The author indulges the reader with three stores of images and the artists share their reflections. Allen states “art as a spiritual path teaches us a new way to relate, while intention and witness encourage our sense of discipline to grow and develop.” To be in the studio and practice with sustained focus on completing the tasks, and being open to the work of the image.
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book.
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Chapter 4 begins her second section of the book, dedicated toward the witnessing within the studio practice. She calls the reader’s attention toward the social change of system structures such as governments, churches, schools, families. These rigid structures of “good vs. evil,” provided sufficient distractions to promote one’s survival. Another of more humanist approach melds a peacefulness within a chaotic world. The author’s remaining chapters are devoted to the communal direction she offers toward building one’s spiritual path. Witnessing another’s creation, begins awareness to the appreciation of differences. Here begins her reader’s task of understanding life by relaxing old judgments of self or others. She writes, “the studio plays a part in the subversive process of learning to trust our inner authority and to question all received ideas.” Allen shares her experiences of having a student within her studio, experiencing the witnessing of others’ images. She had a facilitator instruct the students with the use of paints and materials, and give the direction for her workshop. The instruction was to make some marks on a piece of paper with directed questions such as “choose a color. what sound does the crayon make as it goes across the piece of paper.” The idea is to become aware of all sensations in the making of an image and to be mindful of their energy within themselves. When the artist believes their image is complete, they tape it to the wall. At this time, the students are instructed to write their observances about the process they were witness to - for themselves, seeing others images, the sounds, the energy, etc. Dialog, another method, is where the student asks questions of the image. The author ends the chapter with her discoveries about witnessing. As one re-creates their world over and over, their divine image is part of a larger whole. “When re-creating became recreation, creative activity began to be increasingly mediated by commerce.” In other words, what’s the product, and how good or bad is it. Allen shares her joy in being witness to her students, re-creating themselves as well as having the dialog with image to regain a sense of wholeness.
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
In Chapter 3, Allen presents to the reader the concept of Witnessing, “being in the present to our images and to each other in compassion, without voicing judgment.” She calls attention to the difference between “voicing” judgments and “not having” judgments. Judgments are part of one’s survival system; important information one needs about their values and ideas. When one makes a judgment about another’s artwork, they place their value system onto the other person. The purpose of withholding judgment of one’s work or another’s is to deflate the ego and promote the relationship between the artwork and the artist. The author gives reference to Jungian theory, as well as to the work of Shaun McNiff, Mary Watkins and Marshall Rosenberg. Witnessing the image requires a practice of noticing the old patterns of voicing judgments, and being willing to not comment on ones work. Judgments bring attention to what one is lacking. Art becomes a spiritual path when connecting to the Creative Source. The intention of witnessing is not to discourage communication, but to enhance connection, especially for those at a tender beginning of creating. There is one exception to the no comment rule the author suggests, and that is to share with the other one’s gratitude as it is fundamental to the creative process. Sharing a thank you to the experience.
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Allen equates the creative energy with Eros, that for some is the erotic, pure sensual pleasure, as well as with another definition as it “the sum of life-preserving instances that are manifested as impulses to gratify basic needs, impulses to protect and preserve body and mind,” as defined in Webster. She asks why would anyone resist pleasure? Why would anyone resist the seductive act of creating when it brings so much pleasure when one is in the flow of the creative energy. Her belief is that creativity uses this seductive method to enrich human survival systems, and promotes "aesthetic responses to life’s challenges, to learn to see everything as a puzzle to be solved…” Allen shares life is like a scavenger hunt, as one comes across the pieces that connect each other, our images one makes. At times fear of the "what if” presents itself, preventing plenty to engage with the creative process, as one may have experiences that increase their understanding of their own life. Allen’s belief is that creativity is encoded in our DNA. The first stage of creativity is inquiry; just as a new born baby begins to learn about their world through play, so can one within creativity. It’s about play, playing with material and ideas. It’s how one finds themselves. The attitude one brings to inquiry effects the outcome. She suggests one cultivates a mind that resists quick conclusions and judgments - to take an attitude of openness. Otherwise, one misses the opportunity to connect with the creative source. During this phase of inquiry it is best to avoid comments from others, negative or positive. The author also suggests to avoid even naming the inquiry as it becomes part of judgment about one’s abilities. Inquiry is playful, inquisitive, open and aware of the energy, the creative drive to explore with materials, no matter where it leads. Engagement is the next stage. It requires time and intention, as well as a willingness to allow an image to be incomplete for a period of time, until we have the “know” about what is to be created. Another component of engagement is commitment. Learning to trust the creative process even when our mental aches and pains produce the internal struggle. To have the faith of continuing to travel forward no matter the distractions. Self care is critical, and developing self-compassion for this process is also necessary, and seldom encouraged. Celebration is the stage where there is the closure of the art making. It is the space set to honor what has come into existence that never was present before. Allen states “the goal of art as a spiritual path is to live a meaningful life, full of active participation with our own hands, minds, and hearts.”
