Kelley Webb Randel on fri 2 apr 99
Here is my artist statement for my senior show and the one I've sent out to
all the many MFA programs I'm trying to get into: (hope it isn't too long for
the moderator)
My art is cathartic, pouring out and processing all emotion; pain,
anger, rage, humiliation and often, hidden laughter. Like the Abstract
Expressionist artist, Kandinsky, I express a private spiritual revolution.
No other subject seems to matter. By hiding behind humor, I offer
myself scant protection. I am still painfully exposed, my images mirroring
my physical self. My nudity, in poses of victimization and celebration are,
simultaneously, intensely disturbing and humorous.
The viewer's emotions mingle with mine, creating a bond that
frequently shocks, causing withdrawal and uncomfortable laughter. I am
trying desperately to reach the social conscious of my audience. Our
society's ideals of beauty are unnatural and offensive to me. I try to bring
a new honesty to what is considered beautiful.
My use of nontraditional, natural and found materials in my
sculptural work is a continuation of this notion of honest beauty. The
entropy of these materials creates exquisite textures and tonal values
transformed. Changes that occur in the oxidation of copper wire and rusty
metal fill me with a certain satisfaction.
Clay and glaze fascinate and enchant me. It's often a mystical
process, mixing the dry clay powder with water and minerals, using fire to
vitrify. Creating something from dust, using all the technology and
knowledge I possess, seem somehow ancient and essential. I follow the
natural movements and meanderings of mother earth's functions and she offers
me an endlessly comforting stability.
Labels are meaningless and unimportant, but they help the viewer
process and understand, though often erroneously. Struggling with names for
my work, I usually end with humorously obscure titles, once again hiding
behind laughter.
My work is in a constant state of growth and change, adaptation a
necessity in the struggle for life and living. Tact and diplomacy are totally
foreign and unfamiliar ideas to my nature, but again, like Kandinsky, I
strive to bring a subtlety to my often glaring emotional content and meaning.
Kelley Webb Randel
Central MO State University
Warrensburg, MO
voice: 816.796.4221
email: Rakugddss@aol.com
How's that John?
Zoeytana@AOL.COM on mon 7 aug 00
A friend told me that she once saw a book filled with artist statements from
people in the clay world. Has anyone seen such a book? Know the title?
Also where would I look in the clay archieves to find info on doing an artist
statement
Thank!
Lisa
JIMV062@AOL.COM on tue 8 aug 00
I would also be interested in Artist Statements... Lisa..please include me
in any info you receive.. Thanks Jim in Dallas.
Sara JH Ashodian on wed 9 aug 00
to all interested in writing an artist statement below is text i have saved
from "somewhere" that i have found useful in the painful process of writing!
it is a bit long but well worht printing out as a guide
good writing to you
most times lurker
maybe this time helpful
sara
--
Sara JH Ashodian
Sash Arts Studio
Nahant, MA
where the ocean is calm, there is haze over the horizon
The Artist's Statement
Your artist's statement can be a moving testament to your creativity and
integrity. The expression of this commitment will vary, but the
effectiveness of your statement stems from the authority with which you
write it. Our words "author" and "authority" come from the Latin root
"augere," which means "to increase, to create, to promote." This implies
that the notions of creation and promotion are compatible! The more I muse
on the meaning of working from my authority, of being the author of my work
and of my conduct, the more I understand that authentic communication about
my work is a powerful tool for creative growth as well as for business
success. The exercises in this section will get you centered and in touch
with your own authority. When I write promotional materials for artists (or
any kind of business) I always have the principal people involved do these
exercises first. I use the words and phrases they generate to compose
compelling statements on their behalf. This way their creative authority is
incorporated in the finished product. Think of your artist's statement as a
nourishing stew. The rich flavors and inviting aroma will feed your spirit
and summon wonderful people to your table. You'll want to make sure your
stew is made from the freshest, finest ingredients and that it has been
simmered and seasoned with care. Do this, and you will be proud to share
your creative vision - your authority - with others.
WRITING YOUR ARTIST'S STATEMENT
You'll need pencil and paper, a dictionary, and a thesaurus.
STEP ONE: Assemble the Ingredients.
1. Take five minutes and think about why you do what you do. How did you get
into this work? How do you feel when work is going well? What are your
favorite things about your work? Jot down short phrases that capture your
thoughts. Don't worry about making sense or connections. The more you stir
up at this point, the richer the stew.
2. Make a list of words and phrases that communicate your feelings about
your work and your values. Include words you like, words that make you feel
good, words that communicate your values or fascinations. Be loose. Be
happy. Be real. Think of these as potential seasonings for your stew. You
don't have to choose which ones to use just yet, so get them all out of the
cupboard.
3. Answer these questions as simply as you can. Your answers are the meat
and potatoes of your stew. Let them be raw and uncut for now.
a. What is your favorite tool? Why?
b. What is your favorite material? Why?
c. What do you like best about what you do?
d. What do you mean when you say that a piece has turned out really well?
e. What patterns emerge in your work? Is there a pattern in the way you
select materials? In the way you use color, texture or light?
f. What do you do differently from the way you were taught? Why?
g. What is your favorite color? List three qualities of the color. Consider
that these qualities apply to your work.
4. Look at your word list. Add new words suggested by your answers to the
questions above.
5. Choose two key words from your word list. They can be related or entirely
different. Look them up in a dictionary. Read all the definitions listed for
your words. Copy the definitions, thinking about what notions they have in
common. Look your words up in a Thesaurus. Read the entries related to your
words. Are there any new words that should be added to your word list?
6. Write five sentences that tell the truth about your connection to your
work. If you are stuck, start by filling in the blanks below.
When I work with _____________________________ I am reminded
that_________________.
I begin a piece by _______________________.
I know a piece is done when _______________________________.
When my work is going well, I am filled with a sense of _____________.
When people see my work, I'd like them to ______________________.
STEP TWO: Filling the Pot.
Write a three-paragraph artist's statement. Keep your sentences authentic
and direct. Use the present tense ("I am," not "I was," "I do," not "I
did.") Be brave: say nice things about yourself. If you find that you
falter, write three paragraphs about an artist whose work you admire. Then
write about yourself as though you were an admiring colleague. As a rule,
your artist's statement should be written in the first person. Refer to
yourself with the pronouns "I, me, my." If this blocks you, write in the
third person, then go back and change the pronouns as needed when you get to
Step Four. Use the suggestions below to structure your statement. Write
three to five sentences per paragraph. First paragraph. Begin with a simple
statement of why you do the work you do. Support that statement, telling the
reader more about your goals and aspirations. Second paragraph. Tell the
reader how you make decisions in the course of your work. How and why do you
select materials, techniques, themes? Keep it simple and tell the truth.
Third paragraph. Tell the reader a little more about your current work. How
it is grew out of prior work or life experiences. What are you exploring,
attempting, challenging by doing this work.
STEP THREE: Simmering the Stew.
