Artist statements/ bios/ Mission Statements
Steve & Susan Wright
statement? How do you use them and what type of feedback have you gotten?
Please post or link to your statements and or other marketing and promo
materials. What would you change? How many times have you made major
changes?
Thanks
Susan W
mkahogan
interest. Do you have one Susan?
Kathy H
"Steve & Susan Wright" <tum...@earthlink.net> wrote in message
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Dr. Sooz
>I am just thinking about doing this so I will read this thread with
>interest.
~~
Sooz
ESBC
You wouldn't be dead for quids.
Mary Tafoya
Susan, I don't know that I've gotten much feedback other than from
artists who say "I hate artist statements," lol, but my artist
statement that accompanies exhibition entries and such sometimes ends
up in programs or other publication materials assoc. w/the show, or in
newsletters etc. One artist that I'm interviewing sent me the above
materials you mention and it will make writing a lot easier because
I'll have the facts on hand as I go. I tried not including an artist
statement to one show last year, but they called me up after
acceptance and I had to send them one or they said they would make it
up, lol. Then they ended up rewriting it better than I had, so I use
that for a short one.<g>
As far as bios, I have one on my portfolio site and one reason is to
discreetly present the fact that I'm not Native or Hispanic, because
sometimes people think I am because of my name. I find it's less
awkward to put the info out there ahead of time.
What would I change? I wouldn't do them at all. How many major
changes? One, but it evolves gradually in between the majors.
Sometimes things I post or write end up getting incorporated, sort of
accidentally.
I know some artists who have press kits -- folders w/BW photo, slides
of work, resume, artist statement.
Mary T. 8-)
Aunt Molly's Bead Street
http://www.flash.net/~mjtafoya/
eBay: seriousbeader
Steve & Susan Wright
marketing class for artists Tuesday and have put together a syllabus and
reference section. I posted alot of those links awhile back.
Susan
"mkahogan" <mkah...@imeplace.com> wrote in message
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Steve & Susan Wright
example if that's ok. IF you have other's that you can reccommend that I
can link to see please post those.
Susan
"Mary Tafoya" <mary_...@yahoo.com> wrote in message
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Marisa Cappetta
details should be listed in your Resume or CV. This is the document that
contains all your personal stats and your major professional achievements.
Your mission statement is a clear statement about what you are trying to
achieve as an artist and what inspires you to achieve it.
Here is an example from an internationally recognised artist Bronwyn Goss,
who also happened to be one of my lecturers:
http://www.kitezh.com/watermedicine/artists/goss.htm
She has a succinct statement about the work and below this has lifted from
her extensive resume some of her achievements.
Working in a gallery and being on selection panels I've read many and
written quite a few. I've read artists statements that start from
conception and document every waking moment of an artist's life! Argh!
Sentances that ramble on and on! 2Xargh!! No one will be bothered reading
it. Speak directly about the work at hand not every single idea you've ever
had.
I have changed my mission statement quite often, depending on the nature of
the work I've done and where I have submitted my work. The same with my
resume. I was advised by another of my lecturers to keep a full resume at
all times. From here, he advised that I lift salient information depending
on why I need it. My resume contains information about my artistic and
corporate life. Clearly all of it is not pertinant for every occasion. As
you get older, the list gets longer and needs to be customised for a given
situation.
I've used an artist's statment to accompany exhibition pieces, for
submission to judging panels for award shows, as a student to clarify and
justify my work, when asked for one to accompany pictures for a feature on a
public forum.
Marisa (AU)
Mary Tafoya
> Mary I went to your about the artist page and printing it to use as an
> example if that's ok. IF you have other's that you can reccommend that I
> can link to see please post those.
>
> Susan
LOL, glad you found it useful. My favorite places to "observe" artist
statements are in many issues of Ornament (long statements), online at
http://www.guild.com (concise statements), and in the Crafts Report
(very brief -- keywords and catch phrases mostly). The Crafts Report
is also online of course but I don't know if that part of the mag is
up.
G'luck to you btw,
Louis Cage
counsel, I have no statement to make at this time".
Although they have become a necessity, I think artist's statements are yet
another manifestation of Art School "artspeak" used primarily for those who
had enough money to finish Art School, but didn't have enough talent to make
intelligible art, therefore they needed to explain it. Basically, other
than the short period you have your art in an exhibition, it will have to
function alone without the benefit of some grandiose text piece taped to a
wall beside it. Honestly, if you have to explain it, whatever you are
trying to communicate with the piece is not getting through.
