Dallas sculptor Rick Maxwell, who studied at SMU under James Surls, probably knows better than anyone how obstacles and unexpected turns in artmaking enhances resiliency. After months of researching a project for a bent wood sculpture, he discovered a new technique for compressing an 8-inch piece of hardwood and bending it into a 24-inch circle. It's not only a story of the wood's resiliency, but also the artist.
According to researcher Brene Brown, we all have the power to create. "If you want to move knowledge from your head to your heart, it requires your hands," she says. "Creativity is the ultimate integration tool. And the best part is that it is built in."
Creativity is a powerful way to build resiliency. And it's not found in any one particular art-based activity, but within the characteristics of art making itself. According to Psychology Today, this development of mastery by overcoming obstacles builds confidence, empowers us and makes a space for a life-affirming capacity for resiliency. And when it does, creativity unlocks inner resources for dealing with stress, problem-solving and enjoying life by enhancing our resourcefulness.
You are much more likely to have that big aha moment when you are expressing your creativity. So creativity is both something we do and a way of being - a habit and an attitude. It allows us to communicate narratives without words.
Here's a few ways to boost your resiliency with creativity thanks to the George Lucas Educational Foundation:
Ask Questions: Embrace a beginners mind and ask questions. Children under the age of five ask up to 120 questions a day and by the time we reach 40, we are asking just four questions a day.
Be Curious: Become a collector of ideas, don't look for the obvious connections, but be open to allow them to form together in new ways. Combining ideas and making connections are key practices of creativity.
Experiment, Fail & Take Notes: Thomas Edison said: "I make more mistakes than anyone else I know, and sooner or later, I patent most of them." If you follow your curiosity, experiment with ideas and learn from your mistakes, the quality of your creativity will vastly improve.
Check out Rick Maxwell's website HERE.
by Diana Pollak
One of the things we love about our signature fundraiser Blue Plate Special is that we get to work with so many artists - some already connected to CAC and others who may not know us as well. This year approximately 100 artists participated and you can see the results this Saturday, October 6 at 2616 Commerce Street Event Center!
Artists are grateful for two things. One is that we are not asking for any of their regular inventory...just a little time and talent since we provide the bisque ware, glazes and even helpful tips (and we even give them free general admission tickets to boot!). The other is that many of them tell us that doing a plate in which painting or ceramics may not be their medium, they are happy to be taken out of their comfort zones and challenged in new ways. I remember an accomplished landscape painter from the 2016 event worried about her ability to recreate her type of work on a ceramic plate. She even made a couple of trips to CAC to discuss the process with other artists and wanted to see how it looked fired. She was really thrilled (and so were we!) when her plate turned out to compliment the body of work she was already doing.
We also held a series of seven free plate painting parties for the general community over the summer allowing artists and non-artists alike to create a small plate for swag bags for sponsors and VIP ticket holders in a fun "painting with a twist" type atmosphere.
These two unintended accidents of the event - making people "uncomfortable" to stretch their creativity and providing collaborative, community-building opportunities for people fit right into our mission of "nurturing a community where people discover, develop and express their artistic visions."
by Diana Pollak
I do improv comedy on the side. It's a type of performance where two or more people walk onto a stage and proceed to act in a scene that's being fabricated on the spot. If you've ever seen a Judd Apatow or Adam McKay comedy, you've seen improvised comedy documented. Because they're making a movie, they have the convenience of cutting out all the jokes that didn't work.
While I like the challenge of "being funny," the reason I keep improvising is the risk involved. There's something exciting and completely enveloping about walking onto a stage and having little knowledge about what's next. It's the co-mingling of excitement and anxiety that a blank canvas provides. When it works, the rush is incredible; when it doesn't, well...
Part what I've learned by constantly entering these "high risk" performances is the importance of earning trust through failure. Most of my least successful performances have at least one thing in common: I didn't trust myself. I didn't believe I could make that move or joke. I was scared the audience or my teammates wouldn't like it or that I couldn't pull it off. I let my insecurity get in the way of two possibilities:
a. making an awesome move
b. making a painful failure I could learn from
I believe artists get this way in their studio.
