A Quote by Samuel Ervin Beam

At art school you realize that in order to stay engaged you have to ignore the critics, good and bad. — © Samuel Ervin Beam
At art school you realize that in order to stay engaged you have to ignore the critics, good and bad.
I read reviews of critics I respect and feel I can learn something from. Right now there are a lot of bottom-feeder critics who just have access to a computer and don't necessarily have an academic or cinema background that I can detect, so I tend to ignore that and stay with the same top-tier critics that I've come to respect. I like reading a good review - it doesn't have to be favorable, but a well-thought-out one - because I very much appreciate the relationship of directors and critics.
If you pay attention to good critics, you have to listen to the bad. So you have to ignore them all really. You can't just cherry pick the glowing ones.
I have disciplined myself when I'm working. When I discovered art, I realized that one could keep that search going within creation. But I also realize that in order to create the art, you have to stay, you can't go too far.
Stay true to yourself, engage with your followers, and ignore the critics.
We need to make sure that there's art in the school. Why? Why should art be in the school? Because if art isn't in a school, then a guy like Steve Jobs doesn't get a chance to really express himself because in order for art to meet technology, you need art.
I read the art reviews of my work. Some critics understand my art correctly, while some don't. I simply ignore the reviews written by the latter.
The public needs art - and it is the responsibility of a 'self-proclaimed artist' to realize that the public needs art, and not to make bourgeois art for a few and ignore the masses.
We believed that there's no such thing as good art or bad art. Art is art. If it's bad, it's something else. It was a much, much harder line in the '50s and '60s than it is now, because the idea of art education didn't exist - they didn't have a fine arts program when I was a kid.
What I have in mind is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way that a bad emotion is still an emotion.
We can't figure out why any time we play in the East, the critics either ignore us or write a pretty bad review of the show.
Jack Sturtzer, one of my cousins, had gone to art school and suggested that I might be interested in a private school called the Art Institute of Buffalo, and in fact that is what happened. So upon graduation in 1948, I then went to stay with my cousins on Seventeenth Street and enrolled in the program at the Art Institute on Elmwood Avenue.
There are good and bad critics like good or bad artists. A good critic says why they didn't like it. A bad critic gives it away that they don't like you as a person. I quite like that as well, because it means that I've won.
I was actually kind of a hot mess in high school. I did a lot of things in high school I'm not proud of. I wasn't a good student and I wasn't particularly a good daughter. I wasn't very engaged.
Particularly as a writer, it is my job to ignore social critics, or the response that social critics might have when it comes to the opinions of my characters, the way they talk, or anything that can happen to them.
When I went to college, and I went to art school, I started to realize that Warhol was cool and that pop art was fun.
Suspense is one of the ways you persuade a reader to become engaged and stay engaged with your work.
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