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Art making is a spiritual path in which we all are able to explore. Three ways these appear in our lives - through inquiry, engagement, and celebration. Pat B. Allen’s book, “Art is a Spiritual Path” outlines these three in Part One of her book. In Part Two she devotes the rest of her book toward the studio by where building a group awareness to the Witnessing of Creating. As the creative energy is in constant flow at all times, Allen shares her belief that all of us are being called to “midwife” the creations through our own art making. And at this time our world culture is changing, and we are given the opportunity to explore in more meaningful ways to make contributions in caring for our planet. When one takes a concern or difficulty into a creative process, there one begins to see possibility of different solutions rather than reacting repeatedly with unsuccessful methods. She sees this as the greatest strength of a creative discipline to structure one’s tolerance toward building resilience. Her overall focus for Part's One and Two are Intention - our intention depends upon what we are envisioning. These come from our fears, our hopes and direction, our vision for our future. From these one may be able to gain awareness of the obstacles one may be oblivious to, as well as the jewels of wisdom when they appear. In art making there is no right or wrong. It’s play. In each creative experiences, moves one through inquiry, engagement and celebration. With inquiry, Allen offers guidance in developing a practice of intention within a creative process. It is always a co-creative process. This involves others to be in conversation with others for the idea to take shape. Intentions that ask for change are only for one’s self, not others. When one begins to create, their intentions also take new shape, especially with the image, as it becomes a teacher, alerting the artist to new ways of expression. Allen leads the reader with a question in what they are willing to “stretch toward.” Her cautions begin around old thoughts and beliefs one has that may be limiting their potential. To take a daily review of one’s intentions, looking for insight as they release their imagination into the world. I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Shaun McNiff is one of my favorite creativity authors. What I love about this book is his willingness to call attention to these parts of our humanness that prevents one from being creative. For example, how our enculturation sets one on a path of perfectionism. And in this system, establish and do ordain who is “gifted,” “talented,” “genius,” etc. When unaware of this as something out of your control, you may think it’s about you. Societal norming is not the big problem, it’s the unquestioned sets of beliefs one has about their own world. He takes the readers through this process to create an openness for one to experience the joys and benefits of creativity. In all of his books, he’s consistent with steering the reader to develop a practice. A practice is the time in which one builds their skills in achieving the desired effect of the creative process they want to achieve. It is not only learning the skill, but the practicing of it daily. He gives at least 30 different types of practices, through use of reflective writing, to connecting with others for input. The creative process include a community component that often is overlooked. Yes, we share our creative expression. And often others believe one has to critique it in someway. McNiff opens the reader to the concept of Witnessing. This is to practice the compassionate understanding of what it took to complete this work, from the materials to the time, the discovery, etc. As well as to practice compassion with one’s self in completing their own work. There is no one right way to view a piece of work. McNiff calls attention to the shadow side of the creative world. I appreciate his Jungian approach for the reader to become aware of our shadow, not to fear it or avoid it, but to accept it as part of ourselves. And to see the message or insight it might bring to one’s life and work. Some of these may become blocks. To know how first how to recognize a block (most often perfectionism) as well as how to work through them. It is through a commitment to become diligent to learning these skills. These skills are also essential for keeping a bigger picture for life. To understand the influences of our enculturation, as well as the impact of unawareness has on the creative potential.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
McNiff reminds the reader the all too common mistakes one engages with in the creative process, the fixation on control, or in other words, perfectionism. It tends to curb all exploration with a hypervigilance to have things be correct ALL the time. Beginning with the outcome, the product of what is to be produced, one fixates on the ideal. The author states “fixation on controlling small things is connected to an inability to appreciate the complete composition.” One is unable to grasp the bigger picture with a focus of all energy on the little things, of which take the most energy and time. McNiff encourages the reader to develop a “good enough” standard to which they would be able to create consistency and move confidently within their creative discovery. He cautions the reader to be aware of ego and how often allowing one’s ego to lead, tends to have one compromising on their expression. Over the years, McNiff suggests, one’s failures are to be viewed as unsuccessful experiments; to provide the data only for what works and what does not. Yet some view these as defeats, and never complete a desired creative endeavor. A result of fear and a lack of confidence. Becoming aware of the constraints of perfectionism, to practice reviewing how these might have contributed to one not being able to express a creative idea. Above all, he suggests to make a commitment to one’s deepest purpose, as a discipline is only achieved through a practice. Commit to doing a daily practice of developing skills, refining techniques, activating one’s imagination, through repetition to achieve a natural flow of expression. His last suggestion for his reader is to “teach yourself.” Artistic skills are not bestowed on those deemed “gifted.” These are developed over a period of time with consciousness to inform oneself. While one might practice along, he suggests a creative practice with others helps one move beyond the patterns of resistance and are more motivated by witnessing others in their creative exploration.