Sometimes, rarely, at shows I have seen people use artist's statements as a
FAQ, to give a certain amount of information to passersby who have a casual
interest and might be drawn into a booth by some info. It keeps the artist
from having to answer the same questions endlessly, you know the ones "How
long have you been doing this?"; "Is it hard?"; etc.
And to be truthful, I have seen some well thought out statements and such
that were entertaining and informative. But like great artists, great
artist's statements are few and far between.
--
There are no mistakes, only unexplored techniques
Steve & Susan Wright
This group is diverse from 2 D fine art international showing to popsicle
crafts.
Susan C
"Mary Tafoya" <mary_...@yahoo.com> wrote in message
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Steve & Susan Wright
programs to the area.
Susan
"Louis Cage" <lc...@bellsouth.net> wrote in message
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Joan Eckard
>counsel, I have no statement to make at this time".
I love it!
>Although they have become a necessity, I think artist's statements are yet
>another manifestation of Art School "artspeak" used primarily for those who
>had enough money to finish Art School, but didn't have enough talent to make
>intelligible art, therefore they needed to explain it. Basically, other
>than the short period you have your art in an exhibition, it will have to
>function alone without the benefit of some grandiose text piece taped to a
>wall beside it. Honestly, if you have to explain it, whatever you are
>trying to communicate with the piece is not getting through.
This is exactly what I felt about it when I was taking an art class and found
out that I had to write a "statement of purpose." I'm toying with the idea of
copying what I did about it, and sending it to you. It was the one thing that
earned the respect of those who had decided that I wasn't really an artist, but
it was really out of character for me.
I kept taking art classes at the local community college, because I wanted to
learn how to successfully manipulate the materials that I wanted to use, not to
learn how to be an "Artiste." I never planned on going on to a better school
or being famous, so I wasn't interested in what would "look good in your
portfolio/resume." The classes always ended up looking to me like they were
more about how to fake it.
My husband helped me write a bio for JustBeads, when I was a featured artist,
and I felt much better about doing that than I did about the "statement of
purpose."
http://www.justbeads.com/user/artist/mothwoman/gallerybio.cfm
http://cgi6.ebay.com/aw-cgi/eBayISAPI.dll?ViewListedItems&userid=mothwoman
Louis Cage
"Steve & Susan Wright" <tum...@earthlink.net> wrote in message
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> They are a pain but this is at the art center and we're trying to match
the
> programs to the area.
> Susan
I totally understand. They are a necessary evil.
Best thing to do might be look at what everybody else is doing and copy the
format and use vague art terms.
Louis Cage
"Joan Eckard" <moth...@aol.com> wrote in message
news:20030131091138...@mb-ca.aol.com...
> This is exactly what I felt about it when I was taking an art class and
found
> out that I had to write a "statement of purpose." I'm toying with the
idea of
> copying what I did about it, and sending it to you. It was the one thing
that
> earned the respect of those who had decided that I wasn't really an
artist, but
> it was really out of character for me.
>
Please do. I would love to read it.
> I kept taking art classes at the local community college, because I wanted
to
> learn how to successfully manipulate the materials that I wanted to use,
not to
> learn how to be an "Artiste." I never planned on going on to a better
school
> or being famous, so I wasn't interested in what would "look good in your
> portfolio/resume." The classes always ended up looking to me like they
were
> more about how to fake it.
>
That's the way I feel about some of those schools. They try and make silk
purses out of sow's ears and throw away the people who really have something
to offer if they don't have the style du jour.
I have a friend that paints the incredible abstract landscapes with a
wonderful palette. Her former professor was in a show with her and chided
her for using the "same old palette". At the same time all his work is
sculptures using "lonely person devices" (this is a family group right?).
> My husband helped me write a bio for JustBeads, when I was a featured
artist,
> and I felt much better about doing that than I did about the "statement of
> purpose."
>
> http://www.justbeads.com/user/artist/mothwoman/gallerybio.cfm
>
Very good and more informative than most artist's statements and such. Nice
beads too BTW.
>
>
Karen_AZ
teachers!!!) You're way more than an "artiste" and it shows in everything
you do.
Can't wait to see you in Tucson!
