wlee on thu 20 nov 97
Vince,
I think the article you were looking for might be the one in the May 1997
issue of Ceramic Monthly, pg. 102 by Cheryl Haynes. Thought it was quite
humorous myself.
Genny
Peter Atwood on fri 2 apr 99
Boy did you hit the nail on the head Berry! I have always thought
exactly the same and have regarded this business of artist's statements
to be utter bullshit. I also find it to be quite ironic that many of
these silly collections of drivel seem to focus more on the person doing
the work than on the work itself. Thank you for voicing what many
probably think but are too timid to say.
--Peter Atwood.... who has no statement about his beautiful pots other
than to say that they are the culmination of years of study and that
they successfully articulate the manifestations of the natural and
manmade as well as the physical being of the known and unknown as well
as that which could be known and of course, that which will never be
known.
Berry wrote:
---------------------------------------------------------
Carrie, you just hit on something that always baffled
me. I think an artist's statement is their work. And
I've always thought it was funny to go to a show and
view a piece of art (pottery, painting, what have you)
and then to see a typed paragraph on the wall next to
it explaining what the artist is trying to say. Seems
to me if you need the artist's words to explain the
work, then the work isn't doing its job. So I think
the only artist who needs a statement is a writer.
Just my thoughts.
===
Berry Silverman,
Berryware, Tucson, Arizona
berrysilverman@yahoo.com
_________________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Kristin Doner on fri 2 apr 99
Peter Atwood writes:
Boy did you hit the nail on the head Berry! I have always thought
exactly the same and have regarded this business of artist's statements
to be utter bullshit. I also find it to be quite ironic that many of
these silly collections of drivel seem to focus more on the person doing
the work than on the work itself. Thank you for voicing what many
probably think but are too timid to say.
I agree that most are drivel.... because they are not *focused* or
*concise*.
That doesn't mean that you have to perpetuate drivel in *your* artist
statement. If used properly, it's still an excellent tool for every artist.
When I give lectures, I recommend that Artist Statements be no longer than
***three sentences***. This at least should help you really concentrate on
what you want to say.... or rather *what you want to have heard*.....
that's why it took me over a month to write mine. Use it as another way to
express what is being naturally expressed through your art work.
Don't get me wrong.... I hated every second of writing my artist statement.
It was difficult putting into words what came naturally through clay. I
hate the writing process. But what a change it made in my work. If you've
ever seen my work, you'll know that, if nothing else, it's very focused.
I strongly believe that the process of writing my Artist Statement was one
of the corner stones of the success that I'm enjoying today.
k
-----------
Kristin Doner
mudwoman@lmi.net
Oakland, California
Erin Hayes on fri 2 apr 99
Hi All!
I read this in a post this morning:
"I have always thought exactly the same and have regarded this business of
artist's statements to be utter bullshit. I also find it to be quite ironic
that many of these silly collections of drivel seem to focus more on the
person doing the work than on the work itself."
I guess my response to this is that as long as an artist's statement is
focusing on how the person relates to their *work*, a measure of
autobiography or personal information should be expected in a statement.
After all, don't we each put ourselves *into* the work? Each piece I make
says a little something about who I am and the things I find visually and
conceptually interesting, after all.
I make sculptures and vessel forms, and I find that viewers see my work with
a more informed eye if they know about some of the interests which drive my
choices of shapes, colors and textures. They will always see the work
differently from how I saw it, naturally, but it gives them a way to
approach the work that they might not otherwise relate to.
I think these bits of information are especially important so that viewers
understand that clay is not just and object or material. It is a process,
too. And how we as artists relate to that material and that process helps
others see beneath the surface qualities of the work and into some of the
more personal and even spiritual reasons why artists feel compelled to make
art.
Just my opinion, as always.
Erin.
Nils Lou on sat 3 apr 99
I believe an artists statement is a valuable adjunct to their work. If it
is well crafted it offers an entry into the thinking of the artist and in
many cases the development of a statement is part of the artistic process
itself. It forms the cement that binds direction and inspiration for the
artist, providing a foundation of thinking and approach against which
there is positive development, hopefully. In addition, it provides the
artist with a philosophical history that in subsequent years demonstrates
the growth of their art.
I do not see the public statement functioning to explain the work in some
cases that may be the case if the artist is unsure themselves. For me it
is simply another aspect of the creative process I am willing to share
with my audience. I will share my latest so you can see what I mean:
This work reflects my interest in surface, edges and shapes:
surface massaged by time, humans and elements; and shapes that provide
clues to a variety of visual riddles suggesting fundamental emotional
content. The work reflects the effect of our passage and celebrates the
collateral residue of the human journey.
I look for a gestural testimony, ambiguous reality and a sense of the
oblique. I look for the paradoxical image cryptic symbols, conjecture,
other hands, (other realities?). I am interested in perceived, subjective
content, not communication. It is not the art work it is the perception.
How do we understand beauty, joy...anger? In confronting these works it is
necessary for (me) observers to energize the self-organizing patterns of
their brains. The layers of partial perception that cloud the
understanding of ourselves remain to be un-peeled and (re)-examined. Who
are we? I look for ways to touch our memory so the observers experience is
elemental. I explore the metaphor to expose undiluted human sensibilities.
The working process is intricate and open-ended, but as the goal is
elusive, it beckons inevitably with measures of accomplishment along the
way.
The work hangs ultimately on its presence as a talisman or icon;
it is this presence that intrigues me: to select and build until it
becomes startlingly clear. In every aspect and quality the endeavor is
fugitive, as is any creative effort. It is, nevertheless, a powerfully
attractive engagement. Spring 1999, Nils Lou
On Fri, 2 Apr 1999, Peter Atwood wrote:
> ----------------------------Original message----------------------------
> Boy did you hit the nail on the head Berry! I have always thought
> exactly the same and have regarded this business of artist's statements
> to be utter bullshit. I also find it to be quite ironic that many of
> these silly collections of drivel seem to focus more on the person doing
> the work than on the work itself. Thank you for voicing what many
> probably think but are too timid to say.
>
> --Peter Atwood.... who has no statement about his beautiful pots other
> than to say that they are the culmination of years of study and that
> they successfully articulate the manifestations of the natural and
> manmade as well as the physical being of the known and unknown as well
> as that which could be known and of course, that which will never be
> known.
>
>
> Berry wrote:
> ---------------------------------------------------------
> Carrie, you just hit on something that always baffled
> me. I think an artist's statement is their work. And
> I've always thought it was funny to go to a show and
> view a piece of art (pottery, painting, what have you)
> and then to see a typed paragraph on the wall next to
> it explaining what the artist is trying to say. Seems
> to me if you need the artist's words to explain the
> work, then the work isn't doing its job. So I think
> the only artist who needs a statement is a writer.
> Just my thoughts.
> ===
> Berry Silverman,
> Berryware, Tucson, Arizona
> berrysilverman@yahoo.com
> _________________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>
Bobbi Bassett on sun 4 apr 99
In a message dated 4/2/99 7:56:53 AM Eastern Standard Time,
fountainman@hotmail.com writes:
>
> --Peter Atwood.... who has no statement about his beautiful pots other
> than to say that they are the culmination of years of study and that
> they successfully articulate the manifestations of the natural and
> manmade as well as the physical being of the known and unknown as well
> as that which could be known and of course, that which will never be
> known.
>
>
Peter, you may think an artist statement is bullshit................BUT the
above is a wonderful artist statement.
Bobbi in PA
Doing taxes and still thinking about the NCECA experience
Stephen Grimmer on sun 4 apr 99
------------------
Hi,
I wrote a rather long (70 pages) master's thesis (Honors, University of
Massachusetts. Yes, I am bragging.), and it was one of the better things I
have done for my work. I was forced to look very closely at my influences
and my motivations as a potter, and as a result I am able to more quickly
develop new ideas. That said, here's my latest effort at a statement:
Stephen Grimmer
1811 N. State Street, Marion, Illinois 62959
(618) 997-8304
grimmer=40midwest.net
Artist=B9s Statement: My wheel-thrown, functional pottery takes its =
aesthetic
cues from plane and solid geometry, patterns in textiles, and from the
seasonal colors of rural Southern Illinois. I am motivated by my love of
cooking, serving and eating good food, a belief in the importance of
domesticity, and the enriching benefits of including aesthetic objects in
one=B9s everyday life.
I work in series to encourage the development of ideas that only come
through the creation of numbers of objects. Many of my form ideas come from
direct interaction with the clay, be it on the wheel or while assembling the
various components that make up each pot. I feel that if I allow too much
time between making individual pieces, I lose the greater part of intuition
which comes only through the rhythm of work.
My pots are made from porcelain which is thrown on the potter=B9s wheel,
glazed by hand, and fired in a gas kiln to 2,380 degrees Farenheit. The
glazes are lead free, and dishwasher and microwave safe.
Joyce Lee on sun 4 apr 99
I'm not an artist so I don't have an artist's statement. If I were, I
would... and it would probably change often! "Bullshit" statements are
only such IF that's what their creator intends.... even if his
intentions are "unintentional." Communication is the key to art for
this aspiring craftsperson. Pots most definitely speak to me, as does
the artist's statement. Sometimes the statement doesn't necessarily
"say" what the artist probably hoped it would, but it clearly says
something. Interesting that some of Clayarters' non-statements are, in
fact, concise and articulate "artist statements." Peter Atwood's
non-statement, for example, is moving as a statement of his feelings
about his work. Peter says, "who has no statement about his beautiful
pots other than to say that they are the culmination of years of study
and that they successfully articulate the manifestations of the natural
and manmade as well as the physical being of the known and unknown as
well as that which could be known and of course, that which will never
be known." Where is this NOT an "artist's statement? And for those of
my friends who state that they do purposely write "bullshit" statements
because they are required to write a treatise in order to enter a show,
shame on all of us.
Joyce
In the Mojave
mel jacobson on wed 7 apr 99
i makes me laugh at how clayart is one great big artist statement.
and some of it is bullshit too.
really, it is important to most of us, that on occasion, we express
in the written word an expression of what we do.
it seems to me, that the internet has opened up a valuable tool for
artists and crafts people to express themselves.....and that is good.
if in fact, you bullshit on your resume, or artist statement, you may
just be bullshiting yourself, or, you do not take your work seriously.
it is a wonderful exercise in framing your thoughts.........and if you cannot
do that, well, too bad. just don't make it sound like you are a minister
praying, or a new york journalist braying.........just be yourself.....it
works best.
mel/mn
http://www.pclink.com/melpots
eden@sover.net on wed 7 apr 99
This is kinda "the medium is the massage".......it is not often that these
statements manage to rise out of the floating verbage loop .......and they
tend to sound pretty similar.....like how many ways are there to
intellectualize this stuff?
