in both visual and conceptual ways

Wrap-up: the question tapped into people’s passion for their work—and how much a part of who we are it is. Every one of us can be grateful for what our work brings to our lives in positive ways.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

]]> Episode 83: Your Art Stories https://messystudio.fireside.fm/83 2af858ce-74f7-4ad7-8009-f6c9fae2743e Sat, 03 Aug 2019 16:00:00 -0500 Rebecca Crowell 83 Your Art Stories full Rebecca Crowell When we are in the midst of things, it is easy to lose sight of the big picture of our own journey as an artist. We tend to focus on the day to day, the ups and downs of whatever we are currently working on, as well as on future goals and plans. But every now and then it’s good to appreciate the path we’ve walked on to this point, how one thing has led to another. 29:58 no Intro www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Notes When we are in the midst of things, it is easy to lose sight of the big picture of our own journey as an artist. We tend to focus on the day to day, the ups and downs of whatever we are currently working on, as well as on future goals and plans. But every now and then it’s good to appreciate the path we’ve walked on to this point, how one thing has led to another. Prompted by several recent Facebook posts an artist having a retrospective exhibit gave thanks to everyone who had helped and supported her along the way an artist was thinking about how her initial experiments with a particular medium led to a whole series and the sale of that first playing-around painting. Whether you’re just starting out or have been making art a long time you can look back and connect any number of dots (—when this particular thing led to that—when this opportunity presented itself—when someone encouraged you to try something. ) Reminds me of the Talking Heads song, Once in a Lifetime: “And you may ask yourself, well how did I get here???” True for many aspects of life Esp. for art career may be helpful when things are not going well, discouraged or having rejection to deal with You build a history that can keep you on track/guard against discouragement/give you confidence Keep track of that history in notes, journals, sketchbooks, older work--even unintentionally you leave a long trail of where you have been May be interesting to write or think about more directly: Pondering the journey/questions Where did the art urge originate for you? Who were your mentors? Did you search for them deliberately or did that relationship evolve? At what point did you start to call yourself an artist? Looking back were there breakthrough paintings or insights that pointed the way? What have been the hardest times to keep going and how did you push through? Any/all of these can be explored in journaling or conversation -- helps you appreciate how complex /challenging this path as an artist can be. Give yourself credit for persevering Give others credit for their help and support Nobody does this alone Gratitude—for the people who really see you and understand your needs as an artist—rare and important—family, friends, mentors and teachers Realize that you can be that support for other artists on their path Seeing your art journey as an unfolding story—the big picture—helps you see past any current difficulties. What recurs? ebbs and flows in success, times of focus and motivation/times of searching and transition Path of a particular work of art that ended up being sold or recognized in some way. The chain of events in retrospect can seem amazing—you never know at the start. (personal story of Red Bog—recognized by John Seed—developed rapport with him/wrote forward to our book. Painting itself= warped panel, eventually purchased by gallery owner for personal collection, happy ending.) Path of a particular choice of medium or other aspect of form—cold wax for me Seeing the big picture also helps you talk about and describe your work in a more meaningful way. Not that you have to give your whole history but introspection generally leads to insights. Our personal voice is the result of our journey so think about how aspects of your art life have contributed-- How have your intentions or goals for your work changed over time? I notice that over time my ideas open up, become more expansive in what I will consider doing, as a result of growth of confidence, a more free feeling. But this only came after years of more narrow focus. Looking back I see how important it was to have distinct focus. Cyclical aspects—what recurs? Themes in your work, aspects of form or content that find new expression over time? Compare a current work with one from ten years ago—what is consistent? Giving an artist talk—a topic for another podcast, but others do find the story of our journey interesting. How have your experiences as an artist led to your current work? Promotion: We all do have a story and story engages other people…what about your own journey could be used to promote your work? Be a little cautious not to lose professional image but indicating how you have devoted yourself to your work is good. Wrap-Up: Losing sight of the big picture is easy to do when we all have so much on our minds in the day-to-day aspects of our art practice -- often thinking ahead to the future but not appreciating how far we’ve come. But our story as an artist is what creates our personal voice and it is something other artists and the larger art world often finds interesting Rebecca Crowell, Art, Self Improvement, Mindset, Journey Intro

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Notes
When we are in the midst of things, it is easy to lose sight of the big picture of our own journey as an artist. We tend to focus on the day to day, the ups and downs of whatever we are currently working on, as well as on future goals and plans. But every now and then it’s good to appreciate the path we’ve walked on to this point, how one thing has led to another.

Prompted by several recent Facebook posts
an artist having a retrospective exhibit gave thanks to everyone who had helped and supported her along the way
an artist was thinking about how her initial experiments with a particular medium led to a whole series and the sale of that first playing-around painting.

Whether you’re just starting out or have been making art a long time you can look back and connect any number of dots (—when this particular thing led to that—when this opportunity presented itself—when someone encouraged you to try something. )

Reminds me of the Talking Heads song, Once in a Lifetime: “And you may ask yourself, well how did I get here???”

True for many aspects of life
Esp. for art career may be helpful when things are not going well, discouraged or having rejection to deal with

You build a history that can keep you on track/guard against discouragement/give you confidence

Keep track of that history in notes, journals, sketchbooks, older work--even unintentionally you leave a long trail of where you have been

May be interesting to write or think about more directly:
Pondering the journey/questions
Where did the art urge originate for you?
Who were your mentors? Did you search for them deliberately or did that relationship evolve?
At what point did you start to call yourself an artist?
Looking back were there breakthrough paintings or insights that pointed the way?
What have been the hardest times to keep going and how did you push through?

Any/all of these can be explored in journaling or conversation -- helps you appreciate how complex /challenging this path as an artist can be.

Give yourself credit for persevering
Give others credit for their help and support
Nobody does this alone

Gratitude—for the people who really see you and understand your needs as an artist—rare and important—family, friends, mentors and teachers

Realize that you can be that support for other artists on their path

Seeing your art journey as an unfolding story—the big picture—helps you see past any current difficulties.
What recurs? ebbs and flows in success, times of focus and motivation/times of searching and transition

Path of a particular work of art that ended up being sold or recognized in some way.  The chain of events in retrospect can seem amazing—you never know at the start.
(personal story of Red Bog—recognized by John Seed—developed rapport with him/wrote forward to our book. Painting itself= warped panel, eventually purchased by gallery owner for personal collection, happy ending.)

Path of a particular choice of medium or other aspect of form—cold wax for me

Seeing the big picture also helps you talk about and describe your work in a more meaningful way. Not that you have to give your whole history but introspection generally leads to insights. Our personal voice is the result of our journey so think about how aspects of your art life have contributed--

How have your intentions or goals for your work changed over time? I notice that over time my ideas open up, become more expansive in what I will consider doing, as a result of growth of confidence, a more free feeling. But this only came after years of more narrow focus.

Looking back I see how important it was to have distinct focus.

Cyclical aspects—what recurs? Themes in your work, aspects of form or content that find new expression over time? Compare a current work with one from ten years ago—what is consistent?

Giving an artist talk—a topic for another podcast, but others do find the story of our journey interesting. How have your experiences as an artist led to your current work?

Promotion: We all do have a story and story engages other people…what about your own journey could be used to promote your work? Be a little cautious not to lose professional image but indicating how you have devoted yourself to your work is good.

Wrap-Up: Losing sight of the big picture is easy to do when we all have so much on our minds in the day-to-day aspects of our art practice -- often thinking ahead to the future but not appreciating how far we’ve come. But our story as an artist is what creates our personal voice and it is something other artists and the larger art world often finds interesting

]]> Intro

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Notes
When we are in the midst of things, it is easy to lose sight of the big picture of our own journey as an artist. We tend to focus on the day to day, the ups and downs of whatever we are currently working on, as well as on future goals and plans. But every now and then it’s good to appreciate the path we’ve walked on to this point, how one thing has led to another.