--
KarenK
Desert Dreamer Designs
http://members.cox.net/desertdreameraz/index.html
EBAY: http://members.ebay.com/aboutme/desertdreameraz/
JustBeads: http://www.justbeads.com/search/ql.cfm?s=DesertDreamer
mkahogan
are sort of buying you and the romance of your artistic lifestyle (assuming
we have one). Their trip to the art show is no different than going to see
a movie. It is entertainment. They want to picture you listening to
classical music in your barn loft while you work. They sort of want to
vicariously live your life, as they imagine it.
I doubt anyone could get too excited about me beading in my lazyboy rocker
watching Law and Order reruns. But I could talk about what colors inspire
me and what I strive for in my work. I don't have an art background, but I
am inspired by children's illustrated books, nature, travel, other
cultures,etc. I guess I would mention that in a more lyrical way.
I hate that whole snobby artist thing. If you make beautiful things, isn't
that good enough? I grew up in an upscale tourist area that was a haven for
artists. It seems like the most talented ones were not into all of that
phony sh--! They were authentic people.
Alot of an artist's success it is just about attitude and self confidence
and, most importantly, the talent to back up those feelings. I struggle a
lot with feeling I am not good enough, but yet I think my designs are very
good. They are not
original in the sense that no one else makes something similar. They are
well balanced, my color selection and combination is great and my choice of
beads is just of instinctual. I really like what I make and so do lots of
other people. So does that make me an artist? Heck if I know.
Kathy H
"Steve & Susan Wright" <tum...@earthlink.net> wrote in message
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Mary Tafoya
> counsel, I have no statement to make at this time".
> Although they have become a necessity, I think artist's statements are yet
> another manifestation of Art School "artspeak" used primarily for those who
> had enough money to finish Art School, but didn't have enough talent to make
> intelligible art, therefore they needed to explain it. Basically, other
> than the short period you have your art in an exhibition, it will have to
> function alone without the benefit of some grandiose text piece taped to a
> wall beside it. Honestly, if you have to explain it, whatever you are
> trying to communicate with the piece is not getting through.
I disagree. While I'm sure some of this artist statement stuff is
mental masturbation, I disagree that it came out of art schools. I
think it came out of art dealers and galleries.
I know of a local artist who creates interesting surfaces on metal by
detonating it. It is not a failure of her artistic expression that her
artist statement enhances one's understanding of her work and her
process. Artist statements can add to and clarify the visual
expression (if the art is visual to begin with...poetry obviously is
not). Artist statements also give the artist some control over what is
said, or interpreted about their work (think Georgia O'Keeffe).
I used to agree with you...but I've sorta moved on. Artist statements
help tell a story. They help an audience get more personal and
connected with an artist. And this helps sell the work. I was more or
less scarred by post-modern expressionist and conceptual barf-blah
art. But today, well it's another world. Some artists do have soul.
;-)
mkahogan
Mary, I have used this phrase. People looked at me like I was nuts. Glad
to hear someone else say it.
Kathy H
Dr. Sooz
>another manifestation of Art School "artspeak" used primarily for those who
>had enough money to finish Art School, but didn't have enough talent to make
>intelligible art, therefore they needed to explain it.
I was desirous of writing one just to focus myself and my efforts. Like a
journal entry -- not for others to read at all (perish the thought!).
BeckiBead
yeah although I prefer.....ah never mind.
Becki
mkahogan
KH
"BeckiBead" <beck...@aol.combuybeads> wrote in message
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BeckiBead
>KH
One more in a long string of people who have been fighting that unsuccessful
battle for a long time, LOL
Becki
Louis Cage
news:<Z_p_9.13948$%12....@news.bellsouth.net>...
> > The last time I had to write an artist's statement I used "Upon advice
of
> > counsel, I have no statement to make at this time".
> > Although they have become a necessity, I think artist's statements are
yet
> > another manifestation of Art School "artspeak" used primarily for those
who
> > had enough money to finish Art School, but didn't have enough talent to
make
> > intelligible art, therefore they needed to explain it. Basically, other
> > than the short period you have your art in an exhibition, it will have
to
> > function alone without the benefit of some grandiose text piece taped to
a
> > wall beside it. Honestly, if you have to explain it, whatever you are
> > trying to communicate with the piece is not getting through.
>
> I disagree. While I'm sure some of this artist statement stuff is
> mental masturbation, I disagree that it came out of art schools. I
> think it came out of art dealers and galleries.
