Michael McDowell on mon 28 apr 97
Hi Clayart!
There have been a lot of philosophical, theoretical threads running lately
on the list. I don't know just where this one fits in to them all, but I
find now that everything I have to say about clay is informed by the
discussions that pass between us through "dataspace".
I just got a call today from an undergrad art student at the local
university. She is working on putting together a sort of catalog of
clayworkers in the community to be kept at the ceramics dept., sort of a
clay bridge from academia to the world at small. Anyway she asked me, and I
suppose a number of local potters to send some photos & a brief "artist's
statement". I'd like to run mine by the list & see if anyone resonates or
is offended by it. I still have time to change it, if my pals on the list
here can straighten me out.
Here goes:
Michael McDowell
Artist s Statement
I am a functional potter. Be that art or craft, I regard it as an
occupation worthy of my best efforts. If my pots, the only children I have,
could speak to you, I would hope that their speech would be completely
devoid of pretense. My mugs should speak of their mugness, bowls of
offering...
In my choice of forms I am usually looking for the simplest, least complex
profile that serves to contain the space I wish a peice to occupy. In
surface treatment I strive to achieve an integration with the whole piece.
Like a bird, a flower, or a stone, however colored, patterned or
embellished it may be, my pot s appearance at the surface should emanate
from it s whole being...
These are not easy goals to achieve in one s work. I have to think more of
striving to approach them than setting them as standards that must be
achieved. More often than not I am dissapointed in my attempts, but I do
see continual improvement, and I get the occasional Ahh!
Michael McDowell
Whatcom County, WA USA
Cindy on tue 29 apr 97
Michael,
I'm no art prof, but I like your statement. Except for the last few lines.
This is a place to be positive. I understand that we as artists/crafters
aren't supposed to care about money, but I wouldn't tell the world about my
'disappointment with my work' in this statement. While we all have
disappointments, isn't it better to emphasize the positive, learn from the
negative, and smile? Particularly at the end of the statement, a mention of
more failures than successes leaves me with the taste of someone who,
despite defeat, is still drudging along. Not what you want to say, I'll
bet. Talk about the successes instead. Just my opinion. Hope it helps.
Cindy
>Anyway she asked me, and I
> suppose a number of local potters to send some photos & a brief "artist's
> statement". I'd like to run mine by the list & see if anyone resonates or
> is offended by it. I still have time to change it, if my pals on the list
> here can straighten me out.
>
> Here goes:
>
> Michael McDowell
> Artist s Statement
>
> I am a functional potter. Be that art or craft, I regard it as an
> occupation worthy of my best efforts. If my pots, the only children I
have,
> could speak to you, I would hope that their speech would be completely
> devoid of pretense. My mugs should speak of their mugness, bowls of
> offering...
>
> In my choice of forms I am usually looking for the simplest, least
complex
> profile that serves to contain the space I wish a peice to occupy. In
> surface treatment I strive to achieve an integration with the whole
piece.
> Like a bird, a flower, or a stone, however colored, patterned or
> embellished it may be, my pot s appearance at the surface should emanate
> from it s whole being...
>
> These are not easy goals to achieve in one s work. I have to think more
of
> striving to approach them than setting them as standards that must be
> achieved. More often than not I am dissapointed in my attempts, but I do
> see continual improvement, and I get the occasional Ahh!
>
> Michael McDowell
> Whatcom County, WA USA
Peter and Sam Tomich on tue 29 apr 97
Michael McDowell wrote:
>
> ----------------------------Original message--------------------------
> Michael McDowell
> Artist s Statement
snip
Also, as a student I would be interested in the technical side of things
as well, I don't know how info like ^10 red or raku or whatever would
fit into your artist's statement. Just a suggestion.
Carissa Doying Cuny on tue 29 apr 97
Michael McDowell wrote:
>
> ----------------------------Original message----------------------------
> Hi Clayart!
>
> There have been a lot of philosophical, theoretical threads running lately
> on the list. I don't know just where this one fits in to them all, but I
> find now that everything I have to say about clay is informed by the
> discussions that pass between us through "dataspace".