Given that Jan is making one valid point that clever verbal nudges can have
great marketing appeal. And also given that sales verbage is different
from a sincere effort to communicate the motivations and satisfactions that
led to, and deepen the groove for, this work we share here.......like
talking to each other is different than the sort of thing that drives me
into next week about "the soul finds its way through the fire" blah,
blah........
The whole navel-gazing side of artistic statements is
>mandated by the (in my opinion silly) American requirement that art
>must reflect the individual. Once you accept that requirement,
>there is no other kind of statement to write if you want to play the
>Art Game.
A most germaine observation.
My personal award for the indiscriminate spewing of careerist verbal
horsepooey goes to Alice Walker of Chez Panisse.....she had an article in
the New Yorker that is the living end, really.
Eleanora......hoping that there won't be any more snowstorms.........
.............
Eleanora Eden 802 869-2003
Paradise Hill
Bellows Falls, VT 05101 eden@sover.net
Vince Pitelka on wed 7 apr 99
I have been surprised at the tone of some posts about artist's statements.
I feel bad for those people who have generalized that artist's statements as
a rule are a waste of time. I can only conclude that those people are
insecure about the whole notion of interpreting art. That is the fault of
our culture and our educational system. Erin Hayes made a very good point
in this regard. I too have taught art appreciation, and the biggest
challenges are to get students to be comfortable with the notion of
appreciating art in their own terms, and then to teach them that their
appreciation can be expanded if they learn something about the artwork, the
person that made it, and the circumstance of its creation.
I have read thousands of artist's statements, and I find some of them
pompous and arrogant, puffed up and pointless, thick and stupid, and in
those cases I usually do not bother to look any further at the artwork. But
in many other cases, the artist's statement offers critically important cues
which open up new levels of appreciation and understanding. When this
happens, I am profoundly grateful.
- 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
Tom Wirt on wed 7 apr 99
>>>>Subject: artist statement
----------------------------Original message----------------------------
>>i makes me laugh at how clayart is one great big artist statement.
and some of it is bullshit too.
>>really, it is important to most of us, that on occasion, we express
in the written word an expression of what we do.
>>if in fact, you bullshit on your resume, or artist statement, you may
just be bullshiting yourself, or, you do not take your work seriously.
>>>it is a wonderful exercise in framing your thoughts.........and if you
cannot
do that, well,<<<<
This whole discussion harkens me back to my real life marketing
days.....that the "artists statement" is really just a "positioning
statement". If you're going to make a living at clay, and want to do it in
some "planned way" (versus of just stumbling along), you should have some
kind of "positioning statement". In a way, this is marketing language for
an artists statement. However, it better not be "bullshit" because it needs
to describe,
what you're making/selling, to whom you sell it, and why they buy it.
Typically this would include product description, pricing range, customer
demographics (abbreviated) and some psychological motivation for the
purchase. The prupose is to keep you on taerget toward your target market.
If a product falls outside this definition, it isn't to say don't make it,
but it does suggest that it may have a fun reason for being, not a business
one.
Just another take on artists statements.
Tom Wirt
Robert Pulley on thu 8 apr 99
______________________________ Reply Separator _________________________________
Subject: Re: artist statement
Author: Ceramic Arts Discussion List at INTERNET-MAIL
Date: 4/7/99 11:14 AM
---I finally read one of these messages on artist statements. Sounds
like somebody has been throwing fit about them. I dislike having to
write artist statements, but as someone said I find them an
opportunity to clarify what I am doing. I work intuitively, my work
has evolved slowly for many years. An artist statement can help me
gain a left brain understanding of my work and can give my audience a
hint about how to look at my work. I can bullshit if I want and I can
think of my statement as "Positioning" ("bend over please") , but I
just think of them as a chance to clarify verbally. My favorite
artist statements are short, direct and guileless. I read them and I
understand better. And my favorites are not my own, I dislike writing
them as much as anyone.
Robert Pulley
Paul Lewing on thu 8 apr 99
I wish I could remember the issue or even the name of the author, but
several years ago, Ceramics Monthly, in the Comment article at the end
of the magazine, had a multiple-choice build-your-own artist's statement
kit that was a riot. The real reason it was so funny was that you could
actually take any of the list of options and plug them into the form,
and they all sounded like every artist's statement you ever read. But
then, I've been known to make a joke of almost anything.
Paul Lewing, Seattle
Jeri Palmer on fri 9 apr 99
I did not see the article you mentioned but as for artists statements, The
phrase that comes to mind is "If you have to ask you will never know." When
the work speaks for itself an explanation is unessasary, if the work doesn't
say anything then an artist's statement won't help. Jeri
Vince Pitelka on fri 9 apr 99
>I wish I could remember the issue or even the name of the author, but
>several years ago, Ceramics Monthly, in the Comment article at the end
>of the magazine, had a multiple-choice build-your-own artist's statement
>kit that was a riot. The real reason it was so funny was that you could
>actually take any of the list of options and plug them into the form,
>and they all sounded like every artist's statement you ever read. But
>then, I've been known to make a joke of almost anything.
>Paul Lewing, Seattle
Yes, this little item in CM was a real hoot. I asked about it on Clayart a
year or so ago, and someone emailed me with the month and year. Believe it
or not, I was going through a stack of email hardcopy, and came across it
this afternoon. But it is at school, so if no one else posts the date and
month I will dig it up and post it.
Best wishes -
- 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
Jeanette Harris on wed 14 apr 99
My agonizing experience with writing a statement has centered more on the
impact of art as communication and my trying to put into words the dynamics
of the experience:
"Art is Creation, Communication and Dialog.
Just as dance is communication through gesture and music speaks to the
emotions, visual art is like a language heard directly by the psyche. It
is innately understood by every human being; a unique and fundamental
dialog experienced through the giver's and through the receiver's own
context and interpretation.
No matter how many classes and workshops an artist attends, no matter how
well they have mastered their technique, in the end it is the work that
matters--the essence of expression, so unique and sometimes so hard to
attain, that makes it stand alone.
I have been fortunate in my life to have lived in many parts of the
world--The Orient, Middle East, Western Pacific and Europe. All of these
influences effect my work in some way through an interplay of design,
technique and form.
It is important for me to work in a studio flooded with music, helping me
become totally engaged in a harmony of mind and body that goes beyond
words; beyond conscious thought into that extraordinary, intuitive
landscape where time stops and all that matters is the power of the
process."
Jeanette Manchester Harris
It's still too wordy......
Erin Hayes on thu 15 apr 99
Hi All!
I was just reading along through today's posts when I made a connection to
something my Art Department colleague and I were working on the other day.
We are working on accreditation here at the college where I work, and as
part of that process, each department is clarifying its role in the college
by writing a mission statement. Bob and I sat down to do this Monday and
after a long conversation about how we felt about art and several abortive
attempts at a mission statement, I realized we were having trouble because
we were speaking more philosophically.
I realized today that some of the eye-rolling that occurs over artist's
statements might have to do with their philosophical nature. So much of what
we want to say talks about abstractions and the environment in which we
work, or even broad life experiences which drive our work. These are events
and ideas which shape our "philosophy of clay," if you will.
Perhaps for some, this is so abstract that it seems irrelevant to the work
at hand. Perhaps there are two kinds of statements - one which addresses
broader, more abstract issues, and another which addresses specific ideas
within a discrete body of work.
I know they would overlap some, but a more philosophical statement seems to
explain why we're in clay at all, how we approach it as a medium and the
experiences that drive us as artists. The more direct statement seems to
give information about our artistic interests when working on a series of
forms, or during a specific period of time.
I guess it's no big whoop (or whatever), but I thought it was interesting to
look at it that way. I was noticing that the statements have been addressing
those two main types of issues.
Erin. (happy to be firing with my brand new kiln shelves for the first time
today.)
Dwiggins, Sandra (NCI) on thu 15 apr 99
Jeanette--
For what it's worth, I like your statement because it does attempt to
communicate about your work. It talks about influences, the place of technique,
and what your work tries to do. It's long, but you can always cut and paste for
whatever you need.
The first time I had to write about my work, I couldn't get out of the gut
feelings that were making me create it. I couldn't describe what the work was
about or why I felt it was necessary to make it. I wanted to apply for a grant
to make a series of sculptures, but had no idea what to say. Fortunately, a
neighbor of mine turned out to have applied for a number of grants herself as a
composer, and part of an arts organization, so she helped me by asking me
pointed questions about my work. After a while I realized that the key was
getting outside your work and viewing it from a critic's or commentator's
perspective.
I wrote what I thought at the time was pure bullshit, but, actually, it wasn't.
It was really what the work was about. I got the grant, and it was the largest
individual grant this group gave that year. It really helps to have someone
other than yourself, who has experience with marketing art help with these
statements. I did have to submit slides of my work, of course, but because
this grant was for something I had never done before, the statement had to be
convincing. I credit my neighbor with helping pull out of me something I never
would have been able to express in any understandable form.
Sandy
-----Original Message-----
From: Jeanette Harris [SMTP:jehar@pacific.telebyte.com]
Sent: Wednesday, April 14, 1999 10:46 AM
To: CLAYART@LSV.UKY.EDU
Subject: Artist Statement
----------------------------Original message----------------------------
My agonizing experience with writing a statement has centered more on the
impact of art as communication and my trying to put into words the dynamics
of the experience:
"Art is Creation, Communication and Dialog.
Just as dance is communication through gesture and music speaks to the
emotions, visual art is like a language heard directly by the psyche. It
is innately understood by every human being; a unique and fundamental
dialog experienced through the giver's and through the receiver's own
context and interpretation.
No matter how many classes and workshops an artist attends, no matter how
well they have mastered their technique, in the end it is the work that
matters--the essence of expression, so unique and sometimes so hard to
attain, that makes it stand alone.
I have been fortunate in my life to have lived in many parts of the
world--The Orient, Middle East, Western Pacific and Europe. All of these
influences effect my work in some way through an interplay of design,
technique and form.
It is important for me to work in a studio flooded with music, helping me
become totally engaged in a harmony of mind and body that goes beyond
words; beyond conscious thought into that extraordinary, intuitive
landscape where time stops and all that matters is the power of the
process."
Jeanette Manchester Harris
It's still too wordy......
Sharon31 on tue 8 aug 00
All my glazes (except raku)are ^6 ox
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Ababi
sharon@shoval.org.il
http://www.israelceramics.org/main.asp?what=gallery
http://www.milkywayceramics.com/cgallery/asharon.htm
Sandy Miller on thu 7 sep 00
Well I have managed to escape writing an artist statement for 14 years.
Seems like I'm at the end of the road. I have agonized over this. I just
want to make good pots that give me great joy, if people buy them great. I
don't have a degree, never will. I manage a few workshops a year and
travel. Anybody else stumbling over this. It has really paralyzed me. I
have had gallery shows but the owners always knew me and whipped something
together. I raise kids, have two dogs, great husband, garden part time for
income and drive a truck with 80,000 miles on it. Yep, I'm sailin' into
the millennium.
