Thoughtful work?

[Siw]

Because I find life a source of joy, sorrow and inspiration and it’s a way for me to express these emotions.

I know this may be an ignorant question, but when you are sad, does your glass look different than when you are happy? Are you successful in conveying these emotions to the observer?

Tony

Hi all!

Facinating thread!

I use my glassmaking (prefer to not call it "art") as a way to express myself, maybe when words are not enough or as a way to deal with my emotions (who needs a shrink when there's glass to be made LOL). When I do this kind of work, I do not think a lot,- just trying to express the "stommach feeling" with colours, shapes and symbolic items. (love symbolic art!)
http://us.f1.yahoofs.com/users/1c6ec3ab ... _AQph_4Izf
is a "stommach feeling kind of piece" . I'm not sure if others can "hear" something in the piece, but it means a lot to me....
Other times this emotional pieces are more light and happy, and I think it shows too....

Other times again I can use hours thinking, drawing and planning for a piece. Maybe those are better, both technically and designwise & more "thoughtfull" as you put it, but all the same I see that my emotional pieces are the ones to sell first when meeting a customer...

Just a thought,- maybe we tend to kill our inner voice in our struggle to do everything so "right"?

Humble struggler

Siw

[Judd]

At this late a date, I'm not sure who's interested in this thread, but now I have a question.

Why should we bother with an artist's statement? Truly, who reads them? The consumer might like to know we have thought out our art, the gallery owner might like to have something in writing, and fellow artists might have one that they share with other artists - but who really reads them? All artists statements say the same thing: "I create art because bla bla bla...." None of them are ever different. An interesting artist's statement would say, "I make pretty things that I sell to rich people with no intelligence."

I am not trying to be insulting. I read the artists' statements here, and I even liked what I read. I have my own artist's statement, and I am glad that I have it straight in my own mind (even if no one else cares). But, "You do it because it's always been done," excites rebellion in my heart. A previous poster said her artist friend never spoke about her art - that it was too personal. Maybe that is a good idea?

Judd

[Tony Smith]

Why should we bother with an artist's statement? Truly, who reads them? The consumer might like to know we have thought out our art, the gallery owner might like to have something in writing, and fellow artists might have one that they share with other artists - but who really reads them? All artists statements say the same thing: "I create art because bla bla bla...." None of them are ever different. An interesting artist's statement would say, "I make pretty things that I sell to rich people with no intelligence."

I am not trying to be insulting. I read the artists' statements here, and I even liked what I read. I have my own artist's statement, and I am glad that I have it straight in my own mind (even if no one else cares). But, "You do it because it's always been done," excites rebellion in my heart. A previous poster said her artist friend never spoke about her art - that it was too personal. Maybe that is a good idea?
Judd

Judd,

I think the artist's statement conveys a number of messages: first, it tells the buyer or the audience that the artwork is made by hand by said artist and is not the product of some unknown factory in China; second, it says that the artist has a personal interest in the artwork and cares enough to share the roots of their artistic influence and where their "art" comes from; finally, it provides a means for the artist to "connect" with the buyer... either through common goals or paths. As an example, you might be more interested in a piece of art if the artist's statement included a comment about having roots in Arkansas, I might be more interested in artwork that was made by an artist who was also an engineer... but if you walk away assuming that all artist's atatements are the same and having never read them, then you've denied yourself an opportunity to make that connection with the artist.

Tony

[ellen abbott]

Gale sez...

I hope present company is excepted from this statement - LOL!

Present company always excepted! In fact I had the good fortune to finally meet Deloras, Catharine, and Els during our vacation. Woe to me that they live so far away. Had a great time grrls.

e

[ellen abbott]

Gale sez...

I hope present company is excepted from this statement - LOL!

Present company always excepted! In fact I had the good fortune to finally meet Deloras, Catharine, and Els during our vacation. Woe to me that they live so far away. Had a great time grrls.

e

[Catharine Newell]

At this late a date, I'm not sure who's interested in this thread, but now I have a question.

Why should we bother with an artist's statement? Truly, who reads them? The consumer might like to know we have thought out our art, the gallery owner might like to have something in writing, and fellow artists might have one that they share with other artists - but who really reads them? All artists statements say the same thing: "I create art because bla bla bla...." None of them are ever different. An interesting artist's statement would say, "I make pretty things that I sell to rich people with no intelligence."