>
> I just got a call today from an undergrad art student at the local
> university. She is working on putting together a sort of catalog of
> clayworkers in the community to be kept at the ceramics dept., sort of a
> clay bridge from academia to the world at small. Anyway she asked me, and I
> suppose a number of local potters to send some photos & a brief "artist's
> statement". I'd like to run mine by the list & see if anyone resonates or
> is offended by it. I still have time to change it, if my pals on the list
> here can straighten me out.
>
> Here goes:
>
> Michael McDowell
> Artist s Statement
>
> I am a functional potter. Be that art or craft, I regard it as an
> occupation worthy of my best efforts. If my pots, the only children I have,
> could speak to you, I would hope that their speech would be completely
> devoid of pretense. My mugs should speak of their mugness, bowls of
> offering...
>
> In my choice of forms I am usually looking for the simplest, least complex
> profile that serves to contain the space I wish a peice to occupy. In
> surface treatment I strive to achieve an integration with the whole piece.
> Like a bird, a flower, or a stone, however colored, patterned or
> embellished it may be, my pot s appearance at the surface should emanate
> from it s whole being...
>
> These are not easy goals to achieve in one s work. I have to think more of
> striving to approach them than setting them as standards that must be
> achieved. More often than not I am dissapointed in my attempts, but I do
> see continual improvement, and I get the occasional Ahh!
>
> Michael McDowell
> Whatcom County, WA USADear Michael-
I hear in your statement, a dedicated artist who takes great care with
his forms. The questions your statement leaves me with are: Why do you
work in a creative field? Why have you chosen to express yourself
through the thrown pot? Where do you place yourself in the landscape of
your community, in history and the Art World?
Thanks,
Carissa
Sherry mcDonald Stewart on tue 29 apr 97
Go for it Michael, I think it must really express who you are, and that
is what I think is important!
Gavin Stairs on wed 30 apr 97
It seems to me that an artist's statement should be just that: an artist's
statement. If you hew to some line or another, you are surely defeating
the purpose. If you lack the confidence or self knowledge to simply say
what's in you, then you can either say nothing at all, or have a look
around in your back storage room to see what's there. Any artist's
statement worth reading must be a bit of sunlight streaming in the windows
of such a place, or perhaps a bit of thunder and lightning from the same
place. Who wants to read yet another bit of warmed over artspeak?
Gavin
=================================
Gavin Stairs
http://isis.physics.utoronto.ca/
Sherry mcDonald Stewart on thu 1 may 97
I concur with this statement. Would like to add:
Writing is a very personal expression. There was a time when I had
difficulty with the idea of putting my written words out there, where
others might rip them apart. Writing says so much about you. I was safer
with clay, but writing is a big part of my life. There came a point when
i realized that i had to do it...it was time to get feedback, I began,
and I was not ripped apart as I supposed i might be. When it came time
to do my first statement, I struggled with that, because it was about
something I had not done, I reasoned that I would just say what i felt,
and I was sure that my statement would grow, as i would grow, and no one
expected some ,"perfection." I was never criticized, and you probably
won't be either. Your confidence will grow as you do it, and find out it
doesn't hurt. In the case it does, let us all know, and we'll go punch
out some lights! Right?
Michael McDowell on thu 1 may 97
Clayart,
Thanks for the help on my artist's statement. Thanks to your contributions
I rewrote the last paragraph as follows:
These are not easy goals to achieve in one s work. I have to think more of
striving to approach them than setting them as standards that must be
achieved, but I do see continual improvement, and I get the occasional Ahh!
There were suggestions of questions left unanswered by this statement.
Technical questions such as what cone I fire to would be explained by
captions of photographs of some of my pieces. Other questions; "Why have
you chosen this form of expression, etc." are certainly valid, but they
only asked me for a "statement" (and a brief one at that), not a
"manifesto".
Michael McDowell
Whatcom County, WA USA
Dannon Rhudy on fri 2 may 97
Michael,
It is good to put that last paragraph in a more positive
form. AND - brevity is always to be admired. Know when to
quit - your audience always will.