By the way any clay buddies going to Penrod in Indianapolis this weekend?
I'll be in a booth next to the Jazz tent. Thanx!
Sandy Miller
pfp@ncweb.com
vince pitelka on thu 7 sep 00
> Well I have managed to escape writing an artist statement for 14 years.
> Seems like I'm at the end of the road. I have agonized over this. I just
> want to make good pots that give me great joy, if people buy them great.
I
> don't have a degree, never will. I manage a few workshops a year and
> travel. Anybody else stumbling over this. It has really paralyzed me. I
> have had gallery shows but the owners always knew me and whipped something
> together. I raise kids, have two dogs, great husband, garden part time
for
> income and drive a truck with 80,000 miles on it. Yep, I'm sailin' into
> the millennium.
Sandy -
This has been a frequent topic of discussion and considerable derision here
on Clayart over the years. I do not understand why anyone is intimidated by
the idea of writing an artist's statement. If you make work, functional or
sculptural, which is well executed and original, then you are certainly an
artist. In that case, the artist's statement is simple a straightforward
statement about what your priorities and intentions are in your work. In
the case of functional pots, it should also include information about
materials and process, and you might want to address ergonomics - the
utilitarian aspects of design.
An artist's statement should never be written in convoluted artspeak. Those
who write artist's statements in convoluted artspeak are just trying to
cover for crappy work.
Best wishes -
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
Earl Brunner on fri 8 sep 00
First response:
Humm, I can think of a few medically related reasons.....
Second response:
For me it's not so much that I can't describe my work, as
whenever I read "artist's statements" they often seem like
so much "BULL Excrement"
Mine would be very simple,
"Hi, I work in clay. Hope you like it! But if you don't,
that's OK!"
Saic1984@AOL.COM wrote:
>
> Hello............
>
> My feeling is that there is NO excuse for a visual artist to not be able to
> put into words what he/she is trying to accomplish.
>
> Andre
> Chicago
> (requires a 3-5 page paper in every studio class that I teach!!)
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
--
Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net
Paul Lewing on fri 8 sep 00
vince pitelka wrote:
>
> > The reason I listen to Clayart is due to the "artspeak" jargon that
> plagues
> > the 2-d world.
>
> Yes, the 2-d world is fraught with problems, the worst being that when
> people turn sideways they dissappear.
>
> OK, it was a bad joke.
Here's a better one, Vince.
What do you get when you cross a mafiosi with an art critic?
Someone who will make you an offer you cannot understand.
Paul Lewing, Seattle
Gayle Bair on fri 8 sep 00
Vince...
Thank you! You just defined "juxtaposition".
My art-babble painting instructor
used that word all the time.
Boy that is a relief!
Definition:
Juxtaposition - when people turn sideways
they disappear.
No wonder some of the students in my figure drawing
classes wound up with blank pages!
Gayle Bair- Another one of life's mysteries solved!
> The reason I listen to Clayart is due to the "artspeak" jargon that
plagues
> the 2-d world.
Yes, the 2-d world is fraught with problems, the worst being that when
people turn sideways they disappear.
OK, it was a bad joke.
- Vince
Gayle Bair on fri 8 sep 00
Hey Andre want to grade mine???
Cheekily yours,
Gayle Bair
Snip>
Hello............
My feeling is that there is NO excuse for a visual artist to not be able to
put into words what he/she is trying to accomplish.
Andre
Chicago
(requires a 3-5 page paper in every studio class that I teach!!)
Diane Mead on fri 8 sep 00
Sandy:
Please listen to Vince--excellent advice.
The reason I listen to Clayart is due to the "artspeak" jargon that plagues
the 2-d world.
You potters are practical! You have to be! You deal with fire and water and
earth, and thank God for it!
Talk about what your process is, be practical and all the art world will
applaud you for it!
Meantime, I will be required to dodge the artspeak kickball -- thanks to my
need to make art in the 2-d. A much less practical and grossly more mucky
world! be thankful you are a potter.
Thank God for common sense! Yahoo for potters. May their innate good sense
rub off on the world of 2-d jargon. Just compare American Craft magazine to
Art in America....or save yourself pain and don't!
diane--dodging the intellectualese at all cost
>From: vince pitelka
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: Artist Statement
>Date: Thu, 7 Sep 2000 20:07:17 -0500
>
> > Well I have managed to escape writing an artist statement for 14 years.
> > Seems like I'm at the end of the road. I have agonized over this. I
>just
> > want to make good pots that give me great joy, if people buy them great.
>I
> > don't have a degree, never will. I manage a few workshops a year and
> > travel. Anybody else stumbling over this. It has really paralyzed me.
>I
> > have had gallery shows but the owners always knew me and whipped
>something
> > together. I raise kids, have two dogs, great husband, garden part time
>for
> > income and drive a truck with 80,000 miles on it. Yep, I'm sailin' into
> > the millennium.
>
>Sandy -
>This has been a frequent topic of discussion and considerable derision here
>on Clayart over the years. I do not understand why anyone is intimidated
>by
>the idea of writing an artist's statement. If you make work, functional or
>sculptural, which is well executed and original, then you are certainly an
>artist. In that case, the artist's statement is simple a straightforward
>statement about what your priorities and intentions are in your work. In
>the case of functional pots, it should also include information about
>materials and process, and you might want to address ergonomics - the
>utilitarian aspects of design.
>
>An artist's statement should never be written in convoluted artspeak.
>Those
>who write artist's statements in convoluted artspeak are just trying to
>cover for crappy work.
>Best wishes -
>- Vince
>
>Vince Pitelka
>Home - vpitelka@dekalb.net
>615/597-5376
>Work - wpitelka@tntech.edu
>615/597-6801 ext. 111, fax 615/597-6803
>Appalachian Center for Crafts
>Tennessee Technological University
>1560 Craft Center Drive, Smithville TN 37166
>http://www.craftcenter.tntech.edu/
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Share information about yourself, create your own public profile at
http://profiles.msn.com.
Paul Taylor on fri 8 sep 00
Dear Sandy
It is reasonable that as a visual artist you will have difficulty with a
written artist statement.
All your visual comment and vision coming from a hard working
subconscious.
So you will have to get another artist to help you or a gallery owner.
Contact people who you feel are mining the same vain and get their artist
statements for a few clues.
-- Regards Paul Taylor.
Westport Pottery, Liscarney, County Mayo. Ireland.
http://www.anu.ie/westportpottery/
Ps to all. Please paragraph your posts and put a blank line in between the
paragraphs. I have great difficulty reading large blocks of type from a
screen.
> From: Sandy Miller
> Reply-To: Ceramic Arts Discussion List
> Date: Thu, 7 Sep 2000 00:41:58 -0700
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Artist Statement
>
> Well I have managed to escape writing an artist statement for 14 years.
> Seems like I'm at the end of the road. I have agonized over this. I just
> want to make good pots that give me great joy, if people buy them great. I
> don't have a degree, never will. I manage a few workshops a year and
> travel. Anybody else stumbling over this. It has really paralyzed me. I
> have had gallery shows but the owners always knew me and whipped something
> together. I raise kids, have two dogs, great husband, garden part time for
> income and drive a truck with 80,000 miles on it. Yep, I'm sailin' into
> the millennium.
>
> By the way any clay buddies going to Penrod in Indianapolis this weekend?
> I'll be in a booth next to the Jazz tent. Thanx!
> Sandy Miller
> pfp@ncweb.com
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
Diane Mead on fri 8 sep 00
And a fantastic idea__run ideas by
some of the Clayarters who are willing
and I have a hunch many can & will help you formulate
a good set of words for your needs
>From: Paul Taylor
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: Artist Statement
>Date: Fri, 8 Sep 2000 09:37:03 +0100
>
>Dear Sandy
>
> It is reasonable that as a visual artist you will have difficulty with a
>written artist statement.
>
> All your visual comment and vision coming from a hard working
>subconscious.
>
> So you will have to get another artist to help you or a gallery owner.
>
> Contact people who you feel are mining the same vain and get their artist
>statements for a few clues.
>
>
>
>-- Regards Paul Taylor.
>
>Westport Pottery, Liscarney, County Mayo. Ireland.
>
>http://www.anu.ie/westportpottery/
>
>Ps to all. Please paragraph your posts and put a blank line in between the
>paragraphs. I have great difficulty reading large blocks of type from a
>screen.
>
>
> > From: Sandy Miller
> > Reply-To: Ceramic Arts Discussion List
> > Date: Thu, 7 Sep 2000 00:41:58 -0700
> > To: CLAYART@LSV.CERAMICS.ORG
> > Subject: Artist Statement
> >
> > Well I have managed to escape writing an artist statement for 14 years.
> > Seems like I'm at the end of the road. I have agonized over this. I
>just
> > want to make good pots that give me great joy, if people buy them great.
> I
> > don't have a degree, never will. I manage a few workshops a year and
> > travel. Anybody else stumbling over this. It has really paralyzed me.
>I
> > have had gallery shows but the owners always knew me and whipped
>something
> > together. I raise kids, have two dogs, great husband, garden part time
>for
> > income and drive a truck with 80,000 miles on it. Yep, I'm sailin' into
> > the millennium.
> >
> > By the way any clay buddies going to Penrod in Indianapolis this
>weekend?
> > I'll be in a booth next to the Jazz tent. Thanx!
> > Sandy Miller
> > pfp@ncweb.com
> >
> >
>______________________________________________________________________________
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be reached at
> > melpots@pclink.com.
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Share information about yourself, create your own public profile at
http://profiles.msn.com.
Tom Wirt/Betsy Price on fri 8 sep 00
Sandy..
If you're having trouble writing an artist's statement....try thinking
of it as a positioning statement in your business plan.
A positioning statement should talk about what you make/sell, to whom
and why you think they buy it. If you can tie the other things you do
in life to the statement, great. Or maybe the pots are the
alternative release for the more mundane things of life. Kids, dogs,
gardens, husband (singular) and trucks ARE life. You don't
necessarily need the degrees, workshops, courses. If it's degree's
they want, they'll have to find another supplier.
Other than that, Vince is right on!
Tom Wirt
----- Original Message -----
>Subject: Re: Artist Statement
I just
> > want to make good pots that give me great joy, if people buy them
great.
It has really paralyzed me. I
> > have had gallery shows but the owners always knew me and whipped
something
> > together. I raise kids, have two dogs, great husband, garden part
time
> for
> > income and drive a truck with
> Sandy -
> This has been a frequent topic of discussion and considerable
derision here
> on Clayart over the years. If you make work, functional or
> sculptural, which is well executed and original, then you are
certainly an
> artist. In that case, the artist's statement is simple a
straightforward
> statement about what your priorities and intentions are in your
work. In
> the case of functional pots, it should also include information
about
> materials and process, and you might want to address ergonomics -
the
> utilitarian aspects of design.
