Potter Wagoner on sun 6 oct 02

When I posted mine I got flamed big time. Funny, but I really meant what
I said in a very sincere way and it seemed to go well with my graduate
work. I never thought that "post modern" was such and evil thing. Maybe
I'll post it again and see what ignites.

vince pitelka on sun 6 oct 02

Wes Rolley wrote:
"The one exception is your use
of the word "narrative". This is a word that has almost as many
definitions as there are attempts to define it and whose most common
popularly understood meaning implies a story. I have never found much of a
narrative in a single functional work of ceramic art, unless it is implied
by the fact that the creator has managed to find a modern (or even a
post-modern) use for a traditional technique or form. Then, it is a
narrative of the artist's search that becomes apparent."

I can appreciate your comments, but "narrative" is still the best word for
this application. Every pot tells a story in some way. There is a visual
representation of the potter's movements, and there is all the information
having to do with particular kinds of vessels, and then all the variations
in the particular kind of vessel. When we use the term "narrative" in art
we normally think of a work which tells a story, such as pictorial art with
a clear message. My contention is that the term is applicable to pots for
exactly the same reason. I have no problem with that, and I like the word
in this context.
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/

Tony Ferguson on mon 7 oct 02

Katie,

I can understand your criticism, but I think the intent is a move in the
right direction. I wouldn't worry about what others are doing and focus on
writing, or rather revising if you feel you need to, your current artist
statement to communicate verbally what your work can not communicate
visually. To expect that the viewer is going to get one's artwork is
arrogant and solipcistic. It seems to me we need to take any opportunity to
educate patrons about what we do other than it simply being a cash
transaction.

I very much like your idea of the "free gift" and it is very revealing of
the lack of interest of the public's desire to read our statement. I think
you might also consider that this move on the NAIA (of which I am not a
member) to cause artist's who perhaps are more commercial in the making of
their work to re-evaluate and begin to think about their work in a more
artistic and less commercial sense. I think it is a great idea.

I also think a picture of the artist working in the studio aims to attempt
to help patrons with making a connection between you and your work. You
have to remember that most people who buy work are not artists and lack the
visual literacy many of us have developed through our work. Unless I
forget, I always post an artist statement and include pictures of the work,
the process, the kiln, etc in my display. This weekend I had people reading
my new images and accompanying text. There weren't a ton of readers but
those that did came away understanding more about the aesthetic of wood fire
and what is involved. Consequently, in my small way, those people who read
know something more about what we do and why we do it and perhaps elevated
our craft into a more artistic light, hopefully sharing their knowledge with
others who know less about pottery and its wacky mudslingers.

Thank you.

Tony Ferguson
On Lake Superior, where the sky meets the Lake

Stoneware, Porcelain, Raku
www.aquariusartgallery.com
218-727-6339
315 N. Lake Ave
Apt 312
Duluth, MN 55806


----- Original Message -----
From:
To:
Sent: Friday, October 04, 2002 9:39 AM
Subject: artists' statements


> A new requirement by a number of shows is the "artist's statement". It
seems our friends at NAIA have encouraged this new hoop for us to jump
through at shows. 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.
>
> To prove this point I posted my "artist's statement" ( an enlargement of a
small sheet I hand out with pots) in my booth but with one addition close to
the end. "If you've read this far you've earned a free gift." I gave away
one free gift at this well attended three day show.
>
> Supposedly "the artist's statement" is to prove you are the maker. I can't
see how. But I will resist having it in my booth. I'd rather talk to my
customers and explain my work.
>
> Kathi LeSueur
>
>
____________________________________________________________________________
__
> 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.
>

chris cox on mon 7 oct 02

I think maybe the best statement I've ever read was in the potters'
directory produced by the Craft Potters' Association in the UK. It comes
from Richard Dewar a very talented and well respected English potter
living and working in France. Under a picture of their work all the
potters were asked to make a statement. His reads " they're just pots
folks, don't look for anything else ". One hell of an understatement but
it says a lot about him and his approach to working in clay.
--
chris & geoff cox
http://www.potfest.co.uk

Janet Kaiser on mon 7 oct 02

Dear Kathi,

I appreciate your predicament and hesitance, yes, even dislike of putting
yourself, the Real You out there alongside your work. Because that is what
is required here. We are not all exhibitionists, whether drunk or sober and
many artists are very private people... We hide in studios, cower in
basements, hide behind potted plants at previews, so why would we want to
flaunt ourselves in print or on bill boards for the whole world to see? It
makes us feel even more vulnerable!