Dannon Rhudy
potter@koyote.com
----------------------------Original
message----------------------------
Clayart,
Thanks for the help on my artist's statement. Thanks to your
contributions
I rewrote the last paragraph as follows:
These are not easy goals to achieve in one s work. I have to think
more of
striving to approach them than setting them as
Tina on tue 11 nov 97
I have finally made the move to do juried competitions. I haven't
done any promoting or craft shows before. I have been making pots for about
5 years now and have only sold pots through private sales. (Actulally, I
have been more interested in making pots. I have the advantage of relying
on nursing for my income). Anyway, what is acceptable to include in an
artist statement? I have studied at the University level but am not a
degree candidate. My pottery upbringing has been through the local cultural
center and the local university. I am finding this whole thing rather
confusing. I have looked at statements that are on some of the web sites
and they are WAY MORE INVOLVED than I could even consider. Currently, I
think mine would say " I make pots, I try to make good pots and to challenge
myself. " I would appreciate any advise for you good folks.
Tina
In Greensboro NC where the color is spectacular, the skies are blue
and the temperatures are mild, and the kiln I unloaded this morning was full
of successes and lessons learned.
Erin Hayes on wed 12 nov 97
Tina,
Most of all, keep your artist's statement short! Then, give enough
background for your work that the people who look at it have a little
information to go on when they look at your work. It can make people
more comfortable when they view your work, and give them a little
insight into what you do technically, and why you do it emotionally.
Erin.
douglas gray on thu 13 nov 97
Tina
Artist staements can get out of hand some times. For some it is a manifesto,
for others an advertisement, still others use it as slef promotional propoganda.
I try to take a more direct approach. The idea behind an artist statement is
that it will help the reader understand you and your work a little bit better.
Things that might typically be included are:
-what got you started in clay? what keeps you working in clay?
-techniques involved that may be of interest (keep it simple so some one who
doesn't do clay or art could understand)
-your philosophy about art. (maybe your definition of art, or your standards)
-interesting places you have studied or learned from (don't have to be schools,
and doesn't have to be from art teachers, could be real life experiences or
family experiences, etc.)
-where do your ideas come from? what is your inspiration? (do you like to look
at Chinese bronzes, is there a particular artist whose work you get inspiration
from, do you listen to music, take walks, observe the human form in your other
job?)
-what do you hope the reader/viewer leaves with after seeing your work? (is
there a dirrect message of theme, how do you think your work affects those who
view it or buy it)
-how do you see your work evolving? what will you be doing next?
Hope this gives you some things to think about. The list is by no means
complete. Nor should you feel compelled to address all topics. Just write up
something that reveals who you are and what you do. As long as you are honest
and true it will reflect your work adequately.
As an exercise, I often ask my students to write journal entries on various
topics, some of which are listed above. Then I tell them to go through those
entries, which are typically unstructured and stream of consciousness, and
highlight the important parts. Then I ask them to write an artist statement
from those selctions. They usually come up with some interesting observations
about themselves and there work--observations they might not have noticed
before.
Another exercise is to discuss these topics with someone close to you, tape the
conversation, have the other individual listen to the recording and pick out the
parts they found interesting and write a statement from those selections. You
have to know and trust the other persons opinion, but we all should know one or
two individuals who are worthy of such trust.
Good luck with the writing. Remember, it doesn't have to be the end all and be
all of your potting career. Artist statement may change as frequently as you
wish. Never should they restrict the nature of your work.
doug, in south carolina, wishing we had more of a show of color this fall
============================================================================ =)
Douglas E. Gray
Assistant Professor of Art, Ceramics
Francis Marion Univeristy
Florence, South Carolina 29501
dgray@fmarion.edu
Vince Pitelka on fri 14 nov 97
There have been some good comments here. I agree with Doug Gray's statement
that the artist's statement should help the viewer understand you and your
work better. That sums it up. I have found that the best approach to
writing an artist's statement is simply to carry a jounal around with you
and begin collecting concepts and statements about yourself as an artist,
and about the work you do - just whatever comes to mind on the spur of the
moment. Periodically read through these and weed out the ones which seemed
forced or artificial, and distill the ones which seem a genuine expression
of who you are and what you do. Don't be vain and toot your own horn
excessively, but also do not be too modest or self-effacing. As you distill
a final version of your statement, show it to people who know you and your
work very well, and who will be honest with you. Take their comments seriously.
