Fail Better
For most of us, in art as in life, you have to do it wrong a lot before you get it right. People in their second or third marriages know this, but simpler examples come to mind. Think of a stumbling toddler learning how to walk, or the process of training your dog to sit. Perhaps the best example comes from the history of scientific invention. Thomas Edison, when asked about how he discovered the right materials to make the light bulb, famously said: “I have not failed. I’ve just found 10,000 ways that don’t work.”
This is a good lesson for artists who hesitate to fail. If you are risk averse, afraid of the uncertainty and vulnerability of trying new things, you won’t grow. The art world can be an irrational place, so you often need to experiment.
When artists who are now becoming successful look back on how it happened, they describe many unsuccessful attempts: rejections from granting agencies, rebuffs from galleries, disappointing sales. In each case these artists found a way to learn from their experience. They got better at failing.
You can move beyond feelings of disappointment and anger by analyzing what happened. You discover how your strategies and tactics might need to change. You may be applying for opportunities that aren’t right for you, or trying to get into galleries that aren’t a fit for your work. When you hear a NO, here are some key questions to ask:
Most important, ask yourself: what can I learn?
This is a good lesson for artists who hesitate to fail. If you are risk averse, afraid of the uncertainty and vulnerability of trying new things, you won’t grow. The art world can be an irrational place, so you often need to experiment.
When artists who are now becoming successful look back on how it happened, they describe many unsuccessful attempts: rejections from granting agencies, rebuffs from galleries, disappointing sales. In each case these artists found a way to learn from their experience. They got better at failing.
You can move beyond feelings of disappointment and anger by analyzing what happened. You discover how your strategies and tactics might need to change. You may be applying for opportunities that aren’t right for you, or trying to get into galleries that aren’t a fit for your work. When you hear a NO, here are some key questions to ask:
- Did you need to do more research before applying?
- If you tried again, what would you do differently?
- How could you get a wider perspective on what happened?
- When you compare your background to other artists, what are your strengths and weaknesses?
Most important, ask yourself: what can I learn?