The fear of pushing a practice past it's current state is met with all sorts of doubts about viewers' reaction. Questions like "Does this look dumb?" or "Are they going to think I'm losing it?" cloud the mind. I hold the opinion that there's no straight line in art production. Sometimes one must risk seeming out of sorts to move forward. Instead of wasting time on doubt and anxiety, I think it better to replace the above questions with this one: Do I want to remain safe and let my work reiterate this safety or would I rather push myself to fail into something new?
by John Oakley
CAC Communications Manager
What do Corvettes and ceramics have in common? Both are antidotes for a mid-life crisis according to a recent New York Times article, “Forget a Fast Car. Creativity Is the New Midlife Crisis”. Creativity is the new way of re-inventing yourself for people in midlife caught up in an era of finding meaning through mindfulness and experience. We’ve certainly seen it here at CAC with ceramics and painting classes filling faster than ever and more and more people in their 40s and 50s taking art classes. Laura M. Holston, who wrote the piece, believes that people want more in life, but it does not mean more things or the outward trappings of youth. “Instead, it’s a look inward,” she says, “to passions and possibilities long thought to have passed.”
From Julia Cameron who pioneered the subject with “The Artist Way: A Spiritual Path to Creativity” in 1992 to Elizabeth Gilbert’s 2016 “Big Magic: Creative Living Beyond Fear”, people are looking for ways to re-engage their creative side. The challenge is to bring creativity into everyday life. Let’s face it, not many of us can take up stone carving in Pietrasanta or landscape painting in Provence, so we look for small ways that we can feel empowered to be inspired. Taking an art class that do that and in the process serve as an outlet for anxiety or depression, reignite a waning career or a way to make new connections to like-minded people!
Also, be sure to check out the Times’ "A Year of Living Better," a new monthly series of how-to guides for readers that will help you improve your life, community and world. This month provides useful tips on how to be more creative besides taking a class at CAC!
CAC is a buzz with creative energy this summer with more than 125 classes and workshops offered in our core programming and many outreach programs for underserved populations. We have deepened our collaboration with Café Momentum, a social service organization offering culinary and life skills training to post-release juvenile offenders. We know that when young people have the opportunity to reimagine their place in the world through arts education, lives are transformed. Café Momentum is doing this as well by proving a safe, real-world environment if nurturing accountability. By teaming up with such an organization, it magnifies the positive impact on these young people’s lives…something that both CAC and Café Momentum get. We worked with glass blower, Carlyn Ray, to have the kids create a glass installation at the restaurant which was installed last week.
And if that weren’t enough, we are currently working with the kids on the third year of Feasts of Clay in which they are making platters for the restaurant’s popular fried chicken dish!
We are in the third week of our 10-year-old Camp MetalHead program at CAC, which is a job skills and arts instruction program in welding and jewelry for underserved and at-risk teens ages 13-17.
Many thanks to our amazing funders that keep us so busy in the summer with this exciting and much needed free programming City of Dallas/Office of Cultural Affairs, Texas Commission on the Arts, the Thomas Charitable Lead Trust. In-kind donors include Empire Bakery, Garden Café, Panera Bread, Torchy’s Tacos, Spiral Diner and Zoe’s Kitchen.
CAC is abuzz with creative energy this summer with more than 125 classes and workshops offered in our core programming and many outreach programs for underserved populations. We have deepened our collaboration with Café Momentum, a social service organization offering culinary and life skills training to post-release juvenile offenders. We know that when young people have the opportunity to reimagine their place in the world through arts education, lives are transformed.
Café Momentum is doing this as well by providing a safe, real-world environment while nurturing accountability. By teaming up with such an organization, it magnifies the positive impact on these young people's lives...something that both CAC and Café Momentum get. We worked with glass blower, Carlyn Ray, to have the kids create a glass installation at the Café Momentum restaurant which was installed last week. And if that weren't enough, we are currently working with the kids on the third year of Feasts of Clay during which they are making platters to display the restaurant's popular fried chicken dish!