Prompted by several recent Facebook posts
an artist having a retrospective exhibit gave thanks to everyone who had helped and supported her along the way
an artist was thinking about how her initial experiments with a particular medium led to a whole series and the sale of that first playing-around painting.

Whether you’re just starting out or have been making art a long time you can look back and connect any number of dots (—when this particular thing led to that—when this opportunity presented itself—when someone encouraged you to try something. )

Reminds me of the Talking Heads song, Once in a Lifetime: “And you may ask yourself, well how did I get here???”

True for many aspects of life
Esp. for art career may be helpful when things are not going well, discouraged or having rejection to deal with

You build a history that can keep you on track/guard against discouragement/give you confidence

Keep track of that history in notes, journals, sketchbooks, older work--even unintentionally you leave a long trail of where you have been

May be interesting to write or think about more directly:
Pondering the journey/questions
Where did the art urge originate for you?
Who were your mentors? Did you search for them deliberately or did that relationship evolve?
At what point did you start to call yourself an artist?
Looking back were there breakthrough paintings or insights that pointed the way?
What have been the hardest times to keep going and how did you push through?

Any/all of these can be explored in journaling or conversation -- helps you appreciate how complex /challenging this path as an artist can be.

Give yourself credit for persevering
Give others credit for their help and support
Nobody does this alone

Gratitude—for the people who really see you and understand your needs as an artist—rare and important—family, friends, mentors and teachers

Realize that you can be that support for other artists on their path

Seeing your art journey as an unfolding story—the big picture—helps you see past any current difficulties.
What recurs? ebbs and flows in success, times of focus and motivation/times of searching and transition

Path of a particular work of art that ended up being sold or recognized in some way.  The chain of events in retrospect can seem amazing—you never know at the start.
(personal story of Red Bog—recognized by John Seed—developed rapport with him/wrote forward to our book. Painting itself= warped panel, eventually purchased by gallery owner for personal collection, happy ending.)

Path of a particular choice of medium or other aspect of form—cold wax for me

Seeing the big picture also helps you talk about and describe your work in a more meaningful way. Not that you have to give your whole history but introspection generally leads to insights. Our personal voice is the result of our journey so think about how aspects of your art life have contributed--

How have your intentions or goals for your work changed over time? I notice that over time my ideas open up, become more expansive in what I will consider doing, as a result of growth of confidence, a more free feeling. But this only came after years of more narrow focus.

Looking back I see how important it was to have distinct focus.

Cyclical aspects—what recurs? Themes in your work, aspects of form or content that find new expression over time? Compare a current work with one from ten years ago—what is consistent?

Giving an artist talk—a topic for another podcast, but others do find the story of our journey interesting. How have your experiences as an artist led to your current work?

Promotion: We all do have a story and story engages other people…what about your own journey could be used to promote your work? Be a little cautious not to lose professional image but indicating how you have devoted yourself to your work is good.

Wrap-Up: Losing sight of the big picture is easy to do when we all have so much on our minds in the day-to-day aspects of our art practice -- often thinking ahead to the future but not appreciating how far we’ve come. But our story as an artist is what creates our personal voice and it is something other artists and the larger art world often finds interesting

]]> Episode 78: Chilling In The Comfort Zone https://messystudio.fireside.fm/78 74f72b19-8046-4d6e-84fc-864c473bfbe6 Sat, 29 Jun 2019 13:00:00 -0500 Rebecca Crowell 78 Chilling In The Comfort Zone full Rebecca Crowell Boundaries, parameters, comfort zones—there are lots of names for the limits we set for our personal creative explorations. These limitations play both positive and negative roles in our art practice and business and it can be tricky to know the difference. When is a comfort zone serving us well? Would risk-taking instead be more beneficial? Is a narrow focus better than pursuing new ideas? Today we’ll toss around some of these questions -- 27:55 no Links Intro Notes; "for everything there is a season"... no one right answer for all times for any one person. Just as in the rest of life, sometimes we need to set some boundaries and other times be open to changes and challenges. Episodes 64 and 65 in March—all about change and its benefits. Today: the legitimate reasons not to change/ some ideas about how creative boundaries can be beneficial. Let’s start with the idea of self-imposed limitations—aspects of comfort zone that can be very helpful / strengthen our work. Focus, developing ideas, going deep. Such as: limiting yourself to certain approaches in the studio: materials, style, subject matter, scale etc working in series sticking with an idea until it is played out (As opposed to limitations coming from outside ourselves such as limits on our studio time, finances, or physical limitations.) We do need to question is they are simply default, fall-back answers? The downside of comfort zone— When thinking of self-imposed limitations in a conscious way: ask yourself: Are you just doing what’s easiest, most convenient Just doing what you’ve always done Its what sells None of these inherently negative but worth looking at more closely—is it what you really want? Re-listen to the Change podcasts for advice if you feel bored or stuck/you know you are in a rut. IF your boundaries seem reasonable and intentional to you, change for change’s sake is probably not going to be helpful. You also don't want to set aside valuable skills you've developed. The term comfort zone—in the art world it’s generally used to designate something we should avoid. Has negative connotations. Not moving forward or being innovative. However Wikipedia defines it as: "a psychological state in which things feel familiar to a person and they are at ease and in control of their environment, experiencing low levels of anxiety and stress. In this zone, a steady level of performance is possible." Looking at comfort zone without judgement, these are some characteristics: You feel mastery with your media You’re expressing your ideas without a lot of struggle Good level of productivity Work is of consistent quality you may not make huge advances but you will maintain the quality of your work organic change can happen more slowly The key is how you are felling: satisfaction, pleasure—positive comfort zone/often called the zone, things are flowing, you are in the groove, you are focused, without anxiety, at ease OR “same old, same old” boredom, feeling locked into a box—negative comfort zone/you are stagnating, negative feelings Positive comfort zone may be more beneficial once you are a fairly developed artist; don't settle for a comfort zone too early Negative comfort zone –you cling to the idea that things are OK because change is scary—self-reflection—the need to be very honest with self You can start to completely identify your own work only as one thing, one approach, media, material. You can pigeonhole yourself and others will too. Wouldn’t you rather have the self-image as someone who keeps growing and branching out over time? Always stay sensitive to when something has run its course Others may see this before you do because we can be blinded by our need for safety Can be very hard to get out of this zone; observations as instructor; artists esp. successful ones can become very invested in a particular thing they do; but there may be an underlying dissatisfaction. Another negative comfort zone is a little different—it’s not doing the same thing all the time but always doing different things. Never committing. This is comfortable because you can always just skim the surface. Always say, “just playing.” Has the illusion of being daring or taking on challenge but lacks depth of true exploration. Topic for another podcast. IF you’re in a positive comfort zone change for change’s sake is not helpful. Resist well-meaning advice to “leave your comfort zone” just because it is considered a good thing. Twyla Tharpe discusses this in terms of “ruts and grooves” in her book, The Creative Habit. With a rut you are stuck, mired into something, lack of forward momentum. With a groove you are moving forward in a smooth and productive way. You have focus—going deep-- But also be conscious of where you may be limiting yourself in a negative way. allow your boundaries to be a little porous. Once in while put them aside and venture somewhere else. It can be fun and energizing to leave a positive comfort zone for a bit—try a different medium, new techniques. Cross-pollination. Personal example of mine in current work: source ideas are shifting. A comfort zone can be your mastery of the medium. Psychologically healthy to avoid a lot of stress. To wrap up—our comfort zones have very positive aspects—can keep us on track, deepen our work, provide focus and productivity. Just make sure they are conscious decisions rather than something you have fallen into and never questioned. And also allow your own boundaries to be a little porous. Once in while put them aside and venture somewhere else. A comfort zone should always be positive, not a box but a place that feels good, good energy, pleasure in your work. Rebecca Crowell, Art, Cold Wax, Comfort Zone, Self Improvement, Links

Intro

Notes;
"for everything there is a season"... no one right answer for all times for any one person. Just as in the rest of life, sometimes we need to set some boundaries and other times be open to changes and challenges.

