In conclusion, because the existing system is so problematic, i believe artists and art institutions alike should seek alternative methods for providing supplemental information to educate audiences and facilitate the viewers appreciation and understanding of visual art. For example, i often find that interviews (text, audio, or video) between artists and curators, or artists and other artists, etc., provide a great deal of insight into an artists work and creative process. Documentation of the artists studio is another way to inform an audience — and Art21 is an online video series that combines these two formats (interview and studio documentation) nicely. The internet enables art professionals on all levels to administer their own improvisations within the existing art world system (via digital publication, commerce, wood etc.) and even offers the potential for creating new systems — so why not? . Creativity is rooted in change. If the avant-garde did what everyone else did, it wouldnt be the avant-garde, and art wouldnt really be an innovative enterprise — it would be a repetitive one. Hows that for an artist statement? M is the 18081340:th largest website within the world. The website is created in, currently located in, united States and is running on ip registered by m, llc network.
However, once the boundaries between the artists personal life and his or her work are eliminated, this generally has a lasting effect; at times the artist sacrifices the sociopolitical neutrality of his/her work for the duration of their career. The overly vague, say-nothing Statement, unfortunately, the problematic nature of authoring ones own artists statement limits many artists to writing descriptive, factual, or personal (I statement) statements, and consequently, many artists default to writing vague and jargon heavy texts, which they have all too obviously. Besides being generally uninformative, these types of statements can be especially frustrating or insulting to the educated viewer — much like numerous press release statements that are written in a similar manner. The (Surprisingly) Well-Written Statement, when an artist does manage to present something honest, to the point, and well written, it is often revealed as having been written by someone else — or proofed to the point of having a similar effect. Thus, in light of the above, while i believe that the artist him/herself should be the ultimate authority on their own work, it is more effective for both the viewer and the artist if the artist statement is written by an outside author (critic, curator. To explore this argument further, outside authorship allows the artist to communicate with the viewer on a predominantly aesthetic basis, while still providing the audience with a concrete textual platform upon which to build a more meaningful examination of the artwork. This alleviates the artist of having to take direct responsibility for any potentially offensive or controversial content (by allowing the artists opinions to exist in visually ambiguous terms) and thereby offers the artist protection, for example, against the loss of support from politically sensitive individuals. Additionally, statements of outside-authorship function as an interpretation or critique of the artists work, which the viewer implicitly receives in the context of the authors credibility. In comparison to a self-authored text, an interpretive text thus broadens the aesthetic potential for an artists work by acknowledging its own bias, thereby leaving room for further interpretation of the artwork.
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This responsibility causes a wide-range of problems for the artist, which vary in course and degree according to the type of artwork made and the type of artists statement written to accompany. A few examples of common artist statements and the problems they cause: The overwritten Statement, the overwritten statement provides the audience with a clear and detailed account of how an artists work relates to the greater trajectory of art history and culture at large. However, due to over-specificity, these types of statements encourage little interpretation beyond their own details, and this often leads to a fixed and unilateral understanding of the work, for which the artist is then held politically and aesthetically accountable. In more severe cases, an overwritten companion writing text can actually upstage the actual artwork itself: the artists statement assumes most or full responsibility for communicating the artists ideas, undermining any expressive power george that the visual artwork might have on its own. The Artistic Artists Statement, as an alternative to the overwritten statement, artistically written artists statements employ poetic lyricism and literary symbolism to communicate deeper underlying concerns in an artists work.
Because poetry and symbolic fiction are generally more abstract than interpretive text, these types of artistically written artists statements can form a better complement to the expansive nature of visual language. However, for the viewer who didnt understand the artwork in the first place, this kind of writing is equally or more confusing than the visual art itself. Furthermore, the worst of this genre can be unknowingly amateur, which in effect undermines the artists overall intelligence. The Up Close and Personal Artists Statement. Similar to the artistically written statement, a statement that is too personal can be more distracting than informative, in this case by blurring the distinction between the artists work and their personal identity or art-world celebrity status. This is not always bad and is sometimes desired by the artist or can be essential to understanding the work itself.
Descriptive writing requires much more specificity than visual communication. If we had a preference or talent for expressing ourselves through text, we would just write essays in the first place — right? Furthermore, most real artists create art on an intuitive basis, which essentially involves some combination of conscious and subconscious thought. This (fine art) is different than both design and illustration, which generally tend to function in much more literal terms. For a fine artist to be entirely aware of his or her creative process and the resulting artwork thereby created is a nearly impossible feat — and one that would require essentially super-human levels of self-awareness and analytical ability on the artists part. Additionally, visual culture is neither unilateral nor linear in its development — it contains a number of interrelated, moving parts that relate to one another in various and complex ways.
