Monday, August 23, 2010
Welcome to Critical Discourse: Fall 2010 Week 1: WRITING
The Syllabus for class can be found here.
Here are your first group of readings for class, beginning 08/27/10.
This group of readings will be discussed in our second class meeting, 9/3/10.
A thoughtful, critical response to the readings will always be due by midnight on the Wednesday preceding our Friday evening class.
So, the first group of comments will be posted in the comments section of this post by midnight, 9/1/10!
Please begin each post with your full name.
Please click on the "comments" button below and post your response.
Week 1: WRITING
01 Artist Statments - G. Brown.pdf
01a Philip Guston Talking, 1978.pdf
01b Eva Hesse.pdf
01c I am for an Art..., Claes Oldenburg, 1961.pdf
01d Bridget Riley - Untitled Statement, 1968.pdf
01e Robert Ryman - Untitled Statements, 1983.pdf
Optional:
01opt An Art History Professor Explains..., Ethan Ryan, 2007.pdf
01opt Writing About Visual Art, David Carrier.pdf
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Terri SAULIN
ReplyDeleteBrit Brennan
ReplyDeleteThe Vincent Price video felt very traditional in the means of presenting art, and I didn't really believe his forced enthusiasm about each piece in particular. He said a lot of stereotypical phrases, which was off-putting to me, though he still made a point of trying to convince the viewer why his methods of dealing were modern and different. Maybe for the time it was made he was on to something, but I wasn't very enthralled.
Gerard Brown's general thoughts about artist's statements pointed out a lot of interesting points. I appreciated that he began by remarking about "garbled art speak passing itself off as profound musings", because I find myself getting really irritated with pompous sounding artists using alienating words to describe their work. I think he was emphasizing accessibility a lot, which I think is the most important thing about an artist's statement. I would hope that anyone could read my artist's statement, regardless of their level of experience or education, and understand what my work is about, even if only the jist of it. I hadn't previously considered the idea of focusing on material in a statement, though after reading this I definitely need to elaborate on the materials I use, and not just focus so intensely on concept.
I enjoyed Philip Guston's rambling tirade about his work, and about painters. His remark both he and de Kooning said about art being about freedom really resonated with me. I often find myself making things and not having a clue what I'm doing, or why, or what it may become, but just that I must do it. I think sometime it's hard to admit this, because maybe we are afraid we will be discredited for not always having a substantial context or concept. I can't say anything definitive about the "process" of making art, as it seems neither can Philip. It's too fluid, and I like it that way.
I sympathize with Eva' Hesse: "It is my main concern to go beyond what I know and what I can know" - this is also a huge part of my mission, not just as an artist, but as an individual. Experiencing is learning, learning is the only thing I really can do. I'm not sure if I understood what she was saying about feeling incapable as a female artist - if she was describing stereotypes, or if she really thought those things. It is definitely a struggle identifying as a female that wants to attain some sort of strength and power, and definitely harder than then now. Her work always impressed me because of it's strength, whether or not she saw it that way, I found her very powerful.
Brit Brennan cont.
ReplyDeleteThe first time I read Claes Oldenburg's "I am for an art", I found to the be really eye opening. It was some time in the beginning of art school, when I had no idea what art was, could be, might be, or even what it meant. In my head I summed this document up to the most basic idea that indeed, everything can be art. I began looking at the world differently in this way, noticing mundane and trivial acts and objects to maintain an intense beauty. This translated eventually into my use of found objects and natural materials. Beauty already exists in abundance everywhere around us, I suppose the artist is the one who picks it up off the ground and does something more with it.
Bridget Riley calls her process a "process of discovery," describing how not all art is immediately explanable, or socially understood. I have witnessed a common assumption just from my daily life and observations, that art is supposed to always have an objective. The thought urks me, because most of the time I am just creating for the sake of creating. Even though I often put a lot of preconceived ideas behind a piece, I never know who will see it, or if anyone will even see it at all. This limits the expectations I can hold to the work. Sometimes it is just me and the earth witnessing my creations, and part of that fact soothes me.
I agree with Robert Ryman's statement about coming away from you creative process with a feeling of delight, as the with poetry and music, something wonderful that lingers for days. I think it's really important to feel good about your work, to enjoy looking at it and making it. Rather do I not have fun creating, I wouldn't let myself. If I'm not enjoying what I'm doing, then I don't know why I'd be doing it at all. I refuse to ever lose that "delight" in creation.
