What helps seal the deal with serious collectors. Ordering details, really, i leave no stone unturned. (Or if I have, i invite you to let me know. Could be one or two pebbles that ive missed — and youll have nothing but my gratitude if you point them out.). From beginning to end, your book was easy to follow and understand. —Bruce fowler, sculptor, this book was good for me to read, encouraging and fun. It never occurred to me that my statement would change over time as my work evolved.
Toward a history (And Future) Of The
I used it towns years ago to write my first authentic artist statement. Now years later i use it when my work evolves and changes and I need to not only write about these changes but to understand them. I continue to use the book when a new series emerges. Writing a statement for a series helps me to see where the work is going and how it is all connected. —michelle demarco, this book gives you: The working definition of an artist statement. Proven writing methods, what gallery owners really think about artist statements. The top 7 strategies for presenting your finished statement. Which fears will stop you cold—in writing, art, or life. How to capture your organic self-talk about your work. What makes your artist statement shine while industry others whine.
Thats where your artist statement comes. It helps you expand the range of your connection. More connections, the stickier your art becomes. The stickier your art becomes, the more they remember you! Revealing what, how and why you do your art does not dismantle either the beauty or mystery. Your effort to reach out invites others to participate in the mystery and to share the beauty. —Ariane, when I wrote, writing the Artist Statement: revealing the True spirit of your Work, i took it all. As one art educator estate said to me, goodness, what did you find to say for 142 pages? I have to tell you that your book has been an invaluable tool for.
My paintings are of ambiguous spaces reviews and plan aim to highlight the fluid link between self, space and meaning. I use night-time as a means of removing the filter of the everyday and to activate the subconscious. We frame the landscape in human terms spaces for comfort, of fear, or in-between spaces of no obvious distinction that get overlooked. It is these projections of the human animal that interest. Representing the landscape is an opportunity to reflect the self back to the viewer, who will naturally bring their own experiences to the moments that I capture. Wouldn't you rather spend your last dime on great art supplies than try to figure out what someone wants to know about your work that they cant already see? Ah if it was only as simple as seeing. If we humans weren't such complex beings with visual, auditory, kinesthetic, psychic, and linguistic sensibilities (to name just a few surviving in a culture where over stimulation is the name of the game. But we are, and you are, and that requires multiple levels of connection with our audience.
A place to keep your things. A place to try to somehow construct a sense of safety in the face of a very uncertain world. Subsequently the world would at times feel wildly over-loaded with meaning. The feelings inside me would seep out and imbue the outer scape with strange and frightening characteristics. As an artist, this has translated into a drive to explore how and what different environments can make us feel. The shows title, bad Things Happen to good people, came about while ruminating over our habit of trying to create a sense of control over an often uncontrollable world. So much of what we do is designed to mediate or distract from that unvarnished truth religion, hard work, exercise, uppers, downers, magical thinking, lace curtains, botox the list could.
Hodges Illustrations of Jim
My parents managed to play along as though it were a big adventure and mostly hide the heartbreak and worry that must have been going on in their hearts and minds. Finally, at the end of our journey and settled into our new home in the suburbs, my father left and it drove my mother into a deep and catastrophic depression. They did their best but for some time, for my sister and myself, there was no feeling of the parental safety net that children so rely. We were strangers in a strange land, quietly eating our ham and gherkin sandwiches at school, my sister being responsible all day for the key that would let us back into our home. This terrible limbo state of perpetual anxiety, about the wellbeing of my parents and my new situation in the world, influenced my experience of the places around.
I already existed in an unfamiliar landscape and then suddenly the grounding security of a âhomeâ base was obliterated. In a sense the landscape, the architecture, the interactions between the built and the natural environment, became deconstructed and largely empty of any inherent meaning. I had not had the time to write my own personal topography over them and so floated about observing the world in a strangely detached manner, trying professional to make sense of it all. I would gaze across the back oval of our school and imagine the field that once was, and the forest before that, despite the huge blocks of factories that bordered on two sides. A house became its component parts. Bricks, stuck together with mortar and shaped into a kind of shell for people to live. Something to stop the rain and wind.
In conclusion, because the existing system is so problematic, i believe artists and art institutions alike should seek alternative methods for providing supplemental information to educate audiences and facilitate the viewers appreciation and understanding of visual art. For example, i often find that interviews (text, audio, or video) between artists and curators, or artists and other artists, etc., provide a great deal of insight into an artists work and creative process. Documentation of the artists studio is another way to inform an audience — and Art21 is an online video series that combines these two formats (interview and studio documentation) nicely. The internet enables art professionals on all levels to administer their own improvisations within the existing art world system (via digital publication, commerce, etc.) and even offers the potential for creating new systems — so why not? . Creativity is rooted in change. If the avant-garde did what everyone else did, it wouldnt be the avant-garde, and art wouldnt really be an innovative enterprise — it would be a repetitive one.
Hows that for an artist statement? Bad Things Happen to good people. When I was 7 and living in a typical post war suburb of Sydney, my mother and father separated. We had only been in the country for a few years, having left Poland on a tourist visa with virtually nothing. In Austria we applied for refugee status and after a stint in Norway came to a country that felt like another planet. Despite all the upheaval and loss, while we were together it seemed bearable.