McNiff reframes the subject of Quality. As quality matters, the "how to” do the very best with one’s creative expressions, he believes comes from a commitment to one’s values. He encourages “good enough,” not perfection within one’s work to assist with the negative self critical statements that may become blocks. Although there are social judgments about one’s creative work, and may be impossible to avoid. Describing some qualities that support one in achieving good enough work such as “genuineness, expressive energy and impact, uniqueness of style and subject matter, degree of risk and challenge, the transformation of difficult material into something new and life affirming, and lasting power,” he reminds the reader, there will be those in society who believe they are the ones to determine creative worthiness within an art community. He stresses the importance of developing skill to have mastery over their materials, as well as to know where one is in the development of those skills. It is the skill level of the materials being used, not the over all abilities to create. McNiff shares an example of Henri Matisse drawing with long sticks in order to develop his muscles in his hands. One area most everyone experiences is the over doing of the creative task, and losing the expression. Skill, as McNiff states, “often involves knowing what to keep and when to stop.” He also suggests the importance of community and how it impacts creative expression. Partnerships with other more experienced in their medium help to increase the abilities of others, and motivate others who are less developed.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
McNiff starts off part 5 with a reminder of one’s blocks are ‘something' wanting to be 'something else' rather than what is happening in the present moment. And one’s most reliable way to deal with the blocks is to accept them as they are. Blocks are the fears one has about the creative process. He states “trying to deny them increases their negative power.” What he found helpful for his clients was to first notice any expectations. A shift of thinking for one to “let go” of preoccupation with the outcome, to see the possibility for creative expression with persistence, exploring new and different techniques. One needs to feel safe to explore new ways of expressing their creative visions. Most often people avoid this part of the creative process for fear of being ridiculed, failing, or ruining their reputation in the community. Finding a safe community can be somewhat daunting. These safe communities are built with a direct set of principles and guidelines to support everyone, unconditionally. Knowing one’s common response may be to judge harshly, one first must be willing to be aware of the self judgment. Safety is the first goal. Becoming aware of the patterns of resistance as these are a normal part of life.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
McNiff begins this section with his theory of why people are hesitant when present in the act of creating. His hypothesis highlights on Jungian theory with the “shadow”of expression. The author sees shadow as complementary of light. Every image has a shadow depending upon the lighting, A shadow complements and completes the light. He stresses the importance of showing empathy at this time of tension for someone at the beginning of experiencing creative expression. While it usually easy to avoid any difficulty, this type of tension is one wants to learn from. As with any agitation, like in a washing machine, it’s process it to brake down, dissolve, stir up. And within creativity, this most likely would move or drive forward one finding the opportunities by responding to them, rather than avoiding them. McNiff refers to this as art alchemy, transforming difficulty into life affirming experiences.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
In the 2nd half of this 3rd part of McNiff’s book, Imagination in Action, he further takes the reader in developing a deeper understanding of witnessing. Every act of creating is part of a human expression, no matter how small or insignificant. Our task is to view the creation with a mindfulness that even our own attitude at the time may influence what and how we perceive the creation. Our perspective is selective in what we view. The author further expands the act of witness something visually being created, to listening for what is described by the artist. At times, people speak about their work. They may share about how they were anxious, uncertain about their creative process. This too, McNiff suggests, is essential to further expand one’s artistic mindfulness and completes both functions of witnessing in action. Witnessing allows one to go deeper, beyond the surfaceness of an action. He suggests these guidelines for witnessing as one is able to move in and out of awareness, as this is a natural part of life, and not to be used against oneself. There is no need to have any physical engagement or eye contact with the participants; only focus or concentrate on the action. One has the freedom to choose how they perceive, as there is no wrong in one’s perception. The creative process in a discipline and at times can be unpredictable. No need to interject one’s ideas as these would be uninvited and would interrupt the artist’s process. To be witness is to be supportive, affirming of the other’s creative process. While one may interpret a creative expression, interpretation is projecting a viewpoint. Interpretation is not witnessing. One’s artwork is their offspring who carry our creative genes that become parts of our lives and our community. McNiff shares other forms of interpretation as these are instinctual responses to the world. He gives other ways of interpretation such as a person’s tone or mood within their voice, a description of an historical event, portrait of a person, music .. classical or other form, painting of landscapes or other work. Each of these can be interpreted in many different ways from people, places, emotions, situations, relationships… to even one’s life experiences. All of which communicates meaning of an experience. He further shares that a witnessing consciousness holds an unbiased view to approach with intrigue the creative process.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