In the CM letters section there are routine rantings about
over-intellectualization of art and craft. They occasionally appear on this
list as well. I think that an artist's statement which is pumped up with
artspeak stands out like a sore thumb. But on the other hand, much artwork
has a complex intellectual basis, and discussing it in intellectual terms is
essential to some artists and some viewers. For those who WANT to
understand the intellectual content and intent, it is good to have it
available. It does not mean that we NEED to participate in that dialogue,
but we should not condemn it.
Several years ago CM had a wonderful item in the "Comments" section. It was
a generic artist's statement or review (I cannot remember which), and each
time an adjective appeared, in parentheses there was a collection of
possible choices. It was hillarious. I have been hoping I would come
across that issue again, so I could show it to my students, but no luck so
far. If any of you come across it please email me the year and month, or
post it to the list.
- Vince
Vince Pitelka - vpitelka@DeKalb.net
Home 615/597-5376, work 615/597-6801, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Robert W. Moore on sun 16 nov 97
In article <199711101533.KAA04995@mailhost.infi.net>, tinam@nr.infi.net
says...
> ----------------------------Original message----------------------------
> I have finally made the move to do juried competitions. I haven't
> done any promoting or craft shows before. I have been making pots for about
> 5 years now and have only sold pots through private sales. (Actulally, I
> have been more interested in making pots. I have the advantage of relying
> on nursing for my income). Anyway, what is acceptable to include in an
> artist statement? I have studied at the University level but am not a
> degree candidate. My pottery upbringing has been through the local cultural
> center and the local university. I am finding this whole thing rather
> confusing. I have looked at statements that are on some of the web sites
> and they are WAY MORE INVOLVED than I could even consider. Currently, I
> think mine would say " I make pots, I try to make good pots and to challenge
> myself. " I would appreciate any advise for you good folks.
>
> Tina
> In Greensboro NC where the color is spectacular, the skies are blue
> and the temperatures are mild, and the kiln I unloaded this morning was full
> of successes and lessons learned.
>
Tina, a simple and honest statement like "I enjoy working in clay" is
probably insufficient. On the other hand, pretentious attempts to
philosophy or aesthetics are commonplace but an embarrassment. Err
toward honesty, but add something about your attempts to be "ironic,
amusing, serious,in keeping with ...." The statement is more about you
than your work. Buena fortuna.
James Dapogny on sun 16 nov 97
>
>Several years ago CM had a wonderful item in the "Comments" section. It was
>a generic artist's statement or review (I cannot remember which), and each
>time an adjective appeared, in parentheses there was a collection of
>possible choices. It was hillarious. I have been hoping I would come
>across that issue again, so I could show it to my students, but no luck so
>far. If any of you come across it please email me the year and month, or
>post it to the list.
>- Vince
Vince,
If I find out for sure, I will let y ou know, but meanwhile check December
of 97 and December of 96. For some reason, a December issue sticks in my
mind
--Gail
Hanne Bjorklund on sun 4 apr 99
I couldn't agree more, Berry. The work itself, IS the artist's statement,
the only statement an artist needs.
A few years ago, when full page statements were the 'in' thing about
everything and nothing down here, I took the time to read a rather lengthy
statement about family dynamics, interpersonal relationships, joys and
choices in life, all of which had culminated in the creation of the
art-piece in honour of which the words had been written.
The exhibition was the graduation work of students from a four year art
school. Every piece had a lengthy statement relating to it. The words I
read were on the wall, and the table had three students' pieces displayed
on it. I had to read the labels in order to determined the work to which
the words referred.
It resembled a coiled heap of brown-mat-glazed sausages, not unlike an
accident a dog might have been forced to leave at the side of the road,
when it's owner was behind schedule, and the park simply could not be
reached in time.
We have an expression here: Mutton (aging sheep) dressed up as Lamb, and I
do not believe art schools should encourage it's students to use words to
back up their work.
Art work emerges from the soul of the creator. It is self expressive and it
speaks differently to every person who views / experiences it. If it is a
practical item, it also reaches out to be touched, held and used by hands.