>
Actually, I think it originated with critics who had to fill a 500 word
article with smething other than "I liked it" ot "I didn't like it". I
wrote some book reviews for UPI and I found myself saying all kinds of
nonsense to get my word count up. Of course then the dealers and galleries
took it up to use as a marketing tool, and eventually the art schools
started teaching it.
> I know of a local artist who creates interesting surfaces on metal by
> detonating it. It is not a failure of her artistic expression that her
> artist statement enhances one's understanding of her work and her
> process. Artist statements can add to and clarify the visual
> expression (if the art is visual to begin with...poetry obviously is
> not). Artist statements also give the artist some control over what is
> said, or interpreted about their work (think Georgia O'Keeffe).
>
Still, eventually the pieces leave the gallery and the artists' statements
behind and have to stand on their own. Information about the process is
great (I love those), but that is not what I have always understood as an
artist's statement. BTW, I love Georgia O'Keefe's paintings but I have
never actually read that much from her. So they work on their own for me.
> I used to agree with you...but I've sorta moved on. Artist statements
> help tell a story. They help an audience get more personal and
> connected with an artist. And this helps sell the work. I was more or
> less scarred by post-modern expressionist and conceptual barf-blah
> art. But today, well it's another world. Some artists do have soul.
>
Most of the artist's statements I have read had a pretencious, almost
arrogant, feel to them and actually turned me away from the work. To me,
art is like a joke, if you have to explain it too much, it's not working. I
could go off on a diatribe about audiences being ready for the art, but that
would be too wordy. And if the artists have soul, it will come out in the
work. Some of the people writing these things need to be writers intead of
visual artists. Their medium is the written word, not canvas, ceramic,
glass or whatever. I had a teacher who told a story about his experience in
school reagarding a well known sculptor. The sculptor came in and did a
guest lecture and went into all kinds of stuff about the "cosmic" this and
the "underlying significance" of that. After he left, the students looked
at the works he had brought for the lecture amd decided the guy was very
talented - not at sculpture, but verbal bs.
>
Karen_AZ
working.<
YES!!!!!!
Steve & Susan Wright
are very into the "artists as an artist" BS type of statement and others are
more mom type.
Saving your bio
Thanks
Susan
Steve & Susan Wright
talking about doing what you want, where you want and all the moving around
in an RV. "That's what I'm going to do" we hear all the time. The funny
thing is that there are those that will and find of course that it doesn't
match with their ideas because they have romanticized the whole experience.
Self confidence is the true key to being able to promote what you do,
artistic or not.
Susan W
"mkahogan" <mkah...@imeplace.com> wrote in message
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Steve & Susan Wright
galleries and dealers pass on "vision" on to the buyer. Often the buyer is
choosing between pieces and will choose on two equally valued in their eyes
pieces based upon their relationship whether real or imagined with the
artist. When the artist is not there to speak for themselves, the artist
statement becomes that voice. If the voice calls, then that is the purchase
made. The more "romantic" you can make the statement, the better it should
sell you. If your statement has no heart then the art looses some of it
voice.
Susan W
"Mary Tafoya" <mary_...@yahoo.com> wrote in message
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Steve & Susan Wright
our goals, focus, purpose and methods.
Susan W
"Dr. Sooz" <diva...@aol.compuppies> wrote in message
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LYNWALK143
working.< >>
I think it was J. Baez who, when asked to explain the lyrics of a song she'd
just sung, sang the song again.
mkahogan
> artistic or not
Unfortunately, I am really struggling with that right now.
My work is good. It is basic and elegant. It is not the type of thing
people would marvel at and say "I've never seen anything like it" because
the design is very basic. It is not just like everyone else's. I get alot
of really nice comments about how my jewelry is the most interesting and
varied compared to the other beaders at shows. Strangers tell me that I am
talented. But, of course, not everyone likes it becasue not everyone likes
everything. It's very hard to ask yourself "am I good enough?"news:jlQ_9.1936$ek4.1...@newsread2.prod.itd.earthlink.net...
Steve & Susan Wright
to realize is that is you are pleased with the end product and it is your
product, not a copy of someone else's, then you should have conviction in
the end result. I don't like a lot of people's stuff but then they may not
like mine. IF we were all the same then it would be dull. What I think is
that we really need to look not only at the look but at the quality of the
workmanship. Sometimes the workmanship of a few things is not up to what I
want and I try to price accordingly. Othertimes everything just flows and
then I'm really flying high.