So while an artist may be aware of his or her direct influences, it is nearly impossible to know the vast conglomerate of influences that allowed these known, identifiable influences to exist in the first place. Furthermore, even if an artist were to successfully identify every single historical influence on his or her work, to include all of these in a 200 word or less statement would be impossible, and to summarize without overgeneralizing, perhaps even more. Thus, any fine artist who claims to be fully aware of his/her process and the cultural relevancy of their work is either being dishonest with their audience, or speaking out of professional naivety. So, on the positive side, its probably a good sign that most artists dislike having to write their own statements. To continue, similar to the nearly impossible challenge of deconstructing ones own work and identifying all of its cultural predecessors, the automatic bias and inherited responsibility implied by authoring ones own statement places the artist in a strategically limited, and often self-defeating position. For starters, the artist is unable to critically address his/her own work. Self-praise is simply inappropriate and carries little credibility beyond self-congratulations, and self-deprecation (outside of an ironic or sarcastic context) is similar or even more disadvantageous — for the obvious reasons. Second, as primary source material the artists statement is presented as intention or truth, usually the latter for authoritative purposes, placing the artist in an immediate position of responsibility for any and all meaning that he or she identifies or otherwise describes in the artists.
Sample, artist, statement
As an artist, they are almost always awkward and painful to write, and as a viewer they are similarly painful and uninformative to read. I also dont know who decided that artists should be responsible for writing their own artist statement. Maybe it was an understaffed gallery in the 1980s, or a control freak think-inside-my-box-or-get-out mfa program director, but regardless of business how this standardized practice came to be, the artists statement as professional prerequisite (at least for artists who have yet to be validated by the. And I dont think a new one should be required in its place. No, i dont think that artists should relinquish all responsibility for the interpretation of their work, and yes, i do believe that context and subtext can largely enhance the viewers experience of art in general. However, for a number of reasons, to require that artists provide this context directly by summarizing the art historical and cultural relevance of their artwork in textually explicit, objectively framed terms, is ultimately setting them up to fail. To begin with, visual artists are visual people: we communicate visually.
Art can not be an imitation of life; it has to mozart be more profound. Art is an image. . I'm a follower of the classical system of art education and use the legacy of the Great Masters from the past. It is possible to go forward freely and to bring your own, and probably even more beautiful contributions to the development of the world's art. Without art, without beauty, our life would be poor, dull and unemotional, and it could bring about erosion of the human soul. William Powhida, artists Statement (no one here gets Out Alive) (2009 graphite and colored pencil on paper, 18x15 (Image courtesy the artist and Charlie james Gallery). I hate artist statements.
grade, my eyes would glaze over and wouldnt clear until the crayons came out. Nothing has changed all that much since those days — well, maybe some things have changed! I like to think ive gotten a little better! Artist Statement, every professional artist craves to create sculptures and paintings and to be free, independent in fulfillment of his aim. At the same time, artwork must bear elements of beauty and emotions; it must appeal to human feelings because art is an international language connecting people. I am happy as an artist because i found my own theme and the way to express. Synthesis of classical and contemporary art is my goal and there are no limits to fantasy and improvisation. . Any piece of art, sculpture or painting must elevate the spectator's artistic level and educate them aesthetically.
About the same time, i met and married my late wife, jane, who encouraged me to enter the American Watercolor Society Annual Competition where i was accepted on my first try. Three more Annuals and two awards would follow: the American Watercolor Society certificate of Merit for painting and the Grumbacher Award of Merit for Outstanding Contribution to the Arts. These awards were both for the painting, weathered Relics. While many things have changed over a 55-year career as both professional artist and illustrator, my overall philosophy has not — to portray the world in a realistic yet unique way. Using common place and often overlooked subject matter, i've resume accepted the self-imposed challenge to take the ordinary and try to accomplish something extraordinary. Using a selective focus in my approach and at times a touch of surrealism to impart a point of view or different perspective, i ride the edge between the real world and the world of other possibilities. It is my hope in some small way to inspire the viewer to reexamine the wonders within and around us all.
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Although I have been an artist ever since childhood, my first formal art instruction was at Central Catholic High School, toledo, ohio, where i was fortunate to have an outstanding art teacher, sister Mary genevieve. She taught the us the many facets of art and, no doubt, was gratified to see several of us go on to become professional artists. Armed with this solid foundation, i continued to develop my skills in all media at Bowling Green State University but was drawn to watercolor because of its versatility. Following graduation with a bfa, i took additional post-graduate painting courses at the University of Toledo. After a short stint in commercial art, i was then drafted into the United States Army and sent to korea. While there, i accumulated many references for future paintings. shortly after my discharge, i returned to toledo and I was honored with a gallery eight One man Show at the toledo museum of Art; most of the available paintings were sold.