We are also in the third week of our 10-year-old Camp MetalHead program at CAC, which is a job skills and arts instruction program in welding and jewelry for underserved and at-risk teens ages 13-17. Many thanks to our amazing funders that keep us so busy in the summer with this exciting and much needed free programming, the City of Dallas/Office of Cultural Affairs, Texas Commission on the Arts, the Thomas Charitable Lead Trust. In-kind donors include Blue Mesa Grill, Empire Baking Company, Garden Café, Spiral Diner, Torchy's Tacos and Zoe's Kitchen.
If you happen to be in New York City before July 15 get tickets to the "David Bowie is" exhibition at the Brooklyn Museum. The show is taking its final bow in the city in which Bowie lived the last 20 years of his life after touring all over the world for the past five years. It's an immersive experience of sight and sound made all the more powerful by the interactive audio tour in which content ch-ch-changes as you walk through the exhibition corresponding as to where you are at in the exhibition.
An archive of 400 objects, including more than 60 custom-made performance costumes, the exhibit explores the creative process of this artist and demonstrates that he was surely one of the most innovative and collaborative artists ever to grace the planet. Bowie reinvented himself time and time again and challenged how we see art and music, dared social conventions and inspired us to re-think our own identities.
From the time he was a teenager in England to his death in early 2016 Bowie pushed the boundaries of art - the show includes early whimsical sketches, menacing oil paintings, dazzling costumes, pioneering music videos, groundbreaking animation, photographs, props and more. Even his final album called "Blackstar", released two days before his death, he chronicles his own death, and in the process, creates a haunting show of performance art for his fans. The exhibit is a stunning archive of his life and 55-year career as an artist.
According to Rolling Stone Magazine, "David Bowie is" doesn't merely show off these artifacts - instead, the exhibit brings them together to build an immersive narrative. It tells one of the strangest and most inspiring of modern stories. As the man once sang, such is the stuff from where dreams are woven."
With the passing of artist and next door CAC neighbor, Erik Schuessler, Dallas has lost an icon. I often say that I find artists to be the most collaborative, generous people on the planet, bar none. From what I've learned about Erik (and his brother Ean) these last few days is that he possessed a type of goofiness that led to a "creative generosity" resulting in collaboration after collaboration from initiating zines and sketch cults to serving as a catalyst for the maker movement in Dallas, bringing together artists, designer and tech folks.
For his public memorial Saturday at Texas Theatre more than 300 friends and family packed in, many of them co-conspirators that enriched the Dallas art scene, celebrated his life.
I was honored when the so-called "weirdos" next door asked to use CAC's sculpture garden for a smaller gathering that night under the full moon and then designated CAC as one of the beneficiaries for memorials since it was always Erik's purpose to get more directly involved with CAC and even possibly teach here. I know that we have not heard the last from this collaborative, generous artist and the community he has help to sustain. Stay tuned...
Read more here in an article published last week by D Magazine, remembering the influential local artist.
What happens when you bring together a composer and neuroscientist? Besides some great conversation at a cocktail party, you get a very interesting read if they decide to write a book. The Runaway Species: How Human Creativity Remakes the World is that book written by Houston composer and professor at Rice University, Anthony Brandt and David Eagleman, neuroscientist and host of the PBS series The Brain.
The book begins with a riveting reenactment of the Apollo "Houston, We Have a Problem" 13 mission in which Mission Control must shred the playbook of simulated scenarios to save the lives of three astronauts whose service module is destroyed and the command module is venting gas and losing power leaving them with only the lunar module and no playbook.