I have a lot of self confidence is some areas and others I'm a basket case
but I try not to show that side except to a few selected individuals.
Susan W
"mkahogan" <mkah...@imeplace.com> wrote in message
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Beadseeker
I had to write an Artists Statement. I thought it was a good opportunity to
explain what I design and a little about my ideas. For example, I make Goddess
necklaces with a turquoise goddess as the centerpiece and healing stones,
usually unusual, carved ones in between seed beads.I started making these
necklaces because someone I loved was in a lot of trouble and there was nothing
I could do to help him. So, I found all the healing stones I could - sodalite
for courage, rock crystal for healing, etc. and put all my nervous energy into
the necklace. I wore it constantly and used it as a prayer chain and I prayed
for a miracle. The miracle was granted and he is fine now. Then I started
making them for other people and to sell.
I found a lot of people came up to me and said they felt they knew me a
little better after reading my statement.
Patti
Mary Tafoya
> Actually, I think it originated with critics who had to fill a 500 word
> article with smething other than "I liked it" ot "I didn't like it". I
> wrote some book reviews for UPI and I found myself saying all kinds of
> nonsense to get my word count up. Of course then the dealers and galleries
> took it up to use as a marketing tool, and eventually the art schools
> started teaching it.
<sigh> It's ok, but not very inventive, for you to dismiss art school
graduates (in an earlier post) as "those who had enough money" etc.,
and critics as people trying to BS their way through their jobs and
their writing, and hey it's even ok if you did that yourself. But
artist statements as we call them developed out of a more or less
"nurturing process" for artists to develop their professional skills,
and it didn't come from the critics. Of course, artists have been
writing and talking about their work for ages, and of course, some of
it has always been BS. But painting a cynical brush across the whole
artist statement thing is mainly limiting you, not "them".
If you apply for grants, a loan, higher-end shows, etc., what you
write about yourself can help distinguish you as someone who's
committed to working or emerging professionally as an artist,
craftsperson, whatever. If you don't want the grant, the contract, the
residency, the show, the booth, the cash award, or whatever, hey, blow
off the self-reflective writing and let someone else reap the
benefits. ;-)
Of course, God forbid it should save someone from being a bad artist.
I live in a place where there are bucketloads of good artists -- all
kinds! I honestly don't think it's their artist statements that get
them into shows and galleries (from what I've seen and heard), it's
their work. But I do think the subject line of this thread can make a
diff. in how well they make a living.
> Still, eventually the pieces leave the gallery and the artists' statements
> behind and have to stand on their own. Information about the process is
> great (I love those), but that is not what I have always understood as an
> artist's statement.
When Linda Fifield says about her beaded woodturned vessels that she
is part of a long line of women in her family who have worked with
their hands, that adds something to the piece that wasn't there, and
could never be there without her words, and I don't think the buyer
ever forgets her story.
> BTW, I love Georgia O'Keefe's paintings but I have
> never actually read that much from her. So they work on their own for me.
I was referring to her comments about critics saying her work was
sexual.
> Most of the artist's statements I have read had a pretencious, almost
> arrogant, feel to them and actually turned me away from the work.
Yes, I agree that you shouldn't say too much, especially when the work
is right there next to the statement, but some customers love
snobbery, and some artists do pretention so naturally I don't know
whether to be jealous or throw up. I sometimes read those kind of
statements and try to imagine what kind of person I'd be if I could
say that and mean it. Mostly I come up with "pathological
self-confidence" and that might not be a bad thing. But when you say
"most of" the statements you've read -- I used to say that too but
nowadays I'm struck by so many fresh, simple, honest ones I just can't
complain too much. Maybe I'm avoiding the snobby venues? Maybe I've
been absorbed by the pretense-borg?
> To me,
> art is like a joke, if you have to explain it too much, it's not working.
Now see! The above sentence would be a great first line for your own
artist statement -- it's honest and *sort of* starts to reflect your
philosophy about your work.
Of course, my theory is that people who have trouble w/artist
statements feel vulnerable when they talk about their work. I mean, I
can talk about my job experience a lot more easily than what I'm after
in my beadwork. I actually ended up crying at an opening last summer
while describing a piece. I'd much rather write this stuff down and
*hand it* to the other person than get all personal and emotional in
public.