One of my teachers, an ancient cantankerous woman from Finland who spoke
her own version of Danish, intermingled with convenient words from several
other languages, knew Picasso. On a visit she asked him if he was not
concerned that the many paintings he had stacked up against the walls of
unlocked and un-windowed rooms in his Mediterranean house, might be stolen.
He modestly replied that he never signed any until they were sold, because:
"Without my signature, anyone could do it."
I wonder what his artist's statement would have been.
My two cents' worth on the subject.
Hanne
bjorklund@clear.net.nz
Neil Berkowitz on mon 5 apr 99
Hanne Bjorklund wrote:
> ----------------------------Original message----------------------------
> I couldn't agree more, Berry. The work itself, IS the artist's statement,
> the only statement an artist needs.
I, too, agree that the work is the statement--and perhaps a truer one than
anyone could write. Biography, auto or otherwise, isn't analysis. Nor is a
statement on esthetics, technique or intention. But any or all of these may be
of interest in themselves.
I would neither expect nor desire to read a poet's statement with each work.
But I might read a preface, afterword, or other essay where the writer
expressed the poetics underlying the work he or she produced. It is unlikely,
however, that this would be valuable if expressed in the brevity of single
page. Still I do enjoy reading about what a particular potter is about. But
the value of these writings would be to the writings themselves and the primary
objects.
Neil Berkowitz
Louis Katz on mon 5 apr 99
I write artist statements to appease others,but the statements, like the work
they describe, are art.
I never felt much kinship to Laurie Anderson, although I did like her work,
until I heard that she had said," talking about music is like dancing about
architecture".
Barnet Newman has been credited with," Aesthetics is for the artist as
ornithology is for the birds".
This being said, words like all toos can be used and misused. When you are
describing visual art with verbal art you tend to only concern yourself with
the common vocabulary. The reason for the two forms, visual and verbal, is the
uncommon vocabulary.
The usual qualifications:
1. IMHO
2. If this gets you kicked out of grad school don't blame me
3. Write something to keep currators and gallery owners happy.
4. If you can, enjoy it
5. Don't drink out of my artist statements, they leak.
Louis
--
Louis Katz
lkatz@falcon.tamucc.edu
NCECA Director of Electronic Communication and Webmaster
Texas A&M-CC Division of Visual and Performing Arts
Visit the NCECA World Ceramics Image Database Online
Looking for a school or a class? Visit NCECA Ceramics Educational Programs
Database Online
Coastal Bend Arts Calendar Webmaster
iandol on sat 9 sep 00
Now are we discussing a statement about the artist and not an =
explanation about the work?
I seem to recall being told and also having read that the very essence =
of Art was that it is necessary to the human condition because it allows =
for the expression of emotions and concepts for which we have not yet =
invented any other form of communicable language, symbolic or spoken, =
which includes mathematics.
So I try to put into clay and glaze what I cannot put into words
Marie Gibbons on sun 10 sep 00
although an artist's statement is is often dreaded... it really is needed,
for us as much as the viewer.....
for us, I really think we just need to realize what it is we do, be it simple
- I make pots, or more defined..... in my case I always find it is important
for people to realize that my goal is to find the humor in everyday
situations, and that it is a coping skill for me.... weather we us b.s.
wording, or simple straightforward wording is a personal choice in the
response to writing the statement.
for the viewer.... I think people need, want something to latch onto to
understand how to view the work..... I know I find myself taking for granted
the fact that I think in visual terms.... many people do not - and they
depend on some sort of text or spoken word to define and direct them in the
viewing of work. I just did a weekend show in which I was asked at least 50
times in 2 days, 'what do you call this.... your work, what STYLE of art is
this..." they want a story, or a lable, they are trying to file the
information in their brains.... they were not visually gifted.... What I
realized at this show was that many people need to be able to have a name for
something.... have a deffinition, in order to understand for themselves.
