HAHAHAH, so much for euphemisms.
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Ethics and an artist statments.
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HAHAHAH, so much for euphemisms.
Oh my God! That is hysterically funny! I wonder if the person who wrote it actually understood to incorporate that in his/her art (I'm almost assuming it's a man). THIS IS A GOOD REASON TO HIRE SOMEONE TO DO IT FOR YOU!
How the hell do you photograph that?
- Thomas
"Although my work is located, historically, within the perimeter of abstract expressionism, it is markedly divergent in the formative synthesis of intentional factors of direct experience. Its nucleus is the inherent tension established by the dichotomy in the abrasive flux of what we call culture and nature: the tension created from proximity suggests a remove toward abandonment of the exploratory scheme, interpretive discourse, intrusive phrases and other inevitable pretensions of alienating pragmatic imperatives. A consciousness of the interconnectedness of phenomena in the context of a dynamic of the ratio and scale in human encounters is, instead, created. This is manifested through simultaneity of incidents and perpetual interaction concluding, primally, as pulsations against a shape of visual space."[/QUOTE]
How the hell do you photograph that?
- Thomas
"Although my work is located, historically, within the perimeter of abstract expressionism, it is markedly divergent in the formative synthesis of intentional factors of direct experience. Its nucleus is the inherent tension established by the dichotomy in the abrasive flux of what we call culture and nature: the tension created from proximity suggests a remove toward abandonment of the exploratory scheme, interpretive discourse, intrusive phrases and other inevitable pretensions of alienating pragmatic imperatives. A consciousness of the interconnectedness of phenomena in the context of a dynamic of the ratio and scale in human encounters is, instead, created. This is manifested through simultaneity of incidents and perpetual interaction concluding, primally, as pulsations against a shape of visual space."[/QUOTE]
I have talked to several writers, and after explaining what an artist statment is they all give nearly the same response "sounds contrite." And I guess in many ways it is. Actually putting into print that you create art because it brings you joy breaks the age old rule "never state the obvious." And if an artist statement is going to stand the test of time that is going to be the bulk of it.
Perhaps I should say "I take purdy pitchers," and leave it at that! It would definitely speak more to my personality, and more importantly sense of humor, then some piece of self righteous drivel.
Perhaps I should say "I take purdy pitchers," and leave it at that! It would definitely speak more to my personality, and more importantly sense of humor, then some piece of self righteous drivel.
Funny, because i was thinking they probably HAD hired someone to do it for them.
I suppose choosing carefully would be good advice. Good point.
Funny, because i was thinking they probably HAD hired someone to do it for them.
Have an english teacher read it, Im sure they would find some comma faults.
Im about the check out the Dilbert site, thanks
Curt
Im about the check out the Dilbert site, thanks
Curt
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There is another option; don't write one. I have written a few on various occassions, varying in depth. I hated them all and although I had no probs articulating myself in that regard I cannot fathom why I cannot stand them (not yours, mine!). In part I think it because why should anyone give a stuff why I do what i do? Maybe when/if my prints are at the level where insight into the 'why' adds another layer of interest, perhaps. I would like to get to the point where my prints do the talking first, but am not there yet. anyone else feel the same?
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Of course one's photographs must speak, or sing, for themselves.
But artists' statements can be interesting and challenging. Thet are written for different purposes. Often, they do not need to be written at all, but sometimes, for books, or certain exhibitions they are requested.
The purpose of the artist' statement usually is to give the viewer of the work an insight into the artist's intentions, and/or a way of better understanding what the work is about.
An artists' statement need not be long. Sometimes a sentence or two will do. A museum was once producing a catalog of their collection. They asked all of the photographers to write something in answer to the question: "What is it you are attempting to do with your photography." Or something very close to that. After writing a couple of paragraphs that sounded like so much b***s*** I threw them away and wrote, "I'm just trying to make the best pictures I can." Simple. No BS.
Now to answer the question: whether to write your artist's statement yourself or farm it out. I think you must write it yourself, to the best of your ability. Then, however, take your writing to an editor. A good editor may ask you to revise your writing slightly, pointing out what needs to be changed, or he/she may suggest you start over from the beginning. A good editor will explain the reaons for each suggested corection. Several, or many, trips to the editor may be needed. A good editor will not rewrite for you, but will suggest ways for you to make your writing better. Go through this a number of times, and assuming you have a good editor, you will, over time, become a better writer.