Your artist's statement is a piece of very personal writing. Let it simmer
overnight before your reread it. This incubation period will help give you
the detachment necessary to polish the writing without violating your sense
of integrity and safety. While your statement simmers, let your mind wander
over the ingredients you assembled in Step One. Allow yourself to experience
the truth of your creative experience. Marvel at the wealth of seasonings
and abundance of vegetables you have at your disposal. Enjoy the realization
that your work is grounded in real values and experience. If you think of
things you might have left out of your statement, jot them down, but leave
the statement alone.
STEP FOUR: Taste and Correct the Seasonings.
Read your statement out loud. Listen to the way the sounds and rhythms seem
to invite pauses. Notice places where you'd like the sound or rhythm to be
different. Experiment with sounding out the beats of words that seem to be
missing until they come to mind. Do this several times until you have a
sense of the musical potential of your statement. As you read your
statement, some phrases will ring true and others false. Think about the
ones that aren't on the mark and find the true statement lurking behind the
false one. You may find that the truth is a simpler statement than the one
you made. Or your internal censors may have kept you from making a
wholehearted statement of your truth lest it sound self-important. Risk
puffing yourself up as long as your claims are in line with your goals and
values. Keep reading and revising your statement until you hear a musical,
simple, authentic voice that is making clear and honest statements about
your work. Refer to your word list and other Step One exercises as needed.
By now your taste buds are saturated. You need a second opinion. Choose a
trusted friend or professional to read your statement. Make it clear that
you are satisfied with the ingredients on the whole, but you'd like an
opinion as to seasoning. In other words, you alone are the authority for
what is true about your work, but you'd like feedback on clarity, tone, and
such technical matters as spelling and punctuation. Once you've incorporated
such suggestions as make sense to you, make a crisp, clear original of your
artist's statement. Sign and date it. Make lots of copies, you will have
lots of people to serve it to!
STEP FIVE: Summon the Guests.
There's little point in concocting a fabulous stew if you don't invite
anyone to dinner. Every time you use your artist's statement you extend your
circle of influence and build new branches of the support network for
making, showing and selling your work. Enclose a copy of your artist's
statement whenever you send a press release, letter of interest to a gallery
or store, or contact a collector. Send it to show promoters and curators.
Enclose a copy with shipments of your work so it can be displayed wherever
your work is exhibited. The rest of this manual will suggest many
opportunities for using your artist's statement to express your truth and
support your presentations.
STEP SIX: File Your Recipe!
Save all the notes and drafts that you've made. You'll want to revise and
update your artist's statement from time to time to reflect changes in your
work. Still, it is likely that many of the underlying expressions of your
authority will remain the same. Having access to the "recipe" for your
original statement will help you generate better revisions and will give you
a sense of creative continuity. Whenever you need copy (for announcements,
packaging, exhibit catalogues, etc.) return to your warm-up exercises. The
words and phrases there will help you write openly and honestly about your
work. And repeating the exercises will help you chart new creative
territory.
> From: JIMV062@AOL.COM
> Reply-To: Ceramic Arts Discussion List
> Date: Tue, 8 Aug 2000 22:48:00 EDT
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: Artist Statements
>
> I would also be interested in Artist Statements... Lisa..please include me
> in any info you receive.. Thanks Jim in Dallas.
>
> ______________________________________________________________________________
> 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.
Dewitt on wed 9 aug 00
At 07:05 8/9/00 -0400, you wrote:
>to all interested in writing an artist statement below is text i have saved
>from "somewhere" that i have found useful in the painful process of writing!
>it is a bit long but well worht printing out as a guide
I ran across the web version of this at
http://www.mollygordon.com/sa/artstatemt/saas.html
deg
Sheron Roberts on wed 13 sep 00
I am currently involved in a show
along with 5 other artists. We each
were asked to write a brief statement
to be hung on the wall or placed beside
our work. We also were asked to name
each piece of our exhibit. My part of the
show consists of 4 oil paintings and
2 watercolors, no problem naming them,
and several ceramic pieces. The=20
ceramics range from earthenware and
stoneware sculptural pieces to
earthenware bottles. All these were easy
to name except for the earthenware
bottles. I pondered over names, like
Burnished Earthenware with Sgrafitto
or Earthenware with Underglazes.
But I hate pointing out the obvious on=20
one hand and wasn't so sure who
would really know what this meant,
on the other. So I nixed that idea. I finally
decided to group them together and call them
Earthenware Bottles. Unimaginative? Maybe.=20
But after typing 6 artist's statements, and countless
name labels for the other artists, I was
exhausted mentally. By the way, after much
thought as to what I wanted to say in my
statement, the following just came of its
on free will. I typed it, took it to the bedroom
read it to my husband, he sat straight up in=20
bed and said, I like it, don't change a word,
and I didn't. The folks from the paper liked
it so much they published it. I was mortified.
I wasn't expecting that. Funny how I didn't
mind hanging it on a wall for thousands to
see, but shuddered to see it in the hometown
paper.
So, pretentious?, silly? art speak? bull malarkey?
Maybe many of you will see it as such, but it
came from my heart, in all sincerity, and=20
sums me up to a tee.
Sheron in NC
Input Overload.=20
All that I see, all that I experience, has the potential to become=20
a clay vessel, an oil painting, a watercolor, a poem.
Images and words beat at my eyes, agitated,=20
demanding to be let out, to be born.=20
Oh to discipline the untamed dog that is my imagination.=20
Then maybe I could sleep.
Mayssan1@AOL.COM on wed 13 sep 00
In a message dated 9/13/00 11:31:43 AM Eastern Daylight Time,
gemini53@WEBLNK.NET writes:
<< All that I see, all that I experience, has the potential to become
a clay vessel, an oil painting, a watercolor, a poem.
Images and words beat at my eyes, agitated,
demanding to be let out, to be born.
Oh to discipline the untamed dog that is my imagination.
Then maybe I could sleep.
>>
That is a wonderful statement it echoes what I and many other artists feel
but you put it into words. No art speak in my opinion here. Keep on writing.
Mayssan
Hendrix, Taylor J. on tue 8 oct 02
John,
_A Potter in Japan: 1952-1954_ by Bernard Leach is bursting with =
'artists statements' and 'life statements' for that matter. I don't =
think those two things need be mutually exclusive either. Here is just =
a taste!
p. 231 "I am convinced that, apart from the harm which an external =
approach to education and crafts would do to the less industrialized =
peoples, the whole world stands in need of a fresh understanding of work =
as an expression of the spirit of man. We have yet to discover the =
means of releasing our buried potential of wholeness. We have not only =
split the atom, but ourselves to boot, and somehow we have to put the =
bits, heart, head and hand, together again."
I love that man, dead and gone.
And Hamada! From _Shogi Hamada: A potter's way and work_
"I would never be proud of my work. There is always so much more to =
learn. I don't want to float on top of things, I just want to sink down =
to the bottom, to go down deeper right where I am."
We will never catch him, I think.
Both those men sought "the vision of the individual without =
individuality" and said as much.
Now in our present dime-a-dozen art world perhaps the need for a =
*written* artist statement is so that the wheat can be separated from =
the chaff. Ain't no Picassos here.
Maybe not.