>
> An artist's statement should never be written in convoluted
artspeak. Those
> who write artist's statements in convoluted artspeak are just trying
to
> cover for crappy work.
> Best wishes -
Khaimraj Seepersad on fri 8 sep 00
Good Day to All ,
To Vince , Sandy and Diane ,
thank you for saying this , as one trained in Fine Art and
to be more practical , I use no , " Art Speak " .
There is no need for it , speak plainly and get the idea
as easily and as painlessly across as you can .
Painters were originally very practical as well ,
Stay Well ,
Khaimraj
-----Original Message-----
From: Diane Mead
To: CLAYART@LSV.CERAMICS.ORG
Date: 08 September 2000 6:00
Subject: Re: Artist Statement
>Sandy:
>Please listen to Vince--excellent advice.
>The reason I listen to Clayart is due to the "artspeak" jargon that plagues
>the 2-d world.
>You potters are practical! You have to be! You deal with fire and water and
>earth, and thank God for it!
>Talk about what your process is, be practical and all the art world will
>applaud you for it!
>Meantime, I will be required to dodge the artspeak kickball -- thanks to my
>need to make art in the 2-d. A much less practical and grossly more mucky
>world! be thankful you are a potter.
>Thank God for common sense! Yahoo for potters. May their innate good sense
>rub off on the world of 2-d jargon. Just compare American Craft magazine to
>Art in America....or save yourself pain and don't!
>diane--dodging the intellectualese at all cost
>
>
>>From: vince pitelka
>>Reply-To: Ceramic Arts Discussion List
>>To: CLAYART@LSV.CERAMICS.ORG
>>Subject: Re: Artist Statement
>>Date: Thu, 7 Sep 2000 20:07:17 -0500
>>
>> > Well I have managed to escape writing an artist statement for 14 years.
snip -
I raise kids, have two dogs, great husband, garden part time
>>for
>> > income and drive a truck with 80,000 miles on it. Yep, I'm sailin'
into
>> > the millennium.
>>
>>Sandy -
>>This has been a frequent topic of discussion and considerable derision
here
>>on Clayart over the years.
snip -
>>who write artist's statements in convoluted artspeak are just trying to
>>cover for crappy work.
>>Best wishes -
>>- Vince
Joyce Lee on fri 8 sep 00
Vince said:
> An artist's statement should never be written in convoluted artspeak. Those
> who write artist's statements in convoluted artspeak are just trying to
> cover for crappy work.
I agree completely with the first part of this statement by Vince. But
not with the "just trying to cover for crappy work." An artist may
connect touchingly with his audience through his art, but be neither
trained nor intuitive enough about the written word to communicate his
sincere feelings when writing such a statement. I'm pretty sure we don't
have to develop brain strain in order to recall artists we've known
who produce work that touches our soul, but in person or on paper become
total clods. Both personalities residing in the one body are genuine
... the soul-toucher and
the clod ...
Joyce
In the Mojave
Saic1984@AOL.COM on fri 8 sep 00
Hello............
My feeling is that there is NO excuse for a visual artist to not be able to
put into words what he/she is trying to accomplish.
Andre
Chicago
(requires a 3-5 page paper in every studio class that I teach!!)
vince pitelka on fri 8 sep 00
> The reason I listen to Clayart is due to the "artspeak" jargon that
plagues
> the 2-d world.
Yes, the 2-d world is fraught with problems, the worst being that when
people turn sideways they dissappear.
OK, it was a bad joke.
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
vince pitelka on fri 8 sep 00
> You potters are practical! You have to be! You deal with fire and water
and
> earth, and thank God for it!
> Talk about what your process is, be practical and all the art world will
> applaud you for it!
Diane -
I applaud your optimism, and I tend towards optimism as well, but I wanna be
there when all the art world applauds all of us potters for ANYTHING. I'm
looking forward to that.
Best wishes -
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
vince pitelka on fri 8 sep 00
> Meantime, I will be required to dodge the artspeak kickball -- thanks to
my
> need to make art in the 2-d. A much less practical and grossly more mucky
> world! be thankful you are a potter.
> Thank God for common sense! Yahoo for potters. May their innate good sense
> rub off on the world of 2-d jargon. Just compare American Craft magazine
to
> Art in America....or save yourself pain and don't!
> diane--dodging the intellectualese at all cost
This may be a record for me - three immediate responses to one post. But
there is something more I want to say about artist's statements. The DEEP
intellectual and conceptual are realities in art. They belong there,
because they are realities in real life. And everything in real life is
fair game for art. EVERYTHING!! So, if your content tends in that
direction, then your artist's statement should reflect it. The challenge
for us common folk is to sort out the substantial intellectual rhetoric from
the artspeak bullshit. Sometimes there is a fine dividing line. One way
that works for me is to look at the work first. If the most cogent thing I
can say after viewing an exhibition is "HUH??" then no amount of convoluted
intellectual justification is going to improve the work. On the other hand,
if I look at the work and am intrigued, drawing my own conclusions,
experiencing the formal and narrative expression, then the artist's
statement often provides real insight and enlightenment.
When I taught art appreciation and art history, I always encouraged my
students to feel perfectly comfortable about interpreting art in their own
terms. There is nothing wrong with that at all. But when we know something
of the artist and his/her intent, it does expand our horizons, and our
context for appreciation.
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
vince pitelka on fri 8 sep 00
> I agree completely with the first part of this statement by Vince. But
> not with the "just trying to cover for crappy work." An artist may
> connect touchingly with his audience through his art, but be neither
> trained nor intuitive enough about the written word to communicate his
> sincere feelings when writing such a statement. I'm pretty sure we don't
> have to develop brain strain in order to recall artists we've known
> who produce work that touches our soul, but in person or on paper become
> total clods. Both personalities residing in the one body are genuine
Joyce -
I appreciate your point, but there is a world of difference between the
visual artist who writes awkwardly, grasping for the right words, and one
who covers for vacuous and/or poorly executed artwork with convoluted
artspeak. I never have any problem with the former. In fact, it makes me
look at the work that much more carefully, because I can tell that the
artist is saying something through the work which he/she truly could not say
in words. The latter is usually pretty obvious. There are no absolutes,
but often, the convolutions of artspeak rhetoric in an artist's statement
are inversely proportion to real substance and significance in the artwork.
Best wishes -
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
vince pitelka on sat 9 sep 00
> First response:
> Humm, I can think of a few medically related reasons.....
> Second response:
> For me it's not so much that I can't describe my work, as
> whenever I read "artist's statements" they often seem like
> so much "BULL Excrement"
> Mine would be very simple,
> "Hi, I work in clay. Hope you like it! But if you don't,
> that's OK!"
Earl -
I guess that I knew in advance that any discussion of artist's statements
was bound to elicit some posts like this. I can certainly understand the
impatience that people have with artspeak rhetoric, but as I hope I have
stated already, there is absolutely no grounds for condemning the general
practice of artist's statements. If we all write honest, straightforward,
informative artist's statements, we are doing the best thing possible to
deal with the problem.
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
vince pitelka on sat 9 sep 00
> I get the sense that many
> folks view with dread the possibility that they might have to produce such
> a statement, but really, this is a great opportunity to formalize the
> things you want your customers and fans to know about your work.
Listen to Ray. This really distills it to the essence. What do you want
people to know aobut your work? If you don't want them to know anything,
then don't expect to sell much work. If you are willing to tell them
something about yourself and your work in a simple, honest, and
straightforward fashion, you will sell more work. As Ray says, there's the
artist's statement.
Best wishes -
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
vince pitelka on sat 9 sep 00
> My feeling is that there is NO excuse for a visual artist to not be able
to
> put into words what he/she is trying to accomplish.
Andre -
I am glad that you feel all art can be verbalized so absolutely, but the
reality is that many artists have an extremely difficult time with this, and
it does no good at all to state the above with such finality. The best art
comes from deep within the artist, and frequently arises from intuition and
the subconscious. The artist is often searching for explanation even after
the art is made. Sometimes explanation is extremely ellusive. This is a
perfectly natural part of the creative process. In some cases, explaining
it prematurely, or over-explaining it, can kill the artist's inspiration,
which is a real tradgedy. If artists are willing to explain their work,
that is fine, but we have nothing at all to gain by pressuring them if they
are not prepared to do so.
Also, it is certainly not necessary to completely explain one's work to
write a very appropriate artist's statement. Vague or uncertain sources of
content and inspiration are often a major part of the work.
Best wishes -
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
Diane Mead on sat 9 sep 00
Bravo----- Bravo-----Bravo-----
Fantastic!!!!
A thought he won't want to hear
but Vince should be in charge of
editing all of our artist's statements.
Clear language can be used to
describe things--and others might
not be appropriate for words!
Not all visual art (and maybe little)
can be boiled down to something
in our vocabularies.
>From: vince pitelka
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: Artist Statement
>Date: Sat, 9 Sep 2000 00:12:48 -0500
>
> > My feeling is that there is NO excuse for a visual artist to not be able
>to
> > put into words what he/she is trying to accomplish.
>
>Andre -
>I am glad that you feel all art can be verbalized so absolutely, but the
>reality is that many artists have an extremely difficult time with this,
>and
>it does no good at all to state the above with such finality. The best art
>comes from deep within the artist, and frequently arises from intuition and
>the subconscious. The artist is often searching for explanation even after
>the art is made. Sometimes explanation is extremely ellusive. This is a
>perfectly natural part of the creative process. In some cases, explaining
>it prematurely, or over-explaining it, can kill the artist's inspiration,
>which is a real tradgedy. If artists are willing to explain their work,
>that is fine, but we have nothing at all to gain by pressuring them if they
>are not prepared to do so.
>
>Also, it is certainly not necessary to completely explain one's work to
>write a very appropriate artist's statement. Vague or uncertain sources of
>content and inspiration are often a major part of the work.
>Best wishes -
>- Vince
>
>Vince Pitelka
>Home - vpitelka@dekalb.net
>615/597-5376
>Work - wpitelka@tntech.edu
>615/597-6801 ext. 111, fax 615/597-6803
>Appalachian Center for Crafts
>Tennessee Technological University
>1560 Craft Center Drive, Smithville TN 37166
>http://www.craftcenter.tntech.edu/
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Share information about yourself, create your own public profile at
http://profiles.msn.com.
Jeanette Harris on sat 9 sep 00
Okay, guys, I've been working long and hard on this. Have to have a
statement to go with a library public art commission, so here goes:
All art is communication on some level.
Just as dance is communication through gesture
and music speaks to the emotions,
visual art is a language heard directly by the psyche.
It is instantly understood by every human being.
Each viewer gets it on a different level,
depending upon their own unique experience.
It is a fundamental dialog,
much like the milli-second between thought and speech:
More felt, than put into words.