But look at it this way: It naturally depends on the venue and what the
organisers are trying to do, indeed your own motivation in taking or
wanting to take part in an event, however, a statement can put you in touch
with those folk who never have seen your work before and a photo "speaks
more than a thousand words". It simply gives the viewers a "personal
connection" with you as an individual. OK It may appear spurious and
superficial to you, but in the absence you standing next to your work
talking and enthusing about it and you as a person, a statement and photo
are the next best thing. Even if you are going to be present in person,
many people are just as shy as you. They shudder in horror at the thought
of having to speak to someone, especially the artist... These people will
avoid talking to the artist/maker at all costs and pass on hastily by...
At least in the situation where the viewer will seriously look so long as
they do not have to talk to a real person, the statement and photo help to
present "you" without losing your audience.

Regardless of "my work speaks for itself", I am afraid the majority really
do need help looking and seeing. How many do you see clutching catalogues
for dear life? Often they look but definitely do not see! They need that
crutch. As for comprehension... Well, many need a lot of help to see beyond
shape, colour and function. They therefore need something extra to
"connect" with what they are seeing. Something personal and emotional.

Let me give a recent example: Diava Kojelyt=E9-Marrow, an artist who
exhibits here, was accepted by a juried prestigious/major international
bi-annual exhibition in Faenza, Italy last year. The catalogue has one page
devoted to each artist accepted, including a photo of the work and the
maker, with a written part in Italian. Now, most artists and people who
appreciate art will buy these catalogues whether they can read Italian or
not, because they are all visual turn-ons. Indeed, I bet even those who can
understand Italian will hardly read it all... Who reads a catalogue from
cover to cover?

Daiva happens to be young and beautiful and her work is smashing, but there
was one elderly US maker whose work made me smile... A pair of shoes with
matching handbag... Sorry cannot remember the name. Anyway, she was no
Madonna, but the combination of work and person was extremely powerful... I
would definitely recognise both if ever I see them in print again. That is
a strong message which hit the target... Something everyone would give
their eye teeth for! Instant recognition! So simple! So important.

So, please reconsider how you look at this... If you want to make an
impression, I am afraid many people will NOT just look at your work and
judge it on merit. They will be influenced by many other factors, even down
to the type of labeling or display or lighting used! (no kidding!). You
cannot influence all of them, however, you will be strengthening your cause
by putting your best foot forward. It will not matter how short/long,
simple/convoluted your statement is or what beauty shows you would or would
not win, but it gives folk another part of you and many treasure and
appreciate that.

It is not mere voyeurism. The human condition is a very strong band which
unites us all in some way or other, so please don't deny others that
perceived intimacy. Be generous and give them a little more of yourself. It
does not cost much and if you feel you need help, just get someone you know
and trust to do the honours. I am sure they would also feel honoured to be
in your confidence!

So don't just dismiss it all as a waste of your time... If you reach out to
people with your work, there is surely a little part of you and enough
extra generosity left to help make a personal connection, which others will
truly appreciate and treasure?