Each of these written statements helped me to clarify what I consider and what I do not consider when thinking about my own work. Gerard Butler's piece put me in a good mindset to read the others. His suggestions caused me to reconsider the structure I tend to use when writing artist statements, reminding me that there is more than one way to do most things.
ReplyDeleteThat thought jived well with the tone of most of the artist statements. Reading Eva Hesse and Philip Guston in particular made me realize that I am the most motivated creatively when I can push myself into unfamiliar territory by working or speaking or writing intuitively. In general, when I break out of the constraints of what I already know or am comfortable with, I learn the most. In other words, I learn best with stimulus that is accidental or "off the cuff." Bridget Riley affirmed this as a reality for other artists than myself when she described the way she seeks to express an emotional content but rarely can explain why she is driven towards it.
In terms of content in my own work, Claes Oldenburg's statement was the most relatable of all that I read. He really echoes my point of view when I work, emphasizing the way the most beautiful content is very much of this earth and of the human experience. I agree wholeheartedly with his love of the imperfect, the dirty, the insignificant and trivial details that compose the world through which we move. I would add to his statement that one of the most inspiring aspect of the every day, for me, is that all the details we notice around us depend upon human observation and value to have meaning. I love the subjectivity of all the specific qualities and objects Oldenburg lists in his statement; these things mean different things to each person who sees (or does not see them). Objects and forms do not possess inherent meaning, which is why I love to manipulate them and instill them with significance in my work.
Ryman's discussion of the delight he feels when creating also struck a cord with me. Not only does creativity give me immense satisfaction inwardly, but I think it causes me to take a greater delight in my every day--the people and places I find myself surrounded by are much more beautiful or interesting when I am pursuing creative work actively and regularly.
Brianna Barton
ReplyDeleteAt this point in my life as an artist, I am both comforted and excited when I hear establish artists affirm that they are still discovering and still working through their processes. An artist statement is never steadfast; it only expresses the current state of an artist’s work or perspective—or at least the statements that resonate the strongest for me. Explanatory statements are informative, but they sometimes lack the personal drive behind a body of work or series or process, which can leave the viewer with a disconnect between the work and its “purpose.”
Bridget Riley’s artist statement was both informative and honest. She places herself within an art historical context, but also speaks about her intentions and beliefs that have led her to her practice. She explains, “I am sometimes asked, ‘What is your objective?’ and this I cannot truthfully answer. I work ‘from’ something rather than ‘towards’ something.” For her, her work is about exploration, and development, two aspects I used to assume were only found in the beginning stages of an artist’s career.
Then there are the poetic statements of Eva Hesse, and most notably, Claes Oldenburg. These offer more philosophical insight to an artist’s work than process oriented explanation. They are first hand account of the drive these artists have to create what they do. These are by far the most interesting, and only add to my appreciation of their work.
Pam Reimers
ReplyDeleteA Few Gen. Thoughts & Examples
Gerard Brown
I read this article twice to get a feel for what Gerard was saying, and it’s quite interesting to see that he feels the way I have been thinking for the last few years at Moore about certain professors. A few professors I have heard speak of their work have described their work in the most complicated and fancy way that anyone could explain art. I personally don’t think it is necessary to make the artist statement so long and elaborately fancy with hundred dollar words that the reader is turned off. I have found it hard to focus to what someone has to say when they are throwing those expensive words around; it almost makes you feel too incompetent to understand their work. although the words may be very “well put-together”, it does not guarantee great art.
I Am for An Art...
Claes Oldenburg
The writer is clearly speaking on the nature of art and what it means to him. I think this means the nature art takes when it is in our space; the art of everyday objects or daily occurrence that we ignore and do not see the art in. His definition of art is that is requires all five senses to get a true feel for it. An art that is opposite to what we are trained to think is art.
Letter to Ethelyn Honig (1965)
Eva Hess
I have found that Eva Hess to be one of my favorite artists, not because she is a female artist but because to me, her work never came across as she was trying too hard, it seemed to have flowed naturally as pure talent and a keen eye for art. Eva seemed bothered in this article about her battle as a female artist amongst an industry of predominantly male artists. Her desire to continue learning through experience is what I admire most in her, not only as female artists should we see the positivity in that, but as beings in the real world, we should always have the drive and passion we possess now as seniors in college. Hess expressing her insecurities about the intimidation of the art world for women lets us know how far we have come as women, in every aspect.
Untitled Statement (c. 1968)
Bridget Riley
This article is the one i related to the most out of all the others. Personally, I think my creative process is best when not rushed. It is hard sometimes to explain an objective of the artwork when there really isn’t one, or a need for one. There is a space in my mind that tells me to rebel against the rules my professors set out about objectives, titles, etc., because sometimes I feel that some art work best without one.