Otherwise they then feel stupid or unequipt (sp) which makes them feel
insecure, especially around art... and that is when they walk away shaking
their head decieding YOU are the strange artist.... I can remember as I was
growing up and doing art, my dad would look at an abstract piece of sculpture
and ask me "but what is it" and when I would reply anything you want it to
be, he would get angry and walk away, because it made him feel inept and he
didn't like not knowing what to think about things... so instead of
discounting himself, he would then discount the art. (after many years he is
now much better at this.... trying to just relax and see what it is he feels
when he looks at art)
As artists we take for granted our gift of being able to think in images,
forms, colors and textures. I always wonder what do these people that don't
think the same as me see in their minds eye.... a page of text?? do they
visualize the page of paper with the typed word on it that explained
something... see, I still need to think that they are pulling up an image in
their mind, even if it is the image of a page from a book..... or words they
have read somewhere. Surely they must 'picture' something in their minds....
but I think maybe some of us don't .... and that is why we need words.
Marie Gibbons
Arvada, Colorado
sculpture in clay & mixed media
www.o
ooladies.com
Nils Lou on mon 11 sep 00
well said, Louis
-nl
On Mon, 11 Sep 2000, Louis H.. Katz wrote:
> Barnet Newman (sp) once said (I am told), "aesthetics is for the artist as
> ornithology is for the birds". Laurie Anderson has probably been quoted already in
> the thread," Talking about music is like dancing about architecture".
>
> I think the extremes on this issue, never talking or writing about visual work and
> talking to the point where it becomes the work, fail. It is undeniable that
> written and visual information are different and good for different things.
> Kurt Weiser once told me not to be afraid to talk about my work, but to never try
> to tell the whole story. I have taken that as some of the best advice a teacher
> ever gave me. Any attempt to tell the whole story will probably cause you to
> limit your vision of your work to what can be easily verbalized. This shell of
> your work will only exist at the intersection of visual and verbal language and
> will be unlikely to carry much meaning beyond the intersection. I strongly feel
> that the University, with its reliance on verbalization has distorted the emphasis
> of visual art to this narrow intersection and that the real value of visual art is
> away from what is easily verbalized.
>
> I tell my students to write around their work. What in there life has made their
> work the way it is, what other work relates to it. I try to keep them from
> addressing specifics, "The blue in this piece is a metaphor for the state of my
> mind as I returned from a long trip to the Mediterranean". Surely the blue has
> other meanings and verbalizing just one probably helps to bury the others.
>
> We live in a world with lots of words. Look at this forum, we are still sending
> more words than pictures and we consider ourselves visual......There has to be
> room for artist statements, or slide talks, or even art critics.
>
> Louis
>
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Veena Raghavan on mon 11 sep 00
Message text written by Ceramic Arts Discussion List
>Now are we discussing a statement about the artist and not an explanation
about the work?
I seem to recall being told and also having read that the very essence of
Art was that it is necessary to the human condition because it allows for
the expression of emotions and concepts for which we have not yet invented
any other form of communicable language, symbolic or spoken, which includes
mathematics.
So I try to put into clay and glaze what I cannot put into words
<
Oh Ivor,
I do so agree. I remember, when I was a young girl, many many years
ago, and I first started writing poetry, a scholar friend of my parents
told me that, what can be said in prose should not be said in poetry.
Poetry should be reserved for what cannot be said in prose. In later years,
I found this to be true, as a writer and a poet, I knew that there were
certain emotions I could only express in poetry.
When it comes to clay, one really does not need words. They become
superfluous. Art should be seen and felt and analysed and explained. I
attended history of art classes and hated the way every painting was pulled
to pieces and analysed. I often wondered what the poor dead artist would
have to say about the explanations about his/her painting? Probably none of
those thoughts even came into his/her head!
Why cannot our pots speak for themselves. If an artist's statement
is about the artist, who they are, how they got to this point in their
work, and their techniques, that is fine. But if it is like some of the
statements I have seen, which go into esoteric meanings of the work and the
artist's message, etc., my eyes glaze over. Sorry, no pun intended.
Veena
Veena Raghavan
75124.2520@compuserve.com
Louis H.. Katz on mon 11 sep 00
Barnet Newman (sp) once said (I am told), "aesthetics is for the artist as
ornithology is for the birds". Laurie Anderson has probably been quoted already in
the thread," Talking about music is like dancing about architecture".