Sincerely

Janet Kaiser
*********** REPLY SEPARATOR ***********

>I don't have an argument with anyone writing an "artist's statement". What
>I take issue with is the requirement that we write and post an "artist's
>statement". Many visual artists have difficulty communicating in writing.
>An unusually large number are dyslexic. They communicate through their
>work. Another requirement is supposed to be a picture of the artist at
>work. This to prove the work is actually done by the artist. Well, I'm
>sure that if I'm not the producer of my work it wouldn't be hard to get a
>picture of me with my hands wrapped around a wet pot. The picture proves
nothing. Just another waste of my time.
>
>Years ago the one of the Ann Arbor art fairs required a resume and a
>statement from the artists' about their work. The best one, in my opinion,
>was the ceramist who wrote, "It doesn't matter. I'm good!" That said it
>all. He got in by the way.
>
>Kathi LeSueur

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

Russel Fouts on tue 8 oct 02

Monday's Clayart was brought to you by the Vince Pitelka Trust for the
Promotion and Understanding of the Artist's Statement. ;-)

This is National Public Clayart.

Ru

--

Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75
Http://www.mypots.com
http://www.Japan-Net.ne.jp/~iwcat

"There is a theory which states that
if ever anyone discovers exactly what
the universe is for and why it's here,
it will instantly disappear and be
replaced by something even more bizzarly
inexplicable."

"There is another theory which states
that this has already happened!"

Douglas Adams' The Hitch Hiker's Guide to the Galaxy

Russel Fouts on tue 8 oct 02

This is mine, It's the first thing you see when you go to my site:

Hi, my name is Russel and I'm a Pot Fondler. There I said it and already
I feel better about it. I'm the guy you've seen skulking behind the
potted ferns in galleries and fairs just waiting for you to turn your
back so I can get at your pots. I can't control it! In the presence of
good pots something just comes over me! I've got to feel the balance of
their weight, pet their bottoms, stroke their sensuous curves, nuzzle
their graceful necks, their luscious lips!!!! Sorry, I'm getting carried
a way just talking about it! I know I've been an embarrassment to my
friends.

As if that weren't enough! I, (oh I'm so sick) I even go so far as to
MAKE POTS for OTHER PEOPLE TO FONDLE!! I build simple friendly forms, by
hand; enrobed in layer after layer of lustrous terra-sigilatta, then
smoked in an envelope of newspaper and aluminum foil. The serene surface
of terra-sigilatta and the warm subtle hues of smoke firing, a
combination just waiting to trap the latent pot fondler.

And I know you're out there! I've seen you stealing glances at other
potter's handles, seeming to "accidentally" brush against the curving
hip of a large urn, casually upsetting a pot to get a better look at the
foot ring (foot ring fetishists!). But you needn't feel ashamed, it's
natural, and you're not alone. Give in to your desire, you have nothing
to lose but your pocket change!

Russel Fouts,
Founding member of the Brussels Chapter of Pot Fondlers Anonymous.
Call your buddy when the need gets too great and we'll fondle pots
together.
Ask about our 12 step program to come to terms with your pot fondling
tendencies.

Russel

What was that line about not taking yourself too seriously?

--

Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75
Http://www.mypots.com
http://www.Japan-Net.ne.jp/~iwcat

"There is a theory which states that
if ever anyone discovers exactly what
the universe is for and why it's here,
it will instantly disappear and be
replaced by something even more bizzarly
inexplicable."

"There is another theory which states
that this has already happened!"

Douglas Adams' The Hitch Hiker's Guide to the Galaxy

Jeanie on thu 10 oct 02

Dear Potter I liked your artist's statement-it was thoughtful and
searching,as I imagine your work to be. Perhaps some of the negativity
flying your way has to do with fear of language...I equate fear of
language with fear of freedom,both conditions which can blindside
otherwise brave people. Embracing freedom means embracing choice-falling
in love with cause and effect. Embracing language means falling in love
with precision, nuance and subtlety. It means a choice for experiencing
life rather than reacting haplessly to events. When you choose to make
language your tool, you begin to exploit the power of metaphor. It can
make your brain rustle in the night like corn growing-can help you
appropriate the sideways wisdom of Coyote...in short, it is
transformative , as art can be transformative. The idea that language
and visual art are at odds is a false dichotomy, born of fear. I say
its spinach, and I say the hell with it...I don't mean to dismiss the
distress of anyone who struggles with expressing their ideas verbally.
And I do realize that the closer you approach the core of your
identity[and if we're not making pots from an address deep in the inner
core, why bother?]the more difficult it is to manifest its reality in speech.