Episodes 64 and 65 in March—all about change and its benefits.
Today: the legitimate reasons not to change/ some ideas about how creative boundaries can be beneficial.

Let’s start with the idea of self-imposed limitations—aspects of comfort zone that can be very helpful / strengthen our work. Focus, developing ideas, going deep. Such as:

limiting yourself to certain approaches in the studio:
materials, style, subject matter, scale etc
working in series
sticking with an idea until it is played out

(As opposed to limitations coming from outside ourselves such as limits on our studio time, finances, or physical limitations.)

We do need to question is they are simply default, fall-back answers? The downside of comfort zone—
When thinking of self-imposed limitations in a conscious way: ask yourself:
Are you just doing what’s easiest, most convenient
Just doing what you’ve always done
Its what sells

None of these inherently negative but worth looking at more closely—is it what you really want? Re-listen to the Change podcasts for advice if you feel bored or stuck/you know you are in a rut.

IF your boundaries seem reasonable and intentional to you, change for change’s sake is probably not going to be helpful. You also don't want to set aside valuable skills you've developed.

The term comfort zone—in the art world it’s generally used to designate something we should avoid. Has negative connotations. Not moving forward or being innovative.

However Wikipedia defines it as:
"a psychological state in which things feel familiar to a person and they are at ease and in control of their environment, experiencing low levels of anxiety and stress. In this zone, a steady level of performance is possible."

Looking at comfort zone without judgement, these are some characteristics:
You feel mastery with your media
You’re expressing your ideas without a lot of struggle
Good level of productivity
Work is of consistent quality 

you may not make huge advances but you will maintain the quality of your work
organic change can happen more slowly

The key is how you are felling:

satisfaction, pleasure—positive comfort zone/often called the zone, things are flowing, you are in the groove, you are focused, without anxiety, at ease
OR “same old, same old” boredom, feeling locked into a box—negative comfort zone/you are stagnating, negative feelings

Positive comfort zone may be more beneficial once you are a fairly developed artist; don't settle for a comfort zone too early

Negative comfort zone –you cling to the idea that things are OK because change is scary—self-reflection—the need to be very honest with self

You can start to completely identify your own work only as one thing, one approach, media, material. You can pigeonhole yourself and others will too. Wouldn’t you rather have the self-image as someone who keeps growing and branching out over time?

Always stay sensitive to when something has run its course

Others may see this before you do because we can be blinded by our need for safety

Can be very hard to get out of this zone; observations as instructor; artists esp. successful ones can become very invested in a particular thing they do; but there may be an underlying dissatisfaction.

Another negative comfort zone is a little different—it’s not doing the same thing all the time but always doing different things. Never committing. This is comfortable because you can always just skim the surface. Always say, “just playing.” Has the illusion of being daring or taking on challenge but lacks depth of true exploration. Topic for another podcast.

IF you’re in a positive comfort zone change for change’s sake is not helpful. Resist well-meaning advice to “leave your comfort zone” just because it is considered a good thing.

Twyla Tharpe discusses this in terms of “ruts and grooves” in her book, The Creative Habit.
With a rut you are stuck, mired into something, lack of forward momentum.

With a groove you are moving forward in a smooth and productive way.
You have focus—going deep--
But also be conscious of where you may be limiting yourself in a negative way.

allow your boundaries to be a little porous. Once in while put them aside and venture somewhere else.

It can be fun and energizing to leave a positive comfort zone for a bit—try a different medium, new techniques. Cross-pollination.

Personal example of mine in current work: source ideas are shifting.

A comfort zone can be your mastery of the medium.
Psychologically healthy to avoid a lot of stress.

To wrap up—our comfort zones have very positive aspects—can keep us on track, deepen our work, provide focus and productivity. Just make sure they are conscious decisions rather than something you have fallen into and never questioned. And also allow your own boundaries to be a little porous. Once in while put them aside and venture somewhere else. A comfort zone should always be positive, not a box but a place that feels good, good energy, pleasure in your work.

]]> Links

Intro

Notes;
"for everything there is a season"... no one right answer for all times for any one person. Just as in the rest of life, sometimes we need to set some boundaries and other times be open to changes and challenges.

Episodes 64 and 65 in March—all about change and its benefits.
Today: the legitimate reasons not to change/ some ideas about how creative boundaries can be beneficial.

Let’s start with the idea of self-imposed limitations—aspects of comfort zone that can be very helpful / strengthen our work. Focus, developing ideas, going deep. Such as:

limiting yourself to certain approaches in the studio:
materials, style, subject matter, scale etc
working in series
sticking with an idea until it is played out

(As opposed to limitations coming from outside ourselves such as limits on our studio time, finances, or physical limitations.)

We do need to question is they are simply default, fall-back answers? The downside of comfort zone—
When thinking of self-imposed limitations in a conscious way: ask yourself:
Are you just doing what’s easiest, most convenient
Just doing what you’ve always done
Its what sells

None of these inherently negative but worth looking at more closely—is it what you really want? Re-listen to the Change podcasts for advice if you feel bored or stuck/you know you are in a rut.

IF your boundaries seem reasonable and intentional to you, change for change’s sake is probably not going to be helpful. You also don't want to set aside valuable skills you've developed.

The term comfort zone—in the art world it’s generally used to designate something we should avoid. Has negative connotations. Not moving forward or being innovative.

However Wikipedia defines it as:
"a psychological state in which things feel familiar to a person and they are at ease and in control of their environment, experiencing low levels of anxiety and stress. In this zone, a steady level of performance is possible."

Looking at comfort zone without judgement, these are some characteristics:
You feel mastery with your media
You’re expressing your ideas without a lot of struggle
Good level of productivity
Work is of consistent quality 

you may not make huge advances but you will maintain the quality of your work
organic change can happen more slowly

The key is how you are felling:

satisfaction, pleasure—positive comfort zone/often called the zone, things are flowing, you are in the groove, you are focused, without anxiety, at ease
OR “same old, same old” boredom, feeling locked into a box—negative comfort zone/you are stagnating, negative feelings

Positive comfort zone may be more beneficial once you are a fairly developed artist; don't settle for a comfort zone too early

Negative comfort zone –you cling to the idea that things are OK because change is scary—self-reflection—the need to be very honest with self

You can start to completely identify your own work only as one thing, one approach, media, material. You can pigeonhole yourself and others will too. Wouldn’t you rather have the self-image as someone who keeps growing and branching out over time?

Always stay sensitive to when something has run its course

Others may see this before you do because we can be blinded by our need for safety

Can be very hard to get out of this zone; observations as instructor; artists esp. successful ones can become very invested in a particular thing they do; but there may be an underlying dissatisfaction.

Another negative comfort zone is a little different—it’s not doing the same thing all the time but always doing different things. Never committing. This is comfortable because you can always just skim the surface. Always say, “just playing.” Has the illusion of being daring or taking on challenge but lacks depth of true exploration. Topic for another podcast.

IF you’re in a positive comfort zone change for change’s sake is not helpful. Resist well-meaning advice to “leave your comfort zone” just because it is considered a good thing.