Taylor
-----Original Message-----
From: John Jensen [mailto:mudbug@TOAD.NET]
Sent: Tuesday, October 08, 2002 4:20 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Artist statements
In the course of my attempts to understand art, I've read a number of
written works by artist of many kinds. Potters, painter, musicians. It
has been a great help to me to gain insight in to the mind and working
methods of those whose work I have deeply admired, and I'm grateful that
these people saw fit to put down and make available their thoughts and
insights.
Still I wonder if such honored greats as Hamada, Matisse, Gauguin, or
Leach, (to name just a few) ever wrote an "artist's statement" to go
along with a show. My sense is that no-one would have asked for such a
thing. My sense is that the artists mentioned would not have provided
such a thing.
But(of course), I could be wrong.
John Jensen, Mudbug Pottery
mudbug@toadhouse.com, www.toadhouse.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.
John Jensen on tue 8 oct 02
In the course of my attempts to understand art, I've read a number of
written works by artist of many kinds. Potters, painter, musicians. It
has been a great help to me to gain insight in to the mind and working
methods of those whose work I have deeply admired, and I'm grateful that
these people saw fit to put down and make available their thoughts and
insights.
Still I wonder if such honored greats as Hamada, Matisse, Gauguin, or
Leach, (to name just a few) ever wrote an "artist's statement" to go
along with a show. My sense is that no-one would have asked for such a
thing. My sense is that the artists mentioned would not have provided
such a thing.
But(of course), I could be wrong.
John Jensen, Mudbug Pottery
mudbug@toadhouse.com, www.toadhouse.com
claybair on tue 8 oct 02
My problem when reading or even writing my own statement is the trouble I
have processing the words. I guess it's that little voice in my head that
keeps repeating Blah, Blah, BlahBlah, Blah as I try to read!->
The same thing happens when I try to read an article with a lot of art
speak.
Now don't get bent out of shape...before you all yell at me........ I went
to college and gradiated (yes, spelled that way intentionally) with a BFA.
I switched majors (painting to printmaking) because I couldn't take another
minute of the bull**** art speak that thinly disguised a stunning lack of
talent. Those people sure could snow those painting instructors. One fellow
even confessed to me that he had used someone else's portfolio to get
accepted to PCA.
Tsk... tsk.... Blah... blah....blah....
Gayle Bair
Bainbridge Island, WA
http://claybair.com
-----Original Message-----
From: John Jensen
In the course of my attempts to understand art, I've read a number of
written works by artist of many kinds. Potters, painter, musicians. It
has been a great help to me to gain insight in to the mind and working
methods of those whose work I have deeply admired, and I'm grateful that
these people saw fit to put down and make available their thoughts and
insights.
Still I wonder if such honored greats as Hamada, Matisse, Gauguin, or
Leach, (to name just a few) ever wrote an "artist's statement" to go
along with a show. My sense is that no-one would have asked for such a
thing. My sense is that the artists mentioned would not have provided
such a thing.
But(of course), I could be wrong.
John Jensen, Mudbug Pottery
mudbug@toadhouse.com, www.toadhouse.com
John Jensen on wed 9 oct 02
Taylor;
Thanks for responding. Yes I know those men wrote at length about
their work and thoughts about their work. And yes, I can see that their
many of their writings would qualify as "Artist Statements". But these
writings were in the context of these men's larger work. They chose to
write extensively. What I'm wondering is how these men would have
reacted to a specific request (or demand) for an artist statement as a
requirement for an exhibition.
And I'm not sure the present day demand for "The Statement" serves to
separate the wheat from the chaff.
I've written a few and read some I really admire.
vince pitelka on wed 9 oct 02
> And I'm not sure the present day demand for "The Statement" serves to
> separate the wheat from the chaff.
Well goodness John, I certainly hope not. That is never the intent of
artist's statement. It has nothing to do with artspeak and intellectual
gymnastics. It is just a way to learn more about the artist and her/his
work. It is a fundamental, accepted part of the whole art dialogue in the
contemporary world. Aside from a few people on this list who seem to think
that their own private interpretation of art is the only thing that matters
(my god, what a limited and closed-minded way to appreciate art!), most
people are very pleased to find out a little more about the artist and
her/his work. It just informs our appreciation a little more.
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/
John Jensen on thu 10 oct 02
Vince;
There are two sides to this discussion. One side sees the artist
statement as a good thing beyond criticism. The other side feels that
the artist statement has become an institution with some negative
influence. Some people see their own point of view as the only one that
matters.
And anyway it wasn't I who said the statement served to separate the
wheat from the chaff. I mentioned it in a response to another post. Do
you even read or try to understand the points others are making? Or do
you just react to key words.
John Jensen
KLeSueur@AOL.COM on thu 10 oct 02
Summing up it appears we now know:
Some people think artist statements are a good exercise for the artist.
Some people think that artists statements are good for people who can't figure it out themselve. Kind of educating the public.
Some people like to read artists statements.
Some people think that reading most artists statements is a waste of time.
Some people enjoy writing an artists statements.
Some people dread writing an artists statement.
I personally have no objection to anyone one having an artists statement. I have a blurb about my work printed on a quarter sheet that is enclosed with every sale. My objection is being required to write and post one for a show. I hate having more and more hoops to jump through when what is important is my work. My research tells me that the people I want to reach, the consumer, don't care about artists statements. Otherwise, that prominently posted statement would have been read and I would have given out more than one free gift. Yet, the shows tell me they are intended to educate the public. I do believe that people who buy my work read the sheet enclosed. They just aren't interested in reading it in the booth. They are there to find something to buy.
So, write to your hearts content. Put it up if you want. Just don't tell me that I have to do it.
Kathi LeSueur
Elizabeth Priddy on sat 14 apr 07
I recently had to put up or shut up.
In writing my info for the presenters page for
the upcoming conference, I wrote a "just the facts"
paragraph about what I am teaching, like in a brochure
for classes.
When I looked at the other information from other presenters,
I got re-excited about what they were chosen for and really up
about seeing them work here in my home base!
And I looked at mine and saw the toad for what it was.
I would not have been excited about seeing who I was
according to that blurb. But it is what "I" submitted, verbatim !!
So I changed it. And the new one is up. And people might even get
excited about learning from me. (Wierd, but really how
it made me feel...I may be able to make them get excited about
things that have been problems for them in the past... and that makes
the teacher in me really happy)
Artist statements, in the real world, not the cloistered world
of acadamia, not the drawer you keep it in for the occasional
art show entry form, not the one you write every five years to
keep it all current...but for the real world...have to sell "you".
They are merketing tools, no more, no less. They are technical
writing pieces designed to get people excited about who you are.
Not to get you excited about who you are, mind you, but people
who don't know you from Adam or Eve.
I am glad Carolyn gave me a kick in the pants and told me
the truth about my "presenters information". A good hard critic
is a blessing in your life. It took me several weeks to rewrite it.
And a large part of that time was procrastination because I did
not want to "go there" and answer the questions:
"So why the hell would anyone want to to listen to me for 2 hours?
What have I done in my life that would be worth money to know?"
This may be the actual answer to the burning question,
"MFA or the big pond?"
I have chosen the big pond, by necessity rather than pure choice.