I have been fortunate in my life
to have lived in many parts of the world -
the Orient, Middle East, Western Pacific and Europe.
All of their influences affect my work
through an interplay of design, technique and form.
I am continually intrigued with the challenge of creating
through the clay medium.
I love engineering clay.
But clay is more than this.
It is a physical challenge as well as a mental one.
That's what makes it so engaging.
It is important for me
to work in a studio flooded with music,
helping me reach a level of harmony of mind and body
to find that essence of expression--
so unique and sometimes so hard to attain--
that goes beyond words,
beyond conscious thought
into that extraordinary, intuitive landscape
where time stops and all that exists
is the power of the process.
Jeanette Manchester Harris
Diane Mead on sat 9 sep 00
This brings to mind a correlation I see.
The guys/ladies/everybody
who has somewhat of a science background (and I am not
necessarily saying the Physics doctorate--but a good bit of science)
seem
1. more practical, with words and energy
2. more capable in art and lots of other places
3. better at understanding craftsmanship
Lately I have wanted to go back to school and get advanced degrees in
chemical engineering so I can understand some of the stuff you guys know. it
would take me dozens of years (so little science as an undergrad) and might
not benefit my work that much.
But the pseudo-battle I saw at UGA in the 70's (science vs art)
has long been over for me. Part of this is having science-y friends. Part of
it is knowing potters who are practical and have to know a good chunk of
science to navigate their field.
Art departments need to revamp and require painter/2-d (invisible from the
side) people like me to take a heck of a lot of science. Now that I've
reached middle age I don't have enough time to learn as much of it as I
need, but I shall hobble along.
Especially since I can surround myself with students who do ace chem and
physics and calculus. Luckily I am in a position that they are willing and
able to help.
But I still need a better science background. i'd be a better artists for
it! Craftsmanship benefits from knowing the blood and guts of it.
diane
>From: vince pitelka
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: Artist Statement
>Date: Fri, 8 Sep 2000 19:29:30 -0500
>
> > The reason I listen to Clayart is due to the "artspeak" jargon that
>plagues
> > the 2-d world.
>
>Yes, the 2-d world is fraught with problems, the worst being that when
>people turn sideways they dissappear.
>
>
>OK, it was a bad joke.
>- Vince
>
>Vince Pitelka
>Home - vpitelka@dekalb.net
>615/597-5376
>Work - wpitelka@tntech.edu
>615/597-6801 ext. 111, fax 615/597-6803
>Appalachian Center for Crafts
>Tennessee Technological University
>1560 Craft Center Drive, Smithville TN 37166
>http://www.craftcenter.tntech.edu/
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Share information about yourself, create your own public profile at
http://profiles.msn.com.
Diane Mead on sat 9 sep 00
One more time
A lot of us very smart guys
applaud you potters.
We envy you.
We DO understand how tough a field it is.
Truly. I've fired wood kiln 24 hours
and worked on mega Raku enough to know
the rigors of the field.
Believe me, when I go to my smart friends houses here in Georgia,
the fruits of the great potters labors are there, and we pay the CORRECT
price for it.
A nice Ron Meyers piece on my next door neighbor's kitchen counter
(fantastic animals).
Michael Simon made my coffee cups.
Bruce Gholson teapots.
We applaud you guys, admire you, wanna be you.
Please keep the optimism.
We are teaching this to our 2-d children!
diane
>From: vince pitelka
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: Artist Statement
>Date: Fri, 8 Sep 2000 19:32:52 -0500
>
> > You potters are practical! You have to be! You deal with fire and water
>and
> > earth, and thank God for it!
> > Talk about what your process is, be practical and all the art world will
> > applaud you for it!
>
>Diane -
>I applaud your optimism, and I tend towards optimism as well, but I wanna
>be
>there when all the art world applauds all of us potters for ANYTHING. I'm
>looking forward to that.
>Best wishes -
>- Vince
>
>Vince Pitelka
>Home - vpitelka@dekalb.net
>615/597-5376
>Work - wpitelka@tntech.edu
>615/597-6801 ext. 111, fax 615/597-6803
>Appalachian Center for Crafts
>Tennessee Technological University
>1560 Craft Center Drive, Smithville TN 37166
>http://www.craftcenter.tntech.edu/
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Share information about yourself, create your own public profile at
http://profiles.msn.com.
Ray Aldridge on sat 9 sep 00
At 03:38 AM 9/8/00 -0400, you wrote:
>Meantime, I will be required to dodge the artspeak kickball -- thanks to my
>need to make art in the 2-d. A much less practical and grossly more mucky
>world! be thankful you are a potter.
Not to speak for Vince, but I'd guess he'd tell you that artspeak isn't a
requirement for 2-d artists any more than it is for potters. In fact, a
direct and forthright statement from a 2-d artist would have increased
impact, if what you say is true. Babble is a problem in every field of
human endeavor, and often the best in every field first distinguish
themselves by refusing to express themselves in the approved hermetic jargon.
Ray
http://goodpots.com/
Ray Aldridge on sat 9 sep 00
At 07:47 PM 9/8/00 -0700, you wrote:
>First response:
>Humm, I can think of a few medically related reasons.....
>
>Second response:
>For me it's not so much that I can't describe my work, as
>whenever I read "artist's statements" they often seem like
>so much "BULL Excrement"
>
>Mine would be very simple,
>"Hi, I work in clay. Hope you like it! But if you don't,
>that's OK!"
It's great if you can sell everything you make with this approach. But I
think many folks who depend on clay for their living might have to come up
with a little sizzle to sell their steak. For many if not most customers,
the purchase of a pot is not a grim necessity but an elective use of
disposable income, and they're looking for a story to go with the pot. We
all have these stories, and they're often fascinating to our customers,
even when they don't seem that interesting to us. Even such a minor thing
as telling my customers that I use a kickwheel, and that this simple
machine hasn't changed significantly in the last thousand years is often
enough to give them an incentive to buy into that ancient tradition.
Of course, these conversations with people who are looking at your wares
are somewhat different than a formal artist's statement, but it's my
opinion that they shouldn't be very different. The same sort of honest
direct communication that you have face to face with customers will serve
you very well in writing an artist's statement. I get the sense that many
folks view with dread the possibility that they might have to produce such
a statement, but really, this is a great opportunity to formalize the
things you want your customers and fans to know about your work.
Ray
http://goodpots.com/
PurpleLama@AOL.COM on sat 9 sep 00
In a message dated 9/8/00 7:37:58 PM, Saic1984@AOL.COM writes:
<< My feeling is that there is NO excuse for a visual artist to not be able to
put into words what he/she is trying to accomplish. >>
I'm afraid that I disagree. I happen to be an artist who does not like to
write. I know that I am not the only one. The thought of needing to write an
artist's statement strikes horror in my heart. For many years I lived with a
writer who enjoyed writing and did it well. I am passable. My undergraduate
degree is in biology. I like science. I have an MBA in finance. I like
numbers. I support myself as a consultant - software and the Internet. I'm a
geek. The specific area of software that I work with is human resources. (I'm
not sure what this makes me!!!). The bottom line is that I have many talents
and skills. But the thought of writing an artist's statement, well, I'd
rather PAY someone else to do it for me!!!!
Shula
PurpleLama@aol.com
in sunny Redondo Beach, CA USA
admiring my garden
Earl Brunner on sat 9 sep 00
Sure, in a craft or art fair B.S. the heck out of them, sell
pots.
I'm sort of like Joyce Lee on this one, No great hurry to
sell, at least right now. I work a day job full time, I once
burned out on "production" and lost about 20 years of
potting. I will make what I want now, if it sells great.
If it doesn't, that's great too. If they don't sell they
can go in the attic and my kids can sell them to some
shyster in 50 years. Maybe they will George Ohr me!
Otherwise, there is a lot of room for land fill here in the
desert.
Ray Aldridge wrote:
>
> At 07:47 PM 9/8/00 -0700, you wrote:
> >First response:
> >Humm, I can think of a few medically related reasons.....
> >
> >Second response:
> >For me it's not so much that I can't describe my work, as
> >whenever I read "artist's statements" they often seem like
> >so much "BULL Excrement"
> >
> >Mine would be very simple,
> >"Hi, I work in clay. Hope you like it! But if you don't,
> >that's OK!"
>
> It's great if you can sell everything you make with this approach. But I
> think many folks who depend on clay for their living might have to come up
> with a little sizzle to sell their steak. For many if not most customers,
> the purchase of a pot is not a grim necessity but an elective use of
> disposable income, and they're looking for a story to go with the pot. We
> all have these stories, and they're often fascinating to our customers,
> even when they don't seem that interesting to us. Even such a minor thing
> as telling my customers that I use a kickwheel, and that this simple
> machine hasn't changed significantly in the last thousand years is often
> enough to give them an incentive to buy into that ancient tradition.
>
> Of course, these conversations with people who are looking at your wares
> are somewhat different than a formal artist's statement, but it's my
> opinion that they shouldn't be very different. The same sort of honest
> direct communication that you have face to face with customers will serve
> you very well in writing an artist's statement. I get the sense that many
> folks view with dread the possibility that they might have to produce such
> a statement, but really, this is a great opportunity to formalize the
> things you want your customers and fans to know about your work.
>
> Ray
>
> http://goodpots.com/
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
--
Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net
ferenc jakab on sun 10 sep 00
> Yes, the 2-d world is fraught with problems, the worst being that when
> people turn sideways they dissappear.
>
>
> OK, it was a bad joke.
> - Vince
It couldn't have been too bad. I laughed! But then again.....
Feri.
Dave Murphy on sun 10 sep 00
Dear Shula:
Although I don't have any problelms with writing I do have a problem with
wrliting an artilst's statement or naming my pots that I enter into shows.
I just say such things as "jar" or "Bowl". I was interested to read Vince's
comments regarding having expressed myself through the clay medium but I do
feel that to struggle on and try to express verbally is still worthwhile. I
just loved the comment about being comfortable with what you recognize and
know about. How true. Its when you are uncomfortable that you just might
be learing something!
Barbara Murphy
Waterloo Ontario
Canada
----- Original Message -----
From:
To:
Sent: Saturday, September 09, 2000 1:53 PM
Subject: Re: Artist Statement
> In a message dated 9/8/00 7:37:58 PM, Saic1984@AOL.COM writes:
> << My feeling is that there is NO excuse for a visual artist to not be
able to
> put into words what he/she is trying to accomplish. >>
>
> I'm afraid that I disagree. I happen to be an artist who does not like to
> write. I know that I am not the only one. The thought of needing to write
an
> artist's statement strikes horror in my heart. For many years I lived with
a
> writer who enjoyed writing and did it well. I am passable. My
undergraduate
> degree is in biology. I like science. I have an MBA in finance. I like
> numbers. I support myself as a consultant - software and the Internet. I'm
a
> geek. The specific area of software that I work with is human resources.