Philip Guston Talking (1978)
Philip Guston
Philip reminded me of how important it is that art is a freedom of creative expression. It is also important for us as students to discover that before we are sent off into a cold world of rules of artists should do to be considered relevant. If art is without passion and expression of freedom, it is most definitely done in vain.
Untitled Statements (1983)
Robert Ryman
Robert Ryman has definitely touched on something that I sometimes lack. I tend to not feel so good about my work sometimes because I seem to be misunderstood. I do not like to set barriers on the interpretation of my work; I like to keep it open for the viewer to interpret it to what makes the most sense to them. I have worked hard to express that in my work, but it seems to be difficult to convey. But I do possess that delight when I work on my jewelry. I feel that is what I am best at and naturally gifted at and have such a passion for it that I feel at ease.
Kelly McGovern
ReplyDeleteEva Hesse
This is an incredibly relatable subject that Eva Hesse writes about, specifically when she writes about female success and masculine roles. As a Female artist I constantly feel as if I’m struggling to prove myself. In my personal life there has always been a struggle to be tougher, a push to prove yourself by working in more manually laborious ways in order to be “successful”. Perception of stereotypical female roles has always been an obstacle for me, since I was young.
Bridget Riley
I found this piece to be interesting, as the transformation of work to be something that I often don’t concern myself with but hold the completed work in higher regard. As she begins with talking about the incorporation of emotion there is a great moment when you realize the coloration between the transformation of work and the change in emotion through the process of making the work.
Robert Ryman
Robert Ryman has a great energy in his writing. I particularly liked his acknowledgment and high regard for not compromising work to “fit the taste” commercially speaking, and that he was actually left teaching so as to protect the integrity of his work. I think this is something most would be unwilling to do, a steady income tossed away to protect something you love.
Claes Oldernberg
This reading was really something I loved. I believe it was NPR that did a piece very similar to this work called “This I Believe”. It was a ongoing show where people read what they believed in, from all walks of life: both eye opening, and thought provoking.
Philip Guston
Philip Guston writes very frankly about all the weird thoughts I sometimes think about objects and creating work in such a way that when I try to talk about the same things I sound absolutely insane. There is a great importance and high regard for creative expression and the freedom it brings.
Gerard Brown
This had many valid points about artist statements that I had never really considered. I found this piece rather interesting and helpful. I feel I will reference this often when it comes time to create another artist statement.
Vincent Price
As a sculptor attending an art school, there is nothing that irritates me more than when people ask me to paint something. The first minute of this video was refreshing. I enjoyed that he wasn’t particularly enthusiastic about anything and gave praise to print and other forms of creating art. However, this was a fairly uninteresting piece… I lost interest fairly quickly, especially when it began to talk about the taste of the audience.
Laurel Patterson
ReplyDeleteComment on CD Readings – Week 1
I understand that the artist statement is an integral part of studio and professional practice, yet I have always been quite overwhelmed and intimidated by this task. There is nothing harder than writing about my work. I know that it can be done in a number of ways with certain tools that break down information to get the point across clearly. Even with these lessons it is still difficult for me to define my work when I am not even at the state where I even know what it means yet.
I really enjoyed the artist statements we read that were unconventional and very personal to the artist. Those that sound like they come from a real person and not a book are the most interesting and easily understood. It is definitely going to be a goal of mine to have a statement that comes across in this manner.
Shannon Toale
ReplyDeleteAs an artist who has a tremendous amount of issues trying to describe my work both verbally and through writing, I found these articles very helpful and interesting. As I was reading through them I was able to relate my personal struggles with my work with the artists who I was learning about. I really enjoyed reading the different artists writing samples and learning how they try to tackle these problems.
The article by Gerard Brown was a good starting point because it was clear and easy way to step back and view an artist statement in a few different ways, which I have not thought about before. I was particularly struck by the quote, “Failure to produce an artist statement that adequately articulates your objectives is admitting that those “with better verbal skills” should have the unlimited right to re-make your work however their words will allow”. An artist statement is something I have always been intimidated by but after reading this passage I felt a sudden urge to wipe out my artist statements I have used and start completely fresh with a new perspective.
I always find reading about the imagination interesting and reading Timothy Williamson’s article was no different. I feel that in order to attempt to grasp and understand what your artwork means you must also understand where these thoughts and ideas come from and are processed. I believe “I am for art” was a very interesting article and a good way to get your imagination wheels turning. As far as the Vincent Price video goes, I was very uninterested. It lacked imagination and was too traditional for my taste. To keep it short and simple, it bored me.