McNiff begins this section with an introduction to witnessing as perceiving what is happening or as he calls it, the yin/yan of the creative expression. Witnessing is the act of being present to what is being created by others. There is the act of creating, as well as the act of being witness to what is being created. It is viewing with empathy and an open awareness to the qualities of the artistic expression. For example, if being witness to people dancing, being aware of the music, the form, the movements. Same for painting. Being aware of the person’s brush strokes, the choice of paint, etc. Too often, he reminds the reader, that others are in places of judgment about another creation. And most artists are in a place of judgment about their own artistic expressions. McNiff suggest that the practice of being witness, the use of compassionately viewing others, assists one with their own empathic views of their work as well as increase artistic mindfulness. He states that “we learn how to create with what we already have.” Most people are critical of their own creative expression. He suggests to continue to practice curiosity when witnessing one’s self or others creating. Any discomforts one might have with any creative task, can be used to guide them through the process. Paying attention to the inner critic, or judge one might experience. He points out that often blame and attributing responsibility to others becomes a way for one to avoid doing things, and may protect them temporary toward change, thereby restricting their creative growth. Another reminder about “overthinking” of any creative task. Careful attention to the “shoulding” one may use, as this often arrests any creative movement. He suggests to “clear one’s thoughts,” as these helps to bring about awareness to what is happening rather than a focus on what “should” happen.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Another way to use McNiff’s book, Imagination in Action is with the 30 offers of practice. In just about every chapter of his book, he suggests some creative reflection to support one building their creative muscles. The author states “Action and perception are in harmony and support one another in a state of artistic mindfulness.” A person is changed by what they view, by how they are influenced. Each of these practices give the reader another way to perceive, to learn, and to understand the nature of the creative process. For example, his practice on The Yeast Effect, in dealing with directly with difficulties within an artistic expression. He takes the reader through some thoughtful ways to reflect on each issue, only it is not to solve these, but to understand how one can have compassion in the relationship with the difficulty.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Art emerges through the act of creativity. It comes through many forms. McNiff shares our minds respond to what shows up, rather than having control over what emerges. We are but the conduit for creativity expressed. Our task is to remain connected to this flow without any pressure toward the outcome, Often we have an illusion of control, yet the creative process has an energy on its own. McNiff states “creative writers insist it is the characters who create the story.” The mind is only the entry point for creativity. He offered several strategies to support the creative process such as being appreciate of what emerges through spontaneous play. When one is forcing an expected outcome, he finds this delays the work, no matter the medium. Another suggested strategy is to take a pause to reflective on the movement of the brush if painting, or how other materials react to each other. To practice being in the gratitude of the process, appreciative for the expression. He returns the reader to focus on one’s perspective toward their creating, to become aware of the judgmental and overreactive thoughts. He recommends a daily practice within one’s medium, no matter whether it is drawing, playing piano, or dancing. Some sort of daily practices to engage with the movements of creating. One has to shift from reactionary to responding to the “intelligence of creative expression. Most of our schooling has been about creating a replica of what we see rather than along an interpretation. He offers a reflective exercise to recall the people in one's life who have influenced their direction.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