My wife, Paula Chamlee, and I are publishing a series of books by many of the leading photographers of today, and now, emerging ones, too, in our Lodima Press Portfolio Book Series (see www.lodimapress.com). For one page in the book, we ask that each photographer write from a sentence to a page, something that enables viewers to more easily enter into the work. We have received writing ranging from a sentence or two to many paragraphs. Most of the writing we receive needs some editing. Occasionally, some need a great deal of editing. We make the edits ourselves and in some cases where we do not feel confident doing a final edit ourselves, we send the writing to our own editor--an old friend who used to teach writing at Princeton. All suggested edits are sent back to the photographer for their approval. They may accept or reject the editor's suggestions. This process may happen a number of times--the writing may go back and forth from the photographer to the editor over and over, until it is feels right to us as publishers. Not all photographers are good writers; some need a lot of editing, but some are excellent writers, and we tread lightly when asking for corrections.
Hope this helps. Bottom line. Write it yourself and have it edited. it is important that you be able to articulate what you are doing and what your work is about.
Thirty years ago a museum director pointed out to me that many of the photographers who achieved the highest recognition also wrote about their work: Edward Weston, Cartier-Bresson, Strand, Steiglitz, Ansel Adams. This person felt that the lack of writing on the part of a photographer was a factor in delayed recognition. There is a wonderful book, Photographers on Photography, edited by Nathan Lyons, now long out of print (it was published in 1966), but available online, that contains wonderful writing by many of the most important photographers of the 20th century, and if I recall correctly, a few from the 19th century. I strongly recommend it.
But artists' statements can be interesting and challenging. Thet are written for different purposes. Often, they do not need to be written at all, but sometimes, for books, or certain exhibitions they are requested.
The purpose of the artist' statement usually is to give the viewer of the work an insight into the artist's intentions, and/or a way of better understanding what the work is about.
An artists' statement need not be long. Sometimes a sentence or two will do. A museum was once producing a catalog of their collection. They asked all of the photographers to write something in answer to the question: "What is it you are attempting to do with your photography." Or something very close to that. After writing a couple of paragraphs that sounded like so much b***s*** I threw them away and wrote, "I'm just trying to make the best pictures I can." Simple. No BS.
Now to answer the question: whether to write your artist's statement yourself or farm it out. I think you must write it yourself, to the best of your ability. Then, however, take your writing to an editor. A good editor may ask you to revise your writing slightly, pointing out what needs to be changed, or he/she may suggest you start over from the beginning. A good editor will explain the reaons for each suggested corection. Several, or many, trips to the editor may be needed. A good editor will not rewrite for you, but will suggest ways for you to make your writing better. Go through this a number of times, and assuming you have a good editor, you will, over time, become a better writer.
My wife, Paula Chamlee, and I are publishing a series of books by many of the leading photographers of today, and now, emerging ones, too, in our Lodima Press Portfolio Book Series (see www.lodimapress.com). For one page in the book, we ask that each photographer write from a sentence to a page, something that enables viewers to more easily enter into the work. We have received writing ranging from a sentence or two to many paragraphs. Most of the writing we receive needs some editing. Occasionally, some need a great deal of editing. We make the edits ourselves and in some cases where we do not feel confident doing a final edit ourselves, we send the writing to our own editor--an old friend who used to teach writing at Princeton. All suggested edits are sent back to the photographer for their approval. They may accept or reject the editor's suggestions. This process may happen a number of times--the writing may go back and forth from the photographer to the editor over and over, until it is feels right to us as publishers. Not all photographers are good writers; some need a lot of editing, but some are excellent writers, and we tread lightly when asking for corrections.
Hope this helps. Bottom line. Write it yourself and have it edited. it is important that you be able to articulate what you are doing and what your work is about.
Thirty years ago a museum director pointed out to me that many of the photographers who achieved the highest recognition also wrote about their work: Edward Weston, Cartier-Bresson, Strand, Steiglitz, Ansel Adams. This person felt that the lack of writing on the part of a photographer was a factor in delayed recognition. There is a wonderful book, Photographers on Photography, edited by Nathan Lyons, now long out of print (it was published in 1966), but available online, that contains wonderful writing by many of the most important photographers of the 20th century, and if I recall correctly, a few from the 19th century. I strongly recommend it.