Shawnda T.Beattie
ReplyDeleteThere are many similarities and many differences as to how an artist should visually persuade the viewer threw writing about their art. In reading the article, I have come to an understanding that what we say as artist necessarily have nothing to do with how our opinion. It is based on what the reader will recognize in the statement visually. When talking about our art we choice not elaborate or we choice to give our modest opinions, what we think our art consist of and why we’ve made those decisions. Artist statements has something to do with the spectator or the person reading about the art , which means the statement has to be written in such a way that it captivates the reader into believing and understanding the concepts in which the art is lay upon. The artist is responsible for creating the visual evidence which refers to the aspects of the statement.
The one article that caught my attention was mainly from artist statement by Garard Brown states that in our profession , it is not uncommon to encounter the opinion that the artists are “ unreliable witnesses” I feel we are because its difficult to talk about or own work do to our poor criticism towards our selves. He goes on to say that when it comes to their works and job of discerning motivations and interest is best left to curators and critics. This is an irresponsible position for artist to assume.” I agree that its irresponsible and also feel its puts artist in a predicament to elaborate on their thoughts which usually appears on canvas.
Sophie Strachan
ReplyDeleteI often have a terrible time writing about my own work. Reading these articles helps me to understand this task better. It is interesting how many different formats an artist statement can take and how these articles related so well to their individual work. Philip Guston Talking encouraged me to think about my medium and why I use it, but also my subject matter. I realize that I need to focus my work and create a concise definition of it. I need to understand what I am projecting out into the world with my art. Philip Guston mentions that art is freedom and what you do with that freedom gives art meaning. The freedom is what kills me, to be able to do whatever I want is overwhelming because I have too many ideas. Overall I think I can connect the most with Bridget Riley’s statement “It is a process of discovery and I will not impose a convenient dogma, however attractive.”
Mallory Lawson
ReplyDeleteResponse to Philip Guston Talking (1978)
“I feel that strongly believed in and stated convictions on art have a habit of tumbling and collapsing in front of the canvas, when the act of painting actually begins.”
After reading the second sentence of this essay, I knew immediately that I was going to enjoy this reading. I knew exactly what Guston was describing. I have found that the pressure to research and write about my work often times in gets in the way of actually making my work. For instance, this past spring, I spent a lot of time and energy researching and writing a travel proposal for Junior Fellowship. I knew everything about the history and the planning of the moving of Brazil’s capital from Rio de Janeiro to Brasilia. I was completely fascinated with the entire subject. But then I sat in my studio and I had no idea how these facts, numbers, years, photographs and ideas would translate into painting, into an installation. For me, all of this research just “tumbl[ed] and collaps[ed] in front of the canvas.”
I don’t think that an intensely researched and a beautifully written artist statement is bad, I just think that if the work isn’t on par with the writing then you really don’t have anything at all.
On the subject of “what is painting,” Guston quoted a color-field painter, “A painting is made with coloured paint on a surface and what you see is what you see.” Guston’s response to this was something that I felt eloquently and perfectly described what a painting actually is.
“I don’t know what painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere, a trifle, some detail observed, wondered about and, naturally from the previous painting. Painting is not on a surface, but on a plane, which is imagined. It moves in a mind. It is not there physically at all. It is an illusion, a pieces of magic, so what you see it not what you see.”
Guston put into words something that I could not describe. The idea that a painting is just a representation of something that only exists in the artist’s mind, gives painting so much more dept and mystery. Guston later describes the dept as “world of people” that he left in his studio; he said that the painting world is “more real than the world I see.” Thinking about the idea of creating a world that only exists in your artwork, made me start thinking of my own work and I feel l could see millions of little tiny people living in the work I create. I had never thought about my work like this. This Guston article really made me feel some that there really is some magic in painting.
I learned from this essay that when the “disenchantment” grows, and you loose the magic in whatever your creating, that it is okay to completely change everything you are doing, even if that means to go from complete abstraction to painting still-lifes.
mary carnes
ReplyDeleteI honestly wish I had read, “ Artist’s Statement,” before writing mine last semester. The entire process was confusing, irritating, and just plain difficult. I specifically related to the author when he commented on how artist’s statements are commonly filled with “ frustrating art speak.” Whenever I read an artist statement I feel as if I need a dictionary handy in order to decipher what the artist is trying to articulate about his or her work. As a result they come off looking like ostentatious assholes.
