carrie or peter jacobson on tue 30 mar 99
Hello all: I would love to see your artist's statements, if you are willing
to share them here on the list.
Best,
Carrie
Carrie Jacobson
Pawcatuck, CT
mailto:jacobson@brainiac.com
Louis Katz on wed 31 mar 99
------------------
Here is my latest
Combing ones hair is an aesthetic statement as is mowing the lawn. That hair
combing lawn mowing suburbanites often prefer to spend vacation time hiking =
in
the woods eating granola bars is difficult for me to understand. I prefer my
wife=EDs hair in the morning as she gets out of bed, fresh, frizzy. I prefer=
her
legs unmown and uncut as she prefers or at least understands my preference =
for
a beard. I comb, I cut, I =ECneaten=EE but only as a necessary concession to=
an
intolerant society.
Clay is a refuge.
An older statement can be found at:
http://www2.tamucc.edu/lkatz/lkatz/articles/wholetruth.html
Louis
carrie or peter jacobson wrote:
=3E ----------------------------Original message----------------------------
=3E Hello all: I would love to see your artist's statements, if you are =
willing
=3E to share them here on the list.
=3E
=3E Best,
=3E
=3E Carrie
=3E
=3E Carrie Jacobson
=3E Pawcatuck, CT
=3E mailto:jacobson=40brainiac.com
--
Louis Katz
lkatz=40falcon.tamucc.edu
NCECA Director of Electronic Communication and Webmaster
Texas A=26M-CC Division of Visual and Performing Arts
Visit the NCECA World Ceramics Image Database Online
Looking for a school or a class? Visit NCECA Ceramics Educational Programs
Database Online
Coastal Bend Arts Calendar Webmaster
Tena Payne on wed 31 mar 99
Carrie:
It's funny that you asked this now.... after 20+ years as a worker of
clay (aka clayslave) I've just recently defined my artist's
statement.... it is:
I want to create something worth being remembered.
I want to contribute to the excellence of my craft.
Tena
in Birmingham where the 'green' rain is falling. (The one that turns
everything green.)
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com
Berry Silverman on wed 31 mar 99
--- carrie or peter jacobson
wrote:
> ----------------------------Original
> message----------------------------
> Hello all: I would love to see your artist's
> statements, if you are willing
> to share them here on the list.
>
> Best,
>
> Carrie
>
>
> Carrie Jacobson
> Pawcatuck, CT
> mailto:jacobson@brainiac.com
>
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
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com
Mason Batchelder on thu 1 apr 99
Dear Barry,
Your sentiments are exectly the same as my feelings on this subject and I
always felt that our art/craft expressions was our "voice" and no explaination
in someone else's medium.A writer does not necessarily need to illustrate
his/her work to give it meaning.Granted ,the illustrator can enhance a
written story but is not a necessary adjunct to it and the writer need not be
an illustrator.In art college, it always mystified me that the biggest bs
artists seemed to make out better than those of us who crafted in our own
medium.I remember many who picked up some piece of trash after partying the
night away and with the gift of gab snowed the instructor into a darned decent
grade over those of us who slavishly worked up our project in the course
media.Who knows?I think I wound up in clay for that reason and the great
people I met who also worked in clay.I stopped getting ARTFORUM and went to
subscribing to Ceramics Monthly.I'm sure I missed something and will hear it
from the academic types but I enjoy the clay for the way it feels,what it can
do in my hands and how the work speaks to me.
I have called myself a clayartist since 1972 and have the liscense plates with
it on them to prove it.lol.
Margaret Arial
in Lexington,S.C.(100 miles south of NCECA site-unless Lori Leary HAS FUN WITH
THE SIGNAGE...LOL...INSIDE JOKE)
Lori Leary on thu 1 apr 99
Here is a statement that I have been using lately...I have been doing
simple, elegant (I hope) pots. Of course, as mel says, there is nothing
new, it's all been done one way or the other. So...I wanted to make
sure John and Jane Q. Public were aware of that. BUT that as in many
other fields, it is possible to create original work by drawing from the
past.