Twyla Tharpe discusses this in terms of “ruts and grooves” in her book, The Creative Habit.
With a rut you are stuck, mired into something, lack of forward momentum.

With a groove you are moving forward in a smooth and productive way.
You have focus—going deep--
But also be conscious of where you may be limiting yourself in a negative way.

allow your boundaries to be a little porous. Once in while put them aside and venture somewhere else.

It can be fun and energizing to leave a positive comfort zone for a bit—try a different medium, new techniques. Cross-pollination.

Personal example of mine in current work: source ideas are shifting.

A comfort zone can be your mastery of the medium.
Psychologically healthy to avoid a lot of stress.

To wrap up—our comfort zones have very positive aspects—can keep us on track, deepen our work, provide focus and productivity. Just make sure they are conscious decisions rather than something you have fallen into and never questioned. And also allow your own boundaries to be a little porous. Once in while put them aside and venture somewhere else. A comfort zone should always be positive, not a box but a place that feels good, good energy, pleasure in your work.

]]> Episode 76: Meeting Deadlines Head On - Part Two https://messystudio.fireside.fm/76 c433f0fd-9eff-48b6-8486-42d13b2c1c1d Sun, 16 Jun 2019 04:00:00 -0500 Rebecca Crowell 76 Meeting Deadlines Head On - Part Two full Rebecca Crowell The need to produce our creative work under pressure from deadlines and other expectations is a common situation for artists. This basic idea can seem so wrong—shouldn’t our art be created in our own time, free from outside influence? There are many challenges and pitfalls involved, and we may resent the entire situation. Yet for anyone pursuing art as a serious endeavor, avoiding pressure is simply unrealistic. Today we'll talk about some practical solutions to coping with deadlines and expectations. 25:15 no The need to produce our creative work under pressure from deadlines and other expectations is a common situation for artists. This basic idea can seem so wrong—shouldn’t our art be created in our own time, free from outside influence? There are many challenges and pitfalls involved, and we may resent the entire situation. Yet for anyone pursuing art as a serious endeavor, avoiding pressure is simply unrealistic. Today we'll talk about some practical solutions to coping with deadlines and expectations. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast I’ve been thinking about this ideal world in which we don’t have deadlines and expectations hovering around us and about the fact that probably this has never in all of art history existed for artists. There have always been pressures and demands on us from society at large--economic, personal, even spiritual. Why do we even have the idea that outside expectations are impositions on our creativity? We accept them from ourselves --yet even these are influenced by the outside world as we try to position ourselves (in terms of galleries, exposure, or whatever form success takes for us.) Topic important to right now= I have solo exhibit opening at Addington Gallery in Chicago in about 5 weeks-- need to produce a lot of work in a relatively short time. I said yes to a solo show knowing I would come back from Greece and be in crunch time. Moments of panic but overall, I find it an exciting challenge. Not always this way—it comes with confidence, with knowing my strengths and weaknesses in the studio, having certain strategies. But it wasn’t always something I was comfortable with. It’s a skill that takes practice, like any other. So let’s start from the position that these expectations and pressures are the way it is. How to approach them to stay balanced and on track? Challenges of Deadlines/Expectations Lots of well-known guidelines for dealing with deadlines for business tasks etc. online, BUT harder to apply them to your painting or other creative work. You cannot delegate most tasks Often advised to break the project down into small steps, but that may not apply (other than maybe working on a number of paintings at once.) You can set mini-goals within the project but creative process may not be linear enough for that to work. Your end goal may not as clear as it would be in other businesses. Basically you are doing something to advance your work whether an exhibit, commission, publicity event, etc. but specific end result may need to evolve. So we have to look at some different strategies that work for creative processes: What are the challenges specific to working creatively under outside or inner expectations? Strategies: Give yourself extra time—imagine the deadline is actually sooner than it is. May seem counter intuitive=more pressure—but it’s just a mental adjustment that can give you some wiggle room and more time to evaluate the final work when it’s done. You’re not just rushing to a finish line, you want time to evaluate what you have done. Timeline: Use a rough timeline that allows the project to be done in time BUT honor the creative process—it is seldom straightforward Allow the scope of the idea to change—you may want to edit out some work for a show, or have a smaller selection when applying for a gallery for example. Giving yourself some flexibility is relaxing. Be flexible if deadlines are ones you set for yourself. These are personal goals and that’s important but if it is really not working out it’s not worth the stress. Consider if your life situation has changed since you set the expectation. A friend who was clinging to a self-imposed expectation for her work even though she had been through a major traumatic period in her life. It was simply adding more stress to a difficult time. Be clear about studio time, make sure others respect it, limit distractions, Push a little harder each day than you normally would at the beginning to gain momentum. Work that is underway is easier to engage with than blank panels. Use ways to enhance drying time of oil paintings such as fans, dehumidifiers, alkyd paints Work on multiple pieces at once so there is always something to do If possible engage help for more mechanical aspects of the task—prepping, gessoing, putting on hardware. Pace yourself : If a particular painting is esp. hard, set it aside rather than obsessing over it/spending too much time on it Recognize burnout/exhaustion—accept that you will need some down time--keep up some social life and family time Periodically look at the overall project, sit and look, see the progress you’re making Be open to working a little differently to meet the demands of the deadline—for example using small studies as references rather than working with a completely intuitive/searching approach, working with a theme to provide focus Gain confidence from your own history of meeting expectations: Personal story--Pivotal situation about 5 years ago—potential came up for a large commission for MD Anderson Cancer Center—5 big paintings to be based on specific smaller past works of mine. Very tight schedule at the time but knew it was a huge opportunity. Strategized—ordered the panels before knowing if I would get final approval; put down initial layers in a time when I was home. In between a teaching gig and a residency in Ireland I had about 2 weeks in which I painted like crazy. I was nervous but very focused. When I got back from Ireland there were just a few minor tweaks and they were done by the deadline. I learned that I could do that, I could pull it off. Everybody was happy with the results. Ever since I remember that time when I feel nervous. Do you have a successful story to reassure yourself? Doesn’t have to be art-related. Times when you had to juggle a lot of things as a parent or at work? Wrap-Up: rather than resist or resent the idea of deadlines and expectations, accept that they will always be part of your world if art is a serious pursuit. Dealing with them gets much easier with experience so if you’re avoiding opportunities out of fears and resistance it may be time to jump in and hopefully these ideas will help make it a positive experience. Rebecca Crowell, Art, Business, Self Improvement, Deadlines The need to produce our creative work under pressure from deadlines and other expectations is a common situation for artists. This basic idea can seem so wrong—shouldn’t our art be created in our own time, free from outside influence? There are many challenges and pitfalls involved, and we may resent the entire situation. Yet for anyone pursuing art as a serious endeavor, avoiding pressure is simply unrealistic. Today we'll talk about some practical solutions to coping with deadlines and expectations.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

I’ve been thinking about this ideal world in which we don’t have deadlines and expectations hovering around us and about the fact that probably this has never in all of art history existed for artists. There have always been pressures and demands on us from society at large--economic, personal, even spiritual.

Why do we even have the idea that outside expectations are impositions on our creativity?
We accept them from ourselves --yet even these are influenced by the outside world as we try to position ourselves (in terms of galleries, exposure, or whatever form success takes for us.)

Topic important to right now= I have solo exhibit opening at Addington Gallery in Chicago in about 5 weeks-- need to produce a lot of work in a relatively short time.

I said yes to a solo show knowing I would come back from Greece and be in crunch time.
Moments of panic but overall, I find it an exciting challenge. Not always this way—it comes with confidence, with knowing my strengths and weaknesses in the studio, having certain strategies. But it wasn’t always something I was comfortable with. It’s a skill that takes practice, like any other.