What ultimately saved the lives of these men was creativity. Working from a short list of items on board, engineers at Mission Control help the crew members to devise an adaptor put together a plastic bag, a sock, pieces of cardboard and a hose from a pressure suit, all held together by duct tape (of course!). They also have the crew use the flight plan cover as an improvised funnel to guide air into the scrubber and then use the plastic-wrapped thermal undergarments that were meant to be worn under spacesuits while on the moon, using the plastic to assemble a makeshift filter all which turns carbon dioxide levels to normal.
As the authors explain, "The human brain doesn't passively take in experience like a recorder; instead, it constantly works over the sensory data it receives - and the fruit of that mental labor us new versions of the world." So inventiveness typically runs in the background, unseen, and outside of our direct awareness. In other words, our brains allows us to absorb the world in inventive ways and create what-if versions of it. This is why the authors write, that cows don't choreograph dances, why squirrels don't build elevators to their treetops and why alligators don't invent speedboats!
The Nasher Sculpture Center is presenting a must-see, jaw-dropping, simply stunning exhibition through April 28. First Sculpture: Handaxe to Figure Stone is the first ever museum exhibition to present ancient handaxes and figure stones as works of art. Proposed by American artist, Tony Berlant, who has amassed a large collection of Paleolithic stones, research for the exhibition lasted nearly a decade and brought in notable archeologists, anthropologists, historians, neuroscientists and artists from around the world.
The oldest artifact is a large pebble found in South Africa - The Makapansgat Pebble - is the earliest known example of a hominin (our pre-historic ancestors) recognizing and collecting a found object that resembled a face, demonstrating a capacity for symbolic thinking. But what’s astounding is this artifact is estimated to be 2.3 million years old!
The word “artifact” comes from two Latin words – arte or “by skill” and factum or “to make”. So, when the Neanderthals began shaping stones into tools, they essentially were the very first makers. And those makers evolved from making just simply utilitarian tools, they began to develop an aesthetic intent.
As Dr. Naama Goren-Inbar, a professor of archeology at the Hebrew University in Jerusalem, pointed out in her talk at the Nasher’s 360 Speaker Series, artistic process is everywhere, including planning, spatial thinking, contingency and cooperation. Archeologists have been able to determine that select handaxes were made by the same individual. Pre-historic man discovered that tools could be both functional and beautiful.
I had the opportunity to hear a panel from Arts for Incarcerated Youth Network (AIYN), the only arts collaborative for incarcerated youth in the State of California, at the National Guild for Community Arts Education conference held in San Francisco in November. AIYN’s core belief is simple: culturally responsive arts engagement is transformative to young people who are incarcerated or on probation. The arts – perhaps more than any other intervention – has the power to heal as well as provide personal expression that can lead to systemic change promoting community and group social cohesion, and in the process, promote a more just society.
For the past two years, CAC has had the opportunity to collaborate with Café Momentum, Dallas’ restaurant and culinary training program, in which we have provided creative programming to many of the young people in its 12-month paid post-release internship program through such programs as Feasts of Clay & Glass and Camp MetalHead. The pride and sense of empowerment the young people receive by designing and creating serveware for the restaurant or a personal art piece is amazing to watch.
CAC is not the only organization doing this work in Texas. Big Thought’s Creative Solutions program in collaboration the Dallas County Juvenile Department and SMU is working to re-ignite the imaginations of these high-potential youth through the performing and visual arts and is credited with lowering recidivism rates. Children’s Prison Arts Project in Harris County is exposing incarcerated youth to creative writing, theater and visual arts where they can express their thoughts and visions in constructive ways, presenting their art to their peers and the community at large.
But nowhere in the country is actual policy around creative engagement and cultural responsiveness more developed than in California. The nine member organizations in AIYN are guided by the belief that arts engagement addresses the trauma in these kid’s lives, including the trauma of incarceration, so they can reflect, restore, learn and develop into creative and fulfilled community members and leaders. It was very powerful to hear the story of Fabian Debora, a former juvenile offender who is now a teaching artist with AIYN: “Incarceration happens instead of looking deeper at the causes. There are reasons why things happen and everyone has a story. Think about it, how does incarceration help anything?”