Harland Miller Deckchairs - the Awesomer
The overly vague, say-nothing Statement, unfortunately, the problematic nature of authoring ones own artists statement limits many artists to golf writing descriptive, factual, or personal (I statement) statements, and consequently, many artists default to writing vague and jargon heavy texts, which they have all too obviously. Besides being generally uninformative, these types of statements can be especially frustrating or insulting to the educated viewer — much like numerous press release statements that are written in a similar manner. The (Surprisingly) Well-Written Statement, when an artist does manage to present something honest, to the point, and well written, it is often revealed as having been written by someone else — or proofed to the point of having a similar effect. Thus, in light of the above, while i believe that the artist him/herself should be the ultimate authority on their own work, it is more effective for both the viewer and the artist if the artist statement is written by an outside author (critic, curator. To explore this argument further, outside authorship allows the artist to communicate with the viewer on a predominantly aesthetic basis, while still providing the audience with a concrete textual platform upon which to build a more meaningful examination of the artwork. This alleviates the artist of having to take direct responsibility for any potentially offensive or controversial content (by allowing the artists opinions to exist in visually ambiguous terms) and thereby presentation offers the artist protection, for example, against the loss of support from politically sensitive individuals. Additionally, statements of outside-authorship function as an interpretation or critique of the artists work, which the viewer implicitly receives in the context of the authors credibility. In comparison to a self-authored text, an interpretive text thus broadens the aesthetic potential for an artists work by acknowledging its own bias, thereby leaving room for further interpretation of the artwork.
The Artistic Artists Statement, as an alternative to the overwritten statement, artistically writing written artists statements employ poetic lyricism and literary symbolism to communicate deeper underlying concerns in an artists work. Because poetry and symbolic fiction are generally more abstract than interpretive text, these types of artistically written artists statements can form a better complement to the expansive nature of visual language. However, for the viewer who didnt understand the artwork in the first place, this kind of writing is equally or more confusing than the visual art itself. Furthermore, the worst of this genre can be unknowingly amateur, which in effect undermines the artists overall intelligence. The Up Close and Personal Artists Statement. Similar to the artistically written statement, a statement that is too personal can be more distracting than informative, in this case by blurring the distinction between the artists work and their personal identity or art-world celebrity status. This is not always bad and is sometimes desired by the artist or can be essential to understanding the work itself. However, once the boundaries between the artists personal life and his or her work are eliminated, this generally has a lasting effect; at times the artist sacrifices the sociopolitical neutrality of his/her work for the duration of their career.
the automatic bias and inherited responsibility implied by authoring ones own statement places the artist in a strategically limited, and often self-defeating position. For starters, the artist is unable to critically address his/her own work. Self-praise is simply inappropriate and carries little credibility beyond self-congratulations, and self-deprecation (outside of an ironic or sarcastic context) is similar or even more disadvantageous — for the obvious reasons. Second, as primary source material the artists statement is presented as intention or truth, usually the latter for authoritative purposes, placing the artist in an immediate position of responsibility for any and all meaning that he or she identifies or otherwise describes in the artists. This responsibility causes a wide-range of problems for the artist, which vary in course and degree according to the type of artwork made and the type of artists statement written to accompany. A few examples of common artist statements and the problems they cause: The overwritten Statement, the overwritten statement provides the audience with a clear and detailed account of how an artists work relates to the greater trajectory of art history and culture at large. However, due to over-specificity, these types of statements encourage little interpretation beyond their own details, and this often leads to a fixed and unilateral understanding of the work, for which the artist is then held politically and aesthetically accountable. In more severe cases, an overwritten companion text can actually upstage the actual artwork itself: the artists statement assumes most or full responsibility for communicating the artists ideas, undermining any expressive power that the visual artwork might have on its own.
Descriptive writing requires much more specificity than visual communication. If we had a preference or talent for expressing ourselves through text, we would just write essays in the first place — right? Furthermore, most real artists create art on an intuitive basis, which essentially involves some combination of conscious and subconscious thought. This (fine art) is different than both design and illustration, which generally tend to function in much more literal terms. For a fine artist database to be entirely aware of his or her creative process and the resulting artwork thereby created is a nearly impossible feat — and one that would require essentially super-human levels of self-awareness and analytical ability on the artists part. Additionally, visual culture is neither unilateral nor linear in its development — it contains a number of interrelated, moving parts that relate to one another in various and complex ways. So while an artist may be aware of his or her direct influences, it is nearly impossible to know the vast conglomerate of influences that allowed these known, identifiable influences to exist in the first place. Furthermore, even if an artist were to successfully identify every single historical influence on his or her work, to include all of these in a 200 word or less statement would be impossible, and to summarize without overgeneralizing, perhaps even more. Thus, any fine artist who claims to be fully aware of his/her process and the cultural relevancy of their work is either being dishonest with their audience, or speaking out of professional naivety.
Radical Write-Ins: WebUrbanist Fan Base
William Powhida, artists Statement (no one here gets Out Alive) (2009 graphite and colored pencil on paper, 18x15 (Image courtesy the artist and Charlie james Gallery). I hate artist statements. As an artist, they are almost always awkward and painful to write, and as a viewer they are similarly painful and uninformative to read. I also dont know who decided that artists should be responsible for writing their own artist statement. Maybe it was an understaffed gallery in the 1980s, or a control freak think-inside-my-box-or-get-out mfa program director, but regardless of how this standardized practice came to be, the artists statement as professional prerequisite (at least for artists who have yet to be validated by the. And I dont think a new one should be required in its place. No, i dont think that artists should relinquish all responsibility for the interpretation of their work, and yes, i do believe that context and subtext can largely enhance the viewers experience of art in general. However, for a number of reasons, to require that artists provide this context directly by summarizing the art historical and cultural relevance of their artwork in textually explicit, objectively framed terms, is ultimately listing setting them up to fail. To begin with, visual artists are visual people: we communicate visually.