(I'm
> not sure what this makes me!!!). The bottom line is that I have many
talents
> and skills. But the thought of writing an artist's statement, well, I'd
> rather PAY someone else to do it for me!!!!
>
> Shula
> PurpleLama@aol.com
> in sunny Redondo Beach, CA USA
> admiring my garden
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
Janet Kaiser on mon 11 sep 00
I have (for once) been following this thread
before adding my two pence worth... For the
original poster who had the block and anyone
else interested in a gallery point of view here
goes:
There are at least two types of "artist's
statement".
The one loaded with artspeak (or art balls)
which is usually generated to keep art
lecturers, critics, publishing houses and
journalists in a job and to show US all just how
clever THEY all are
AND there is the simple informative statement
more suitable for the general public and people
like me.
Like most people, I look for sincerity and plain
language. As soon as I get a high faluting art
statement, my mind closes down and I go into
"listening-to-the-weather-forecast" or
"ask-the-way-to-the-village-green" mode. I hear
it, but cannot remember what has been said after
the first sentence. I get scores of these and
they frankly piss me off.
I need to know about the artist/maker, the
process, medium, visual source and inspiration
for the work in question. I do not need to know
the innermost angst or the working of the
artist's fantasy world. Before anyone howls me
down... These aspects should be apparent in the
work. If the work does not tell me these things,
an artist's statement is a poor substitute.
I think someone said that the work is crap
anyway, if a statement is needed. I would not go
that far, but it is certainly lacking in some
respect, if a whole essay needs to explain what
it is all about.
As a general rule of thumb for the artist...
Find out who your audience is and what they
require before you start on a statement.
If pretentious clap-trap is necessary or
required from the body in question (gallery,
guild, show, publication, etc.) then sit down
with a bottle of wine and a tape recorder. Let
yourself go and say the most outrageous things
you possibly can about yourself and your work.
Write it up without editing the juicy bits! If
you are too uptight to do this, get a whole
group of friends around and give them a bottle
of wine each...
If on the other hand you are dealing with
sensible galleries, guilds and fellow makers,
keep it simple and down-to-earth. By all means
add any apparent (to you) irrelevancies like who
your heroes and teachers were and are, what made
you start with this current work, etc. etc. Keep
it loose and informative without going into too
much detail. Put in some "gossip" about
yourself. Make it warm and keep it human.
You are not only selling your work, but yourself
too. Interesting people make it easier for
everyone concerned. Buyers may buy dull pots,
but they may not if the maker sounds dull too.
Someone said it is the sizzle that counts and I
can only second that. Only today I could say
"This maker's work is on exhibition at the
Olympics in Sydney" and everyone in the gallery
came over to see what I was talking about. (NO,
I do not shout, it is a small space).
I cannot do my job well, if I do not know
anything about the maker or their background. My
technical knowledge, aesthetic and visual
education counts for nothing, if I cannot
augment it with a little personal insight into
the maker/artist and their persona. If I have to
rely on an artist's statement... Well, you may
now see why many simply do not work.
I have two functions: I curate exhibitions and I
sell what is then exhibited. This colours my
judgement. It may not be applicable to many,
because the administrators and selectors are
usually "above" talking to anyone. From the
artist down to the general public. However, like
so many who have already added their valuable
words to this thread, I feel that we should all
fight the utter vacant pretension of "artspeak".
Janet Kaiser
The Chapel of Art . Capel Celfyddyd
HOME OF THE INTERNATIONAL POTTERS' PATH
Criccieth LL52 0EA, GB-Wales Tel: (01766) 523570
E-mail: postbox@the-coa.org.uk
WEBSITE: http://www.the-coa.org.uk
Bill and Sylvia Shirley on mon 11 sep 00
This whole thread about writing artist statements makes my
head hurt.
Sylvia Shirley
Earl Brunner on mon 11 sep 00
Closest thing I have to an artist's statement right now is
the beginning of my web page:
This Web site contains a sample of recent work. I work in
both
Stoneware and Porcelain. Most work is done at
Cone 10 (1305 C or
2381F) I fire using a Geil Model 802 downdraft gas
kiln with a
reducing atmosphere
I live in Las Vegas, Nevada, USA, and with the exceptions
of time
spent in the South Pacific as a child and time in
Utah going to
college, I have lived here most of my life. I
discovered an interest in clay while in high
school and I spent about 10 years doing pottery
full time back in the 70's. Currently I am employed as an
elementary school teacher in the Clark County
School District. I
began making pottery again on a part-time basis in
1995. My wife
and I purchased a new home in 1996 and setting up
the studio was a
major consideration. The time in the South
Pacific and the desert
have both influenced my work.
Jeff Brown wrote:
>
> vince pitelka wrote: .................
>
> Linda Arbuckle wrote: ......................
>
> Earl Brunner wrote: ...........................
>
> Ray Aldridge wrote: ...........
>
> mel jacobson wrote: ..............
> .........etc.
>
> Would it be appropriate to see example 'artist statements' from some
> of the artist/potters who have offered advice and criticism on the subject
> of artist statements?
--
Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net
Veena Raghavan on mon 11 sep 00
Message text written by Ceramic Arts Discussion List
>I do have a problem with
wrliting an artilst's statement or naming my pots<
Hi Barbara,
I have the same problem with naming my pieces. I would just like to
say, bowl, ewer, teapot, etc. Giving a piece some fancy name always seems
artificial and pretentious to me. But I guess most people don't have a
problem with this. I used to have the same problem when I painted in oils.
All the best and on to the next session of naming slides for
submission!
Veena
Veena Raghavan
75124.2520@compuserve.com
Ray Aldridge on mon 11 sep 00
At 02:40 AM 9/11/00 -0400, you wrote:
>Message text written by Ceramic Arts Discussion List
> >I do have a problem with
>wrliting an artilst's statement or naming my pots<
>
>Hi Barbara,
> I have the same problem with naming my pieces. I would just like to
>say, bowl, ewer, teapot, etc. Giving a piece some fancy name always seems
>artificial and pretentious to me.
You might be looking at this the wrong way. Consider-- do your pots look
better photographed on burlap or do they look better in front of a clean
background? They're the same pots in both cases. By analogy, would a
carefully crafted and evocative name prove interesting and add some depth
to the experience of seeing your work?
Names don't have to be pretentious and/or vestigial. There's a pretty
mixing bowl on my site, with a magenta glaze over a pink slip. Under the
rim I resisted a chain of wild rose blossoms. Which name is more
interesting: "Eleven Roses Bread Bowl" or "Bowl?"
In a way, by naming your pot "Bowl" you risk offending some viewers, who
can plainly see that it's a bowl. They may wonder why you chose to inflict
such an obvious title on them. (This is not an inflexible rule, of
course. "Bowl" might be a pretty good title for something not readily
recognizable as a bowl.) On the other hand, if you're selling a set of 6
soup bowls, it's probably better to call them "Soup Bowls" than "Six Sacred
Vessels of the Borscht Belt," unless you're a funk artist who's going for
funny.
If you think about names not as a grim necessity, but as an opportunity to
communicate with viewers of your pots, then naming them will be a lot more
fun and useful to you.
Ray
http://goodpots.com/
Jeff Brown on mon 11 sep 00
vince pitelka wrote: .................
Linda Arbuckle wrote: ......................
Earl Brunner wrote: ...........................
Ray Aldridge wrote: ...........
mel jacobson wrote: ..............
..........etc.
Would it be appropriate to see example 'artist statements' from some
of the artist/potters who have offered advice and criticism on the subject
of artist statements? I think it would be inspirational for anyone who
is unsure of their ability to write something as seemingly simple as our own
thoughts about our art work. Why do I make pots?....
What is my motivation, inspiration, direction, limitation, desire?
I have also struggled with the need to write about my work.
As much trouble as I had with the task, I saw it as an opportunity
to add personal insight to my otherwise anonymous pottery.
In a gallery exhibition you are not able to talk to the viewer about
your work, this gives us the opportunity to talk to our audience.
I agree with the idea that an artist statement is 'a work in progress'
and should evolve as our skill and vision as an artist/potter expand.
Even as I read this discusion here on Clay Art, I seem to be modifying
my opinion on the art of the 'artist statement'.
This is my first attempt at the dreaded 'ARTIST STATEMENT '.
(this will be modified soon)
____________________________________________________
The pottery I have been making over the last 20 years has been
almost exclusively functional. My latest work represents an effort
to reach beyond the basics of strictly functional pottery.
I derive inspiration from Oriental, Mediterranean, & contemporary British
and American pottery and I also allow my passions for Surrealism,
Impressionism, geometric patterns, nature, and music to inspire
my creative process. My work is thrown, altered, and
textured, with geometric designs impressed into the soft
clay.
_____________________________________________________
Jeff Brown
http://www.jeffbrownpottery.com
Les Crimp on mon 11 sep 00
Ray -
By calling the "bowl" the "Eleven Roses Bread Bowl" are you naming it or
telling us that it is a bread bowl in case we did not know?
I enjoyed your post but this thought crossed my mind as I was reading it.
Les Crimp in Nanoose Bay, B.C. (Vancouver Island)
lcrimp@home.com
Les Crimp on mon 11 sep 00
Janet -
I am looking forward to the day when I can meet you, Mel, Vince,Tony C. and
Ivor from Oz.
I turn to Clayart each day and hope one of you has posted because I get so
much from each of you. Please continue to give us the "word" in the clear,
unfettered, lack of "Artspeak" language. It is great to have people calling
a spade a spade.
Les Crimp in Nanoose Bay, B.C. (it hasn't rained for two days)
lcrimp@home.com
chrisclarke on tue 12 sep 00
Ray,
I don't like naming pieces, but you are right. Customers like for you to let
them into your world (for some reason they thing "artists" are living elseware)
and if a name makes someone happy and it fits the piece, what the hell. I had a
friend who wanted to go around selling my work telling everyone I was a recluse and
had not been out of my studio in years. I suppose it would have worked too.
People love a story to go along with what they hold, something to tell people. It
includes them when they are showing the piece almost making them part of it's
creation.
chris@ccpots
Ray Aldridge wrote:
> At 06:36 PM 9/11/00 -0700, you wrote:
> >Ray -
> >
> >By calling the "bowl" the "Eleven Roses Bread Bowl" are you naming it or
> >telling us that it is a bread bowl in case we did not know?
>
> Both, I hope. My hope is that a customer who buys this bowl will enjoy it
> more, because of the name, than she would have without the name. Value
> added. When she takes it down from the cupboard to show her friend, it'll
> be fun to say, "Here's my new bowl I was telling you about. The potter
> called it "Eleven Roses Bread Bowl" and he included a bread recipe with it
> when he sent it. See the little roses? I've only used it to serve salad,
> but you know, I think I'll make a couple of loaves for Thanksgiving,"
>
> And the world's joy quotient will increase, ever so slightly. What do you
> think?