Here goes:
Mastery of the scientific, technical and observational skills required
for the creation of works in clay is an essential element of my work, as
is having appreciation for works created in the past. My art is created
by combining craftsmanship, knowledge, aesthetic vision, and the often
capricious nature of the process and materials....as well as by
acknowledging, respecting, and building upon work that has been done by
past generations. My intent is to create pots that speak for
themselves in unique, beautiful, and elegant voices.
Hope it makes sense,
Lori L.
lleary@sccoast.net
Carol Jackaway on thu 1 apr 99
I agree Berry.
It makes know sense to me to veiw an artist work, then turn my head and
have words trying to explain it to me. If the work doesn't "say" it then it
needs more work and thought put into it.
I had to write on artist statement for a shows catalog, I discussed the
building, and glazing concepts and why I choose my subject matter. But all of
this I felt was there in the peice. Mine was the shortes one in the book.
Just my 2 cents
Carol Jackaway
CoilLady
Kristin Doner on thu 1 apr 99
Here's mine
Ancient history and the mystery surrounding it captivate me, including the
rituals that previous civilizations may have used, the culture they may
have lived in, and the spiritual roles that vessels played. Working with
clay, I seek to express a timeless connection to things past and future,
through the use of vessels.
To relate this to my work, you can take a look at my web page, which is
under construction, and will be changing considerably:
http://users.lanminds.com/mudwoman
-----------
Kristin Doner
mudwoman@lmi.net
-----Original Message-----
From: carrie or peter jacobson [SMTP:jacobson@brainiac.com]
Sent: Tuesday, March 30, 1999 10:55 AM
To: CLAYART@LSV.UKY.EDU
Subject: artist's statements
----------------------------Original message----------------------------
Hello all: I would love to see your artist's statements, if you are willing
to share them here on the list.
Best,
Carrie
Carrie Jacobson
Pawcatuck, CT
mailto:jacobson@brainiac.com
zahidi on thu 1 apr 99
You asked for it! Sheesh. "Artist Statement: Look at the work, for pity
sake!" But I call it playing the Game. Just another marketing ploy, but we
gotta do it. Here's mine:
"Human beings are containers of the energy of the Universe. We're made from
the elements of the mother Earth and transformed by life experience. My
PLAY is to make these containers out of mud, then put them in the hot fire
to be transformed into something strong and beautiful. My JOY is to teach
others how to draw what they see, and how to coax the clay to do what they
think it should do. My WORK is to make art in a way that honors the miracle
of human form, explores the mysterious complexity of the mind, and
empathizes with the multiple emotions we experience. While losing my Self
in these processes, I can forge that 'Alliance with the Great Creator.'"
So, like, what planet are you from, and what are you going to do with these
statements?
Zee on the swamp in LA, where the peepers are singing and the baby birds in
the planter on the porch are chirping constantly for more food.
zahidi@gs.verio.net
-----Original Message-----
From: carrie or peter jacobson
To: CLAYART@LSV.UKY.EDU
Date: Tuesday, March 30, 1999 12:55 PM
Subject: artist's statements
----------------------------Original message----------------------------
Hello all: I would love to see your artist's statements, if you are willing
to share them here on the list.
Best,
Carrie
Carrie Jacobson
Pawcatuck, CT
mailto:jacobson@brainiac.com
=?iso-8859-1?Q?Ren=E9?= Sprattling on thu 1 apr 99
------------------
=3E----------------------------Original message----------------------------
=3EHello all: I would love to see your artist's statements, if you are =
willing
=3Eto share them here on the list.
=3E
=3EBest,
=3E
=3ECarrie
=3E
=3E
=3ECarrie Jacobson
=3EPawcatuck, CT
=3Emailto:jacobson=40brainiac.com
Hi Carrie,
Here is a pared down version of my artist's statement, the only one I had
handy on my computer. It's not much, but it's here.
