100 Books Like Art & Fear

I can’t recommend books about storytelling without including this masterwork. Anyone who works in storytelling will face times when their creative well is dry, and this book is the solution. I’ve run into quite a few moments in my life when tragedy and trauma prevented me from being my most creative self.

Whether I was dealing with personal or professional struggles, this book has always been able to bring me back to my authentic, creative self. I’ve done this “program of artist recovery” both alone and with a group (which Cameron calls a “creative cluster”), and it’s been just as successful each time. I even force my MFA writing students to do the “Artist Dates” explained in this book, and they always thank me later. 

What I love most about Bird by Bird is the way that Anne Lamott characterises writing as a gift, a giving over to someone else in a manner akin only to being a parent.

While I am not a parent, I am inspired by this idea that the written word can make a person braver and better by virtue of opening them up to the world and people in new ways. Despite the hurdles and difficulties of the practice, which Lamott deftly outlines, she ultimately decides that a writer is pursuing an act of generosity and openness. I really love this idea.

There is a real lack of pretentiousness to Lamott’s writing, which allows you to take these nuggets and accept what otherwise might be sentimental claims that “writing is life” as simple truths. 

This classic is my go-to for the challenges of living the creative life and how to push through them.

In short, punchy chapters, it identifies the main source of blocks writers and artists have and how to push through them.

I love its approach to the workmanlike attitude one needs to have to create consistently and move toward a goal, and how to be clear-eyed about the inner “resistence” we all have that seems to want to stop us.

I love this book because it is all about how we show up each day and how we engage the world.

I am particularly keen on the idea that we can choose to be open to learning new things, meeting new people, and making a difference…in other words, we can choose to “grow” …or we can choose to stand still.

And I hope that I will never stop wanting to know more, read more, learn, and try to make a difference.

As a career coach and artist advocate, I was curious about what the author had to say about the inner workings of the art world. Quite happily, I read an insightful and humorous probe from a writer who sincerely wanted to understand art and its importance.

Bosker is not afraid of naming names when discussing critics, gallery owners, curators, collectors, and artists. She goes undercover, so to speak, and writes about her experiences as a gallery assistant, an artist’s assistant, a museum security guard, and a sales assistant at Art Basel Miami. And to add to her experiences, she tackles the use of the foreign language of “art speak.”   

I can open any page of this book and discover meaningful observations—with lots of food for thought. For two decades, the late artist and educator Walter Darby Bannard reflected on the question, why do young artists struggle to find their voices?

He answered the question with engaging insights based on his personal philosophy. At the urging of a former student, he put his thoughts into a book. But you don’t need to be an aspiring artist to treasure what Bannard has to say; artists at all career levels will be inspired by his words. 

Filled with many humorous pages of ridicule about the modern art world, one big reason that I love this book is Wolfe’s attack on “art speak,” the nauseating language used by critics and artists alike. He smugly suggests that in today’s world, visual art only exists to illustrate the text!

Pretentious prose has become a norm in art world communication. Although artists vehemently criticize this style of writing, unfortunately, many believe that their work will not be taken seriously unless they imitate what they despise.

When I was very young, I experienced firsthand an ugly lawsuit involving an art gallery. I can’t stress enough how important it is for artists to be knowledgeable and up-to-date on the legal aspects affecting their careers.

The new edition of this book will be of great help because it thoroughly covers the many changes in art laws and artists' legal rights and obligations, including, for example, the laws protecting artists in artist-gallery relationships.

I didn’t love this entire book from cover to cover, but what I did love, I loved deeply. It contemplates what indeed makes an artist an artist, ruminating on a variety of art makers–from Bonnard to Yoko Ono to Bob Ross to Eve Hesse and Sol LeWitt.

LeWitt’s letter to Eve is something that is seared into my brain. There’s profanity in it, so I won’t repeat any of it here, but it struck me to my core; my whole body agreed with his sentiment. Kimmelman is a skilled writer (duh, he was a New York Times art critic), and he manages to tell intimate stories of how things came to be, why we look at things the way we do, why we collect or want things–including lightbulbs.

It validated the idea that artists need to find the thing they are passionate about, trust that, and follow any and everything… show more.

This is one of those secret gems of a book that hardly anybody has heard of but after you read it, you’ll be giving multiple copies away to every creative you know. Rich with real-life examples from working artists and writers, and Priscilla’s long history as a working creative and teacher, I have underlined an idea or suggestion on almost every page.