Another aspect of the article I enjoyed were the different groups in which statements could be categorized. Rothko was by far my favorite examples because he got his point across within the first sentence. “I paint very large pictures…” He understands that half of the people who are going to read his statement and view his work are a bunch of idiots. I think that more artists need to start writing this way because for one the world is full of morons and two know one really cares or is impressed by large vocabulary. They only thing that really matters is the work. And a lot of artists forget that.
This comment has been removed by the author.
ReplyDeleteCaitlin Tucker
ReplyDeleteOverall, these writings were interesting and I gleaned something from each. I Am for an Art and An Art History Professor Explains… made me smile.
The Gerard Brown piece on artist’s statements was informative, giving more structure (and therefore, more chance for departing from said structure) to a form of writing that is often illusive. Writing about one’s work is a challenge for any number of reasons; wanting to sound equally humble and confident in one’s own abilities, a desire for the most honest communication of one’s thoughts at that moment about the work, and a need to be both succinct and eloquent. Reading Reclaiming the Imagination directly after this was a nice segue into the other readings. For as obvious as things like a written statement about your work, and the imagination can seem, reading about each of them like this reminded me that they are really complex things to be dealt with.
Seeing in each artist’s personal writings an echo of my own confusion and search when it comes to art making was really heartening. As an artist I truly admire, Guston’s descriptions of his various periods of working were really nice to delve into. Certain things just jumped out at me, his desire to realize images in the mind as realistically as possible, for one. Above all, I got the impression that to him, the making is primary, whether it’s repetitious paintings of shoes, or objects in his studio, it is about the making and the subsequent transformation of both medium and object through the making. Somehow that was really satisfying to read. I also really enjoyed Bridget Riley’s Untitled Statement, which also discussed the transformation of elements in the process of art making.
Jamiee Cruz
ReplyDeletei found the article by Gerard Brown interesting. He pretty much states that some artist don't really know how to talk about their own art work. Some artists will go on and on about nonsense and not really talking from the heart and what its really about. That made me laugh because I realized I am the same exact way. I sometimes have no idea how to explain my work and just go on about nothing. I usually feel like my art work is what it is! I feel like it is harder to express my self in words i rather draw or paint what I am feeling. Gerard also mentions that some artists want to sound sophisticated and think its a good idea to use 75 cent words (big words) to sound like they know what they are talking about and to sound really smart. Mean while people reading these statements may not understand that kind of way of talk and people will just think its another way of them not knowing how to talk about their work. As i was reading the statement by Bridget Riley i saw the same exact thing. At first i was understanding what she was talking about then in the 2nd paragraph she starts going off using terms or phrases that i wasn't understanding and had to go back and re-read it over to finally understand that she was incorporating emotion into her work. In Robert Ryman's statement was interesting, I like how he incorporated the different artists he found as an influence/inspiration for his artwork. He was talking about how Matisse he puts the paint down as if he is so sure and that he doesn't fool around with it. In the video with Vincent Price, he had stated that its good to know about the artist you are trying to sell and even goes with writing your artist statement. If you want to buy a painting or sell one its good to know about the process of getting to where you got to make that piece. The article by Claes Oldensburg I found comical. he was speaking how he felt about art and how it is everywhere and anywhere. I thought that was great to hear because that is exactly how i feel. I tend to get frustrated with people who say i don't understand art or art is bunch of crap, when that chair they are sitting on was designed by an artist and their bed or the table ... etc. I enjoyed that article the most.
Jen Robey
ReplyDeleteI am pretty terrible at describing my artwork to other people. I know what I do and part of me feels like that's all that matters. If you "get it"... whatever there is to "get", then so be it. However, a much stronger part of me wants to be able to articulate what it is that I do. I don't even know what it is that I do. I know what I WANT to do, so part of me is jealous of these artist statements that really give you an idea of what kind of person the artist really is without first seeing their work.
In "I am for an art...", I already have an idea of the personality of this artist. The manner in which Oldenburg is writing is very blunt and straight to the point, without saying exactly what it is that he does. He comes across as a very personable individual by stating things that almost everyone can relate/react to in some way which makes me automatically want to invest time in exploring his work.
Guston really intrigues me. The way that he speaks makes me feel like I'm holding a conversation with a friend of mine. He said alot of really interesting things that I agree with. He said that no one really paints for the act of painting, but because they are moved to do so by thoughts, things, sensations, memories and things of that sort. I never thought of it like that before, but he's completely right. At the very end Guston says, "You see, I look at my paintings, speculate about them. They baffle me, too. That's all I'm painting for." That final statement made me laugh because he's being totally honest with us. He's not making things seem much more important than what they really are or just throwing words out there and hoping that they make some sort of sense to the rest of the world. He's being truly honest and that's really wonderful. My goal for this semester is to figure out what kind of artist I am, I finally started to put myself into my works so hopefully I'll get an artist statement out of this semester that is actually true to me and my work.