I
Judd

I agree with Tony's posting... I'd also like to add that I believe a statement may be even more valuable to the artist than it is to the public. An artist statement is a distillation of the myriad intentions, approaches, techniques, thought processes and personal histories that occur during the making of our art. The statement forces us to define and then to continually refine our focus. I find it to be an incredibly valuable tool.

Catharine

[Brock]

I'd also like to add that I believe a statement may be even more valuable to the artist than it is to the public. An artist statement is a distillation of the myriad intentions, approaches, techniques, thought processes and personal histories that occur during the making of our art. The statement forces us to define and then to continually refine our focus. I find it to be an incredibly valuable tool.

Catharine

Then . . . shouldn't the statement be changing also . . . Brock

[Catharine Newell]

I'd also like to add that I believe a statement may be even more valuable to the artist than it is to the public. An artist statement is a distillation of the myriad intentions, approaches, techniques, thought processes and personal histories that occur during the making of our art. The statement forces us to define and then to continually refine our focus. I find it to be an incredibly valuable tool.

Catharine

Then . . . shouldn't the statement be changing also . . . Brock

Absolutely. I review mine about every two months, or so. The basic premise hasn't really changed, but it has become more specific with each tweaking...

Catharine

[Brock]

I'd also like to add that I believe a statement may be even more valuable to the artist than it is to the public. An artist statement is a distillation of the myriad intentions, approaches, techniques, thought processes and personal histories that occur during the making of our art. The statement forces us to define and then to continually refine our focus. I find it to be an incredibly valuable tool.

Catharine

Then . . . shouldn't the statement be changing also . . . Brock

Absolutely. I review mine about every two months, or so. The basic premise hasn't really changed, but it has become more specific with each tweaking...

Catharine

Every two months! I haven't really looked at mine in years. Maybe it's time. Unfortunately, the other day when you invited people to post theirs, when I pulled mine up, it's still in an ancient writing program called Winword, and comes out as gibberish. I think I have to email it to myself, that might work. Computers! Brock

[Delores Taylor]

Gale sez...

I hope present company is excepted from this statement - LOL!

Present company always excepted! In fact I had the good fortune to finally meet Deloras, Catharine, and Els during our vacation. Woe to me that they live so far away. Had a great time grrls.

e

I'm sure your family would love you to live up here....hint, hint it'd be great fun as it was wonderful to get to meet you and Marc

[Catharine Newell]

[quote="Brock
Then . . . shouldn't the statement be changing also . . . Brock[/quote]


Absolutely. I review mine about every two months, or so. The basic premise hasn't really changed, but it has become more specific with each tweaking...

Catharine[/quote]

Every two months! I haven't really looked at mine in years. Maybe it's time. Unfortunately, the other day when you invited people to post theirs, when I pulled mine up, it's still in an ancient writing program called Winword, and comes out as gibberish. I think I have to email it to myself, that might work. Computers! Brock[/quote]


I would LOVE to read your statement, Brock! See what you can do to post it?

Catharine

[Gale aka artistefem]

Ditto - post it, Brock! would luv to see it............ Mine gets a revamp at least a couple times a year.


Another reason for having an artist statement is that many gallery directors expect to see your statement/resume and any other materials you may have showing your career progress. This is a part of doing the business of art.

A seasoned, arts knowledgable gallery director can read through your statement (PR materials), look at your artwork and make a judgement about where you are in your arts development and career. This helps them decide about whether you fit into their line-up of arts presentation.

Another part of what directors look for (via statement, PR materials, etc....) is an artist who is commited to making their artwork. There is nothing more frustrating for a gallery director than showing an artist who "hits", sells out and there is no more ready work available to show. Plus, some directors use these materials as a part of their marketing efforts.

BUT ----- all of this said - don't let this scare you off from approaching galleries. There are galleries that show beginning, emerging, mid-career and estalished artists and mixes of all of the above and accept statements and work that reflect these stages of development. A "great" gallery director will help newbie artists develop their business and presentation skills. It's actually a smaller percentage of galleries that show only well established artists who have "a name".