McNiff begins part one with the statement of “we establish these conditions with opinions about who can and cannot create, what is good and not good, and who has the authority to make these standards.” Our enculturation into our family system and our roles within society begin in this manner. Here the author suggests what is most invasive is the message which continues to be passed along generation after generation, that only certain people are creative. McNiff reinforces everyone has access to creativity, yet for some are unable to use freely as there are “restrictive ideas about the nature of creative intelligence, how it can be cultivated and taught, who can do it and who cannot, and how it changes the world.” We have a huge amount of misconceived ideas about creativity and to tackle these all at once would be overwhelming. He first states his clarity about everyone has creativity, yet shares how our society builds into our socialization the natural resistances to people “risking and acting outside the norm.” In other words, people don’t want to risk something they don’t know the outcome of. Especially when they might be in an adult stage of their human development. McNiff believes our main obstacle is not our socialization but our own beliefs systems one holds about who can create and what is good or bad about creating, as well as who is the authority over creativity. He expands this view to include how one not only sees their creativity but also how they perceive life. This would include how one was introduced to creativity with color, painting, drawing, and messages such as “don’t do it, you don’t have time, it’s a waste of time and money.” He concludes the chapter with a reminder that we never create alone, as the elements of the creative process begin with engaging within one’s environment.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
We are all a work in progress. Each seeking strategies that best work for us. Some strategies bring us life long happiness, meaning and purpose - and for some these strategies work temporary and believe they work all the time. What I enjoyed about Art Thinking is Amy Whitaker’s view about what art is — that it is an exploration through a creative process. Sure, there’s an outcome — the product of the exploration. She gave a variety of examples throughout her book. In using her framework from taking a larger view, being in the weeds, being a lighthouse, building a house, etc., she methodically gives a person a conceptual way to understand the creative process. What I found helpful was her methods of reviewing the business side of a creative process. There are different types of cost, but the one we seldom like to spend is the cost of one’s time. What I found most surprising with her book was the call to finding a compassionate community. In her example of Christopher Miner’s project of revamping an old Sears building into an artist, business community was delightful to hear. As with her call at the end of her book for the reader to practice “radical curiosity,” within all of life’s adventures.
I encourage you to buy a copy of Art Thinking for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Whitaker begins her last chapter with an overview of art thinking framework, and a reminder to keep a wide-angle view with looking at the creative process. She shares the story of artist, Christopher Miner who transformed the boarded up Sears distribution center in the heart of Memphis, Tennessee, converting the space into artist studios and galleries, business offices, restaurants, and residential apartments. His focus was building a community. The author encourages the reader to chose a metaphor that best describes their interests. She gives several exercises to help support the reader with incubating their idea. Whitaker adds that in addition to the metaphor, one needs to be aware of “set of skills that everyone needs to have to be as conversant as possible and as effective as possible in the world that increasingly asks us to talk to each other across large gulfs in understanding.” While one can become a professional, receive an education, being able to converse with others in connecting ways is essential. She encourages the reader to practice “radical curiosity” with life.
I encourage you to buy a copy of Art Thinking for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
In this chapter, Whitaker uses the analogy of “to build a house" as a framework for understanding one’s economic challenges within the creative world. There are constraints, limits one has within a market for their work. And these are challenging to each type of art form. She shares there are two kinds of creativity - "the writing of a letter and designing the envelope.” While the writing is making an object, designing is creating the structure within where the object exists. Each of these requires "material resourcefulness” as the author defines as “the ability to adapt a material to an unexpected purpose by focusing on its first principles.” She gives an example of a Robert Pirsig’s scene from his book, Zen and the Art of Motorcycle Maintenance, where the character’s does not have the part to repair his broken down motorbike, uses a beer can. He does this first by seeing it as a potential resource to fix his bike. Whitaker again uses several examples of other businesses adapting this concept to build a sustaining business model for their craft. Such as with Warby Parker, taking on the major eyeglass company business model of using others as a distributor, Warby Parker became their own distributor, taking out the additional costs of the expense to provide affordable eye wear. Not only did Warby Parker write the letter, they also designed their own envelop by not following the current business model. She gives an overview of variable and fixed costs, as well as how these impact imagination, with a deeper understanding to two other categories within these costs. Transaction and Opportunity costs of imperfection and imagination. She ends the chapter with a review of several problems that arise within the business of creativity. One of the seven examples is with externality, where one’s time is seldom factored into the cost of doing business.