Ren=E9 lives with her family on six acres near Grass Valley,
California, where she teaches and works in her studio creating functional
ware and a bit of raku work. She has been a potter for over 30 years and
is constantly challenged and excited by the medium of clay.
=22It is important for me to know that what I produce will become an
integral part of the lives of my customers as they go about their daily
lives, eating, cooking, gardening etc. Setting pots on the mantle for
viewing is wonderful too. However, the medium of clay carries with it an
added bonus besides visual beauty by providing one with a tactile
intimacy, while being served by the art in a functional manner. It is the
knowledge of this intimacy and service that excites me when I produce
functional ware. In the ceramic world there is constant controversy over
=22art=22 versus =22craft=22=3B form versus function. Personally, I try not =
to think
about it, and craft my pottery as beautifully as possible. I truely believe
that the undertaking of any endeavor that aids and advances civilization in
the greatest or smallest degree, either spiritually or physically, and is
performed in the spirit of service, is akin to worship.
So I'll just keep making pottery for people to use and enjoy=21=22
Kristin Doner on fri 2 apr 99
Re the usefulness of an Artist Statement.
In my opinion, the Artist Statement is first and foremost a tool for the
artist to get clear about what they are trying to say. Yes, we are
communicating through our artwork, be it functional or non-functional. The
act of putting on paper, and really clarifying for yourself what your work
is about, may very well bring out new issues. For instance in my case I
hadn't really noticed my focus on the creating vessels for non-use, and the
act of writing my statement helped me to clarify my emotions about the
issues involved. Yes, the expression in clay was natural and stood on it's
own without my Artist Statement. But once my statement was written, which
by the way took about a month of examination, clarifying, and editing, I
felt much more focused as an artist. And as a result of that, my work
itself took on a very clear focus.
Secondly, once the Artist Statement is written, it's an easy tool to
communicate with. Not everyone is going to "get" your work, even if you
only do casseroles..... you may have a passion for creating the perfect
container to put in the oven, which when used brings something special to
the user's life. Why wouldn't you want your buying public to know about
that passion? It makes your work that much more personal.... and once it's
personal, almost anybody will want to part with the bucks to have it in
their life.
Bottom line, the Artist Statement is a tool. We communicate in many ways.
The clay is one medium, the Artist Statement is another.
-----------
Kristin Doner
mudwoman@lmi.net
Carol Jackaway on fri 2 apr 99
Although I agree that anything we can use to educate the public about our
work is a very good thing, How many of us have read artist statements that
have nothing to do with the work or how the artist got to that point? How
many of us have read artist statements that talk about everything else but
the work? These are the artist statements that I talk about. The process of
creating our work, how we develop our glazes and why we create our forms, I
feel, is what should go into an artist statement. I have read to many artist
statements that do not make any sense and are totally confusing. I have
stood back and watched John Q public read these statements, only to see them
shake their heads, walk away not read an statement in the whole show.
Carol Jackaway
CoilLady So I guess it is my 4 cents now.
Steve Hum on fri 2 apr 99
To take this potion one must assume the viewer to be "all knowing" and that
is asking/demanding a lot. To educate along the way is part of our job. The
work is surely a big piece of it, but there are may ways to do it and a
statement is one.
Another two cents worth.
Hum in bucolic Bonny Doon
>----------------------------Original message----------------------------
>I agree Berry.
> It makes know sense to me to veiw an artist work, then turn my head and
>have words trying to explain it to me. If the work doesn't "say" it then it
>needs more work and thought put into it.
> I had to write on artist statement for a shows catalog, I discussed the
>building, and glazing concepts and why I choose my subject matter. But all of
>this I felt was there in the peice. Mine was the shortes one in the book.
>Just my 2 cents
>Carol Jackaway
>CoilLady
phyllis michele greenhouse on fri 2 apr 99
>Hello all: I would love to see your artist's statements, if you are
willing
to share them here on the list.
>Best,
>Carrie
here is mine :
My work confronts multi-faceted concerns. I am
captivated by the process when design evolves
spontaneously. Rather than following a planned
scheme, I simply begin by allowing my brush to
meander over the surface of a bisqued form,
letting my subconscious express itself in its desire
to achieve a textile-like appearance.