So let’s start from the position that these expectations and pressures are the way it is.
How to approach them to stay balanced and on track?

Challenges of Deadlines/Expectations
Lots of well-known guidelines for dealing with deadlines for business tasks etc. online, BUT harder to apply them to your painting or other creative work.
You cannot delegate most tasks
Often advised to break the project down into small steps, but that may not apply (other than maybe working on a number of paintings at once.)
You can set mini-goals within the project but creative process may not be linear enough for that to work.
Your end goal may not as clear as it would be in other businesses. Basically you are doing something to advance your work whether an exhibit, commission, publicity event, etc. but specific end result may need to evolve.

So we have to look at some different strategies that work for creative processes:

What are the challenges specific to working creatively under outside or inner expectations?

Strategies:
Give yourself extra time—imagine the deadline is actually sooner than it is. May seem counter intuitive=more pressure—but it’s just a mental adjustment that can give you some wiggle room and more time to evaluate the final work when it’s done.
You’re not just rushing to a finish line, you want time to evaluate what you have done.
Timeline: Use a rough timeline that allows the project to be done in time BUT honor the creative process—it is seldom straightforward

Allow the scope of the idea to change—you may want to edit out some work for a show, or have a smaller selection when applying for a gallery for example. Giving yourself some flexibility is relaxing.

Be flexible if deadlines are ones you set for yourself. These are personal goals and that’s important but if it is really not working out it’s not worth the stress.
Consider if your life situation has changed since you set the expectation. A friend who was clinging to a self-imposed expectation for her work even though she had been through a major traumatic period in her life. It was simply adding more stress to a difficult time.

Be clear about studio time, make sure others respect it, limit distractions,

Push a little harder each day than you normally would at the beginning to gain momentum. Work that is underway is easier to engage with than blank panels.
Use ways to enhance drying time of oil paintings such as fans, dehumidifiers, alkyd paints

Work on multiple pieces at once so there is always something to do

If possible engage help for more mechanical aspects of the task—prepping, gessoing, putting on hardware.

Pace yourself :
If a particular painting is esp. hard, set it aside rather than obsessing over it/spending too much time on it
Recognize burnout/exhaustion—accept that you will need some down time--keep up some social life and family time
Periodically look at the overall project, sit and look, see the progress you’re making

Be open to working a little differently to meet the demands of the deadline—for example using small studies as references rather than working with a completely intuitive/searching approach, working with a theme to provide focus

Gain confidence from your own history of meeting expectations:

Personal story--Pivotal situation about 5 years ago—potential came up for a large commission for MD Anderson Cancer Center—5 big paintings to be based on specific smaller past works of mine. Very tight schedule at the time but knew it was a huge opportunity.

Strategized—ordered the panels before knowing if I would get final approval; put down initial layers in a time when I was home. In between a teaching gig and a residency in Ireland I had about 2 weeks in which I painted like crazy. I was nervous but very focused. When I got back from Ireland there were just a few minor tweaks and they were done by the deadline.

I learned that I could do that, I could pull it off. Everybody was happy with the results. Ever since I remember that time when I feel nervous.

Do you have a successful story to reassure yourself? Doesn’t have to be art-related. Times when you had to juggle a lot of things as a parent or at work?

Wrap-Up: rather than resist or resent the idea of deadlines and expectations, accept that they will always be part of your world if art is a serious pursuit. Dealing with them gets much easier with experience so if you’re avoiding opportunities out of fears and resistance it may be time to jump in and hopefully these ideas will help make it a positive experience.

]]> The need to produce our creative work under pressure from deadlines and other expectations is a common situation for artists. This basic idea can seem so wrong—shouldn’t our art be created in our own time, free from outside influence? There are many challenges and pitfalls involved, and we may resent the entire situation. Yet for anyone pursuing art as a serious endeavor, avoiding pressure is simply unrealistic. Today we'll talk about some practical solutions to coping with deadlines and expectations.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

I’ve been thinking about this ideal world in which we don’t have deadlines and expectations hovering around us and about the fact that probably this has never in all of art history existed for artists. There have always been pressures and demands on us from society at large--economic, personal, even spiritual.

Why do we even have the idea that outside expectations are impositions on our creativity?
We accept them from ourselves --yet even these are influenced by the outside world as we try to position ourselves (in terms of galleries, exposure, or whatever form success takes for us.)

Topic important to right now= I have solo exhibit opening at Addington Gallery in Chicago in about 5 weeks-- need to produce a lot of work in a relatively short time.

I said yes to a solo show knowing I would come back from Greece and be in crunch time.
Moments of panic but overall, I find it an exciting challenge. Not always this way—it comes with confidence, with knowing my strengths and weaknesses in the studio, having certain strategies. But it wasn’t always something I was comfortable with. It’s a skill that takes practice, like any other.

So let’s start from the position that these expectations and pressures are the way it is.
How to approach them to stay balanced and on track?

Challenges of Deadlines/Expectations
Lots of well-known guidelines for dealing with deadlines for business tasks etc. online, BUT harder to apply them to your painting or other creative work.
You cannot delegate most tasks
Often advised to break the project down into small steps, but that may not apply (other than maybe working on a number of paintings at once.)
You can set mini-goals within the project but creative process may not be linear enough for that to work.
Your end goal may not as clear as it would be in other businesses. Basically you are doing something to advance your work whether an exhibit, commission, publicity event, etc. but specific end result may need to evolve.

So we have to look at some different strategies that work for creative processes:

What are the challenges specific to working creatively under outside or inner expectations?

Strategies:
Give yourself extra time—imagine the deadline is actually sooner than it is. May seem counter intuitive=more pressure—but it’s just a mental adjustment that can give you some wiggle room and more time to evaluate the final work when it’s done.
You’re not just rushing to a finish line, you want time to evaluate what you have done.
Timeline: Use a rough timeline that allows the project to be done in time BUT honor the creative process—it is seldom straightforward

Allow the scope of the idea to change—you may want to edit out some work for a show, or have a smaller selection when applying for a gallery for example. Giving yourself some flexibility is relaxing.

Be flexible if deadlines are ones you set for yourself. These are personal goals and that’s important but if it is really not working out it’s not worth the stress.
Consider if your life situation has changed since you set the expectation. A friend who was clinging to a self-imposed expectation for her work even though she had been through a major traumatic period in her life. It was simply adding more stress to a difficult time.

Be clear about studio time, make sure others respect it, limit distractions,

Push a little harder each day than you normally would at the beginning to gain momentum. Work that is underway is easier to engage with than blank panels.
Use ways to enhance drying time of oil paintings such as fans, dehumidifiers, alkyd paints

Work on multiple pieces at once so there is always something to do

If possible engage help for more mechanical aspects of the task—prepping, gessoing, putting on hardware.

Pace yourself :
If a particular painting is esp. hard, set it aside rather than obsessing over it/spending too much time on it
Recognize burnout/exhaustion—accept that you will need some down time--keep up some social life and family time
Periodically look at the overall project, sit and look, see the progress you’re making

Be open to working a little differently to meet the demands of the deadline—for example using small studies as references rather than working with a completely intuitive/searching approach, working with a theme to provide focus

Gain confidence from your own history of meeting expectations:

Personal story--Pivotal situation about 5 years ago—potential came up for a large commission for MD Anderson Cancer Center—5 big paintings to be based on specific smaller past works of mine. Very tight schedule at the time but knew it was a huge opportunity.