But I'd hate to see any one who already makes powerful and authentic
work,deny themselves the sheer pleasure of helping that work along into
the world on a slathery, buttery,slippery swipe of words..it could end
with you waking in the night to the sound of your own pots whispering to
you. Don't they say everything is a circle?...

Jeanie in rainy Pa.

Lili Krakowski on sun 1 oct 06

I essentially think them a crutch. Period.

They are valid in my opinion when some obscure statement is made. Oddly
enough that brings up the fellow who exhibited a painting of Mary the mother
of Jesus with elephant dung on it. The idea was NOT a hit, but that is
another story. The fellow claimed in some part of Africa to be smeared with
elephant dung was an honor or somesuch.

I also think statements are valid when the object--as many ceremonial
religious objects are--are recognizable in function only to those of that
religion. I had a delicious afternoon once at the Jewish Museum, some
special exhibit, with two very young novice nuns behind me in line. There
was a gorgeous oil-burning Chanukah menorah--but they had seen only the ones
with candles...So I offered to be their [amused] guide. THERE an
explanatory statement would make sense. As it would for holy-water
stoops...

But most stuff? I am with Wayne and Steve here. I am a writer as much as a
potter and I could drivel on convincingly about a coffee mug. The business
about artists statements goes like this, IMO: Gee. I did not really get my
point across that this pot blah blah blah blah. So, as I write well, I will
try to convince people of the merit of the pot by writing this
statement...[Sort of like having two salesmen instead of one]

Besides everything else: if artists's statements for pots become de
rigueur, then the successful potters will be the ones who are good writers,
and the less successful will be the ones who are illiterate or inarticulate.
Gee! Another call for only college educated middle class folk to become
potters!



Lili Krakowski
Be of good courage

maggie jones on sun 1 oct 06

Yes, Lili...I agree completely.
I have often wondered how many obscure masterpieces never got noticed out
there over the centuries simply because the artist did not have a
benefactor or a salesman's pitch.
Look at George Ohr...what if he did not have the fortitude to pack his
stuff away with instructions not to be touched for 50 yrs.? What if he
listened to the guild's rules of good art and destroyed every piece?

I have however, noticed many unobscure, "successful" artists and potters
out there... especially now, who have only that,... a good sales pitch.

I also wondered if my last post was in fact, actually an artists
statement?
Maggie


Maggie and Freeman Jones
Turtle Island Pottery
Black Mountain, NC
http://TurtleIslandPottery.com
http://amartpot.org trustee



On Sun, 1 Oct 2006 11:46:02 -0400 Lili Krakowski
writes:
> I essentially think them a crutch. Period.
>
> They are valid in my opinion when some obscure statement is made.
> Oddly
> enough that brings up the fellow who exhibited a painting of Mary
> the mother
> of Jesus with elephant dung on it. The idea was NOT a hit, but that
> is
> another story. The fellow claimed in some part of Africa to be
> smeared with
> elephant dung was an honor or somesuch.
>
> I also think statements are valid when the object--as many
> ceremonial
> religious objects are--are recognizable in function only to those of
> that
> religion. I had a delicious afternoon once at the Jewish Museum,
> some
> special exhibit, with two very young novice nuns behind me in line.
> There
> was a gorgeous oil-burning Chanukah menorah--but they had seen only
> the ones
> with candles...So I offered to be their [amused] guide. THERE an
> explanatory statement would make sense. As it would for holy-water
> stoops...
>
> But most stuff? I am with Wayne and Steve here. I am a writer as
> much as a
> potter and I could drivel on convincingly about a coffee mug. The
> business
> about artists statements goes like this, IMO: Gee. I did not
> really get my
> point across that this pot blah blah blah blah. So, as I write
> well, I will
> try to convince people of the merit of the pot by writing this
> statement...[Sort of like having two salesmen instead of one]
>
> Besides everything else: if artists's statements for pots become
> de
> rigueur, then the successful potters will be the ones who are good
> writers,
> and the less successful will be the ones who are illiterate or
> inarticulate.
> Gee! Another call for only college educated middle class folk to
> become
> potters!
>
>
>
> Lili Krakowski
> Be of good courage
>
>
_________________________________________________________________________
_____
> 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.
>
>