Michael - I bought a copy at a very reasonable price through Amazon after you recommended it at the Black Mountain course and I have worked my way through about 1/3 of the articles. It contains the HCB "decisive moment" introduction which I have always been interested to read in full and could never find on the net, so thanks for the tip!
For clear and uncomplicated writing about photography I like the introduction to Elliott Erwitt's book Personal Exposures. Not one post-modern word to be found. Direct, often humourous and authentic. Not sure if he had editorial help but, if so, the editor did a good job.
I hate doing artist statements. They always sound contrite and pretentious. I hate the essay long justifications that seem to accompany really poor photography selling at very high prices. It seems that many collectors or dealers seem gullible and the thicker you lay on the BS the more they're willing to pay. What bothers me most about many of these artist statements is that you need a super computer to translate them.
I also hate doing biographies. There's an assumption made that people are actually interested in your life. It's not easy to distill 40 or 50 years of your life down to 2-3 paragraphs and have that really give others some insight to who you are as a person. I always wonder if it really matters to anyone where I was born and why I do photography.
I also hate doing biographies. There's an assumption made that people are actually interested in your life. It's not easy to distill 40 or 50 years of your life down to 2-3 paragraphs and have that really give others some insight to who you are as a person. I always wonder if it really matters to anyone where I was born and why I do photography.
I feel the same... BUT!!!
I think you, and every else ARE automatically "at the point where their work does the `talking' first."
In re-reading this, I would add, "second, third, fourth...."
"Another level of interest"...? I'm trying to envision this ... I don't think there are "levels" - only intensities ... and, upon reflection ... I don't think anything other than the work itself has ever affected the "intensity of interest", as far as I am concerned. then again .. possibly ... wouldn't the "level of interest" be the same as "emotional impact"?
Of what use are these "Artist Statements" anyway? Did Ansel Adams, or Van Gogh, or Picasso, or Miro ... or ... anyone else of significance, actually have one?
From what I've read, Stieglitz DID have a verbal, flexible, "statement" that he would deliver over the space of a few hours, once he got started...
I wonder if any of that was ever written down and recorded.
That would be interesting: a study of the "Significant Photographers" and how they relate to their "Artist Statements" (assuming their existence). Has anyone - EVER - tried to do that?
I kind of think that photographers, other visual artists and those invested in the visual arts are more likely to have the visual literacy to "read" images and "hear" what they have to say. Others may not have that literacy, though they may have a sort of visceral attraction or aversion to examples of visual arts.
By unpretensiously articulating some concepts and motivations for a work, you can welcome people into it. You can give people something they can hang their hat on and help their internal dialogue along towards some understanding of their appreciation or aversion.
I understand the feeling that explaining visual arts feels like cheating...like you're filling the gaps in what the work can't manage to say for itself. It can feel like you're apologizing for work that's not quite worthy of exhibition.
I also understand repulsion by the idea that one engage in artspeak which massages the egos of artists, collectors, critics and curators but is off-putting to others. It creates a barrier and is the antithesis of welcoming someone into the work.
Jargon is a double edged sword. On the one hand, it's actually a shorthand to those that speak it. It compresses complex concepts into multi-syllabic words. But to the unschooled, it's opaque. When writing an artist's statement, it's important to have clarity regarding who you're writing for and for what purpose.
I would write for the maximum breadth of understanding required. If I was only writing one for a portfolio being presented to gallery owners, curators, or art professors I might use less common language than I would when the statement was going on the wall when exhibiting. I'd want that to be brief, germane and clear to all.
I see a linkage between a disdain for artist's statements and a distrust of conceptualism in art. We are all at different points along a contiuum between artistry and craftsmanship...not so much in the making but in the thinking. I think we all strive for craft and are at various levels of achievement in that regard. Some of us view craftsmanship as the ultimate expression of a photographer and view the notion of Art, suspiciously. Others see craft as a means toward an end...a tool for expressing something that comes from what's behind the eyes as much as what is in front of them.
I think it helps to appreciate artist's statements as a piece of marketing...and to view marketing a having a broader meaning than as a tool for selling. When was the last time you saw a wordless monograph?
By unpretensiously articulating some concepts and motivations for a work, you can welcome people into it. You can give people something they can hang their hat on and help their internal dialogue along towards some understanding of their appreciation or aversion.
