The Syllabus for class can be found here and on the Moodle page.
The first group of readings for class, beginning Wednesday, 1/22/14, can be found below.
This group of readings will be discussed in our second class meeting, 1/29/14.
A thoughtful, critical response to the readings will always be due by midnight on the Monday preceding our Wednesday evening class. The first group of comments should be posted in the comments section of this post by midnight, 1/27/14. Please note which readings are required and which are optional. I will also be posting articles / websites / general info, almost weekly to a weekly section that will be called "FRESH." The "FRESH" section will appear periodically as I find topics that I think will be of interest to you as you develop your final presentations. (see below) The section will include links to interesting artists websites, gallery info, current criticism and general articles that I feel may be applicable to the current studio practice of everyone in the class. Keep an eye out, check back regularly & feel free to post info as well!
Please begin each post with your full name, not a "blogger nick-name."
Please click on the "comments" button below and post your response.
Looking forward to a productive final Spring semester and to meeting you all!
Warm regards,
Terri
Week 1: WRITING
Optional:
"FRESH"
Ashley Miller
ReplyDeleteI feel as though in Browns writing about artist statements he is categorizing the statement into four equal parts and saying that each part is accomplishing something different in the statement. But I feel as though an artist statement should touch on each of the four topics instead of focusing on just one aspect. Each should be talking about certain pieces, where you are getting inspiration from and where you think your work is going. But I can also see where he is going by saying each can be a separate statement and basically there is a time and place for each.
In the artist statements most of the writers had a background paragraph stating how they got into the medium of their choice and then went into more detail on what it was exactly they were going to be doing. I think by referencing another artist that you used while making your art is another good point. As Ryman was saying that he liked how Matisse used white paint and the sureness of putting it in places.
Riley stated that the challenges in her work were developments. Each and every detail should be tried and tried again. Even when teaching a lesson it might go right with one class and turn out entirely different in another. It is all a learning process. Although sometimes we do not always follow through with experimenting we can be learning at the same time. Sometimes we do not always need an objective but if we can figure out what that it than we can move forward from it.
Oldenburg’s statement was interesting and a different way to think about what it is to categorize your art into a particular statement. Each statement that is being presented has a different approach to what they are saying. Which like Browns can be related. Oldenburg is putting himself into the statement through his art. He does this by saying who he is because of the art.
Hesse’s statement was different than the rest since it was in a letter format, which I don’t think I cared for as much. But her last paragraph was interesting say that she wants to find what her work is but she must find a way beyond that. That can be true that if we don’t push ourselves how far do we know that the work can eventually go?
Sometimes we need to think less of what you see is what you get and think more along the lines of how can I change this in order to grow from it. I liked the line from Guston saying you have to be able to let yourself be embarrassed that is what creating really is.
Chelsea Blair
ReplyDeleteIn Browns article he discusses how artist statements are split into four categories Global, Project specific, Explanatory, and Speculative. Each is a very specific statement, which focuses on just one category and just one category. This I suppose could be great for a reader who may know more about the artist and just one particular statement is required, like he says a time and a place for each. Artist statements in my opinion should be all of these categories wrapped into one statement. This way it gives all aspects to your typical onlooker who is interested in it all.
Gusten article touches on a very important point when it comes to artist statements. He points out that a statement previously made about “A painting is made with coloured paint on a surface and what you see is what you see.” This as we are all taught throughout college is that what you see is not what you get, not in the slightest. Gusten further illustrates that in painting and in artwork across the bored is that every single thing has meaning. The medium you chose, subject, symbols, and colors each mean different thing in art.
Riley in this article and or statement refers how art can be a learning experience from work to work. She illustrates that each of her works she takes away something and incorporates that aspect into the next. She explains how there is art “beyond movements and slogans” art does not have to go towards a central something.
In the other articles the artist reference where and how they gain their inspirations. How they have come to a certain subject and color to paint. Who they gain inspiration from, referencing a specific artist to me, says how much you have thought about what you are painting or sculpting. To make sure that whatever you chose to make art of or about you have researched so much t make sure that particular feeling is felt.
Brown was aiming for nothing more than to disperse a well thought about and carefully broken down output of information. I admire his careful dissection of artist statements especially because I found myself seriously estranged to their existence up until semi-recently. I can say I found this reading to be easily readable due to its solid examples, organization and noticeable differentiation between established groupings. Each grouping should be taken into consideration when writing a statement weather or not you choose just one or incorporate all of them in some way.
ReplyDeleteGuston’s article is peculiarly evoking. He creates a sense of thought in the article that he finds necessary to use when starting a painting. It makes you think; question your actions, likes/dislikes, religion, sanity and even your questions in relationship to the visual arts.
I am very fond of Oldenburg’sstatement. It touches on the everyday things found in the world that become art or act in an artistic manner. The opening line caught my attention and persuaded me to continue reading: “I am for an art that is political-erotical-mystical, that does something other than sit on its ass in a museum.” He’s using a Speculative approach and the content being discussed makes for a very interesting conversation, which starts with the generally played out contemporary question “What makes art, art?”
Riley’s statement takes the more general direction of a Global approach. It is a clear cut and to the point artist statement. It touches on good need-to-know directionality of her past to her present work.
Ryman’s statement takes the gold under the Explanatory category. He goes into discussion about Pop art and how it brought the world of painters to a fork in the road. Some felt intimidated or incompetent to continue. He talks about his influences and how they relate to his work.
It’s important to explore and understand all elements and outlets to create an artist statement. These are all good examples and ample amount of information to use at your advantage.
The reading by Brown on artist statements really got me thinking about what to include in mine. It was very conprehensible, and accurate based on statements I've read in the past. There are so many different ways to go about writing a statement, and I think the way he categorized them was thoughtful and on point. I feel that the type of statement you choose should reflect on your artwork in a meaningful way. For example, Oldenburg's statement was very poetic but also straightforward, and it definitely reflects his work. I think ultimately I would end up writing an explainatory statement, because the process and materials are the most important part of my work. It is also important to remember what type of audience is going to be reading your statement and in what context, as well as how much they may be able to understand. Riley's statement seemed to fall under the "Global" category, as it was a broad statement about her work as a whole. However, I feel a more project specific statement would be appropriate for a gallery opening or show. Whereas Hesse's statement seemed to fall under the "Speculative" category, as if she was writing down her thoughts and working through the idea of her artwork. Guston and Ryman often reference past artist that heavily influence them, which also is an important part of an artist's statement. Overall the breakdown of types of statements by Brown along with his examples and the seperate examples provided, it was a successful learning experience for me and helpful to take the next steps into writing my own statement.
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