>
> Ray
>
> http://goodpots.com/
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Rhonda Oldland on tue 12 sep 00
I always thought about naming them by the mood they were made it...happy
little bowl or grandmother for the second time pot, sore wrist so I coiled,
to hot to garden mugs, sleep in my eyes, brushed my teeth, ok, on and on
....Rhonda s.c.
At 02:40 9/11/00 -0400, you wrote:
>Message text written by Ceramic Arts Discussion List
>>I do have a problem with
>wrliting an artilst's statement or naming my pots<
>
>Hi Barbara,
> I have the same problem with naming my pieces. I would just like to
>say, bowl, ewer, teapot, etc. Giving a piece some fancy name always seems
>artificial and pretentious to me. But I guess most people don't have a
>problem with this. I used to have the same problem when I painted in oils.
> All the best and on to the next session of naming slides for
>submission!
>Veena
>
>Veena Raghavan
>75124.2520@compuserve.com
>
>___________________________________________________________________________
___
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
>
Ray Aldridge on tue 12 sep 00
At 06:36 PM 9/11/00 -0700, you wrote:
>Ray -
>
>By calling the "bowl" the "Eleven Roses Bread Bowl" are you naming it or
>telling us that it is a bread bowl in case we did not know?
Both, I hope. My hope is that a customer who buys this bowl will enjoy it
more, because of the name, than she would have without the name. Value
added. When she takes it down from the cupboard to show her friend, it'll
be fun to say, "Here's my new bowl I was telling you about. The potter
called it "Eleven Roses Bread Bowl" and he included a bread recipe with it
when he sent it. See the little roses? I've only used it to serve salad,
but you know, I think I'll make a couple of loaves for Thanksgiving,"
And the world's joy quotient will increase, ever so slightly. What do you
think?
Ray
http://goodpots.com/
Paul Taylor on wed 13 sep 00
Dear All
I would like to add to Janets comments
In Ireland we have a proverb. I will translate it from the irish "One black
beetle recognizes another" this Kuan is very deep and exists on many levels.
The insects that interests the artist are the beetles that inhabit the art
administration world and to some extent the art marketing world, since they
are tied up together. They will not recognize you unless you are like them.
This can be a problem for the artist who does not look or speak with such
fluid eloquence.
However to take the metaphor a little further; I have discovered from
trout fishing that it does not take too much of an exact replica of a black
beetle to fool a trout, and I think maybe another black beetle as well.
So maybe we should all take comfort from this and realize that a little
bull can go along way in an artist statement. The Suits will fill in the
rest - God help them.
You just reel in the customers.
-- Regards Paul Taylor.
Westport Pottery, Liscarney, County Mayo. Ireland.
http://www.anu.ie/westportpottery/
> From: Janet Kaiser
> Organization: The Chapel of Art
> Reply-To: Ceramic Arts Discussion List
> Date: Mon, 11 Sep 2000 02:51:58 +0100
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: Artist Statement
>
> I have (for once) been following this thread
> before adding my two pence worth... For the
> original poster who had the block and anyone
> else interested in a gallery point of view here
> goes:
>
> There are at least two types of "artist's
> statement".
>
> The one loaded with artspeak (or art balls)
> which is usually generated to keep art
> lecturers, critics, publishing houses and
> journalists in a job and to show US all just how
> clever THEY all are
>
> AND there is the simple informative statement
> more suitable for the general public and people
> like me.
>
> Like most people, I look for sincerity and plain
> language. As soon as I get a high faluting art
> statement, my mind closes down and I go into
> "listening-to-the-weather-forecast" or
> "ask-the-way-to-the-village-green" mode. I hear
> it, but cannot remember what has been said after
> the first sentence. I get scores of these and
> they frankly piss me off.
>
> I need to know about the artist/maker, the
> process, medium, visual source and inspiration
> for the work in question. I do not need to know
> the innermost angst or the working of the
> artist's fantasy world. Before anyone howls me
> down... These aspects should be apparent in the
> work. If the work does not tell me these things,
> an artist's statement is a poor substitute.
>
> I think someone said that the work is crap
> anyway, if a statement is needed. I would not go
> that far, but it is certainly lacking in some
> respect, if a whole essay needs to explain what
> it is all about.
>
> As a general rule of thumb for the artist...
> Find out who your audience is and what they
> require before you start on a statement.
>
> If pretentious clap-trap is necessary or
> required from the body in question (gallery,
> guild, show, publication, etc.) then sit down
> with a bottle of wine and a tape recorder. Let
> yourself go and say the most outrageous things
> you possibly can about yourself and your work.
> Write it up without editing the juicy bits! If
> you are too uptight to do this, get a whole
> group of friends around and give them a bottle
> of wine each...
>
> If on the other hand you are dealing with
> sensible galleries, guilds and fellow makers,
> keep it simple and down-to-earth. By all means
> add any apparent (to you) irrelevancies like who
> your heroes and teachers were and are, what made
> you start with this current work, etc. etc. Keep
> it loose and informative without going into too
> much detail. Put in some "gossip" about
> yourself. Make it warm and keep it human.
>
> You are not only selling your work, but yourself
> too. Interesting people make it easier for
> everyone concerned. Buyers may buy dull pots,
> but they may not if the maker sounds dull too.
>
> Someone said it is the sizzle that counts and I
> can only second that. Only today I could say
> "This maker's work is on exhibition at the
> Olympics in Sydney" and everyone in the gallery
> came over to see what I was talking about. (NO,
> I do not shout, it is a small space).
>
> I cannot do my job well, if I do not know
> anything about the maker or their background. My
> technical knowledge, aesthetic and visual
> education counts for nothing, if I cannot
> augment it with a little personal insight into
> the maker/artist and their persona. If I have to
> rely on an artist's statement... Well, you may
> now see why many simply do not work.
>
> I have two functions: I curate exhibitions and I
> sell what is then exhibited. This colours my
> judgement. It may not be applicable to many,
> because the administrators and selectors are
> usually "above" talking to anyone. From the
> artist down to the general public. However, like
> so many who have already added their valuable
> words to this thread, I feel that we should all
> fight the utter vacant pretension of "artspeak".
>
> Janet Kaiser
> The Chapel of Art . Capel Celfyddyd
> HOME OF THE INTERNATIONAL POTTERS' PATH
> Criccieth LL52 0EA, GB-Wales Tel: (01766) 523570
> E-mail: postbox@the-coa.org.uk
> WEBSITE: http://www.the-coa.org.uk
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
Jonathan Kirkendall on wed 13 sep 00
Ray,
Last night I was at a friend's house for supper. We were eating on the
patio and he brought out a bottle of sake. We were sipping it and enjoying
the full moon when he suddenly remembered that he had some sake cups in his
cupboard called "Full Moon Sake Cups." He brought them out, we turned out
all the lights, and poured the sake into these small, slip covered porcelain
cups. The white slip in the cup glowed, and honestly, as we brought the
cups up to our lips, we could see the full moon reflecting in the sake.
Increasing joy quotient? You bet. I can't quite put words to the wonder
and really, almost silliness of having sake cups for use only on the full
moon. Playful and meaningful at the same time.
Jonathan in DC
whose pots have been uncovered for three days and still too damp to trim.
-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of Ray Aldridge
Sent: Tuesday, September 12, 2000 5:07 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Artist Statement
At 06:36 PM 9/11/00 -0700, you wrote:
>Ray -
>
>By calling the "bowl" the "Eleven Roses Bread Bowl" are you naming it or
>telling us that it is a bread bowl in case we did not know?
Both, I hope. My hope is that a customer who buys this bowl will enjoy it
more, because of the name, than she would have without the name. Value
added. When she takes it down from the cupboard to show her friend, it'll
be fun to say, "Here's my new bowl I was telling you about. The potter
called it "Eleven Roses Bread Bowl" and he included a bread recipe with it
when he sent it. See the little roses? I've only used it to serve salad,
but you know, I think I'll make a couple of loaves for Thanksgiving,"
And the world's joy quotient will increase, ever so slightly. What do you
think?
Ray
http://goodpots.com/
____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Janet Kaiser on wed 13 sep 00
Thank you Les. In my case, it is the result of
coming from peasant stock. As a family, we
always call a spade a spade, EVEN a "bloody
shovel" if and when necessary! This usually gets
me into all sorts of trouble, so glad you
approve of it, especially in this instance!
It may be a case of the "sins of the fathers..."
My great-great-great grandmother ran away/eloped
to marry the head gardener and was disinherited.
Obviously she did not like the pretension of
keeping her place in Victorian society. What we
will give up for LOVE, eh?
And it is simply because I am enamoured with The
Arts (all - but especially ceramics) that I
personally fight for clarity and honesty.
Artspeak, like Verbal Diarrhoea, does everyone a
total disservice. It reduces a valid area of
discourse to the ridiculous and into disrepute.
It creates a barrier to those who are striving
to understand the visual stimuli and images
presented by the artist/maker. It is a totally
self-destructive trend which we should ALL FIGHT
to the death!
We already moan and groan about how visually
"uneducated" the public is. Why give them
another hurdle to jump? Artspeak VD is something
the overwhelming majority understandably avoid!
Quite right too! If we could only stick a condom
over the source.... Contain it in the little
world of self-promoting show-offs and keep the
rest uninfected.
I also contend (and this is contentious) that
youngsters (who are having to learn Artspeak in
order to get their degrees) know that it is
nothing but clap-trap. They laugh at how easy it
is to stand in front of a work of art and invent
a whole "Spiel". They are therefore being taught
that superficial and dishonest pretension is
acceptable. Not skill or a valid representation
of what the artist/maker wants to convey...
Pulling the wool over the eyes of an
impressionable and gullible public becomes fair
game and the reason they are producing their
art. That is sick. Chronically sick. Let us hope
that it mortally so. The sooner this trend dies,
the better it will be for ALL of us. Believe me!
Janet Kaiser - where we haven't had rain for two
days either. The full moon is shining across the
bay and we are traffic free thanks to the picket
lines outside refineries across the land...
The Chapel of Art . Capel Celfyddyd
HOME OF THE INTERNATIONAL POTTERS' PATH
Criccieth LL52 0EA, GB-Wales Tel: (01766) 523570
E-mail: postbox@the-coa.org.uk
WEBSITE: http://www.the-coa.org.uk
----- Original Message -----
From: Les Crimp
> Janet -
>
> I am looking forward to the day when I can
meet you, Mel, Vince,Tony C. and
> Ivor from Oz.
>
> I turn to Clayart each day and hope one of you
has posted because I get so
> much from each of you. Please continue to
give us the "word" in the clear,
> unfettered, lack of "Artspeak" language. It
is great to have people calling
> a spade a spade.