And here in the marketplace of ideas, there is no net. So you work
differently. Not necessarily harder or better, but differently. I haven't
had the priveledge of working at my own pleasure for the last year,
but I am finding new pleasures, new treasures in life.
And maybe a cold hard look at where you are in your career and life
is one of those treasures that is foist upon you rather than sought. And
having to write it down is another.
At least now that part is done. Now on to cleaning out the studios and
building the new throwing porch. High ho..high ho...it's off to work I go...
http://www.ceramics.org/potterscouncil/naturalinstincts/presenters.asp
Elizabeth
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
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Taylor Hendrix on sat 14 apr 07
Hmm Lee,
That just sounds like you're a higher priced or more descriminating
whore than the work-a-days, tee hee.
I thought artist's statements were statements of the artist...uh....a
manifesto of one, and as such they could say just about anything they
wanted to say.
I make pots. Free Tibet!
Taylor, in Rockport TX
On 4/14/07, Lee Love wrote:
...
> I view artist statements a little differently. I am not so
> interested in marketing or selling. I view the statement more as
> "match making" service. Marketing is like prostitution: where you
> are trying to sleep with as many people as possible, for the money. I
> am more interested in "finding the right one", or "ones" in this case.
...
Lois Ruben Aronow on sat 14 apr 07
> An artist statement can tell folks that your work might not be
what they are looking for. You aren't interested >in making work that
matches their sofa. It saves you both from wasting time.
I agree with this in some way, and would like to add a little more to this.
An artist statement, IMHO, should be a general description of your work,
ideas and influences. This lets the juror (or purchaser, or whomever)
assess if your work has met the goals you intended it to, as well as
understand it.
There have been several occasions where I saw 'something else" in someone's
work, but when I read the statement (or discussed the work with the artist),
I had the opportunity to see what they saw - or wanted to see.
For what it's worth, and no offense to anyone, I hate artspeak and think it
means absolutely nothing but an over inflated ego.
..Lo
Lois Aronow Ceramics
www.loisaronow.com
www.craftsofthedamned.blogspot.com
primalmommy on sun 15 apr 07
About artist statements, Elizabeth wrote:
>"It is important in that it tells the unknowing public what kind of
artist you are.
>What you leave in and what you leave out says more about you than the
content.
>So if I get a rambling account of my daily rituals, or a dense artspeak
packed
>diatribe, or a recipe for soup...it tells me how seriously you are
taking my time
>as a consumer of your words and a potential business partner or
customer.
>If you are an intrinsic flake, go there. It will tell business people
that you are
>a flake and they can decide from there whether they want to do business
with a flake.
>Some people like flakes more than others. It takes all kinds.
>Repeat that with serious person, dedicated artist, or smart
businessperson where
>I used "flake" and you will get a real sense of what I am getting at."
Elizabeth, you make some good points about artist statements, and it's
the kind of solid business advice I have heard and read elsewhere. But
you are maybe limiting your perspective to one purpose. Not all artist
statements are for the unknowing public, potential business partners or
customers.
Last fall I was asked to write a statement for a seminar class that was
broad enough to encompass a body of work I had only begun to explore.
Nothing was for sale; it was for a grade. Last week I was required to
write a statement to accompany my year's work. In neither case were any
profits on the line. There was nary a business person in the room,
serious or otherwise -- nor were the art profs really "the public".
I certainly could and should have edited my statement down (it was the
rambling account of daily rituals sort) but under the circumstances, I
am not sure any one set of rules would apply. Yes, I need to consider
the profs and their time constraints, and I hoped to impress them and
pass my review. On the other hand, they work for me, and are paid by my
tuition dollars to provide me with the information and opportunities I
need, so they can damn well read two pages.
The prof who sat in the center chair at my review was the same one who
had led the artist statement workshop, where he read us some of the
favorite ones he had gathered over the last 20 years of reading/editing
them. The ones he liked were surprising, off the wall, funny, absurd or
ironic. Not one of them sounded like a resume. Art profs seem open to a
little creative license, and students are expected to challenge the
status quo in the studio -- so why not elsewhere? Gawd, I'd hate for
David Hendley to accuse me of writing a "derivative" statement (lol).
So I believe what he said in the workshop -- that there are different
lengths, tones and approaches for the different functions of a
statement. The one on the gallery wall may well give the viewer a quick
hint about how to see the work. The one sent with a booth fee and
application might need a business focus, the one sent for a scholarship
application might need a resume/track record. One for Ceramics Monthly
might need a bit more personality. I don't think one size fits all.
It's not that I don't appreciate the role of making money in the "big
pond" -- in fact, in two more weeks I'll be back to doing that. Tony C,
ending his semester at USU, wrote me with pix of his big crunchy buckets
and says he is going to miss the freedom to make work that isn't for the
market. I think I will too -- but if I don't sell pots, I won't have
tuition for next year.
Enjoy that toddler. My little red haired baby is 13 all of a sudden,and
spent the weekend camping out with his youth group -- in a lovely mid
April snowstorm, no less.
Yours,
Kelly
"Serious is overrated"
http://www.primalpotter.com
Need cash? Apply now for a credit loan with fast approval
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Lynne and Bruce Girrell on sun 15 apr 07
Silly me.
I thought an artist's statement was supposed to say something about _why_
you're seeing _what_ you're seeing.
To put it another way, when I look at an artist's body of work, I would
expect the artist's statement to add insight as to why the pieces look the
way that they do.
Bruce "but what do I know?" Girrell
_________________________________________________________________
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Lee Love on sun 15 apr 07
On 4/15/07, Taylor Hendrix wrote:
> I thought artist's statements were statements of the artist...uh....a
> manifesto of one, and as such they could say just about anything they
> wanted to say.
Comrade Taylor. I think too many are like that.
> I make pots. Free Tibet!
Actually, this is related to why I make pots.
This is the first paragraph of my statement:
I make functional pottery in an effort to
preserve local culture in our modern
throw-away society.
My main goal is to inspire other people
to make their own creative work.
Human beings have always
worked with their hands. We are creators.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"To affect the quality of the day, that is the highest of arts." -
Henry David Thoreau
"Let the beauty we love be what we do." - Rumi
Lee Love on sun 15 apr 07
On 4/15/07, Lois Ruben Aronow wrote:
> There have been several occasions where I saw 'something else" in someone's
> work, but when I read the statement (or discussed the work with the artist),
> I had the opportunity to see what they saw - or wanted to see.
There is no correct answer in the meaning of any given work.
The artist might mean something and you see something else. What is
important is that art creates a dialog. It is communication. So,
the observer of the art can be a part of the creation by telling the
artist how successful he or she has been in his effort.
>
> For what it's worth, and no offense to anyone, I hate artspeak and think it
> means absolutely nothing but an over inflated ego.
Me too. Every artist should study haiku, where you use very
few words to convey a meaning.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"To affect the quality of the day, that is the highest of arts." -
Henry David Thoreau
"Let the beauty we love be what we do." - Rumi
Elizabeth Priddy on sun 15 apr 07
Who you are and what you have focused on for your
life as an artist is what the A.S.-marketing tool is about.