My forms are essentially wheel-thrown, with an
emphasis on hand-built sculptural components,
culminating in a meticulously detailed surface.
The textile effect emanates from the application
of many layers of juxtaposed polychrome slip.
These designs are deeply felt, ongoing personal fantasies,
which gain their liberation, each in turn as they crystallize
upon every surface.
I find a deep sense of synchronicity and solace with my
clayart in the long hours spent painting, whilst cradling
my current vessel/urn or compote in my arms.
ffff,0000,0000phyllis
0000,8080,8080michele 8080,0000,8080
0000,0000,ffffearthspinner inc.
ffff,0000,ffffrapture@accesspro.net
0000,8080,0000http://www.accesspro.net/rapture
8080,0000,8080http://www.geocities.com/soho/galler
Erin Hayes on fri 2 apr 99
Hi All!
I understand the occasional eye-rolling over the use of artist's statements,
but as Margaret mentioned, the academic types were bound to speak up.
I remember having conversations with my fellow grad students about the
usefulness or uselessness of being able to talk about your work. It seemed
awfully snooty at the time. But as I got farther along in clay, and started
to think about what clay meant to me as a material and a process, it seemed
very natural to talk about such things with others.
As a matter of fact, Margaret's comment: "I enjoy the clay for the way it
feels,what it can do in my hands and how the work speaks to me,"
*is* an artist's statement, albeit a very brief one. All they are is a way
to give the people who see our work a little insight into why we do what we
do. That's how I see it anyway.
Erin.
Bill Aycock on tue 6 apr 99
Recently, someone mentioned a site with the word "art" and ending with a
couple of "Z"s as having a funny Artist's statement. I went there- indeed,
it was a classic of the meaningless jargon- overblown nonesense type. In
short- it was fulsome. (look it up)
Then- I looked at the portfolios, after looking at the pics of the
"artists", and reading Tom Curran's post.
Now- I had to re-think- actually, the "statement" and the "art" (in a way)
belonged together.
Bill- sitting sideways , on Persimmon Hill, after "pulling" something in
his back while gardening.
BIG PS-- The Hummingbirds made it here in time for my Birthday , as usual.
-
Bill Aycock --- Persimmon Hill
Woodville, Alabama, US 35776
(in the N.E. corner of the State)
W4BSG -- Grid EM64vr
baycock@HiWAAY.net
Cindy Strnad on wed 17 may 00
Hi, everybody.
I received a few positive comments on my post re: crafting an artist's =
statement. Thanks, guys--it's always good to feel encouraged and =
appreciated. I was working on my own artist's statement this morning, =
and thought maybe someone would be interested in reading what I put =
together. All comments encouraged and appreciated, and remember, my =
statement is meant primarily for galleries and gift shops that sell my =
work, not for a museum exhibition.
Artist=92s Statement
I love sitting outside my studio, looking across the meadow and into the =
quiet pines, carving visions onto unfired clay. Just for now, I can =
leave my mark. Soon, the heat of the "baby dragon" in my kiln shed will =
turn the leather hard clay to stone. In warm weather, I=92ll lug glaze =
buckets out to the picnic table and enjoy the sun while I cover the =
bisque-fired pottery with thin gray mud which will melt to opal blue =
during the glaze firing.
The designs I inscribe into my pottery flow in a river=97always the =
same, always different. Sometimes eddies of inspiration produce a =
unfamiliar patterns. Still, as Solomon said, "There is nothing new under =
the sun." The pictures I see in my mind were birthed in countless others =
before me. Maybe two hundred years ago, another woman sat in this field =
I call mine, carving designs into clay, and would have smiled to see how =
I slowly relearn the patterns her mother and grandmother and =
great-grandmother taught her.