>
> Les Crimp in Nanoose Bay, B.C. (it hasn't
rained for two days)
> lcrimp@home.com
david mcbeth on wed 13 sep 00
Waaaay back in grad school, as I prepared for text for my MFA thesis, my
clay prof crossed out all of the "I" references with a big red pen. Ever
since then I (excuse me) this potter finds himself aware of too many uses
of "I" in sentences. It is diificult enough to write about yourself and
your work, try doing that without using the word - I.
Artist Statements are certainly important. Even as studio potters we have
the responsibility to educate the general public, those not regular
consumers of our work. As a part of that responsibility, what is the point
of making our statements so esoteric that no one understands them.
related questions -
What is the difference between a ewer and a pitcher, between a jug a
pitcher, a cup and a mug ?
dave
David McBeth, MFA
Associate Professor of Art
330 B Gooch Hall
Department of Art, Dance and Theatre
University of Tennessee at Martin
Martin, Tennessee 38238
901-578-7416
Sheron Roberts on thu 14 sep 00
Pheewwww!!
Only three "I" and no mention
of nature, unless of course
the use of "dog" qualifies.
I'm safe, no one puking yet!!
Sheron in NC =3D ear splittin' grin
Barbara Mueller on mon 7 oct 02
Friends are hanging a show (wooden folk art) at the Art Spirit Gallery
here in Coeur d' Alene Id. (Opens Oct 11th come if you are in the area
its amazing) The gallery owner of course asked for the "artist
statement."
They have had a journey in Art. Graduated from the Art Institute in
Kansas, I think Allen did fiber and Mary Dee did clay. Have been on a
journey every since of color, and form. They hemmed and hawed for days
over what to write. It just didn't seem natural to them. Finally Allen
who also writes for the local paper decided to use his pen name and
pretend he was interviewing himself and Mary Dee. It was a vehicle to
say what they wanted to say without feeling uncomfortable. When they
brought it to the gallery, the owner's response was that he needed an
artist statement that he could send to the press as part of the press
release. That it was an important part of what he used to get the word
out. Pictures and the artist statement were part of his press packet
for each show.
So there is more then just putting the stuff on the wall at the show. It
was part of his advertising.
Besides, people like the story. It's another way to encourage a more
intimate connection with the work. If you can't write it yourself ask a
friend to help you, ask you questions about what they are interested in
knowing about what you do, how you think about it, how you feel about.
It might be the catalyst you need. Trade a pot, get a statement.
John Jensen on wed 9 oct 02
Hey Vince, there you go getting personal again. Accusing me of being
self absorbed. Lumping me in with some other self-absorbed people
(whoever they are). I never implied that I didn't want an artists
statement posted. Just making my little pitch for mystery. I don't
have anything against artists statements, per se. As I said in a
previous post, I written a few of my own and read a number of them I
admire. So when you suggest that I think the whole thing is about me,
then you are making a personal attack.
> Whatever happened to mystery? Why should artwork be so accessible?
If
> there is something about a work of art I don't understand, shouldn't I
> spend some time with it? And what's wrong with failing to understand
> the artist intention? Maybe I can ponder this matter over the course
of
> a lifetime and eventually achieve some illumination. If I really care
> about it I can study more about the medium, take opportunities to
> examine comparable works, maybe even delve into the art a bit myself.
> But if someone hands me a label to explain it all, the mystery is
> gone. I can safely categorize the work and forget about it.
John -
As I said to someone else, this is not about you. It is about providing
information to maximize understanding and appreciation of art for those
who
would like that enhanced level of understanding and appreciation. No
one is
requiring you to read artist's statements, and your post implies that
YOU
don't want the artist's statement posted because YOU don't want to read
it.
Is that really the message you want to get across?
Appreciating and interpreting art in one own terms without any
contextual
information about the artist or his/her way of working is certainly one
way
to appreciate/interpret art, and there is certainly nothing wrong with
that.
It is a fascinating way to interpret art. That is why I always look at
a
work of art first, and then read the statement. If the artwork has had
a
powerful, visceral effect on me, nothing in the artist's statement is
going
to change that. But it is always fascinating to learn more about the
artist
and his/her way of working. A good artist's statement illuminates and
enhances appreciation. A bad artist's statement is easily ignored.
Best wishes -
- Vince
Eleanor on wed 9 oct 02
I speak as a consumer, not as an "artist".
I have looked at thousands of works of art--in museums, in galleries,
in craft shows, in books, in magazines--in America, Canada, Mexico
and Europe. If I find myself in a place with an art museum, I go.
My criteria for appreciating art are simple and subjective: do I like
it; does it look well-crafted; would I want to own it? The walls of
my home are crowded with reproductions of paintings I like from
Rembrandt to Picasso and I have some reproductions of Mayan pottery;
I can't afford to buy the contemporary pottery I like.
I rarely read artist's statements. As a consumer, I really don't care
where the artist is coming from. If I did, Picasso wouldn't be my
all-time favorite artist--as a human being, he was a monster and his
art undoubtedly came from there.
The other day I was in Borders book store. There were (ArtimatOr take
note!) lots of newly-stocked pottery books. Most were how-to but
Speight, Nelson and Piepenburg were represented.
500 Teapots was there so I sat down with it, prepared to be awed and
inspired. I was. Each page had a teapot with information about size,
glaze, firing.
Also, about half had brief artist's statements. I forced myself to
read some. One artist explained how he achieved the unusual faceting
on his pot--useful to me. Another said how much she enjoyed working
with clay.
And one artist told how the inspiration for the pot came
about--totally unintelligible. It happened that I didn't much like
the pot in the first place and after reading the statement, I liked
it less.
For the most part, reading the statements served only to delay my
turning the pages and enjoying the pots.
I grant the need and importance of advertising for selling to the
general public. It just doesn't apply to me.
Eleanor Kohler
dabbling in Centerport, NY
and replying to Lili Krakowski's request for lurkers' input
--
John Jensen on wed 9 oct 02
Whatever happened to mystery? Why should artwork be so accessible? If
there is something about a work of art I don't understand, shouldn't I
spend some time with it? And what's wrong with failing to understand
the artist intention? Maybe I can ponder this matter over the course of
a lifetime and eventually achieve some illumination. If I really care
about it I can study more about the medium, take opportunities to
examine comparable works, maybe even delve into the art a bit myself.
But if someone hands me a label to explain it all, the mystery is
gone. I can safely categorize the work and forget about it.
Mystery and spirituality may be linked in our brains and our souls.
Perhaps a discomfort with mystery indicates a poverty of spirit.
I like to enjoy and ponder my art "au natural." I never put the
headphones on or pay a great deal of attention to the descriptions. In
my mind the experience of the art and the study of it are two separate
realms. I don't mind studying and reading explanations, I do it all the
time; but I try not to let the verbal/intellectual dominate the
aesthetic/emotional. In my corner of society the tendency is to
over-intellectualize experience, so I resist that.
Blah blah blah
John Jensen, Mudbug Pottery
mudbug@toadhouse.com, www.toadhouse.com
vince pitelka on wed 9 oct 02
> Whatever happened to mystery? Why should artwork be so accessible? If
> there is something about a work of art I don't understand, shouldn't I
> spend some time with it? And what's wrong with failing to understand
> the artist intention? Maybe I can ponder this matter over the course of
> a lifetime and eventually achieve some illumination. If I really care
> about it I can study more about the medium, take opportunities to
> examine comparable works, maybe even delve into the art a bit myself.
> But if someone hands me a label to explain it all, the mystery is
> gone. I can safely categorize the work and forget about it.
John -
As I said to someone else, this is not about you. It is about providing
information to maximize understanding and appreciation of art for those who
would like that enhanced level of understanding and appreciation. No one is
requiring you to read artist's statements, and your post implies that YOU
don't want the artist's statement posted because YOU don't want to read it.
Is that really the message you want to get across?
Appreciating and interpreting art in one own terms without any contextual
information about the artist or his/her way of working is certainly one way
to appreciate/interpret art, and there is certainly nothing wrong with that.
It is a fascinating way to interpret art. That is why I always look at a
work of art first, and then read the statement. If the artwork has had a
powerful, visceral effect on me, nothing in the artist's statement is going
to change that. But it is always fascinating to learn more about the artist
and his/her way of working. A good artist's statement illuminates and
enhances appreciation. A bad artist's statement is easily ignored.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://www.craftcenter.tntech.edu/
BVCuma on thu 10 oct 02
>>It is about providing
information to maximize understanding and appreciation of art for those who
would like that enhanced level of understanding and appreciation. <<
_______________________
Vince...
I could not agree more with all the essential points
you have detailed in this interesting topic for discussion.
Particularly....
that those who could benefit most by making such a statement
are those that do not see the point of one..
...go figure.
Bruce
BVCuma on fri 11 oct 02
I think the artist statement is a result
or byproduct of the "work"...
When one begins there is not much more than a flicker of desire.
From that very point on...
I don't see how it is not being formed
and evolving constantly...at the minimum
a vague collection of random thoughts and feelings
glimpses of images and possibilities
to downright outrageous fantasizing...
One can benefit quite clearly
by organizing these energies into
a coherent conceptual pattern
which in turn intesifyies the whole focus...
That I think is a worthwhile effort...if any.
Though I am the first to downplay
the significance of thought..
even reduce it to a interfering
and meddling source of confusion...
But one cannot be absolved of it
as an initiation/reception
mechanism of catylictic influence..
Though the ideal of mine is to be free of such.
Both a by product and a catalyst??
Some may choose to deny the situation
but I think they would be surprised
to see how much they do depend on it.
It is really just what you think
and we all do that.
To be able to drop the whole issue..
that is a very advanced point of departure.
Very very rare indeed.
Bruce
Snail Scott on fri 9 oct 09
An artist's statement at an exhibition is
like one of those 'bonus features' that come
on the better movie DVD's. You can just
watch the movie (see the artwork), but if
you want to know more, you can call up
a short interview with the director, some
background info on the cast, the settings,
or some such. All the supplemental info
at an exhibition serves that purpose. Want
to know more about the artist? There's a
bio and a resume on file. Want to see more
work? There may be a portfolio binder with
photos to look at. Don't care that much? You
can skip those 'bonus features' altogether.
The show should still stand independently
on its own merits.
I know there have been times when I've
rented a movie on DVD, and after it was
done, wanted to know more, and been
disappointed when no such features were
included with the recording. Those features
might drive me to purchase a DVD instead
of sticking with an old VHS version. Those
extra features in an exhibition might cause
someone to purchase your work when they
might otherwise have merely admired it and
left. They might provoke a curator to offer you
a show in the future, or induce a single-item
buyer to buy more as gifts or as a set.
You aren't force-feeding anyone; just offering
a 'premium experience' option at little cost to
either the viewer or to you. It's a free upgrade
to their night out with art!
-Snail
| |
|