Elizabeth Priddy on sun 1 oct 06

I came up with a very effective artist's statement
using this writing tool that I found online.

The instructions are a little cheesy and cute, but the
statement I wrote and use is powerful and effective.

People who read it in a local art's alive paper asked
me who wrote it for me.

I wwrote it, and I am not good at that type of
promotion. I am too blunt in real life.

But using the tool, I constructed an elegant device
that anyone could understand and that gets my point of
view across.

Not a particular explanation of any individual piece
of work, mind you. But an explanation of how and why
I work.

An artist statement should explain the artist, not the
work. It should reveal something about who you are as
an individual and also information about why you are
different from other artists in the same pool of
resources for them to buy and collect.

An explanation of the work on display should be like a
newsbrief listing the subjects and philosophy
generating that particular work, but not a restatement
of what the work is trying to say.

The source for the artist statement guide is here:

http://www.mollygordon.com/resources/marketingresources/artstatemt/

It is work to actually do it, it will take you several
hours.

It is worth it.

E



Elizabeth Priddy

Beaufort, NC - USA
http://www.elizabethpriddy.com

__________________________________________________
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Vince Pitelka on sun 1 oct 06

I hate to get into a whole new round of discussion about artist's
statements. We probably ought to give it a rest for a year or two, but I
cannot avoid expressing my opinions on this after some of the careless
comments that have been made. I can certainly appreciate Kathy Forer's
articulate intellectual approach to this subject, but some of the other
posts smack of the anti-intellectualism that rears its ugly head here on
Clayart altogether too often. It is an embarassment.

Maybe I can clarify my own reasons for supporting artist's statements. In
any studio BFA program, it is of course necessary for the students to be
able to talk about their work - to be able to articulate their intentions
and motives, and the artist's statement is one of the best ways of doing
that. For me, that involves a very serious and sincere effort to keep the
students from obscuring their explanations with any kind of contrived
artspeak. There may very well be elements or ideas in their work that they
cannot explain, and that is fine, and I suppose even expected. The parts of
the work that the artist cannot explain are often the most wonderful aspects
of the work - the places where the artist is really taking risks and
entering new territory. But that circumstance in itself is worth
articulating in an artist's statement, and one can discuss the wonder and
experience of unexpected discovery and unexplained creativity. I've never
maintained that the artist should try to explain or rationalize every detail
of their work, because that in fact could be destructive and
counterproductive. The expectation that artists be willing to talk about
their work contains absolutely no implication that they need to talk it to
death. I am offended when artists over-explain their work. That takes the
mystery out of it, and an artist statement should never do that.

An artist's statement need only be a contemplative evaluation of the sources
and circumstances of art-making, offered for the artist's own clarification,
and for the edification of the viewer or user. It is pretty hard to imagine
a circumstance where that would be a bad thing, especially considering that
the viewer or user of art/craft is never required to read the damn thing.
And, as Kathy Forer points out, an artist's statement is always a temporary
thing, speaking of the here and now (except in the case of so many artists
who are hopelessly stuck in a rut, in which case the same artist's statement
might serve the purpose for a whole career), and a bold change in direction
would likely invalidate one statement and encourage a new one. So what?
Writing an artist's statement should always serve both the artist and the
viewer/user. Otherwise it isn't worth doing. And there is no reason why
the thoughtful self-examination required for writing an artist's statement
should ever be destructive or unpleasant. Approached without fear or
misunderstanding, the experience of writing an artist's statement can always
be illuminating.
- 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/

kelley40 on mon 2 oct 06

Ok I just needed to chime in here as a new person on the list. I am a folk
artist to some and a cathartic surrealist to others... I don't get hung up
in labels and I don't get hung up in pretentiousness. I have nothing to
prove to anyone.. I just am.