She would build a hot fire over her wares, then smother the flames with =
dung, to turn the pottery a shiny black. Many of the pots would break in =
the sudden violence of the flames, but those that survived would carry =
water, hold food, or cook supper in the coals of an evening fire. =
Perhaps they would be used in sacred ceremonies, given as gifts, or =
traded for the goods of a far-away tribe.
Our lives have changed much, but we are still the same people. Maybe =
you=92ll use my cups to heat water for tea in your microwave oven, or a =
goblet for a sip or two of imported wine. When you do, I hope you=92ll =
feel a connection to the past, to the people who have lived here before, =
who also ate and drank from clay vessels. I hope you=92ll feel a =
connection to those who will come after, and who will perhaps use the =
pottery you pass down to them. I hope you=92ll feel a connection to me, =
to the potter who left her marks in the once-soft clay for you to enjoy. =
And I hope you=92ll feel a connection to the earth from which the clay, =
and we, all came.
As the Lakota say, "We are all related.
Cindy Strnad
earthenv@gwtc.net
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
Cate Loveland on tue 8 oct 02
Artist's statements are a part of marketing, and a legitimate business
expense. If you have problems with writing, locate a glib friend or a
professional, let him/her interview you, and then write you up something
spiffy. Complaining doesn't do any good; it just makes you angry and takes
away from being centered enough to work. Hey, if money is a problem, you
could probably trade a pot or two for a couple of paragraphs. If you don't
have any ideas about who to ask, call the English Dept or Journalism Dept at
your local community college for ideas.
My suspicion is that galleries really use the statements as they work with
potential buyers If people are plunking down a fair amount of $ for a pot,
they want to know something about the person who created it from a hunk of
clay. A statement of your dream, background, whatever, whether read directly
or paraphrased by the dealer may be the clincher in the sale. Maybe not, but
it's part of the marketing effort.
When in doubt, delegate!
Cate in AZ
Bobbruch1@AOL.COM on tue 8 oct 02
I had to write an artist's statement when I had my first gallery show, and
found the process to be extremely difficult. Someone made a worthwhile
suggestion, recommending a three part (paragraph) approach. The first
paragraph states what you are trying to accomplish. The next paragraph lets
the reader know the process that you used in to accomplish these goals. The
final paragraph explains why clay (or mixed media, etc.) serves you well in
accomplishing this process.
I found that this three step approach provided me with a useful structure to
begin the writing process. Perhaps some type of structure might be helpful
for people who are experiencing difficulty in writing about their work,
especially those making utilitarian ware or vessels. Perhaps someone with a
more sculptural approach would want to put more emphasis on stating what they
are trying to accomplish. Someone once said to me that "if you are going to
take the function out of ceramics, you have to replace it with something,"
and maybe that reasoning could be the basis of a sculptor's statement.
Bob Bruch
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&>
<<<<> Kathi.............
>I've always been of the opinion that artists' statements are BS to make the
producer sound arty. Statements like "I'm inspired by the woods and stream
behind my studio" or "I've always been fasinated by globular forms and their
position in the universe" tell me nothing useful about the work. I also don't
believe that customers read the things.
>
> Reply from V.
> I find that most artist's statements are very informative. I usually look
at the work first, and then read the artist's statement to see if it gives me
any additional information to increase my appreciation of the artwork. Your
appreciation of someone's artwork, exclusive of their artist's statement, is
certiainly ONE way to interpret the artwork, but how sad it would be to
exclude the artist's own statement about the intent of their work.
Janet Kaiser on wed 9 oct 02
I've had several "lurkers" mail me off-list with questions about what I (as
a gallerist) would require or like to see in an artist's statement. Of
course there is no "right" answer. However, I have given it some thought
over the years, because many makers (clay, wood, jewellery, glass, etc.)
have difficulty "writing about myself and my work".
(An aside here: They have more difficulty than painters, who seem to
verbalise more to themselves, if not to others. Like the old joke... "You
can talk to yourself as much as you like. Just watch out when you start
answering yourself too". Seriously, painters and sculptors are often
putting their specific thoughts into their work on a different level to
makers, so it appears easier for them to talk/write about.)