The document I described earlier will explain
who you are
what your subject material and media are
where you started and where you are headed
when you really feel good about what you are doing
&
why you have made your artistic, philisophical, and content decisions
It is a CV, resume, thesis statement, engaging story, and public apology,
all in one document to explain why you are seeing what you are seeing.
And all on one page if you can do it. If they want to know more, they will contact you.
It is important in that it tells the unknowing public what kind of artist you are.
What you leave in and what you leave out says more about you than the content.
So if I get a rambling account of my daily rituals, or a dense artspeak packed
diatribe, or a recipe for soup...it tells me how seriously you are taking my time
as a consumer of your words and a potential business partner or customer.
If you are an intrinsic flake, go there. It will tell business people that you are
a flake and they can decide from there whether they want to do business with a flake.
Some people like flakes more than others. It takes all kinds.
Repeat that with serious person, dedicated artist, or smart businessperson where
I used "flake" and you will get a real sense of what I am getting at.
But this is just my statement as an artist. I like to be taken seriously, respected for
my accomplishments, receive honest and blunt criticism, explore scientific pursuits,
teach serious students, learn from everyone, and make beautiful stuff.
I also laugh a lot and don't take many details of life too seriously. But I am, as I
said, thrust into the big pond. And documents and photographs are my calling
card in cities I am not. They better do their job without ambiguity or they hit the
circular file as useless paper and my efforts to communicate are wasted.
(My advanced pottery classes are by permission of the instructor and we laugh through
every class. But when it is over they can raku, sagger, wood fire, and operate electric
kilns, understand and make virtually any type of pot they encounter, and glaze with
successful and predictable results. My two current apprentices can build each of
these types of kilns as well and can both throw and handbuild very effectively.
And laughing all the way through it, but when I pause and gather them around,
they hush up and listen closely, because that is serious time and we all
understand the difference. The fact that I am funny is a pleasant surprise/bonus for most
people that don't know me personally before they sign up,)
Documents get the receiver interested enough to contact me, then I can let my laugh and
my sense of humor, or my wit charm them into wanting to get to know me. And lets
hope I am having a good enough day at that time to dredge up some of those traits
and trot them out, regardless of how tired I might be that day (toddlers are exhausting).
Maybe I just take it more seriously now that the mortgage is riding on it.
That may have been my point in a quick nutshell.
E
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
----- Original Message ----
From: Lynne and Bruce Girrell
To: CLAYART@LSV.CERAMICS.ORG
Sent: Sunday, April 15, 2007 8:48:21 AM
Subject: Re: artist statements
Silly me.
I thought an artist's statement was supposed to say something about _why_
you're seeing _what_ you're seeing.
To put it another way, when I look at an artist's body of work, I would
expect the artist's statement to add insight as to why the pieces look the
way that they do.
Bruce "but what do I know?" Girrell
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Linda White on sun 15 apr 07
>
> An artist statement, IMHO, should be a general description of your
> work,
> ideas and influences. This lets the juror (or purchaser, or whomever)
> assess if your work has met the goals you intended it to, as well as
> understand it.
>
> There have been several occasions where I saw 'something else" in
> someone's
> work, but when I read the statement (or discussed the work with the
> artist),
> I had the opportunity to see what they saw - or wanted to see.
One of the wonderful things about writing, so far anyway, is that the
writer doesn't have to write about what they were writing about. That
allows the reader to understand what was written in his own way. In
fact, current theories of reading include the reader as part of the
equation about what the writing means.
Sometimes a writer thinks they have written about one thing, but have
dealt with something else entirely. This is not necessarily a flaw.
This is part of what allows a piece of writing to be topical even in
a very different time and place than which it was written.
It seems to me that the emphasis on writing about what one has done
can overwhelm the myriad meanings that a work of art can encompass
and in a sense, make it less meaningful. As artists, don't we all
hope that our work is, at least in some small way, transcendent? And
if that is so, then no artist's statement should be the final arbiter
of what a work "means".
Vince Pitelka on sun 15 apr 07
Lois Ruben Aronow wrote:
> An artist statement, IMHO, should be a general description of your work,
> ideas and influences. This lets the juror (or purchaser, or whomever)
> assess if your work has met the goals you intended it to, as well as
> understand it.
> There have been several occasions where I saw 'something else" in
> someone's
> work, but when I read the statement (or discussed the work with the
> artist),
> I had the opportunity to see what they saw - or wanted to see.
> For what it's worth, and no offense to anyone, I hate artspeak and think
> it
> means absolutely nothing but an over inflated ego.
Thank-you Lois for good sense, briefly and well stated. I require my
students to write artist's statements each semester, and I want them to
learn to write honestly and effectively. Towards that end, I prepared a
handout about writing artist's statements. It is on my website at
http://iweb.tntech.edu/wpitelka/syllabi-handouts/handouts/artist's%20statement.htm
I have read a lot of artist's statements over the years - some good ones,
and LOTS of bad ones. I just want the artist's statement to best-serve the
artist and the viewer. What I have written in the above handout is just my
own attempt to help people do that.
- Vince
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Lee Love on sun 15 apr 07
On 4/14/07, Elizabeth Priddy wrote:
> They are merketing tools, no more, no less. They are technical
> writing pieces designed to get people excited about who you are.
> Not to get you excited about who you are, mind you, but people
> who don't know you from Adam or Eve.
I view artist statements a little differently. I am not so
interested in marketing or selling. I view the statement more as
"match making" service. Marketing is like prostitution: where you
are trying to sleep with as many people as possible, for the money. I
am more interested in "finding the right one", or "ones" in this case.
An artist statement can tell folks that your work might not
be what they are looking for. You aren't interested in making work
that matches their sofa. It saves you both from wasting time.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"To affect the quality of the day, that is the highest of arts." -
Henry David Thoreau
"Let the beauty we love be what we do." - Rumi
Eric Hansen on mon 16 apr 07
Linda - hey you just reminded me of this - artists are
usually liars or totally out to lunch when it come to
discussing themselves. You'll find more honesty in a
12 step meeting. I'm sure everyone knows this - they
are just looking for the little exceptions to the rule
that occasionally someone lets slip
H A M U L U S
eric hansen
a kansaspotter in D.C.
americanpotter.blogspot.com
--- Linda White wrote:
> >
> > An artist statement, IMHO, should be a general
> description of your
> > work,
> > ideas and influences. This lets the juror (or
> purchaser, or whomever)
> > assess if your work has met the goals you intended
> it to, as well as
> > understand it.
> >
> > There have been several occasions where I saw
> 'something else" in
> > someone's
> > work, but when I read the statement (or discussed
> the work with the
> > artist),
> > I had the opportunity to see what they saw - or
> wanted to see.
>
> One of the wonderful things about writing, so far
> anyway, is that the
> writer doesn't have to write about what they were
> writing about. That
> allows the reader to understand what was written in
> his own way. In
> fact, current theories of reading include the reader
> as part of the
> equation about what the writing means.
> Sometimes a writer thinks they have written about
> one thing, but have
> dealt with something else entirely. This is not
> necessarily a flaw.
> This is part of what allows a piece of writing to be
> topical even in
> a very different time and place than which it was
> written.