The only ways I can see of getting away with not offering a statement or talking about your work is if your "NAME" preceeds you or you have a ratchet-act gimick that sets your work apart, such as being a "discovered" hermit who never attends your own art openings (this is the mystery factor). You make scandelous (15 minutes of fame) art, or the work is so-o-o-o-o phenomonal that people are awe-struck dumb by it, making support materials superfluous!

In the case of my friend who will not talk about her work, this has limited her in some ways. In her own local city circle of galleries and show venues, she is personally known and shown. But she has struggled to get gallery rep' beyond her local area.

[Judd]

I like my artist statement because it has helped me clarify my purposes in creating art, and perhaps I am Narcissistic enough to contemplate my own thought process.

I am certainly a new artist. My degree is in Poetry and Writing, and I'm currently suffering as a high school English teacher (ok, I like teaching). I have never had an art class except for one Figure Drawing class, which has not helped with glass. My friend, an art teacher, suggested I enter a local art show. I got in, and have been selling my art since then (professionally 2 years now, but have made stained glass for 4 years in addition to that as a hobby). My art is currently exhibited at a local gallery. I'm not too pleased with sells, but it's one of the nicest galleries in the area, and the ones who focus on SOFA type art are less well established.

Thank you for your feed-back, and I have enjoyed this thread,
Judd

[Jerry Barnett]

At this late a date, I'm not sure who's interested in this thread, but now I have a question.

Why should we bother with an artist's statement? Truly, who reads them? The consumer might like to know we have thought out our art, the gallery owner might like to have something in writing, and fellow artists might have one that they share with other artists - but who really reads them? All artists statements say the same thing: "I create art because bla bla bla...." None of them are ever different. An interesting artist's statement would say, "I make pretty things that I sell to rich people with no intelligence."

David Van Noppen's statement on the Guild site comes somewhat close:

"My work has never been laden with meaning or metaphor. I create work that is pleasing to look at, gaze into or feel."

I am not trying to be insulting. I read the artists' statements here, and I even liked what I read. I have my own artist's statement, and I am glad that I have it straight in my own mind (even if no one else cares). But, "You do it because it's always been done," excites rebellion in my heart. A previous poster said her artist friend never spoke about her art - that it was too personal. Maybe that is a good idea?

Judd

Looking at the images of Mr. Van Noppen's work, it appears that he has clearly thought through and defined his intent.

Words are powerful. (I suspect that poets are not expected to describe in paint or music or dance the intent/content/meaning of their writings.) They can condition the viewer's response:

"When Aaron first presented me with the music its title was Ballet for Martha - simple, and as direct as the Shaker theme that runs through it. I took some words from the poetry of Hart Crane and retitled it Appalachian Spring. When Aaron appeared in Washington for a rehearsal before the October 30, 1944, premiere, he said to me, "Martha, what have you named the ballet?" And when I told him he asked, "Does it have anything to do with the ballet?" "No", I said, "I just like the title."
Martha Graham, Blood Memories

Copland has said that every time he has conducted Appalachian Spring someone would comment on how beautifully his music captured the Appalachian area. The two word title had conditioned the listener to expect a meaning that did not exist during the creation.

The artist's words, on paper or in the mind, may also condition the artist's response to his work as well.

Jerry

[charlie]

I think the artist's statement conveys a number of messages: first, it tells the buyer or the audience that the artwork is made by hand by said artist and is not the product of some unknown factory in China; second, it says that the artist has a personal interest in the artwork and cares enough to share the roots of their artistic influence and where their "art" comes from; finally, it provides a means for the artist to "connect" with the buyer... either through common goals or paths. As an example, you might be more interested in a piece of art if the artist's statement included a comment about having roots in Arkansas, I might be more interested in artwork that was made by an artist who was also an engineer... but if you walk away assuming that all artist's atatements are the same and having never read them, then you've denied yourself an opportunity to make that connection with the artist.

Tony

again, why do people feel that they need a connection to the artist? art is personal to the person looking at it, and what it means to them. why should a buyer care what the artist felt when designing/making a piece? are they expected to feel the same emotions that the artist did? if art didn't say something to the buyer, they most probably wouldn't be buying it, and imho, they are shallow if they require a list of the artists feelings, or are needing the artist statement to validate their own feelings.

