More unsolicited advice.
More unsolicited advice.
Dear Classes, It is a crazy time of year but I seem to be having trouble uploading files to this website right now. Until I get this fixed, I will be handing things out in class.
Sorry for the inconvience.
For those of you who can not wait for more assignments, comments, images, etc, here is a link to a bit of advice….from a 23 year old historian.
Only Collect; that is to say, collect everything, indiscriminately. You’re five years old. Don’t presume too much to know what’s important and what isn’t. Photocopy journal articles, photograph archives; create bibliographies, buy books; make notes on every article or book you read, even if it’s just one line saying “Never read this again”; collect newspaper clippings and email them to yourself; collect quotes; save your ideas for future papers, future projects, future conferences, even if they seem wildly implausible now. Hoarding must become instinctual, it must be an uncontrollable, primal urge. And the higher, civilizing impulse that kicks in after the fact is organization, or librarianship. You must keep tabs on everything you collect, somehow; a system must be had, and the system must be idiot-proof. That is to say, you should be able to look back on it six months for now and not be completely stymied as to why you’ve organized things that way. (The present versions of ourselves are invariably the biggest idiots, and six months will make that clear).
Enjoy. Soon – pictures from the term…..
But…..what is an artist statement? Your artist’s statement can be anything you want it to be, but primarily, it should help a views to understand what you believe to be the most important aspects of your art and the techniques you use to make it. The statement should summarize these things in as few words as possible and not be a lengthy dissertation on your place in the future history of art. A paragraph of three or four sentences should do it. You won’t keep your readers much longer than that.
I hope that helps a bit – but if not, I have attached a file that has some advice for writing an artist statement.
Jillian Tamaki, a Brooklyn-based illustrator and art instructor, recently posted an elegant essay on her personal creative process, explaining step by step how she creates her work and offering advice to those who hope to be effective artists.
The essay is an excellent insight into not only the creative process of an artist, but also the process behind appreciating art and creativity. Her advice boils down to one straightforward concept: “The viewer should be charmed, intrigued, empathetic, repulsed, provoked. SOMETHING. They should be touched enough to want to cut the illustration out of the magazine.” It really is as simple as that. SHe might not be a ceramic artist but I think you might find the article interesting – especially if you have hit a wall.
Read it HERE.
With the economy on a daily rollercoaster ride of ups and downs there is a lot of uncertainty in the art world. However, all might not be grim and dark for the artist true to themselves. Here is one take on it:
The part about all the galleries closing is scary, but the article finishes with a light for the future. Unless you are in it for the bucks.
Attached below is the Clay and Glaze Testing Assignment. The basics of this assignemnet are to learn how to mix and test a glaze and how to test your clay for shrinkage.
Clay and Glaze tests – November 12
Class Glaze mixing – December 3 (but leaving it to the end does not help the class)
Now, for something different to read, check out the Incomplete Manifesto by Bruce Mau on his website. It is an interesting read while you are looking for a way to procrastinate.