To me an artist statement is like a elevator pitch or a marketing statement
for the short explanation of a business or in this case the short
explanation of the artists heart and work.. What can you say about yourself
in the time it takes to go from the first to the sixth floor of a building.

I never started doing art with the intention of impressing anyone.. It was
simply something that was a natural, a drive and a passion I had to feed. I
reached a point where I needed to share my art.. And even sell it lest I
break a bone tripping over my creations. Simplistic yes... But I think
artists tend to get hung up in the two worlds that seem to run on parallel
lines, The work and love of the work and the need to "dress to impress" to
market the work for a paycheck.

Kelley Barrett, Artist

lela martens on mon 2 oct 06

I agree with Lili on this,
When I have to read the statement longer than the exhibit holds
my interest..sorry.
By the way boys, I have lived with art and `good stuff all my life.
I lived in a family where the dollars were tight. They still are.
By saying the good stuff, I mean good, honest art. I live in a
small house so space is valuable.

Lela, who is gearing herself up for the new daughter in law who
thinks disney snow globes are the answer. If I were a man I`d put

my tail between my legs and stare..
But I`m not.. so, sorry to the easily offended.
Best from Lela


>FromI essentially think them a crutch. Period.
>
> Only someitmes. It depends on how they are used and the character
>of the potter.
>
>

_________________________________________________________________
Buy what you want when you want it on Sympatico / MSN Shopping
http://shopping.sympatico.msn.ca/content/shp/?ctId=2,ptnrid=176,ptnrdata=081805

Lee Love on mon 2 oct 06

On 10/2/06, Lili Krakowski wrote:

> I essentially think them a crutch. Period.

Only someitmes. It depends on how they are used and the character
of the potter.

If you just make pots for your neighbors you don't have to
think about writing artist statements. But if you are going to apply
for anything that is competitive and juried, they are just a part of
what you have to do.

Educated and middle class people have a place in making pots
too. Because pots are not necessary in modern life, having been
replaced functionally by other articles, pottery is primarily the
function of educated, middle class people. It is the wealth of our
socieity that allows us to make and allows other people to buy our
pots, by choice.

The vast majority of us sitting behind our screens tapping at
our keyboards are middle classed and educated. Big deal. The
trick is not to be used by your education, but rather, to use it.

--
Lee in Mashiko, Japan
http://potters.blogspot.com/

"Let the beauty we love be what we do." - Rumi

"When we all do better. We ALL do better." -Paul Wellstone

Susan Fox Hirschmann on mon 2 oct 06

Our customers/the galleries expect an artist's statement. They want to read
something about us, as according to one of those artist books I read, several
years ago about creativity in general, there are basically two kinds of people
in the world: The artists and the want-to-be artists. It is all the
want-to-be artists that have an intense craving for understanding what goes on in the
creative mind that motivates us to create.
My son, the screenplay writer and I, have talked about this at length.
It is why the work, tho it should be our "explanation": to the world about
who we are, needs to be put into statements that people can understand. Be it
our inspiration. Our background. For those reasons, the artist's statement
gives the want-to-be's that buy our work, a (hopefully) understandable insight
into who we are and why we create.
Enuf said.
Regards,
Susan
Annandale, VA