Most who refuse or simply cannot write an artist's statement, are given the
third degree... First about their history and background (all that goes
into a CV), then about which teachers/courses/colleges they enjoyed most
and whether they have influenced their work. If yes, how much? How about
other influences? Usually that leads to them telling me about how their
work developed and finally they often get around to where they think they
are going next (if anywhere). At the end of an hour, they will either
realise that they do have something to say after all, or not as the case
may be.
I have a Dictaphone which I have lent out in the past... Just taking odd
thoughts and extra ideas onto tape during the course of a few days work can
be a tremendous help when it comes to sitting down with a blank sheet of
paper/screen. And with the help of a PC/Mac, editing has become such a
simple and easy task, it
If they still honestly do not know what to say (write) and suffer from
writer's block for whatever reason, I will (reluctantly) do a write-up for
them. Starting with biographical notes, it will go on to describe the work
and what they achieve best, with technical details as and where
appropriate. This is used for catalogues and press releases, rarely for
posting in the gallery here. However, I have seen some of my efforts on the
walls of other galleries, catalogues and in print, so I guess it has worked
OK for all concerned.
Often, I think artists/makers sometimes have a false idea about what is
required of them. They feel they have to do a "hard sell" or some sort of
self-promotion about how good they are, how wonderful their work is and how
the world needs them and their unique art. This is definitely NOT what a
good artist's statement should do or attempt to do. Self-promotion is quite
a different animal to making a simple, honest statement about yourself and
your work.
In general, people simply want to know who you are as a person, what you
make/create and how you do it. Why you do it, the influences in your life
and the inspiration leading to your work/art (either general or specific)
are difficult areas, best left alone if you are not happy about or
comfortable with "flowery language" or art speak. Or if you feel all that
is nobody else's business! Yes, I appreciate that too.
And for the record, I personally don't care what teachers and academics
demand as a Good Thing, some people just cannot do it. Simple as that! No
need to have a guilty conscience or be made to feel inferior as an artist
or person, if you just don't have it in you!
So just remember, there need be nothing boastful or any hint of
self-praise. Just plain honest simple language. Humour is also helpful...
So much is so damned up-tight and self-conscious, it puts readers/viewers
off, so a light tone can do wonders even if the work is far from being
light(weight).
What I personally hate is the artballs, although many of my colleagues
obviously go ga-ga over that approach. The high-brow art magazines may too
(although finally & thank goodness, I do detect some hardening of opinions
and acceptance these days), whereas the reporter at your local rag will
wonder what the hell has landed on his/her desk. What people do not
understand, they will ignore and if that means landing in a press man's
wastepaper basket or a viewer turning their back on the written word if not
the work, it has done no good at all.
Remember, each audience really requires a different "artist's statement".
If looking at the work of a fellow potter, you will want a whole different
set of information to Joe Egg, who is looking for a wedding present. The
self-appointed "art critic" of your local tabloid is going to want the
Human Interest story to fill the space allotted him each week, whereas the
one sent from the glossy Art-Today-and-Now magazine, will want to find
something "original" they can use and quote... No way are you going to
satisfy all these different people, so just satisfy yourself that you have
the essence of who you are and what you are about.
Did someone say KISS? Keep it simple, Stupid. Always the way to go.
Sincerely
Janet Kaiser
The Chapel of Art =95 Capel Celfyddyd
8 Marine Crescent, Criccieth LL52 0EA, Wales, UK
Tel: 01766-523570 URL: http://www.the-coa.org.uk
John Baymore on wed 9 oct 02
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.
John,
Hamada and Leach did write "artist's statements"......... but they were i=
n
book form .
Best,
..............................john
John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086 USA
603-654-2752 (s)
800-900-1110 (s)
JohnBaymore.com
JBaymore@compuserve.com
Richard Aerni on thu 5 oct 06
I'm not going to bore the list with my own artist statements, but I would
like to say that I believe that they can be written in a way that leaves a
viewer of your work more appreciative of that work, and more informed about
who you are and why you are doing it.