I understand the feeling that explaining visual arts feels like cheating...like you're filling the gaps in what the work can't manage to say for itself. It can feel like you're apologizing for work that's not quite worthy of exhibition.
I also understand repulsion by the idea that one engage in artspeak which massages the egos of artists, collectors, critics and curators but is off-putting to others. It creates a barrier and is the antithesis of welcoming someone into the work.
Jargon is a double edged sword. On the one hand, it's actually a shorthand to those that speak it. It compresses complex concepts into multi-syllabic words. But to the unschooled, it's opaque. When writing an artist's statement, it's important to have clarity regarding who you're writing for and for what purpose.
I would write for the maximum breadth of understanding required. If I was only writing one for a portfolio being presented to gallery owners, curators, or art professors I might use less common language than I would when the statement was going on the wall when exhibiting. I'd want that to be brief, germane and clear to all.
I see a linkage between a disdain for artist's statements and a distrust of conceptualism in art. We are all at different points along a contiuum between artistry and craftsmanship...not so much in the making but in the thinking. I think we all strive for craft and are at various levels of achievement in that regard. Some of us view craftsmanship as the ultimate expression of a photographer and view the notion of Art, suspiciously. Others see craft as a means toward an end...a tool for expressing something that comes from what's behind the eyes as much as what is in front of them.
I think it helps to appreciate artist's statements as a piece of marketing...and to view marketing a having a broader meaning than as a tool for selling. When was the last time you saw a wordless monograph?
I agree with Michael. A person should have an understanding of their work; it provides clarity and direction for their work. Putting it down on paper is pure mechanics (difficult for some, I understand).
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I agree that it is important to understand your own motivations and work. I am just not sure that as an amatuer is always appropriate to share it. Sure this depends on where a person is on that developmental curve. I take the point Michael made about AA and other writing about their work. But, they did not work it into a 5 line package which makes avoiding the crass rather tough. AA seems to gently sway between techical and artistic commentary and for me that worked. It was gentle, gradual and always relevant in a wider sense; either regarding specific work/projects or teachings. This I enjoy and respect. I would rather read amateur blogs about how work came about and their approach, self-critique etc than I would read 'artist statements'. Equally philosophical writings are also invigorating assuming they are genuinely enlightening. For many amateurs their work means a lot to them. Many are nowhere near satisfied with their work and do not recieve huge amounts of public praise. For them to get deep and meaningful about the work raises an apparent disparity and many including myself have a passion that is 'significant'. Equally, to back off and downplay one's committment also seems not to do anyone justice. Some things are best left unspoken until the time is right. For me, I know I will know when that time comes, if that time comes. I removed my artist statement as I felt my work was not where I wanted it to be to sit alongside what I could have said, but did not. My work has to catch up with where I want to it to be and the words I could use to articulate that, if that ever happens at all.... If my thoughts and work find themselves in harmony and both are worth sharing together and in a complimentary fashion, I will write about it. It might be 2 years; it might be 20. It might be never.
No one should care if they themselves wrote the artist's statement or someone else wrote the artist's statement, as long as the artist feels it represents their work well.
The word "represents" is the crucial one here.
The photograph is not the thing.
The statement is not the artist.
As long as you're comfortable with it being a representation, a shadow of the reality, then bon appetit -- just be careful that you don't drink too much of your own kool-aid and mistake the statement for what you're REALLY doing.
The word "represents" is the crucial one here.
The photograph is not the thing.
The statement is not the artist.
As long as you're comfortable with it being a representation, a shadow of the reality, then bon appetit -- just be careful that you don't drink too much of your own kool-aid and mistake the statement for what you're REALLY doing.
Amen, bother.
I have a small showing in September in a local cafe, I am going to avoid the usual artspeak and pretentious drivel. I think the statement should reflect who you are and what your photography is about.
Not if the writer can read and write. Subbing is one thing. Rewrites are quite another. There is a major cultural difference here. American authors are a LOT more submissive to editors than English.
But I'm talking about professional writers, not professional photographers. There is no shame in a photographer seeking professional writing help if he is unhappy with his own words.