I think the extremes on this issue, never talking or writing about visual work and
talking to the point where it becomes the work, fail. It is undeniable that
written and visual information are different and good for different things.
Kurt Weiser once told me not to be afraid to talk about my work, but to never try
to tell the whole story. I have taken that as some of the best advice a teacher
ever gave me. Any attempt to tell the whole story will probably cause you to
limit your vision of your work to what can be easily verbalized. This shell of
your work will only exist at the intersection of visual and verbal language and
will be unlikely to carry much meaning beyond the intersection. I strongly feel
that the University, with its reliance on verbalization has distorted the emphasis
of visual art to this narrow intersection and that the real value of visual art is
away from what is easily verbalized.
I tell my students to write around their work. What in there life has made their
work the way it is, what other work relates to it. I try to keep them from
addressing specifics, "The blue in this piece is a metaphor for the state of my
mind as I returned from a long trip to the Mediterranean". Surely the blue has
other meanings and verbalizing just one probably helps to bury the others.
We live in a world with lots of words. Look at this forum, we are still sending
more words than pictures and we consider ourselves visual......There has to be
room for artist statements, or slide talks, or even art critics.
Louis
David Hendley on tue 12 sep 00
If, on doing a quick scan, I see that Artist's Statement
has more than 6 or 8 "I's" in it, I stop reading.
Likewise, if a reference is made to inspiration from
nature, I stop, to keep from puking.
I don't mean to be flippant, that's just the way it is.
Maybe I've been reading astist's statements for too long.
--
David Hendley
Maydelle, Texas
hendley@tyler.net
http://www.farmpots.com/
options in porcelain on wed 13 sep 00
David,
Thank you for your insight. I have been
writing/rewriting my artist statement and it sounded
very pithy and blah. Too many I's!
Just need to figure out how to write that I love the
silkiness of wet porcelain and the concept that I can
create something that might outlast me.
Thanks, Ronda in Virginia
--- David Hendley wrote:
> If, on doing a quick scan, I see that Artist's
> Statement
> has more than 6 or 8 "I's" in it, I stop reading.
> Likewise, if a reference is made to inspiration from
> nature, I stop, to keep from puking.
>
> I don't mean to be flippant, that's just the way it
> is.
> Maybe I've been reading artist's statements for too
> long.
> --
> David Hendley
> Maydelle, Texas
> hendley@tyler.net
> http://www.farmpots.com/
>
>
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roger on thu 14 sep 00
And my question would be: Can this be applied directly to my rose
garden, or must it be composted first?
ROFLMAO,
Roger Korn
McKay Creek Ceramics
Chuck wrote:
Artist's Statement: C. T. Wagoner
It is my premise that there is a polarized duality represented by
the
dichotomy between usefulness and symbolism with respect to the
question of
pottery as a fine art, or in this case, more specifically,
sculptures. I
attempt to bridge this gap in my work by bringing the two together
in one
sculpture.
Just as a shard can be a synecdoche for a vase, pottery can become
a
metonym for earth and a metaphor for containing. In turn,
containment can be
tied to sculpture in its intrinsic delineation of space. This
symbolism is
an important component in all of my work in clay.
I start by "Taking the pots apart" and using them to synthesize a
new
greater whole. This clouds the difference between inside and
outside. Now
a new perspective is created. I am showing the viewer what they
could not
see before, the inside.
It is this polarized duality in the perception of pottery that has
caused
discussions and arguments unto this day. The very nature of
pottery's
relationship to our existence and its utility is what makes it a
unique
symbol of our humanity. Pottery forms are more than useful objects.
They are
symbolic forms. I believe pottery has become over time a unique
type of
sculpture with an underpinning of utility.
Utility narrows the semiotic range for pottery, but it also gives
it a
unique meaning that is shared and knowable. It is this duality,
represented
by the dichotomy of usefulness and symbolism that makes pottery a
multi-leveled source of signs and symbols as well as a metaphor for
mans
imprint on the earth. Pottery signifies the shared meaning of
duality, as a
three-dimensional object in space.
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