They require the same care and consideration that goes into the design of
one of your works.
If anyone wants to read my last two statements, I'd be happy to email them
to you if you let me know.
Best,
Richard Aerni
Rochester, NY raerni@rochester.rr.com
Graham Mercer on fri 6 oct 06
Time for a bit of levity on the Artist Statement topic I feel......
Don't get me wrong, in my opinion a good, concise artist statement is a very
valuable aid to promoting ourselves and our work, it is the abuse of these
statements that makes my hackles rise.
How is this for an automatically generated statement - if you want to
achieve the lofty heights of 'artspeak' you really need to check out this
Artist Statement Generator that is available online. Here is a sample of
what you can produce; baffle the experts, impress the 'in crowd', amuse the
masses.
QUOTE
Work of Post-Art in the Age of Generative Reproduction
The flux creates, the body accentuates. In the synaptic reality, art objects
are reproductions of the imaginations of the flux -- a flux that uses the
body as a parallax to represent ideas, patterns, and emotions. With the
synergy of the electronic environment, the flux is conceiving a point where
it will be free from the body to transcend immersions into the parameters of
the delphic reality. Work of Post-Art in the Age of Generative Reproduction
contains 10 minimal java engines (also referred to as "AI modules") that
enable the user to make eclectic audio/visual compositions.
measuring chains, constructing realities
putting into place forms
a matrix of illusion and disillusion
a strange attracting force
so that a seduced reality will be able to spontaneously feed on it
Fred Nurk's work investigates the nuances of modulations through the use of
slow motion and close-ups which emphasize the Generative nature of digital
media. Nurk explores abstract and directional scenery as motifs to describe
the idea of cyber-intuitive reality. Using contemporary loops, non-linear
narratives, and allegorical images as patterns, Nurk creates meditative
environments which suggest the expansion of art...
END QUOTE
Isn't that just the epitome of 'artspeak'? I love this tool, it provides
many laughs for those that are cynical and/or sarcastic about the whole
artist statement phenomenon.
You can check it out and amuse yourself by visiting the following link,
enjoy! ;-)
http://www.playdamage.org/market-o-matic/
Graham Mercer
Melbourne, Australia
Jeanette Harris on sat 14 apr 07
Disclaimer: The following is my opinion about artist's statements.
Most artists don't need artists statements.
Most artists 'get it' before they ever read a word. And, it's not
just artists who 'get it' either.
But
A statement should answer these questions:
Are you unique?
Are you communicating?
Are you marketable?
Uniqueness:
Voice, style, whatever you want to call it -- that's the
essence of an artist's work. It's what makes you an artist. No one
else does what you do. You are distinct. Your work stands alone. You
are identifiable.
This is maybe the most difficult thing to put into words
because 'in words' is not where the value resides--it is in the work.
Teasing this out and converting it into words is one of the hardest
things an artist has to do, in my opinion.
Communication:
Does your work speak to the viewer? Is it telling them about
the uniqueness of your work? Is it your voice? Does the statement
help them understand your communication better?
At some time, on some level, work must communicate. Even if
you are only communicating with yourself, there's no getting around
it. Art speaks.*
*conversation with my college art prof.: "What kind of
statement are you making?"
Me: "Statement? There isn't anything
to say. It's a teapot."
Prof: "Okay."
Marketability:
Lets face it, no gallery, no show, no body is going to be
interested in your work unless it sells. You finding your niche is
the key.
Marketable to academia/ marketable to the general public/
marketable to galleries/ marketable to connoisseurs/ whatever the
target is, whoever is going to take an interest in your work has to
have this somewhere in the mix.
To non-artists, marketability equals validation. People buy
art for many reasons. Because they love it. Because it is a good
investment. Because it shows they have good taste. Because they want
to learn more.
This is why you write a statement.
--
http://jeanetteharrisblog.blogspot.com/
http://www.washingtonpotters.org/members/Jeanette_Harris/wpa_jeanette_harris.htm
Jeanette Harris
Poulsbo WA
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