> And if the artists have soul, it will come out in the
> work. Some of the people writing these things need to be writers intead of
> visual artists.
Is it an either/or situation? I mean, writing is creative
self-expression too. Why can't we be artists who speak well, or
writer's who jump the fence and leave the words out now and then? I
say this because I happen to like both visual art and writing. Why the
boundaries? Where does the shoreline end and the sea begin? Eh? ;-)
Mary T. 8-)
Aunt Molly's Bead Street
http://www.flash.net/~mjtafoya/
eBay: seriousbeader
Louis Cage
"Mary Tafoya" <mary_...@yahoo.com> wrote in message
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> "Louis Cage" <lc...@bellsouth.net> wrote in message
news:<qGP_9.3670$N5....@news.bellsouth.net>...
> > Actually, I think it originated with critics who had to fill a 500 word
> > article with smething other than "I liked it" ot "I didn't like it". I
> > wrote some book reviews for UPI and I found myself saying all kinds of
> > nonsense to get my word count up. Of course then the dealers and
galleries
> > took it up to use as a marketing tool, and eventually the art schools
> > started teaching it.
>
> <sigh> It's ok, but not very inventive, for you to dismiss art school
> graduates (in an earlier post) as "those who had enough money" etc.,
> and critics as people trying to BS their way through their jobs and
> their writing, and hey it's even ok if you did that yourself.
I am not saying that everyone or even most people who get through art school
are talentless, but there are some who have used their ability with the
written word to sell their non-art.
>But
> artist statements as we call them developed out of a more or less
> "nurturing process" for artists to develop their professional skills,
> and it didn't come from the critics. Of course, artists have been
> writing and talking about their work for ages, and of course, some of
> it has always been BS. But painting a cynical brush across the whole
> artist statement thing is mainly limiting you, not "them".
The point remains that the art eventually has to stand on its own,
independent of an artist's statemnt (not bio or process description). Maybe
I am dense, but I don't see how writing something like that for public
consumption helps improve your work. Making work improves your work.
Getting to know your medium and learning the craft aspect so that execution
becomes second nature leaving your mind and imagination have room to express
themselves rather than being worried about "how can I pull that off". A jo
urnal or diary can also help, but to go through the re-writes and such to
create a well written piece is an exercise in the art of writing, not in
painting, jewelry or whatever.
Personally, I still think "artspeak" (just watch "egg" on PBS sometime)
developed from critics needing to get a word count up. Most of the truly
great visual artists from the past have refrained from talking too much
about their art, they say "there it is". This obsession with the word, be
it in print or on radio or television is a fairly recent phenomenon.
>
> If you apply for grants, a loan, higher-end shows, etc., what you
> write about yourself can help distinguish you as someone who's
> committed to working or emerging professionally as an artist,
> craftsperson, whatever. If you don't want the grant, the contract, the
> residency, the show, the booth, the cash award, or whatever, hey, blow
> off the self-reflective writing and let someone else reap the
> benefits. ;-)
As I have said before, it is a necessary evil. I don't like mowing the lawn
either.
And a proposal for a piece (public art, for example) that the artists can't
make "on spec" is different from something to hang on a wall at an opening.
And I still think the part about "distinguish you as someone who's
committed" etc. is a manifestation of the mindset that says you can't be a
good artist without a good artist's statement. It seems like wagging the
dog to me..
>
> Of course, God forbid it should save someone from being a bad artist.
> I live in a place where there are bucketloads of good artists -- all
> kinds! I honestly don't think it's their artist statements that get
> them into shows and galleries (from what I've seen and heard), it's
> their work. But I do think the subject line of this thread can make a
> diff. in how well they make a living.
Back to that neccessary evil thing.
>
> > Still, eventually the pieces leave the gallery and the artists'
statements
> > behind and have to stand on their own. Information about the process is
> > great (I love those), but that is not what I have always understood as
an
> > artist's statement.
>
> When Linda Fifield says about her beaded woodturned vessels that she
> is part of a long line of women in her family who have worked with
> their hands, that adds something to the piece that wasn't there, and
> could never be there without her words, and I don't think the buyer
> ever forgets her story.
But the piece will be there long after she is, and where is the story then?
Of course patrons like to press the flesh of the artists. I try and do
demos whenever I can because it helps sales to see the process and to talk
about the work. Patrons do buy into the whole romanticized artist's
lifstyle thing.