>
> It seems to me that the emphasis on writing about
> what one has done
> can overwhelm the myriad meanings that a work of art
> can encompass
> and in a sense, make it less meaningful. As artists,
> don't we all
> hope that our work is, at least in some small way,
> transcendent? And
> if that is so, then no artist's statement should be
> the final arbiter
> of what a work "means".
>
>
______________________________________________________________________________
> 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.
>
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Lois Ruben Aronow on mon 16 apr 07
I would beg to differ on this.
An Artist Statement should BRIEFLY sum up your work and, if appropriate,
your influences. When requested, they are usually less than 100 words - 50
being the average. I was once asked to write one in 20 words or less. Here
it is:
"My work reflects the joy of form, color and texture. Functional and funky;
handmade in my Brooklyn studio."
A BIO is different. That one is the CV or resume you describe that
accompanies the statement, and is generally used to broaden the scope of an
individual's artistic experience. The bio should include your education,
achievements, awards, shows of note (I don't include EVERY show I've ever
done) prizes, charity work related to your art, etc. This is something
that goes in a press kit.
You'll find that you'll need fewer words for your "statement" if you know
your work really well.
...Lo
******
Lois Aronow Ceramics
www.loisaronow.com
www.craftsofthedamned.blogspot.com
> Who you are and what you have focused on for your life as an
> artist is what the A.S.-marketing tool is about.
>
> The document I described earlier will explain
>
> who you are
> what your subject material and media are where you started
> and where you are headed when you really feel good about what
> you are doing & why you have made your artistic,
> philisophical, and content decisions
>
> It is a CV, resume, thesis statement, engaging story, and
> public apology, all in one document to explain why you are
> seeing what you are seeing.
>
> And all on one page if you can do it. If they want to know
> more, they will contact you.
>
> It is important in that it tells the unknowing public what
> kind of artist you are.
> What you leave in and what you leave out says more about you
> than the content.
>
> So if I get a rambling account of my daily rituals, or a
> dense artspeak packed diatribe, or a recipe for soup...it
> tells me how seriously you are taking my time as a consumer
> of your words and a potential business partner or customer.
>
Chris Campbell on mon 16 apr 07
It is very easy to substitute tons of empty words
for essential truth in an artist statement.
Kind of like those English papers where you
hope sheer volume will hide the fact that you
did not really read the book, but only went to
see the movie.
Volume is not an interesting substitute for a
distilled essence.
One paragraph should be more than enough
never mind one whole page. Have some pity
on the poor person who has to read these things.
I think the best exercise is to get it down to one
sentence ... no semi colons ... of actual truth.
Get to the heart of it then expand from there.
Chris Campbell - in North Carolina
Elizabeth Priddy on mon 16 apr 07
Your third paragraph really made me laugh.
Show it to some of your "profs"...bring a bucket in case
one of 'em busts a gut right in front of you.
I think the general clayart member understands that different pieces
of writing apply in different situations.
Words have to mean things.
Artist statement is a technical term first and a jumping off
point for other writings second.
You were writing for friends who had already given you a pass on
structure and with whom you are very familiar.
Suffice it to say that my conditions did not apply to you
specificly, that is why I changed the header.
I already said that you write well.
What you write is a personal decision.
I am glad it worked out for you.
Mine are working out for me too.
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
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Eleanor Arkowitz on mon 16 apr 07
right on lily k. i think a lot of these statements are bloated pieces of p=
uffery. i make pottery because i love the feel of the clay and enjoy the e=
ntire process of creating a functional piece. i don't think potters should=
have to indulge in prose writing to express their love for the medium. th=
eir work should show it!
eleanor arkowitz in stormy n.h.
.................................................
quote from lili k.
language (other than craft) the ability to write well, or to befriend a
writer. It no longer is enough to label a pot : Cereal Bowl. One must
produce a statement that the cereal bowl is an Homage to the Great Plains ,
or Rice Paddies , or Organic Farming =85you get the picture. And at the
Vernissage we would serve Fromage et Vin=85not Daikons and tea=85As I have
said--irritatingly often, no doubt--to me an Artist=92s Statement about a p=
ot,
or painting, or other non-verbal work makes as much sense as asking a write=
r
working in English to write a statement about her work in Chinese.>
Lois Ruben Aronow on mon 16 apr 07
Errr...who was this meant for?
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of
> Elizabeth Priddy
> Sent: Monday, April 16, 2007 10:35 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: artist statements
>
> Your third paragraph really made me laugh.
> Show it to some of your "profs"...bring a bucket in case one
> of 'em busts a gut right in front of you.
>
> I think the general clayart member understands that different
> pieces of writing apply in different situations.
>
> Words have to mean things.
>
> Artist statement is a technical term first and a jumping off
> point for other writings second.
>
> You were writing for friends who had already given you a pass
> on structure and with whom you are very familiar.
>
> Suffice it to say that my conditions did not apply to you
> specificly, that is why I changed the header.
>
> I already said that you write well.
>
> What you write is a personal decision.
> I am glad it worked out for you.
>
> Mine are working out for me too.
>
>
> Elizabeth Priddy
>
> Beaufort, NC - USA
> http://www.elizabethpriddy.com
>
> __________________________________________________
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> around http://mail.yahoo.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.
pdp1@EARTHLINK.NET on mon 16 apr 07
Too, in all fairness...
Expecting a Potter or other Artisan to make an "Artist's Statement"...
...would be no different than expecting someone who has a literary-writing
occupation, to make an 'object', which somehow expresses everything they
otherwise 'would' say, or would 'say' in words.
Eeeeeesh...
Phil
l v
Elizabeth Priddy on mon 16 apr 07
for kelly
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
----- Original Message ----
From: Lois Ruben Aronow
To: CLAYART@LSV.CERAMICS.ORG
Sent: Monday, April 16, 2007 5:02:27 PM
Subject: Re: artist statements
Errr...who was this meant for?
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of
> Elizabeth Priddy
> Sent: Monday, April 16, 2007 10:35 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: artist statements
>
> Your third paragraph really made me laugh.
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Lee Love on tue 17 apr 07
On 4/17/07, pdp1@earthlink.net wrote:
> Too, in all fairness...
>
>
> Expecting a Potter or other Artisan to make an "Artist's Statement"...
>
> ...would be no different than expecting someone who has a literary-writing
> occupation, to make an 'object', which somehow expresses everything they
> otherwise 'would' say, or would 'say' in words.
Some might say it is asking the potter to be a grownup. ;^)
Now tell me, what's the difference between just talking
about pottery (not making it) and writing about pottery anyway? ;^)
:^)
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"To affect the quality of the day, that is the highest of arts." -
Henry David Thoreau
"Let the beauty we love be what we do." - Rumi
sacredclay on tue 17 apr 07
I've never written an artist statement simply because for one reason-
I don't like to and I don't want to color what you think of my
pieces. but then again, I feel like I'm going to do a Sally Field
reditions. "You lke me! You really like me!" Kathryn in NC --- In
clayart@yahoogroups.com, Lynne and Bruce Girrell
wrote:
>
> Silly me.