I encourage you to buy a copy of Art Thinking for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
I encourage you to buy a copy of Art Thinking for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Whitaker begins the chapter with the story of Ed Epping’s accidental beginning of his art career. When enrolling for college, he signed up for two art classes. As her art instructor, she would begin the classes with discussions about judgments one makes about their work. When labeled with good or bad, one begins the process of letting go of their responsibility to their work. Epping’s method is to be “critically self-aware,” to see what is working and what is not rather judging it good or bad, to build on the strengths, and to seek help when needed. In this chapter, “to be in the fray,” Whitaker shares the work of psychiatrist and pediatrician, Donald Wood Winnicott’s “good enough” parenting. Here she equates this an artist. To use this method of doing one’s best at what they are learning, and continuing to build an environment to nurture one’s growth. She defines nurturing one’s environment as to hold one has the freedom to do their work, not keeping up the appearances. She shares the tool of Conversational with the three roles: guide, colleague-friend, and producer. Each of these offer the wisdom with honesty and encouragement, as well as the economy/business side of an art career to meet the demands of one’s market. A guide helps one discover the hows to do, rather than the rigid musts (micromanaging) one might believe they have to within their work. In the second role, to be open to others influencing your own work. Finding others to support one in their own work, those who are may have different strengths and weaknesses, yet are able to have shared values about one’s work. In the practical world of the creative process, finding those who help one stay on task of building one’s portfolio, showing and finding methods of sharing one’s work. All of which costs money and time. The author suggests if one has difficulty with finding supplies, use what is available, such as paper coffee cups, or other recycled materials that are in abundance. In a business, noticing what is a resource and using what one has, begins a business model structured on cost. There are other costs to also consider, such as transition and opportunity. These two are opposites of each other, such as if transition were imperfection, then opportunity would be imagination. One’s success is built upon the tools one uses for their business side of their creative career. Finding the support, no matter whether emotional or financial, stay the course of doing you own work.
I encourage you to buy a copy of Art Thinking for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
The focus of chapter 4 begins with a directive question from Whitaker, with a recall of one being in the weeds in the early stages of creative work focusing on the “how" one moves from the fear of risk to creating the possible. She offers two tools - “portfolio thinking" and "ownership stakes.” Portfolio is use of developing strategies to do what one can to keep a roof over one’s head. In ownership, it's the risk of putting one’s self out in the business of art. She gives two examples show the difference in one’s focus within of these strategies. Finding tools that work for each person to meet these goals can become overwhelming, especially with self-investing. She returns to reader to keep a wide angle view when projects become difficult. Here, she uses the analogy of building a boat. Imaging the economy is a vast amount of water, and how to stay afloat with projects, depends up the boat one builds. The business side of a creative career is sustained through well planned strategies to provide the appropriate income. One can experiment with different ways to find a stable, income producing, art career. She gives several examples such as investing, finding patrons, working several jobs, selling one type of work in order to make another, etc., all the while building one’s portfolio. Just as any other business needs to evolve with the economy, so much a creative career.
I encourage you to buy a copy of Art Thinking for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Whitaker begins chapter 3 with further developing art thinking framework as more questioned based rather than a solution focus. She gives an analogy of a map in finding one’s way. While it might be easier to have a map, one can also create a map of their own by following their curiosity to lead them toward what is possible. She suggests to look for the miracles when fearing defeat. When one senses a clarity of duty in their work, one can shift their thinking toward what is possible, to keep pace with their attention to their focus. Just as a person who begins to run a race, has a warm up practice, it is suggested that the reader also prepare an mental warm up, such as reflective writing or sharing with friends the goals one wants to obtain. Goals are to be SMART - specific, measurable, achievable, realistic, and time bound. In this third chapter, the author uses the analogy of a lighthouse guiding one’s journey, to assist one with uncovering interests, to be more authentic in their work.