B. Enright
ReplyDeleteT. Saulin
Critical Discourse
September 1, 2010
REACTIONS TO:
Artist’s Statements:
A Few General Thoughts and Examples
Compiled by Gerard Brown
I enjoyed that he wrote about “art-speak” and how frustrated he gets when he read’s it; I feel the same way about the use of art-speak and I will walk away from any artist statement that is posted in a gallery that uses it way to much. I found the various examples of artist statements very helpful. I personally have trouble writing about my work and reading the examples from differing artists was beneficial. The Explanatory sample would be something that I would gravitate to, but I feel that it wouldn’t be enough in a statement. The process is good to know about work, but I feel that the viewer wants to know more about they meaning behind the work.
Philip Guston
Philip Guston Talking (1978)
Through out Guston’s article he explains the importance of communicating one’s work and to be continually thinking and progressing on an idea. I found it appealing that he would regularly change his style of working. Whether he would be focusing on one thing or just being completely open minded with loose drawing or painting.
Eva Hesse
Letter to Ethelyn Honig (1965)
I am a little confused with Hesse’s statement. She goes on for a page talking about wanting to do more and to feel successful in her work. I feel if someone if going to go on about how she feels that women are second to men, and continues to say that their accomplishments might not seem as grand to a male’s accomplishment; i would think that the artist stating such things should feel or do more and say more about her work then end with “It is something, it is nothing”
I am for an art ...
By Claes Oldenburg
I really enjoyed this piece. I found the random poetic ramblings marvelous. Oldenburg wrote something that can be that could be summed up as simple as ‘art is everything, and anything’ and instead listed anything that came to mind. I found this to be witty and entertaining to read.
I was really fond of:
I am for art that is put on and taken off, like, pants, which develops holes, like socks, which is eaten, like a piece of pis, or abandoned with great contempt, like a piece of shit.
Bridget Riley
Untitled Statement (c. 1968)
I had absolutely no idea what she was talking about or even trying to relate until I looked up her work. Some statements can be understood without seeing the work (you can get some kind of idea what it may be), but others have to be seen with the work to totally understand what is being related.
Robert Ryman
Untitled Statements (1983)
Looking at his work I could see that Rothko had an influence on him. I don’t know how much justice this statement has for his work but you can get a sense of what he is interested in and his views on the art world.
Angeline Nesbit!
ReplyDeletevincent price
one question, why isn't sears still classy like that? I really dig the idea that the average person could hang a work of art by a master artist on their wall. For me it has echoes of france's explosion of artist after world war one, when any artists could go to a shop, leave a canvas and have people come to see it and buy it at their leisure. It takes away from the stiff snobbish stereotypes of art.
Artist Statement
It has always been obvious to me that writing about your work is very important. I myself have experienced a change in opinion, that takes place when a person of minor artistic ability explains to me a concept which is interesting and well expressed through the work. Often a piece's true meaning lies in words. At the same time I have seen artists who, while their work was often beautifully rendered, moving and visually interesting who could not express themselves and showed how empty the work really was.
Philip Guston
He discussed the importance of meaning behind work and being able to discuss those meanings, while at the same time pointing out the mount of innocence required to paint. Can one, let go of the cares of the world and create a piece simply about relationships of shapes, beauty and composition and still speak of it with an underlying concept? I don't think so. I believe that the innocence, the primitive way art is made is really simply a way to convey complex meaning on a level that all men should be able to relate to.
Lauren Bergrud
ReplyDeleteFor Phillip Guston painting is the mind communicating, it is life, and is what makes things real. Painting is more than the object it makes; it is the process, desires and memories. It is a chance to work out meaning, visually through the path objects take en route to a new life. The evolution form the original concept to end product is what an artist lives for. Art gives us all the freedom to live.
Eva Hess writes about the struggle for a woman to overcome her womanness to become great artists like men. She says that woman have a lot more to deal with than men even before they start creating and this hinders her attempts at success. Articles like this define what it is to be a woman and then use that definition to find fault in her success. Does women only mean feminine? Does it make her no longer a woman to assumes a masculine role? Today I would say absolutely not, in 1965 that could have been a different story. This may still be a man’s world but that should not be direction for the way a woman conducts her life. A woman’s lack of confidence or self-esteem or portrayal as a delicate flower has become a racket for comparing themselves to men. Men and women are equal as beings but not as minds and it would benefit everyone if we stopped measuring them against each other.
