Diane Mead on wed 13 sep 00
Does Paul Taylor have an immaculate take on
things because of the infleunce of his
surroundings!?
I think he and Janet teach us to
"survive!" and "prosper" by learning to be
articulate about our work
but it is so hard to do.
>From: Paul Taylor
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: Artist Statement
>Date: Wed, 13 Sep 2000 00:49:29 +0100
>
>Dear All
>
> I would like to add to Janets comments
>
> In Ireland we have a proverb. I will translate it from the irish "One
>black
>beetle recognizes another" this Kuan is very deep and exists on many
>levels.
>
> The insects that interests the artist are the beetles that inhabit the
>art
>administration world and to some extent the art marketing world, since they
>are tied up together. They will not recognize you unless you are like them.
>
> This can be a problem for the artist who does not look or speak with
>such
>fluid eloquence.
>
> However to take the metaphor a little further; I have discovered from
>trout fishing that it does not take too much of an exact replica of a black
>beetle to fool a trout, and I think maybe another black beetle as well.
>
> So maybe we should all take comfort from this and realize that a
>little
>bull can go along way in an artist statement. The Suits will fill in the
>rest - God help them.
>
> You just reel in the customers.
>
>
>-- Regards Paul Taylor.
>
>Westport Pottery, Liscarney, County Mayo. Ireland.
>
>http://www.anu.ie/westportpottery/
>
> > From: Janet Kaiser
> > Organization: The Chapel of Art
> > Reply-To: Ceramic Arts Discussion List
> > Date: Mon, 11 Sep 2000 02:51:58 +0100
> > To: CLAYART@LSV.CERAMICS.ORG
> > Subject: Re: Artist Statement
> >
> > I have (for once) been following this thread
> > before adding my two pence worth... For the
> > original poster who had the block and anyone
> > else interested in a gallery point of view here
> > goes:
> >
> > There are at least two types of "artist's
> > statement".
> >
> > The one loaded with artspeak (or art balls)
> > which is usually generated to keep art
> > lecturers, critics, publishing houses and
> > journalists in a job and to show US all just how
> > clever THEY all are
> >
> > AND there is the simple informative statement
> > more suitable for the general public and people
> > like me.
> >
> > Like most people, I look for sincerity and plain
> > language. As soon as I get a high faluting art
> > statement, my mind closes down and I go into
> > "listening-to-the-weather-forecast" or
> > "ask-the-way-to-the-village-green" mode. I hear
> > it, but cannot remember what has been said after
> > the first sentence. I get scores of these and
> > they frankly piss me off.
> >
> > I need to know about the artist/maker, the
> > process, medium, visual source and inspiration
> > for the work in question. I do not need to know
> > the innermost angst or the working of the
> > artist's fantasy world. Before anyone howls me
> > down... These aspects should be apparent in the
> > work. If the work does not tell me these things,
> > an artist's statement is a poor substitute.
> >
> > I think someone said that the work is crap
> > anyway, if a statement is needed. I would not go
> > that far, but it is certainly lacking in some
> > respect, if a whole essay needs to explain what
> > it is all about.
> >
> > As a general rule of thumb for the artist...
> > Find out who your audience is and what they
> > require before you start on a statement.
> >
> > If pretentious clap-trap is necessary or
> > required from the body in question (gallery,
> > guild, show, publication, etc.) then sit down
> > with a bottle of wine and a tape recorder. Let
> > yourself go and say the most outrageous things
> > you possibly can about yourself and your work.
> > Write it up without editing the juicy bits! If
> > you are too uptight to do this, get a whole
> > group of friends around and give them a bottle
> > of wine each...
> >
> > If on the other hand you are dealing with
> > sensible galleries, guilds and fellow makers,
> > keep it simple and down-to-earth. By all means
> > add any apparent (to you) irrelevancies like who
> > your heroes and teachers were and are, what made
> > you start with this current work, etc. etc. Keep
> > it loose and informative without going into too
> > much detail. Put in some "gossip" about
> > yourself. Make it warm and keep it human.
> >
> > You are not only selling your work, but yourself
> > too. Interesting people make it easier for
> > everyone concerned. Buyers may buy dull pots,
> > but they may not if the maker sounds dull too.
> >
> > Someone said it is the sizzle that counts and I
> > can only second that. Only today I could say
> > "This maker's work is on exhibition at the
> > Olympics in Sydney" and everyone in the gallery
> > came over to see what I was talking about. (NO,
> > I do not shout, it is a small space).
> >
> > I cannot do my job well, if I do not know
> > anything about the maker or their background. My
> > technical knowledge, aesthetic and visual
> > education counts for nothing, if I cannot
> > augment it with a little personal insight into
> > the maker/artist and their persona. If I have to
> > rely on an artist's statement... Well, you may
> > now see why many simply do not work.
> >
> > I have two functions: I curate exhibitions and I
> > sell what is then exhibited. This colours my
> > judgement. It may not be applicable to many,
> > because the administrators and selectors are
> > usually "above" talking to anyone. From the
> > artist down to the general public. However, like
> > so many who have already added their valuable
> > words to this thread, I feel that we should all
> > fight the utter vacant pretension of "artspeak".
> >
> > Janet Kaiser
> > The Chapel of Art . Capel Celfyddyd
> > HOME OF THE INTERNATIONAL POTTERS' PATH
> > Criccieth LL52 0EA, GB-Wales Tel: (01766) 523570
> > E-mail: postbox@the-coa.org.uk
> > WEBSITE: http://www.the-coa.org.uk
> >
> >
>______________________________________________________________________________
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> >
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> >
> > 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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Steve Mills on thu 14 sep 00
I think there is a touch of the poet in the Celts, they have a way with
the words.
Steve
Bath
UK
In message , Diane Mead writes
>Does Paul Taylor have an immaculate take on
>things because of the infleunce of his
>surroundings!?
>
>I think he and Janet teach us to
>"survive!" and "prosper" by learning to be
>articulate about our work
>but it is so hard to do.
>
>
--
Steve Mills
Bath
UK
Diane Mead on thu 14 sep 00
And I think I respond because that is such a huge portion of my ancestry. I
recognize so much from those 2 (taylor and kaiser and their websites and
work)
>From: Steve Mills
>
>I think there is a touch of the poet in the Celts, they have a way with
>the words.
>
>Steve
>Bath
>UK
>
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