>
> I thought an artist's statement was supposed to say something about
_why_
> you're seeing _what_ you're seeing.
>
> To put it another way, when I look at an artist's body of work, I
would
> expect the artist's statement to add insight as to why the pieces
look the
> way that they do.
>
> Bruce "but what do I know?" Girrell
>
> _________________________________________________________________
> Mortgage refinance is Hot. *Terms. Get a 5.375%* fix rate. Check
savings
> https://www2.nextag.com/goto.jsp?product=3D100000035&url=3D%
2fst.jsp&tm=3Dy&search=3Dmortgage_text_links_88_h2bbb&disc=3Dy&vers=3D925&s=
=3D40
56&p=3D5117
>
>
______________________________________________________________________
________
> Send postings to clayart@...
>
> 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@...
>
Lois Ruben Aronow on tue 17 apr 07
Enough with the big words and artspeak already.
I'll quote one of MY heroes: "Perfection is when there is nothing left to
take away" (Antoine St. Exupery)
And just for good luck, by the same author: "Grown-ups never understand
anything by themselves, and it is exhausting for children to have to provide
explanations over and over again."
..Lo
"... I have had, in the course of my life, lots of encounters and lots of
serious people. I have spent lots of time with grown-ups. I have seen them
at close range... which haven't much improved my opinion of them."
(couldn't resist one last quote)
***
Lois Aronow Ceramics
www.loisaronow.com
www.craftsofthedamned.blogspot.com
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of
> Dinah Steveni
> Sent: Tuesday, April 17, 2007 1:18 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: artist statements
>
> I have this framed in my studio. Prominently.
>
> > function one has occasion to face absurdity. More than
> anything, somewhat like a demented piano-tuner, one is trying
> to approximate a phantom pitch. One is apt to take refuge in
> pseudo-principles which crumble. Still, the routine of work
> remains. One deals with facts.>
>
> Hans Coper.
>
> I've quoted this gem from Coper a couple of times in Artist's
> Statement forays. It keeps me off the moral high ground. AKA
> grounded.
>
> Dinah Steveni
> ----- Original Message -----
> From: "Lois Ruben Aronow"
> To:
> Sent: Monday, April 16, 2007 2:02 PM
> Subject: Re: artist statements
>
>
> > Errr...who was this meant for?
> >
> > > -----Original Message-----
> > > From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of
> > > Elizabeth Priddy
> > > Sent: Monday, April 16, 2007 10:35 AM
> > > To: CLAYART@LSV.CERAMICS.ORG
> > > Subject: Re: artist statements
> > >
> > > Your third paragraph really made me laugh.
> > > Show it to some of your "profs"...bring a bucket in case
> one of 'em
> > > busts a gut right in front of you.
> > >
> > > I think the general clayart member understands that
> different pieces
> > > of writing apply in different situations.
> > >
> > > Words have to mean things.
> > >
> > > Artist statement is a technical term first and a jumping
> off point
> > > for other writings second.
> > >
> > > You were writing for friends who had already given you a pass on
> > > structure and with whom you are very familiar.
> > >
> > > Suffice it to say that my conditions did not apply to you
> > > specificly, that is why I changed the header.
> > >
> > > I already said that you write well.
> > >
> > > What you write is a personal decision.
> > > I am glad it worked out for you.
> > >
> > > Mine are working out for me too.
> > >
> > >
> > > Elizabeth Priddy
> > >
> > > Beaufort, NC - USA
> > > http://www.elizabethpriddy.com
> > >
> > > __________________________________________________
> > > Do You Yahoo!?
> > > Tired of spam? Yahoo! Mail has the best spam protection around
> > > http://mail.yahoo.com
> > >
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> > > melpots@pclink.com.
> >
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> ______________________________________________________________
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> > Send postings to clayart@lsv.ceramics.org
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> ________________
> Send postings to clayart@lsv.ceramics.org
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Dinah Steveni on tue 17 apr 07
I have this framed in my studio. Prominently.
occasion to face absurdity. More than anything, somewhat like a demented
piano-tuner, one is trying to approximate a phantom pitch. One is apt to
take refuge in pseudo-principles which crumble. Still, the routine of work
remains. One deals with facts.>
Hans Coper.
I've quoted this gem from Coper a couple of times in Artist's Statement
forays. It keeps me off the moral high ground. AKA grounded.
Dinah Steveni
----- Original Message -----
From: "Lois Ruben Aronow"
To:
Sent: Monday, April 16, 2007 2:02 PM
Subject: Re: artist statements
> Errr...who was this meant for?
>
> > -----Original Message-----
> > From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of
> > Elizabeth Priddy
> > Sent: Monday, April 16, 2007 10:35 AM
> > To: CLAYART@LSV.CERAMICS.ORG
> > Subject: Re: artist statements
> >
> > Your third paragraph really made me laugh.
> > Show it to some of your "profs"...bring a bucket in case one
> > of 'em busts a gut right in front of you.
> >
> > I think the general clayart member understands that different
> > pieces of writing apply in different situations.
> >
> > Words have to mean things.
> >
> > Artist statement is a technical term first and a jumping off
> > point for other writings second.
> >
> > You were writing for friends who had already given you a pass
> > on structure and with whom you are very familiar.
> >
> > Suffice it to say that my conditions did not apply to you
> > specificly, that is why I changed the header.
> >
> > I already said that you write well.
> >
> > What you write is a personal decision.
> > I am glad it worked out for you.
> >
> > Mine are working out for me too.
> >
> >
> > Elizabeth Priddy
> >
> > Beaufort, NC - USA
> > http://www.elizabethpriddy.com
> >
> > __________________________________________________
> > Do You Yahoo!?
> > Tired of spam? Yahoo! Mail has the best spam protection
> > around http://mail.yahoo.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.
Taylor Hendrix on tue 17 apr 07
Nothing, Lee, absolutely nothing.
I have never met a clayer who didn't want to talk about his or her
work, some unsolicited. No need in making it hard. It's an easy
homework assignment ain't it Lee?
Taylor, in Rockport TX
On 4/16/07, Lee Love wrote:
...
Now tell me, what's the difference between just talking
> about pottery (not making it) and writing about pottery anyway? ;^)
...
Deborah Grant on tue 17 apr 07
I hesitate to add my 2 cents to this thread but I'm going to do it anyway. I
think artist statements should be short and to the point and allow the
viewer to interpret the work on his own. This is my statement. I have been
working with clay for 40 years and am still in awe of the versatility of the
the
medium. Though the majority of my work is functional I am primarily
concerned with form in space
so that I consider my work to be sculptural as well. Since 3 dimensional
form is my primary cosideration my use of texture, decoration, and glazes is
meant to enhance the form. My forms
themselves are basically organic in nature and hopefully fulfill the
function for which they are intended.
>Reply-To: Clayart
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: artist statements
>Date: Mon, 16 Apr 2007 17:51:15 -0500
>
>right on lily k. i think a lot of these statements are bloated pieces of
>puffery. i make pottery because i love the feel of the clay and enjoy the
>entire process of creating a functional piece. i don't think potters
>should have to indulge in prose writing to express their love for the
>medium. their work should show it!