Strategized—ordered the panels before knowing if I would get final approval; put down initial layers in a time when I was home. In between a teaching gig and a residency in Ireland I had about 2 weeks in which I painted like crazy. I was nervous but very focused. When I got back from Ireland there were just a few minor tweaks and they were done by the deadline.

I learned that I could do that, I could pull it off. Everybody was happy with the results. Ever since I remember that time when I feel nervous.

Do you have a successful story to reassure yourself? Doesn’t have to be art-related. Times when you had to juggle a lot of things as a parent or at work?

Wrap-Up: rather than resist or resent the idea of deadlines and expectations, accept that they will always be part of your world if art is a serious pursuit. Dealing with them gets much easier with experience so if you’re avoiding opportunities out of fears and resistance it may be time to jump in and hopefully these ideas will help make it a positive experience.

]]> Episode 75: Meeting Deadlines Head On - Part One https://messystudio.fireside.fm/75 9cbbc32b-aa10-4641-aba0-4be670fc03de Sat, 08 Jun 2019 13:00:00 -0500 Rebecca Crowell 75 Meeting Deadlines Head On - Part One full Rebecca Crowell INTRO: Meeting deadlines and other expectations are part of an artist’s career at almost any level, and they're important when you are aiming to make the most of your opportunities. Working under pressure can make you feel nervous, compulsive or perfectionistic, but on the positive side can also cause you to create at the top of your game. This is a two-episode topic--today we’re going to examine various situations that involve creating under pressure. 25:47 no INTRO: Meeting deadlines and other expectations are part of an artist’s career at almost any level, and they're important when you are aiming to make the most of your opportunities. Working under pressure can make you feel nervous, compulsive or perfectionistic, but on the positive side can also cause you to create at the top of your game. This is a two-episode topic--today we’re going to examine various situations that involve creating under pressure. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Rebecca Crowell, Art, Business, Self Improvement, Deadlines INTRO: Meeting deadlines and other expectations are part of an artist’s career at almost any level, and they're important when you are aiming to make the most of your opportunities. Working under pressure can make you feel nervous, compulsive or perfectionistic, but on the positive side can also cause you to create at the top of your game. This is a two-episode topic--today we’re going to examine various situations that involve creating under pressure.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

]]> INTRO: Meeting deadlines and other expectations are part of an artist’s career at almost any level, and they're important when you are aiming to make the most of your opportunities. Working under pressure can make you feel nervous, compulsive or perfectionistic, but on the positive side can also cause you to create at the top of your game. This is a two-episode topic--today we’re going to examine various situations that involve creating under pressure.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

]]> Episode 60: Saying Yes And No https://messystudio.fireside.fm/60 81d06eb2-0b83-4bf0-8c82-54ec8a39cff8 Sat, 23 Feb 2019 10:00:00 -0600 Rebecca Crowell 60 Saying Yes And No full Rebecca Crowell A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your calendar clear enough to stay focused and do your best work? 33:46 no A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your calendar clear enough to stay focused and do your best work? www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast PODCAST notes: Saying YES: how to decide Follow up to Pacing Podcast— Intro: A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your calendar clear enough to stay focused and do your best work? Talked in previous PC about pacing and our inclination to say yes ; overload from an abundance of opportunity’/ meeting your personal needs for time and energy What can you say no to and not hurt your good trajectory? What is smart to say yes to?? Best Attitude: A lot of this is guess work…do your best to research, understand -- but know we all make poor decisions at some point as well as good ones. Don’t beat yourself up for bad ones—this is all unknown territory as we go forward. Artists encounter a lot more of these kinds of decisions than many people. Many so-called opportunities are presented as sales pitches. A good sales pitch that you say yes to is aimed at something you actually want and is not inflated or dishonest Considerations that might lead to a NO: Not meant to be overly negative, just to help you make decisions. Is it legitimate? Previous PC about scams and schemes/has been discussed; avoid pay to play situations unless co-op, art fair Is it mainly Exposure: so often the carrot dangled in one form or another. Does the opportunity actually allow your work to stand out in some way? There are a lot of publications, vanity galleries, solicitations to show at art fairs etc. Will you just be lost in the crowd? Or is there something unique/better about this particular situation? Offering “exposure” alone is generally a red flag that you will not be compensated in any real way Putting up work in restaurants/banks etc. Be realistic, do your research. Donating time /art work: often uses exposure as hook. Only participate if you actually want to support the cause or there is tangible benefit to yourself. Are there other aspects of an offer that sound good that may not add up to much? Don’t be swayed by things like a New York location unless it is a recognized and legitimate gallery. A line on a resume is only that; meaningless if there isn;’t substance behind it that you can really use in publicity, self-promotion Overly time consuming: Very important yet hard to judge ahead of time if it is something new. Like house repairs—figure it will take at least twice as much time as you expect. If you suspect it will take too much time it probably will. Be wary of people trying to convince you it will be simple or easy. You have a Crowded schedule: related to the above Financial considerations: legit opportunities may still involve $ outlay—such as juried shows ---shipping, framing fees. Weigh possibilities of return on your investment (sales) or possibility of other gain. Will this take you anywhere? Example: Participating in group show at gallery—may lead to representation there, or sales. Juried show less likely. Quality of opportunity: is it respectful of your work and your experience? Will it add to or detract from your professional image? If you encounter really poor behavior once you agree, feel OK about withdrawing even if it means accepting some loss; cut your losses-- BIG ONE: Does the opportunity fit with your overall goals/plans? Keep your focus on what you want for your art career. For ex: if trying to get into a commercial gallery, building your resume for a while with juried shows in art centers etc. is good. But you don’t need to keep entering juried shows for years. Recognize when a stage of your career has served its purpose but is over. (juried shows, teaching workshops in venues that underpay, showing in community spaces in which you have to do all the work of publicity, reception etc.) Avoid stepping down—A gallery contacts you with interest; look at their website and have doubts about the quality f work they handle. This becomes a pretty gut response over time Say YES when: You have the opportunity to do something with a legitimate, respected venue You can identify clear benefits that you can be pretty sure of happening You have checked out the situation with an objective mindset (online, talking to other artists, evaluating your own experiences) You understand and accept any risks involved The opportunity suits your overall goals It fits your schedule Your intuition says yes—that does play a role but balance it with these other considerations Wrap up: Again, be realistic about the outcomes that are likely, do your research, avoid being overly swayed by sales pitches—there are lots of great opportunities but sadly plenty that are aimed at taking your time and money. Rebecca Crowell, Art, Business, Self Improvement A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your
calendar clear enough to stay focused and do your best work?

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

PODCAST notes:
Saying YES: how to decide
Follow up to Pacing Podcast—

Intro: A lot of us are inclined to say yes to any art opportunity—always looking to
advance our art careers and open up new pathways. But how can you keep your
calendar clear enough to stay focused and do your best work?

Talked in previous PC about pacing and our inclination to say yes ; overload from
an abundance of opportunity’/ meeting your personal needs for time and energy

What can you say no to and not hurt your good trajectory? What is smart to say
yes to??

Best Attitude: A lot of this is guess work…do your best to research, understand --
but know we all make poor decisions at some point as well as good ones.

Don’t beat yourself up for bad ones—this is all unknown territory as we go
forward. Artists encounter a lot more of these kinds of decisions than many
people.

Many so-called opportunities are presented as sales pitches. A good sales
pitch that you say yes to is aimed at something you actually want and is not
inflated or dishonest

Considerations that might lead to a NO:

Not meant to be overly negative, just to help you make decisions.
Is it legitimate?

Previous PC about scams and schemes/has been discussed; avoid pay
to play situations unless co-op, art fair

Is it mainly Exposure: so often the carrot dangled in one form or another.

Does the opportunity actually allow your work to stand out in some way?