[Catharine Newell]

Judd[/quote]

Looking at the images of Mr. Van Noppen's work, it appears that he has clearly thought through and defined his intent.

Words are powerful. (I suspect that poets are not expected to describe in paint or music or dance the intent/content/meaning of their writings.) They can condition the viewer's response:

"When Aaron first presented me with the music its title was Ballet for Martha - simple, and as direct as the Shaker theme that runs through it. I took some words from the poetry of Hart Crane and retitled it Appalachian Spring. When Aaron appeared in Washington for a rehearsal before the October 30, 1944, premiere, he said to me, "Martha, what have you named the ballet?" And when I told him he asked, "Does it have anything to do with the ballet?" "No", I said, "I just like the title."
Martha Graham, Blood Memories

Copland has said that every time he has conducted Appalachian Spring someone would comment on how beautifully his music captured the Appalachian area. The two word title had conditioned the listener to expect a meaning that did not exist during the creation.

The artist's words, on paper or in the mind, may also condition the artist's response to his work as well.

Jerry[/quote]


Jerry,

This is incredibly interesting to me. I strongly believe that a viewer is pulled more deeply into a work if he/she is allowed the freedom to translate on a purely personal level. So, I try to take this into consideration when I title my work. My titles are always ambiguous, I hope... some make an open ended reference to the subject: "Women on the Beach", "Red Paisley Tie", "Man under a Hat" - while others such as "Thin Walls", "It Happened", "Recognition", "Relativity" suggest interpretations that can be pulled every whichway.

I guess this works for me because I don't like being directed as to how to interpret something...

How do you all title your work? Does the work always suggest the title (mine always come from the work), or do you work toward a preconceived title?

Catharine

[Brock]

again, why do people feel that they need a connection to the artist? art is personal to the person looking at it, and what it means to them. why should a buyer care what the artist felt when designing/making a piece? are they expected to feel the same emotions that the artist did? if art didn't say something to the buyer, they most probably wouldn't be buying it, and imho, they are shallow if they require a list of the artists feelings, or are needing the artist statement to validate their own feelings.

I don't know why they do Charlie, but they do. Many times at openings or auctions, successful bidders have come up to me to be introduced. Maybe they want to own a little bit of you, as well as your piece. Brock

[Judd]

Catharine
Like you, I also keep my titles vague. Only if the work has some obvious feature/action do I label it such. However, my works deal more with light, color, and patterns than actually representing objects.

Brock
I meet most of my buyers face-to-face. They seem to like the interaction. The idea of meeting an "artist" and realizing they can connect with me. I admit, it is strange, but the bottom line is that they buy my work. Got to pay those bills.

Judd

[jerry flanary]

Copland has said that every time he has conducted Appalachian Spring someone would comment on how beautifully his music captured the Appalachian area. The two word title had conditioned the listener to expect a meaning that did not exist during the creation.
If I am not mistaken, Copland was in Asheville, NC when he started writing that work and so there actually is a connection even if it is not obvious in this quote.

again, why do people feel that they need a connection to the artist? This is a phenomenon I call "touch the monkey" Everybody who goes to the circus wants to touch the monkey. (at least) They can go home w/ a story. Very rarerly do I sell glass. Its usually a freakin' story that the client buys. The glass just becomes a prop for them to re-tell the story later at home to their friends. If they can't actually "touch the monkey" at least they can read the monkey statement to think about what it would have been like if...

[jerry flanary]

Monkey Statement (for sculpture)

Birds are a wonderful source of inspiration for me. Except for the few still traumatized by Alfred Hitchcock, most people do not feel threatened by birds. Many people even like birds. I have found over the years that I can use birds as a non-confrontational vehicle to deal with complicated issues like race and cultural genocide. This concept of using birds and humor was first shown to me by the Ashinabee mixed-blood writer, Gerald Vizenor, in his book, The Trickster of Liberty: Tribal Heirs to a Wild Baronage (Emergent Literatures). Since then I have used bird imagery frequently in my work. Making a large body of work has been a struggle but making the work is very important to me. For me it's as if the work already exists spiritually and has chosen me to make it physically.