>eleanor arkowitz in stormy n.h.
>.................................................
>quote from lili k.
>>language (other than craft) the ability to write well, or to befriend a
>writer. It no longer is enough to label a pot : Cereal Bowl. One must
>produce a statement that the cereal bowl is an Homage to the Great Plains ,
>or Rice Paddies , or Organic Farming …you get the picture. And at the
>Vernissage we would serve Fromage et Vin…not Daikons and tea…As I have
>said--irritatingly often, no doubt--to me an Artist’s Statement about a
>pot,
>or painting, or other non-verbal work makes as much sense as asking a
>writer
>working in English to write a statement about her work in Chinese.>
>
>______________________________________________________________________________
>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.
_________________________________________________________________
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pdp1@EARTHLINK.NET on tue 17 apr 07
Hi Lee,
You ask ...
----- Original Message -----
From: "Lee Love"
> On 4/17/07, pdp1@earthlink.net wrote:
>> Too, in all fairness...
>>
>>
>> Expecting a Potter or other Artisan to make an "Artist's Statement"...
>>
>> ...would be no different than expecting someone who has a
>> literary-writing
>> occupation, to make an 'object', which somehow expresses everything they
>> otherwise 'would' say, or would 'say' in words.
> Some might say it is asking the potter to be a grownup. ;^)
> Now tell me, what's the difference between just talking
> about pottery (not making it) and writing about pottery anyway? ;^)
> :^)
The context for the moment is that of 'Artist's Statements', which is
another matter entirely from 'talking-about-pottery', especially where
taling-about-pottery ( such as may be seen on our forum here, ) tends to be
too 'long' and too large a matter in all it's ancillarys and brachiations,
to fit comfortably on a small tri-fold or hang-card...or...
The necessary brevity and content of the Artist's Statement distinguishes it
from wider and more ambley and varied indulgences or their detailed forays
into ancillarys'
abstracts.
Seems to me...
Too, I think the phrase 'grownup' is actually two words, possibly
hyphenated - as: "grow nup", or, "grow-nup"...sometimes also spelled
"groan-up" or "gro' nup"...the latter being the more sublime...
> Lee in Mashiko, Japan
> Minneapolis, Minnesota USA
Phil
l v
Richard Aerni on wed 18 apr 07
Forgive my oversimplication...
but, any statement an artist makes is an "artist statement." The question
is, what purpose does it serve?
I would advise everyone out there to write something that they feel
describes them, their work, in terms they are comfortable with. Whether it
be long, short, artistic, naive, informative, "out there", whatever...if it
describes your feelings about your work at a particular time, and for a
particular purpose, so be it.
I find it somewhat amusing, and also sad, that so many people are stressing
over their word statements instead of their work. Yes they are necessary,
but they are no substitute for good work. Your professors will not grade
you for this (unless you are in school and it is a requirement). Your
customers will not hold it against you, as they don't want your statement,
just your work.
Go for it!
Richard Aerni
Rochester, NY
Antoinette Badenhorst on wed 18 apr 07
Some years back my husband and I went to a song writing workshop. The =
single
most important thing that the presenter said to us was: If you have to
explain, you are not successful.=20
I think one can pull that through to all creative areas in our lives.=20
One has to ask yourself what is the purpose of the artist statement. In =
my
view it should be something that teases the reader to find out more =
about
you and the work you represent. If you offer everything he has to know =
in
your artist statement, there might be no reason to see the work itself
anymore; so keep all the details in your work and your personal story in
your biography. Then use both of those to encourage the reader to talk =
to
you. Once you talk to them, you can color your story while referring to =
the
pieces.=20
The key in my mind is to get the onlooker to look at your work and to =
get
them to buy it! I experienced it many times before that people got so
interested in my background that they forget what made them talk to me =
in
the first place AND THAT COST ME SALES. Do not use provoking questions =
or
debates with your artist statement. Keep it simple and keep it so that
people get drawn to your work and not the message that you want to give
through your work. LET THE WORK TELL THAT STORY.
Antoinette Badenhorst
Schaumburg IL
=20
847 895 3549
www.clayandcanvas.com
www.southernartistry.org
www.studiopottery.uk
=20
=20
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Lois Ruben
Aronow
Sent: Tuesday, April 17, 2007 4:30 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: artist statements
Enough with the big words and artspeak already.
I'll quote one of MY heroes: "Perfection is when there is nothing left =
to
take away" (Antoine St. Exupery)
And just for good luck, by the same author: "Grown-ups never understand
anything by themselves, and it is exhausting for children to have to =
provide
explanations over and over again."
..Lo
"... I have had, in the course of my life, lots of encounters and lots =
of
serious people. I have spent lots of time with grown-ups. I have seen =
them
at close range... which haven't much improved my opinion of them."
(couldn't resist one last quote)
***
Lois Aronow Ceramics
www.loisaronow.com
www.craftsofthedamned.blogspot.com
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of
> Dinah Steveni
> Sent: Tuesday, April 17, 2007 1:18 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: artist statements
>
> I have this framed in my studio. Prominently.
>
> > function one has occasion to face absurdity. More than
> anything, somewhat like a demented piano-tuner, one is trying
> to approximate a phantom pitch. One is apt to take refuge in
> pseudo-principles which crumble. Still, the routine of work
> remains. One deals with facts.>
>
> Hans Coper.
>
> I've quoted this gem from Coper a couple of times in Artist's
> Statement forays. It keeps me off the moral high ground. AKA
> grounded.
>
> Dinah Steveni
> ----- Original Message -----
> From: "Lois Ruben Aronow"
> To:
> Sent: Monday, April 16, 2007 2:02 PM
> Subject: Re: artist statements
>
>
> > Errr...who was this meant for?
> >
> > > -----Original Message-----
> > > From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of
> > > Elizabeth Priddy
> > > Sent: Monday, April 16, 2007 10:35 AM
> > > To: CLAYART@LSV.CERAMICS.ORG
> > > Subject: Re: artist statements
> > >
> > > Your third paragraph really made me laugh.
> > > Show it to some of your "profs"...bring a bucket in case
> one of 'em
> > > busts a gut right in front of you.
> > >
> > > I think the general clayart member understands that
> different pieces
> > > of writing apply in different situations.
> > >
> > > Words have to mean things.
> > >
> > > Artist statement is a technical term first and a jumping
> off point
> > > for other writings second.
> > >
> > > You were writing for friends who had already given you a pass on
> > > structure and with whom you are very familiar.
> > >
> > > Suffice it to say that my conditions did not apply to you
> > > specificly, that is why I changed the header.
> > >
> > > I already said that you write well.
> > >
> > > What you write is a personal decision.
> > > I am glad it worked out for you.
> > >
> > > Mine are working out for me too.
> > >
> > >
> > > Elizabeth Priddy
> > >
> > > Beaufort, NC - USA
> > > http://www.elizabethpriddy.com
> > >
> > > __________________________________________________
> > > Do You Yahoo!?
> > > Tired of spam? Yahoo! Mail has the best spam protection around
> > > http://mail.yahoo.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.
>
> ______________________________________________________________
> ________________
> 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.
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