I had the opportunity to hear Tomás Alvarez speak at last week’s Momentus Institute Conference. Celebrated as a CNN Hero for his groundbreaking work combining traditional talk therapies with hip-hop, Alvarez is re-imaging mental health, inspiring a global movement for “at-promise” kids. Yes, at-promise not at-risk as is the current narrative, and is one that CAC also uses when writing about our outreach programs – Camp MetalHead, Feasts of Clay & Glass and unseenamerica – in grant, press and promotional materials.
That’s about to change as I now realize that although the term “at-risk” is easily understood by funders and the media, it ultimately denies students and their families the dignity they deserve by focusing on the negative and not the positive. As one of those kids myself growing up identified as at-risk, I always felt on the brink of being viewed as a throwaway by society. After dropping out of high school and spending a couple of years on the streets and starting to become all too familiar with the criminal justice system, I somehow came out on the other side. I was damn lucky, always believing in my own scrappy potential even when other people no longer did. I was able to go back to a self-paced, alternative high school, then community college, then a four-year college and finally graduate school – slowing and painstakingly putting one foot in front of another until I had built a life of promise for myself.
Alvarez is right – we need to reexamine the language we use to affirm the people we work with because as he said, “language is powerful.” Check out the work that Alvarez is doing through the organization he founded Music, Beats & Rhymes. And while you are at it, take a look at the work Dallas artist Will Richey is doing right here through his spoken word performance and youth development organization, Journeyman Ink, and the Daverse Lounge program.
Bravo North Texas for showing a three-fold increase in the economic impact of the nonprofit arts and culture industry with a nearly $1.5 billion in total industry expenditures as reported with the release of the Arts&Economic Prosperity5 study conducted by the Americans for the Arts in collaboration with the Business Council for the Arts (BCA), the City of Dallas Office of Cultural Affairs (OCA) and the Dallas Arts District (DAD)! The report was unveiled this week at the City Performance Hall by arts leaders Katherine Wagner, North Texas Region CEO for BCA, Jennifer Scripps, OCA Director and Lily Weiss, DAD’s Executive Director. The study is based on FY 2015 and was last done in 2010.
This means that the North Texas arts community generated 54,848 full-time jobs in the arts with nearly 14 million citizens in this area attending cultural events, including classes and other programming at the Creative Arts Center! This data is astounding news for those of us who raise money for arts organizations and especially relevant for those of us in smaller to mid-size groups as it validates what many of us have been saying for a long time – North Texas is a vibrant arts and culture center and is impacting our local and state economy in major ways!
Perhaps the most remarkable thing is that there was a 92% participation in the Arts&Economic Prosperity5 survey from Dallas arts organizations, and as Jennifer Scipps said, “Imagine what we could do with 92% voting rates.”
This week I heard Dave Evans, co-author of Designing Your Life, at Arts & Letters Live where he talked about ways to building your own creative and joyful life using the principals of design thinking. Evans, along with Bill Burnett of the Stanford d.school, wrote the book as a response the popular Designing Your Life course taught by Evans that has since become a movement. Says Evans, “Designers don’t think their way forward, they build their way forward. The idea is if we approach our own life design challenges with the same curiosity and creativity as it took to put a man on the moon, we could figure out what we want and how to get it in our own lives. Design thinking always involves reframing, curiosity, radical collaboration and a bias to action. In a way, CAC is a perfect laboratory to facilitate this process in people’s lives. A key component of every design thinking activity is prototyping and I believe that creating art embodies the act of prototyping through an experience. The prototyping process is focused on asking interesting questions, exposing assumptions with involving others with your ideas with the result of allowing you to “sneak up on your future.” A hands-on art class does just that for people with a built-in appreciation of learning by trial and error. We all know here that the school of hard knocks is a very good school.