The piece still has to stand on its own eventually.
> > BTW, I love Georgia O'Keefe's paintings but I have
> > never actually read that much from her. So they work on their own for
me.
>
> I was referring to her comments about critics saying her work was
> sexual.
Well her pieces are not enlarged pictures of human genetalia, but what is
nore sexual than the excited reproductive organs of a plant?
>
> > Most of the artist's statements I have read had a pretencious, almost
> > arrogant, feel to them and actually turned me away from the work.
>
> Yes, I agree that you shouldn't say too much, especially when the work
> is right there next to the statement, but some customers love
> snobbery, and some artists do pretention so naturally I don't know
> whether to be jealous or throw up. I sometimes read those kind of
> statements and try to imagine what kind of person I'd be if I could
> say that and mean it. Mostly I come up with "pathological
> self-confidence" and that might not be a bad thing. But when you say
> "most of" the statements you've read -- I used to say that too but
> nowadays I'm struck by so many fresh, simple, honest ones I just can't
> complain too much. Maybe I'm avoiding the snobby venues? Maybe I've
> been absorbed by the pretense-borg?
Maybe you're being exposed to a more sensible group than I have been
recently. I hope so, it's better for you and gives me optimism.
And yes, snobbery does sell to a certain group. And the best thing is to
play the game and go have a beer and laugh about it afterwards. Ultimately,
I think the best thing for artists would be if we could make the world see
that artists are like anyone else, the have a job that functions as an
important role in society. We need electricians, farmers, doctors, artists
and even (dang it) politicians. The best thing anyone can do is find the
role they can function best in (even if they have to create that role out of
thin air). A lot of people avoid galleries and such because of the snobbery
factor. And I personally think that is why there are still pictures of dogs
playing poker around. And I think it creates less opportunity for sincere
artists to make a living.
>
> > To me,
> > art is like a joke, if you have to explain it too much, it's not
working.
>
> Now see! The above sentence would be a great first line for your own
> artist statement -- it's honest and *sort of* starts to reflect your
> philosophy about your work.
That's why I used the bogus lawyer statement before. If need be, I can
dance the dance, I just feel it's a shame that we have to go through the
effort of making the work and then have to agonize over avoiding runon
sentences and such. Like that one. I have seen great work missed because
of poor writing and lousy work oohed and ahhed over because of great
writing.
>
> Of course, my theory is that people who have trouble w/artist
> statements feel vulnerable when they talk about their work. I mean, I
> can talk about my job experience a lot more easily than what I'm after
> in my beadwork. I actually ended up crying at an opening last summer
> while describing a piece. I'd much rather write this stuff down and
> *hand it* to the other person than get all personal and emotional in
> public
To me, it still boils down to the fact that the piece has to stand on its
own regardless of what the artist or a thousand critics say about it.
Either the observer likes it or not. That could depend a lot on their
experience and education and so forth, but the idea remains. There are
things I had dismissed, but went back to later with appreciation when I was
ready for them, but a couple of paragraphs at the time would not have
changed me enough to get the piece.
By making a good piece you have already gotten personal and emotional in
public. I view art kind of like walking around unknowingly with your fly
open. People find out things that you didn't know were showing (grin).
>
> > And if the artists have soul, it will come out in the
> > work. Some of the people writing these things need to be writers intead
of
> > visual artists.
>
> Is it an either/or situation? I mean, writing is creative
> self-expression too. Why can't we be artists who speak well, or
> writer's who jump the fence and leave the words out now and then? I
> say this because I happen to like both visual art and writing. Why the
> boundaries? Where does the shoreline end and the sea begin? Eh? ;-)
There are natural oulets for writing, fiction, instructional material,
journalism, etc. You can write and do visual art. But if you can't do
visual art well but you can write, why not write for public consumption and
do visual art for yourself. There are a lot of writers and actors and
musicians who paint and such (Paul McCartney and JohnMellencamp come to mind
right off), but even they admit they should stick with what they do best.
Louis Cage
"Dr. Sooz" <diva...@aol.compuppies> wrote in message
news:20030131141057...@mb-fw.aol.com...
I keep a kind of art journal, mostly ideas (ever notice how they come in
spurts, too fast for you ever to get them done). And I talk with my
students and other artists (I go to a discussion group at a local gallery
where we hammer this type of thing around) about my philosophy of art. And
there is this bead newsgroup that indulges me...