Mary & Wes on tue 3 oct 06

OK, I think I'm going to ruffle some feathers here but, this is how I feel
about artist statements. I feel that my work should be all the explanation
that is needed. If I am truly putting myself into my work a blind person
could "see" why I do what I do (in other words the passion should show). As
for telling the story to the want-a-be's, well that's kind of like trying to
describe color to a blind person. I can't tell you how to be creative, it's
different for each of us. What happened in my life and how I reacted to
those events will not be the way you or Tom, Dick or Harry would have
reacted, so hearing that the dog you loved had something awful happen to it
and this is what makes you who you are just doesn't do it for me. So you
read the artist statement (some of them are really quite good), but when you
get right down to it the work is what matters, it tells you about the person
that made them if you can understand what it is you are seeing, touching,
listening to. The work says more to you than words ever could, they move
you in a very special way, the pot that you look at day after day, the one
that when you first saw it dragged you over closer and made you stand there
turning it so you could see all the sides more than once, feel the weight,
the texture, the sound it makes when you flick the lip with a finger or take
off the lid. And, some of what passes for artist statements... well you
hope that you are standing up wind after have read them.

Up here in Wisconsin where the women know how to take charge and the men say
"Yes dear" if they want to see the sun rise in the morning.
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of kelley40
Sent: Monday, October 02, 2006 2:52 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Artists' statements

Ok I just needed to chime in here as a new person on the list. I am a folk
artist to some and a cathartic surrealist to others... I don't get hung up
in labels and I don't get hung up in pretentiousness. I have nothing to
prove to anyone.. I just am.

To me an artist statement is like a elevator pitch or a marketing statement
for the short explanation of a business or in this case the short
explanation of the artists heart and work.. What can you say about yourself
in the time it takes to go from the first to the sixth floor of a building.

I never started doing art with the intention of impressing anyone.. It was
simply something that was a natural, a drive and a passion I had to feed. I
reached a point where I needed to share my art.. And even sell it lest I
break a bone tripping over my creations. Simplistic yes... But I think
artists tend to get hung up in the two worlds that seem to run on parallel
lines, The work and love of the work and the need to "dress to impress" to
market the work for a paycheck.

Kelley Barrett, Artist

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Bunny Lemak on tue 3 oct 06

>I came up with a very effective artist's statement
>using this writing tool that I found online.

Actually a very long time ago my friend came up with a wonderful way of
writing an artist's statement for me. I was asked for a statement for a
show I was in, I never needed one before and had no idea what to say about
myself, so we looked at several different statements, and took a few
statements from each and made up my very own "statement" for this
particular show, sadly I don't even think any of the statements were even
read by the visitors.

Although it was a good idea at the time, I since have actually rewritten
my statement.

To me my work should be the "statement" not my words, but in today's world
everyone seems to need a statement or title for ones work. It will be a
very sad day for me when I have to start thinking of "names" for my pots
instead of just making them for fun ......and of course money! :)

Bunny

Lee Love on tue 3 oct 06

On 10/2/06, Susan Fox Hirschmann wrote:

> Our background. For those reasons, the artist's statement
> gives the want-to-be's that buy our work, a (hopefully) understandable insight
> into who we are and why we create.

I agree. An artists statement isn't the same as demanding that a
craftsman speak about what every piece he makes means. An artists
statement helps you know more about the maker, which indirectly may
give you insight into the work itself.

--
Lee in Mashiko, Japan
http://potters.blogspot.com/
"Let the beauty we love be what we do." - Rumi
"When we all do better. We ALL do better." -Paul Wellstone

Lee Love on wed 4 oct 06

On 10/3/06, Mary & Wes wrote:
> OK, I think I'm going to ruffle some feathers here but, this is how I feel
> about artist statements.

This is a misunderstanding of what an artist statement is about.
Actually, this post is an artists statement.

> And, some of what passes for artist statements... well you
> hope that you are standing up wind after have read them.

Yes, some are not so good. We all have to make our choices.
But, wouldn't it be a shame if what kept a person out of competitive
shows, galleries or competitions was the artists refusal to write an
artist statement?

It all depends. And the proof is in the puddin'.

--
Lee in Mashiko, Japan
http://potters.blogspot.com/
"Let the beauty we love be what we do." - Rumi
"When we all do better. We ALL do better." -Paul Wellstone