I encourage you to buy a copy of Art Thinking for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
The author begins this chapter with her description of "being in the weeds" as compared with the first chapter - from a wide angle. To be in the weed is a close of view of the creativity process. She suggests to her reader, that to be in the weeds, one has to 1) change how you think about judgment (from critique to discernment); 2) become philosophical and skeptic; 3) attentiveness to the present moment .. all of these help you stay rooted in the process. Being in the weeds of choosing the question you are willing to risk working on. Whitaker discusses the work of two psychologists (Jones and Nisbett) on ‘actor-observer’ as people tend to see our “behavior as circumstantial and other people’s behavior as fixed.” In other words, we tend to see our behavior arrives from our situations, from the things that are happening to us. Other people we see as their character flaws. One analogy the author uses, is that we might see ourselves as a work in progress, and others as baked or complete. And sometimes we might see other people’s completed work and compare ourselves to their finished work. She reminds the reader there is a gap between the process and the outcome. When an artist is engaged in the early part of the creative process, one has two ways of evaluating one’s work - judgment versus decrement. When judging, one reduces their work to either good or bad. Discernment tends to review to see what works and what does not. Discernment is a process of learning what works and what does not, without an evaluation of the process. Within a learning mindset, one is not frustrated by what does not work, as one looks upon this experience as a teaching moment rather than a failure. One method Whitaker suggests is to use the “grace period" to defer judgment to the future, giving one time to see what happens, and to gain an understanding of their learning. She also suggests a mindfulness to this early process of being attentive to the vulnerability of being in the weeds, as this is where one is most likely to confuse successes and failures. This allows one the ability to change directions when needed. One take away she recommends is to validate one’s ability to notice when thoughts may overwhelm one in the early creative process by identifying when one recognizes thought distortions. She suggests using “good noticing,” as a verbal marker of a discerning mindset, and “only by changing our relationship to judgement and process can we open up that space of possibility."
I encourage you to buy a copy of Art Thinking for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Life gives us plenty of things to learn without the intention to learn them. One can observe their environment and experiences, to begin to see how these things are in relationship to each other. In this first chapter the author begins to expand her metaphor when looking at creativity. In her definition of creativity, Whitaker wants to broadens her reader’s view as creativity includes "doing" as well as "being." Having a studio primes the creative pumps, yet should not be used to pressure one into creating something. It is a safe place to incubate ideas. A place to explore, a safe place to risk the next thing. A place to show up, to see what emerges. She gives several categories of creativity: social, organizational, civic, analytic, spiritual, kinesthetic, aesthetic, physical, narrative and harmonic. She defines each one for the reader to understand that creativity is not only about producing artwork or the next best novel. Society gives a mythical view of an artist as genius. While one might be flattered by someone coping their work, to learn how it’s made. Only to copy misses the evolving growth one can obtain. It is through Emulating, that is, not copying, but taking the form, pattern and adapting it to another idea. Whitaker encourages the reader to follow what they love, not to worry about wasting time or materials. That nothing is ever wasted. No matter whether the learning is immediate or takes a little more time…even taking time off, as rest is not idleness. It is all practice. It is all learning.
I encourage you to buy a copy of Art Thinking for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Amy Whitaker devotes the introduction to her concepts about art in the world of business with her book "Art Thinking: How to Carve Out Creative Space in a World of Schedules, Budgets, and Bosses." She defines art as … traditionally, an object like a painting or a sculpture, as well as modern day views of the German artist who locked himself in a room with a coyote while he read the Wall Street Journal. She merges this definition with philosopher Martin Heidegger’s view as art is something new in the world that changes the world to allow itself to exist, as “art is less an objection and more a process of exploration.” Art is about the process of exploration, not the product released from one's creative discovery. She offers another way of seeing with the intertwining of art and commerce as most often people are focused on the end product. By having a PRICE on the things one create she alludes to the economic assumptions of business - efficiency, productivity, and knowable value. While innovation is important in the business world, she returns the reader's focus of reinvention. How our culture - economic and society looks at "necessary change" as a survival system. She sets up Art Thinking framework as the following:
Whitaker concludes the introduction with the paradoxical gifts art thinking has for the reader: one cannot control the outcome of any endeavor AND one might fail. She encourages her reader to follow their own “discovery with integrity.” Finding what works best and what doesn’t, brings about more chances for one’s own contributions to come to life. Again a reminder to focus on the process rather than the product. She throws out a idea of WHAT WOULD LEONARDO DO to stimulate the reader's thinking … reminding one of Leonardo's label as genius. To emulate his way of looking at creativity, one might view him as an explorer of ideas. While a person might not have patrons to support them in one's creative exploration, they can invest in their own discoveries. Finding one's own authentic voice and flow rather than projecting another genius to emulate. I encourage you to buy a copy of Art Thinking for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. |
Kelly PenrodThese are my daily writings for the 100 day project. Archives
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