There are a lot of publications, vanity galleries, solicitations to show at art
fairs etc. Will you just be lost in the crowd? Or is there something unique/better
about this particular situation?

Offering “exposure” alone is generally a red flag that you will not be
compensated in any real way

Putting up work in restaurants/banks etc.

Be realistic, do your research.

Donating time /art work: often uses exposure as hook. Only participate if
you actually want to support the cause or there is tangible benefit to yourself.

Are there other aspects of an offer that sound good that may not add up to
much?

Don’t be swayed by things like a New York location unless it is a recognized
and legitimate gallery.

A line on a resume is only that; meaningless if there isn;’t substance behind
it that you can really use in publicity, self-promotion

Overly time consuming: Very important yet hard to judge ahead of time if
it is something new. Like house repairs—figure it will take at least twice as much
time as you expect.

If you suspect it will take too much time it probably will.
Be wary of people trying to convince you it will be simple or easy.

You have a Crowded schedule: related to the above

Financial considerations: legit opportunities may still involve $ outlay—such
as juried shows ---shipping, framing fees. Weigh possibilities of return on your
investment (sales) or possibility of other gain. Will this take you anywhere?

Example: Participating in group show at gallery—may lead to
representation there, or sales. Juried show less likely.

Quality of opportunity: is it respectful of your work and your experience?

Will it add to or detract from your professional image?

If you encounter really poor behavior once you agree, feel OK about
withdrawing even if it means accepting some loss; cut your losses--

BIG ONE: Does the opportunity fit with your overall goals/plans? Keep your
focus on what you want for your art career.

For ex: if trying to get into a commercial gallery, building your resume for a
while with juried shows in art centers etc. is good. But you don’t need to keep
entering juried shows for years.

Recognize when a stage of your career has served its purpose but is over.
(juried shows, teaching workshops in venues that underpay, showing in
community spaces in which you have to do all the work of publicity, reception
etc.)

Avoid stepping down—A gallery contacts you with interest; look at their
website and have doubts about the quality f work they handle.

This becomes a pretty gut response over time

Say YES when:

You have the opportunity to do something with a legitimate, respected
venue

You can identify clear benefits that you can be pretty sure of happening

You have checked out the situation with an objective mindset (online,
talking to other artists, evaluating your own experiences)

You understand and accept any risks involved

The opportunity suits your overall goals

It fits your schedule

Your intuition says yes—that does play a role but balance it with these
other considerations

Wrap up:
Again, be realistic about the outcomes that are likely, do your research, avoid
being overly swayed by sales pitches—there are lots of great opportunities but
sadly plenty that are aimed at taking your time and money.

]]> A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your
calendar clear enough to stay focused and do your best work?

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

PODCAST notes:
Saying YES: how to decide
Follow up to Pacing Podcast—

Intro: A lot of us are inclined to say yes to any art opportunity—always looking to
advance our art careers and open up new pathways. But how can you keep your
calendar clear enough to stay focused and do your best work?

Talked in previous PC about pacing and our inclination to say yes ; overload from
an abundance of opportunity’/ meeting your personal needs for time and energy

What can you say no to and not hurt your good trajectory? What is smart to say
yes to??

Best Attitude: A lot of this is guess work…do your best to research, understand --
but know we all make poor decisions at some point as well as good ones.

Don’t beat yourself up for bad ones—this is all unknown territory as we go
forward. Artists encounter a lot more of these kinds of decisions than many
people.

Many so-called opportunities are presented as sales pitches. A good sales
pitch that you say yes to is aimed at something you actually want and is not
inflated or dishonest

Considerations that might lead to a NO:

Not meant to be overly negative, just to help you make decisions.
Is it legitimate?

Previous PC about scams and schemes/has been discussed; avoid pay
to play situations unless co-op, art fair

Is it mainly Exposure: so often the carrot dangled in one form or another.

Does the opportunity actually allow your work to stand out in some way?

There are a lot of publications, vanity galleries, solicitations to show at art
fairs etc. Will you just be lost in the crowd? Or is there something unique/better
about this particular situation?

Offering “exposure” alone is generally a red flag that you will not be
compensated in any real way

Putting up work in restaurants/banks etc.

Be realistic, do your research.

Donating time /art work: often uses exposure as hook. Only participate if
you actually want to support the cause or there is tangible benefit to yourself.

Are there other aspects of an offer that sound good that may not add up to
much?

Don’t be swayed by things like a New York location unless it is a recognized
and legitimate gallery.

A line on a resume is only that; meaningless if there isn;’t substance behind
it that you can really use in publicity, self-promotion

Overly time consuming: Very important yet hard to judge ahead of time if
it is something new. Like house repairs—figure it will take at least twice as much
time as you expect.

If you suspect it will take too much time it probably will.
Be wary of people trying to convince you it will be simple or easy.

You have a Crowded schedule: related to the above

Financial considerations: legit opportunities may still involve $ outlay—such
as juried shows ---shipping, framing fees. Weigh possibilities of return on your
investment (sales) or possibility of other gain. Will this take you anywhere?

Example: Participating in group show at gallery—may lead to
representation there, or sales. Juried show less likely.

Quality of opportunity: is it respectful of your work and your experience?

Will it add to or detract from your professional image?

If you encounter really poor behavior once you agree, feel OK about
withdrawing even if it means accepting some loss; cut your losses--

BIG ONE: Does the opportunity fit with your overall goals/plans? Keep your
focus on what you want for your art career.

For ex: if trying to get into a commercial gallery, building your resume for a
while with juried shows in art centers etc. is good. But you don’t need to keep
entering juried shows for years.

Recognize when a stage of your career has served its purpose but is over.
(juried shows, teaching workshops in venues that underpay, showing in
community spaces in which you have to do all the work of publicity, reception
etc.)

Avoid stepping down—A gallery contacts you with interest; look at their
website and have doubts about the quality f work they handle.

This becomes a pretty gut response over time

Say YES when:

You have the opportunity to do something with a legitimate, respected
venue

You can identify clear benefits that you can be pretty sure of happening

You have checked out the situation with an objective mindset (online,
talking to other artists, evaluating your own experiences)

You understand and accept any risks involved

The opportunity suits your overall goals

It fits your schedule

Your intuition says yes—that does play a role but balance it with these
other considerations

Wrap up:
Again, be realistic about the outcomes that are likely, do your research, avoid
being overly swayed by sales pitches—there are lots of great opportunities but
sadly plenty that are aimed at taking your time and money.