Bridget Riley and Robert Ryman give reasons for their methods and processes while working with in the constraints of the time. The time is what defines art, directing artist to fit into a style or practice. They both feel the pressure of the times restraints but art does not have to be defined when it exposes catharsis.
This comment has been removed by the author.
ReplyDeleteCourtney Coolbaugh
ReplyDelete“I am for an art…” by Claes Oldenberg is about beauty and how it can be found in everything – even in “the conversation between the sidewalk and a blind man’s stick.” His poem reads like a pile of Polaroids – snap shots of ordinary things that are worth holding onto. He refers to these things as art – suggesting that art can be found in everything. His poem reads like the polar opposite of Vincent Price’s video.
Vincent Price used charming words like, “Famous, best, most, famous, brilliant, great, famous, and first-class.” Focusing entirely on the commercial properties of his collection, he did not mention what any of the work was about or give any background on the artist – aside from specifying their positions of greatness.
Reading The Artist’s Statement compiled by Gerard Brown led me to investigate my default artist statement. My work is meant to be visually compelling and emotionally charged, but I tend to focus the conversation on the process of my work and the metaphors I associate with the media. I often burden the viewer with trying to discover the meaning of the visual content because I want my emotions, not just my thoughts, to translate through the imagery.
Eva Hesse wanted to transcend herself and her work into an ethereal dimension where she could defy the ever-present sexist limitations that were placed on her work. I too want validation that my work is worth doing and that I am worth my existence by creating something bigger than myself. I use metaphor in my work aiming to transform a pile of broken glass into the condition of the universe – connected and disconnected, violent and vulnerable. Art needs to be bigger than the artist if the target audience exists in a society outside the one it comes from – the future generations, the abandoned spirits, or the universal mind.
Robert Ryman condescendingly remarks on how “many artists feel they are entitled to make a living from their work”, referring to these artists as “compromising”. I believe this is an unfair statement. I do not know how much it cost to go to art school in 1983, but in 2010 I would describe the tuition as “Pretty Steep”. However, I agree with him that art “should be a revelation” – this is why I am not in Med School. I choose to put things together compositionally, not with stitches – although, “I am for the art of Lidocaine in freshly exposed muscle tissue.”
Vincent Prices’ video was boring. He was so Monotone but he still did have a quirk about him because he is Vincent Price but it was still a snoozer. It was funny that an actor was trying to teach artist to sell work in a department store. He basically said, it doesn’t matter if you like it, pretend you do to sell it. I worked in the art shop for a little while and some of the work in there was pretty bad. A few people asked me about certain pieces I hated but I did manage to say some good things about them despite the fact that I thought they were the worst things id ever seen.
ReplyDeleteReading the two artist statements and the was helpful because it gave me a great way to get a good artist statement going by asking a friend or a peer for feedback and conversation. I just recently submitted a statement for a “show” at a café, I read it, and it didn’t really serve me justice, I didn’t think it made sense, but I didn’t have time to go and gut it out with out knowing what I should even be writing. Breaking the artist statement down into four different categories was helpful because I can chose one or more and go that route. I know that when I talk about art, I don’t want to be so overly profound, I want to voice my opinion ad have a fun conversation, just like in my work, I prefer to have fun, and I do have a “child-like” love for it.
It was interesting to read the writings then look up the artists work. For example, after I read Philip Guston “talking” I was surprised to see his work. It was funny to see his work and what my initial perception was. I thought he was a realist or a surrealist the way he spoke about how the visible world is abstract enough and how we don’t need to go into abstraction. Guston's comments about preferring having a non-artist react to his work. I think yes, that is the potential buyer. I value my peers and professors opinions. I like to have opinions that are not bias although to a particular kind of artwork or habit. They like what they like, without knowing the reason or technique.
Eva Hesse letter to Ethelyn Honig
I don’t really care what the statistics are or this reason and that, I’m going to do what I have to do, I have enough talent and skill. I don’t want to be bothered with this entire male domination, woman in the house; Women are the most powerful beings. Yes we have a menstrual cycle and yes we can have babies. I like to clean and bake, but that just makes me more exceptional. If we can do all that plus make amazing artwork, whose complaining.
I have to remember that these texts are dated, these people wouldn’t have the same views today a they did before, that’s why its hard to read these, because there are so many things that have changed and are still changing.