Cheers,
Roger
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Heres a link to John Paul Caponigro's site. Lots of interviews with photographers which some of you might like to read. Just found it today but it might be old to many of you!
http://www.johnpaulcaponigro.com/lib/artists/sexton.php
http://www.johnpaulcaponigro.com/lib/artists/sexton.php
My work consolidates the ethereal microcosm of human existence within the austere tangibility of our beastial ancestry. Our mammalian backgroung predisposes the conciousness to certain avenues of behavioural mannerisms whilst the risen intellect defines our humanity. The tenacious ambivalence posed by our animal ancestry in conflict with our logical aspirations is the epicenter of my piece, "Boobies."
- Justin
- Justin
Brilliant.
THANK YOU, Tom!! This is a **very interesting site** - mainly for Caponigro's Interviews with well-respected photographers.
I've just wrecked my schedule for today, due to fascination with interviews of Barbara Bordnick (I agree with her approach and philosophies about nudes); Joyce Tenneson (LONG-TIME fan); and with Richard M. Benson.
Benson has articulated an answer to the legion of critics here who will CRUSH any photographer who is not obsessed with "perfection" - justified by, "Well, you DO want your work to be seen as the BEST... Don't you? well ... DON'T YOU???" - as if any other course of action was an unpardonable sin. He said it like I would have WANTED to say it.
Brace yourselves, ye who would have me condemned to the lowest depths of the fire for daring to suggest that a "blown highlight" might be a useful "tool":
"The worst possible thing you can do is to waste your energy trying to get all the little, tiny bits right because when you get all those right the important things are wrong. So whenever I make something, I just try to get the big issues roughly correct, I have no interest in getting all the little things all precise. I don't really care if the thing is in register on press, I could care less. I don't care if there is a hickey. I care if they're not running enough ink, because thats the thing that controls how the picture looks. I hate it if they have plated badly and it gets flat. So my notion about craft is its a total waste of time to be chasing some notion of perfection when what we should be making is a roughly made object that serves its purpose well (my emphasis - ES). I want to carry out its intent."
Interesting stuff here. I will return to this site after an attempt to avoid a fate worse than death by return to my darkroom and doing what I SHOULD be doing right now.
Another quote from Paul Caponigro's site... from an interview with Amy Arbus...
Dealing with "mastery" of photography, and pre-visualization:
Amy Arbus:
"I think I have spent my entire career trying to lasso photography, have some control over it, and know what I am going to get. But every time I thought I got exactly what I wanted to get, I'm completely disappointed."
Paul Caponigro:
"Those `gifts' pull us beyond ourselves."
Amy Arbus:
"Absolutely. So now the idea is to put myself in a situation where I have enough control to satisfy the task and to throw myself some sort of curve so that the image can happen. It doesn't always creep in there unless you give it some room to."
FASCINATING site!!!
I will not say that I necessarily agree with everything everyone has said here, but their individual comments and approaches to photography are worthy - more than worthy - MUCH more for consideration. Each of us are individuals, and to deny that individuality is, Im My Humble Opinion, a GRAVE error.
Eventually, to "grow" is to choose our own paths, and delight in following them. Frightening, to some extent, but considering the alternatives... slavinshly learning by rote ... or??
I'll follow the one I have chosen. I would rather be "frightened" (insecure? where is the boundary between being scared and being "thrilled"?).
Dealing with "mastery" of photography, and pre-visualization:
Amy Arbus:
"I think I have spent my entire career trying to lasso photography, have some control over it, and know what I am going to get. But every time I thought I got exactly what I wanted to get, I'm completely disappointed."
Paul Caponigro:
"Those `gifts' pull us beyond ourselves."
Amy Arbus:
"Absolutely. So now the idea is to put myself in a situation where I have enough control to satisfy the task and to throw myself some sort of curve so that the image can happen. It doesn't always creep in there unless you give it some room to."
FASCINATING site!!!
I will not say that I necessarily agree with everything everyone has said here, but their individual comments and approaches to photography are worthy - more than worthy - MUCH more for consideration. Each of us are individuals, and to deny that individuality is, Im My Humble Opinion, a GRAVE error.
Eventually, to "grow" is to choose our own paths, and delight in following them. Frightening, to some extent, but considering the alternatives... slavinshly learning by rote ... or??
I'll follow the one I have chosen. I would rather be "frightened" (insecure? where is the boundary between being scared and being "thrilled"?).
My statement: If you came here have a lookie at my "pikchures" They are the rectangles with the shiny glass in front of them. If you need directions ask the person passing out the wine from a box. This is not one of them.
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