Evans talked about the different types of thinking about problems: engineers solve their way forward; business people optimize their way forward; and researcher analyze their way forward. But designers build their way forward by taking a problem, called “wicked” problems because they are fundamentally human, and essentially make it up as they go along. That’s what artists do every day and how the arts education process works at CAC. What’s exciting about this new book is that this principals can easily be transferred to our personal lives to build well-lived and joyful lives. I can’t wait to prototype my own life!
Dave’s Ted Talk:
Once upon a time civics was taught in our schools in which students had the opportunity to develop into engaged citizens. Today only eight states require that civics be taught at all. I just returned from the National Guild for Community Arts Education in Chicago where I had the opportunity to participate in a pre-conference presented by Michael Rohd of the Center for Performance and Civic Practice on developing such a practice using the arts as the driver.
I became to wonder what it would be like to imagine our work as exchange, not just presentation. I began to envision the possibilities of becoming a community resource not just a space for the dissemination of culture. Don’t get me wrong, I think the Creative Arts Center does an amazing job of building community through creating art through the use of a strong studio practice. And I think we are addressing key social issues for underserved, marginalized and at-risk communities through such programming as ArtAbility, Camp MetalHead and unseenamerica as well as exciting collaborations with The Bridge and Café Momentum. But civic practice using teaching artists working with individuals and groups to build healthier and more equitable communities is formidable work that impacts advocacy, dialogue, story sharing and capacity building. Rather than simply transactional, it is purposeful, intentional and authentic.
One example of that process is a collaboration with Art 180 and Legal Aid in Richmond, Virginia which addresses the issue of mass incarceration intervening in the school to prison pipeline and creating a dialogue between young people and law enforcement. Chicago Young Authors and Kuumba Lynx Performance Ensemble are two groups employing spoken word, hip hop and rap to meet kids where they live and breathe. All you need to do is pick up a newspaper to see what is relevant in the lives of young people in many Chicago neighborhoods like just being able to safely walk to and from school. I came back from an exciting week in arts education in Chicago made all the more wonderful by the Cubs World Series win to an election that has changed the world as we thought we knew it overnight.
Now even more than ever we will need this kind of work in our communities that give youth the voice they deserve to become active and engaged future citizens.
Creativity Coach Jill Allison Bryan has some great ideas for carving out a creative space so you will have no excuses not to have creative pursuits at your fingertips. According to Jill who also teaches a workshop at CAC called Building Your Creative Confidence, you don’t need an entire studio or even a lot of space to make time to bring more creativity into your life. “A drawer, a closet, a corner, anyplace can become a creative space,” she said in the Dallas Morning News feature that ran last week. Here’s a few ideas from this pro:
To learn more about Jill and her creative coaching ideas visit her web site www.creativeoasiscoaching.com. Click here to register for her next CAC workshop Building Your Creative Confidence on Oct 8 from 1 to 5pm.
There are some people that think there’s nothing scarier than standing in front of a blank canvas, but in fact, according to a new study at the University of Massachusetts at Amherst painting increases the brain’s output of the feel-good chemical dopamine, low levels of which are linked to fear and anxiety. So it stands to reason that instead of fearing the blank canvas, people are increasing using it to conquer their fears. The payoff: study subjects who painted experience a 71 percent greater reduction in fearful thoughts than people who did not partake in creativity activities.
Another study published in the journal Art Therapy, revealed that coloring complex pictures (think adult coloring books) causes the frontal lobe part of the brain that governs cognitive functions to light up, sharpening attention and concentration, and thereby reducing brain fog. Adults experienced significant reductions in anxiety after coloring, which in turn led to an increased ability to focus.
According to a study in the peer-reviewed, open-access scientific journal Plos One, sketching for 20 minutes a day can also help calm anxiety. It seems the repetitive motion of moving a pencil across paper triggers the relaxation response, a deep form of rest in which your pulse slows and your brain generates calming alpha waves, thus lowering the body’s stress response by up to 45 percent.
More and more neuroscience is pointing to a surprising antidote for stress: creativity! “Creative activities are stress busters in the same way that meditation is,” says Robert Reiner, Ph.D., a psychologist with New York University.