“Many artist’s today have amore commercial outlook. They feel they are entitled to make a living with their painting” Robert Ryman
I'd like to think that when I sell a painting I am just happy if someone likes it. Well, that’s true; I give away paintings, because someone likes it. I am pleased when someone buys something that was donated, I don’t see the money but it’s the same satisfaction. This is my life and my career, as well as my passion. I would say I am fortunate to ant to live this way. Why would I want to get a job that is completely sterile and not related to art what so ever, that wouldn’t make sense for my life.
“I don’t know what painting is; who knows what sets off even the desire to paint?” Philip Guston
I paint and create art because it gives my life meaning. There is nothing like it in the world. It relays a story; it is a form of communication. In prehistoric times, caveman made art because they were telling stories, they made art to communicate, and perhaps leave a message. An artist creates because they want to be understood and heard. It sends a message for those who cant or wish not to speak.
“Reclaiming your imagination “ Timothy Williamson
ReplyDeleteInteresting. I agree. I like the part that talks about the belief that you will not be visible from inside the cave if you crouch behind that rock may be justifies because you can imagine how things would look from the inside.
“Imagining things contrary to our knowledge contributes to the growth of knowledge “
“Why did humans develop the capacity to imagine alternatives to reality?”
These can go hand in hand with Claes Oldenburg’s I am for art. To have a vivid imagination like that, to see things that wouldn’t make sense in a relative universe, the possibilities are endless for him.
Claes Oldenburg’s “ I am for art” descriptive and was imaginative. I could instantly visualize, identify, and understand what he was talking about. His work is very fun. Maybe that’s what he was trying to explain and that’s what the point was, his inspiration comes from everyday encounters and life.
Juli LeCates
ReplyDeleteAs many people have stated in the previous comments, they have a hard time explaining and talking about their art. I also have this issue with describing my own work. Most of the reading and the video deal with talking about art work and how to explain it. The readings deal with different ways of explaining works of art, whether it is your own art of someone else's and some even have more of a conversation about it. The meaning of a piece can be sometimes very simple like a shape that inspired you or complex with material, color, composition and many other factors. Some of the writers go very broad with their explanations saying more of what is going on in the entire genre of art they deal with, while others are very personal and specific. A few of the readings talk about art in a very different way, leaning away from the norm and presenting it in a way you might not have thought about it before. The readings over all discuss ways of talking about art and over all I thought were very helpful in thinking about my own work and how to discuss it. They brought up very good points in things to consider when writing an artist statement of your own, with bringing up how you want your work view and things that shouldn't be left out. The viewer may never understand your work as you do, but an artist needs to be able to explain their work and what it is about.
finger
ReplyDeleteMy name is Vincent Price and I have the purrrrfect piece of work for you my darlings. There's only class A works, rare, exceptional, some of them have been passed down from generation to generation to generation to...well, let me just say there were 17 generations before I got my paws on this piece, at one point it was owned by royalty. I'm sure you've heard of the queen ShafondaFontaine, and so you understand why you'll have to pay such a pretty penny for the prestige. There's a special piece for you too, my precious pennypocketed customer. You don't know the artist of this work, the obvious reason you don't know him is because you only know a "handful" of artists. This glorious work of art looks sort of like a Degas, and he actually matters, so it absoluuutely makes your piece slightly more valuable. / Artist statements may sometimes be more beneficial for the viewer than for the artist. The statements must help viewers, who may not be artists themselves, understand the works in a simple way that clearly defines the artists intentions and uses of imagery. If the work was created on pure instinct, a more abstract explanation might suffice. More concrete terms can be used when discussing the purpose for use of materials and when explaining tangible processes of working. Sometimes an artist statement can be a more personal exploration that caters to answering the questions the artist cannot yet answer for themselves regarding their objectives./ Guston says that our only possession is our freedom to do or make whatever we imagine. If this truly is our only possession and you strip everything else away, you're left with the primitive self. For Guston, painting is the science of staying primitive./Eva Hess "There are handfuls that succeeded but less when one speculates the women from the women that assumed the masculine role."-This was my favorite line. No woman should ever be accused of taking on a masculine role. A woman can't be in a man's role for the simple fact that she is a woman. If one ignorantly insisted upon saying a woman was "taking on a man's role " it should not be perceived as a continuous deviance but as an innateness, /Bridget Riley-Her work seems to represent parallels, repetition, and the continuous responses to repetition until the the concept becomes full circle./ Robert Ryman has conviction in making art that is not of the season, but rather something that you maintain an interest in making regardless of whether you become successful and popular because of it. If your not making art solely because you feel like doing it, then what is the point if art is made to convey feelings.