]]> Episode 58: Pacing Yourself https://messystudio.fireside.fm/58 9e59ed80-89a8-426e-9e58-db4596338518 Sat, 09 Feb 2019 11:00:00 -0600 Rebecca Crowell 58 Pacing Yourself full Rebecca Crowell Rebecca and Ross talk about how to pace yourself to be efficient and avoid burnout... skills that they haven't actually mastered themselves. 30:46 no Rebecca and Ross talk about how to pace yourself to be efficient and avoid burnout... skills that they haven't actually mastered themselves. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast PODCAST—Pacing yourself In the big picture and more specifically… Managing your art life can be overwhelming. How to avoid burnout? Burnout=losing motivation, feeling discouraged, exhausted, trapped by demands, negativity PACING In the big picture—the need to maintain creative energy—what do you need to nurture that? Many of us work constantly—the pitfall of self-employment. Some of it is what we love ….but a lot of it is tedious stuff. So many things we have to do and be good at when we are both creating and marketing our work---a huge job The issue of cutting back—when does that time come? How does it impact you or what do you fear about it? Pros and cons == Pros: ease of stress and pushing yourself Possible health benefits as a result Focus/concentration not as dispersed Cons/fears: Financial strain Loss of momentum Isolation from other artists “Not doing enough”—work ethic My mom used to say accusingly, you do SO MUCH Like it was a bad thing—is it? Or is it what brings satisfaction? We have to ask ourselves what we really feel about the big picture. Aspects of being creative people that encourage us to always do more: take on challenges, push our limits, say yes to opportunities, want to communicate, get our ideas out there, teach, write, mentor. Outside validation/success How can you pace overall? Set boundaries: answer emails for a set amount of time; schedule studio hours, take a day off a week from business. Not easy!! Julia Cameron’s artist dates? Once a week something fun to replenish what she calls your inner well--play Exercise—esp. Anything that takes you outside in nature Maybe taking an extended breaks–a true vacation Being aware of your own burned out feelings—this can be tricky—they can be camouflaged as depression, even feeling sick (stress can do this to you) Recognizing perfectionism, pushing yourself when it isn’t really necessary…can someone wait for that email, is what they are asking you to do actually unreasonable? Adopt the attitude of “I get to…” rather than “I have to…” Recognize your own role in whatever overload you find yourself in, lern from it, be grateful for an abundance of opportunity— Can you schedule things better? hard to match a calendar with what it actually represents—scheduling things too close together. Looks doable on the calendar, but how does it actually feel in reality, never hurts to add an extra day PACING for specific projects, deadlines etc./dealing with overload anxiety Use lists, calendars, gather appropriate information so things don’t blindside you Evaluate where you’re at day to day—are there days you can take a break? Do it! Give yourself time to take a walk, read, watch a movie, see friends, do something for yourself every day Prioritize, break things down, try to see your progress every day Delegate, get help Ask for more time only if you really need it To stay emotionally strong during times of overload: Look at your own history—don’t you always come through in the end? Then stop worrying that this is the time you will fail to get everything done Recognize that you can have extra stamina when needed and it won’t kill you Remember your end goals Rebecca Crowell, Art, Business, Self Improvement, Pacing Rebecca and Ross talk about how to pace yourself to be efficient and avoid burnout... skills that they haven't actually mastered themselves.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

PODCAST—Pacing yourself

In the big picture and more specifically…
Managing your art life can be overwhelming.
How to avoid burnout?

Burnout=losing motivation, feeling discouraged, exhausted, trapped by demands,
negativity

PACING In the big picture—the need to maintain creative energy—what do you
need to nurture that?

Many of us work constantly—the pitfall of self-employment.
Some of it is what we love ….but a lot of it is tedious stuff.

So many things we have to do and be good at when we are both creating and
marketing our work---a huge job

The issue of cutting back—when does that time come? How does it impact you or
what do you fear about it? Pros and cons ==

Pros: ease of stress and pushing yourself
Possible health benefits as a result
Focus/concentration not as dispersed

Cons/fears: Financial strain
Loss of momentum
Isolation from other artists
“Not doing enough”—work ethic

My mom used to say accusingly, you do SO MUCH
Like it was a bad thing—is it? Or is it what brings satisfaction? We have to ask
ourselves what we really feel about the big picture.

Aspects of being creative people that encourage us to always do more:
take on challenges, push our limits, say yes to opportunities,
want to communicate, get our ideas out there, teach, write, mentor.
Outside validation/success

How can you pace overall?

Set boundaries: answer emails for a set amount of time; schedule studio
hours, take a day off a week from business. Not easy!!
Julia Cameron’s artist dates? Once a week something fun to replenish what
she calls your inner well--play

Exercise—esp. Anything that takes you outside in nature
Maybe taking an extended breaks–a true vacation
Being aware of your own burned out feelings—this can be tricky—they can
be camouflaged as depression, even feeling sick (stress can do this to you)

Recognizing perfectionism, pushing yourself when it isn’t really
necessary…can someone wait for that email, is what they are asking you to do
actually unreasonable?

Adopt the attitude of “I get to…” rather than “I have to…”

Recognize your own role in whatever overload you find yourself in, lern
from it, be grateful for an abundance of opportunity—

Can you schedule things better?
hard to match a calendar with what it actually represents—scheduling things too
close together. Looks doable on the calendar, but how does it actually feel in
reality, never hurts to add an extra day

PACING for specific projects, deadlines etc./dealing with overload anxiety
Use lists, calendars, gather appropriate information so things don’t
blindside you

Evaluate where you’re at day to day—are there days you can take a break?
Do it!

Give yourself time to take a walk, read, watch a movie, see friends, do
something for yourself every day

Prioritize, break things down, try to see your progress every day

Delegate, get help

Ask for more time only if you really need it

To stay emotionally strong during times of overload:
Look at your own history—don’t you always come through in the end?
Then stop worrying that this is the time you will fail to get everything done

Recognize that you can have extra stamina when needed and it won’t kill
you

Remember your end goals

]]> Rebecca and Ross talk about how to pace yourself to be efficient and avoid burnout... skills that they haven't actually mastered themselves.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

PODCAST—Pacing yourself

In the big picture and more specifically…
Managing your art life can be overwhelming.
How to avoid burnout?

Burnout=losing motivation, feeling discouraged, exhausted, trapped by demands,
negativity

PACING In the big picture—the need to maintain creative energy—what do you
need to nurture that?

Many of us work constantly—the pitfall of self-employment.
Some of it is what we love ….but a lot of it is tedious stuff.

So many things we have to do and be good at when we are both creating and
marketing our work---a huge job

The issue of cutting back—when does that time come? How does it impact you or
what do you fear about it? Pros and cons ==

Pros: ease of stress and pushing yourself
Possible health benefits as a result
Focus/concentration not as dispersed

Cons/fears: Financial strain
Loss of momentum
Isolation from other artists
“Not doing enough”—work ethic

My mom used to say accusingly, you do SO MUCH
Like it was a bad thing—is it? Or is it what brings satisfaction? We have to ask
ourselves what we really feel about the big picture.

Aspects of being creative people that encourage us to always do more:
take on challenges, push our limits, say yes to opportunities,
want to communicate, get our ideas out there, teach, write, mentor.
Outside validation/success

How can you pace overall?

Set boundaries: answer emails for a set amount of time; schedule studio
hours, take a day off a week from business. Not easy!!
Julia Cameron’s artist dates? Once a week something fun to replenish what
she calls your inner well--play

Exercise—esp. Anything that takes you outside in nature
Maybe taking an extended breaks–a true vacation
Being aware of your own burned out feelings—this can be tricky—they can
be camouflaged as depression, even feeling sick (stress can do this to you)

Recognizing perfectionism, pushing yourself when it isn’t really
necessary…can someone wait for that email, is what they are asking you to do
actually unreasonable?

Adopt the attitude of “I get to…” rather than “I have to…”

Recognize your own role in whatever overload you find yourself in, lern
from it, be grateful for an abundance of opportunity—

Can you schedule things better?
hard to match a calendar with what it actually represents—scheduling things too
close together. Looks doable on the calendar, but how does it actually feel in
reality, never hurts to add an extra day

PACING for specific projects, deadlines etc./dealing with overload anxiety
Use lists, calendars, gather appropriate information so things don’t
blindside you

Evaluate where you’re at day to day—are there days you can take a break?
Do it!

Give yourself time to take a walk, read, watch a movie, see friends, do
something for yourself every day

Prioritize, break things down, try to see your progress every day

Delegate, get help

Ask for more time only if you really need it

To stay emotionally strong during times of overload:
Look at your own history—don’t you always come through in the end?
Then stop worrying that this is the time you will fail to get everything done

Recognize that you can have extra stamina when needed and it won’t kill
you

Remember your end goals

]]>