Share your "Artist Statement"

[Graeme Hird]

Hi Graeme,

Wouldn't it be so much more interesting if the debate was over a statements content?

Murray

Hi Murray,

It seems the debate has moved beyond the content of artist's statements and is focusing more on the worth of the statements in general. And I think that's a good thing too: if one eventually decides that an artist's statement is worthless, then the content of such a statement is irrelevant.

Graeme.

 

[Graeme Hird]

....All I can say is that in the circles in which I attempt to sell my work, an artist's statement is a given.

I suppose that says a lot about the respective circles we are selling into, and I've already made my feelings clear about the type of people who would require a statement as a given.

I remain convinced that the only way to make work stand out is through its conceptual strength.

My point exactly: the strength of the work is what will set it apart from the crowd's work - not a verbal explanation of that work.

Photography today is a folk art, open to all - from the technical point of view, everybody thinks they can do it as well as you (or me).

Once again, I agree completely here. Technically, anybody can shoot any shot I've done, and most likely any shot you've done too. Operating a camera doesn't make a person an artist. It's the strength of that person's vision which will determine whether or not their work is accepted as "artistic" (whatever that means).*

What I disagree with is the perceived need for a written explanation of my photography to the viewer (in certain circles).

Cheers,
Graeme



(*One thing to keep in mind is the response to the often-heard statement: "I could have taken that shot .....". If I hear somebody say that about my work, it's probably true. I don't dismiss it, but take note and use the motivation to make a better shot next time.)

 

[David H. Bebbington]

What I disagree with is the perceived need for a written explanation of my photography to the viewer (in certain circles).

I think actually we're in pretty close agreement here, Graeme. From what I recall (forgive me if I don't work through all the past posts), I think you live in a small town in Australia which gets a lot of visitors, few of whom are overt art fans but who are willing to buy a souvenir of their visit. If I was in this situation, I would almost certainly do the same as you and prepare some pictorial views which I felt would appeal to these customers. If I felt the results had any claim to be high art, I would probably keep this to myself and not present an artist's statement, since I would know that this would cut little ice.

Regards,

David

 

[Graeme Hird]

Close, but my customers are locals who are leaving town and are looking for a memento, rather than tourists. However, my work isn't tailored to the customers' preferences, but appeals to me primarily. I'm very glad that others like it too - it keeps me in film money.

But I think my customers are typical of Aussies in general - we generally don't suffer BS artists gladly. We're a cynical bunch, as you may have picked up on already ...

 

[Jorge]

A couple of points which may be worth pursuing in a typically open-minded, calm, rational APUG way (Murray, do you have plenty of Bromo-Seltzer?):

Jorge asks:"Since when is it necessary to have a "distinct visual statement" to make good photography?" Without in any way reprising our earlier exchanges, I would contend that a "distinct visual statement" is what every photographer should strive for (as far as I am aware, Jorge's means of doing this is to make platinum prints). If you don't have this, your work may be no more than a technical exercise in craft skills.

Graeme says:"Do you have any evidence to the contrary?" All I can say is that in the circles in which I attempt to sell my work, an artist's statement is a given. Everyone contributing to this debate is coming from a slightly different place, my personal chosen field of activity (which I in no way claim is better than any other) is to produce conceptual images (with an occasional excursion into pictorialism for light relief). As many viewers of photographs are not necessarily familiar with conceptual work, I feel it is no bad thing to encourage them to "read" images in this way, whether through an artist's statement or otherwise. This in some way opens up the possibility of a response other than "Oh, that's nice!" or "I don't get it!" I remain convinced that the only way to make work stand out is through its conceptual strength. Photography today is a folk art, open to all - from the technical point of view, everybody thinks they can do it as well as you (or me).

Satinsnow writes:"burp an[d] pass bad gas is my statement...don't take life so seriously.." Fair enough, but Satinsnow evidently has a business selling custom-made focusing screens. He has a website containing a fairly long text explaining the virtues and philosophy of his product. I presume, therefore, that he would not dream of taking a customer phone call and saying "Listen, a**hole, I'll make your f***ing screen if and when I feel like it! If you don't like it, go and s**** yourself!" Yet this is the attitude which others are apparently proposing to adopt with regard to their photographic work.

Regards,

David

Once again you made the wrong assumption. I do not make pt/pd to separate my work from others. I use it enhance what I photograph. My goal is not to make great pt/ pd prints, it is to make prints of which pt/pd happens to be the process that better fits my prints.

If by a distinct visual statement you mean what we commonly call style, well then that takes years, practice and maturing with your work.IMO it is not something you "strive" for, but that hopefully will evolve if you have talent and a special way of seeing things.

In either case, I should not have to explain this to the viewer. In the first case they probably could not care less why I chose pt/pd and in the second case it is futile.

IMO you have misunderstood the point many of us are trying to make judging by your response to Dave (Satinsnow). Nobody is saying you have to be nasty or arrogant, we are simply saying that on the balance the quality of your work is what will open the doors for you, not what you have to say about it.

 

[MurrayMinchin]

"I have always been unwilling to explain why I photograph as I do, or to define what meaning my images hold for me. I believe that any artist who feels a need to tell a viewer of their work how it should be interpreted, has failed.

Every person brings with them a life experience through which they understand and give meaning to their interpretation of the world before them. Ansel Adam's photograph, Northern California Coast Redwoods, can be seen as massive columns of strength, an ancient rain forest, natures perfect expression of endurance, of life. Another person may recognize the scene as the edge of a clear cut, the face of yet another remnant piece of ancient forest doomed to fall, a requiem.

I had an experience when I first attended art school in Vancouver. After several months of living in a big city for the first time, feeling utterly removed from any contact with wilderness, I found myself at an Emily Carr exhibit. Months of concrete made my senses keenly aware of Carr's vision of BC's coast. One painting however, The Red Cedar, held me. For fifteen minutes I stood before the painting utterly taken in by it's rhythms - the crowds in the gallery faded away; it was just the painting and me. I have returned to see The Red Cedar but have never had that response again.

Our experience of art is as fluid and unpredictable as life. We see what we see, when we are ready to receive it.

The Artist's Statement ultimately and necessarily is the work itself. Some will recognize what an artist is attempting to say, some will spin off towards other equally valid interpretations totally unexpected by the artist, while yet others, either unready for or unmoved by the works will scan them as meaningless.

My intention by stopping before and composing these scenes out of the totality and infinite possibilities in nature, or what technical and manipulative processes were used to create these images are moot. They will or will not live, on their own."Murray

There you go...an artist's statement against artist statements...maybe it should be called an artists anti-statement statement.

I too believe that all the answers are within the works themselves. I find it highly annoying to hear a poet, author, painter, sculptor, or photographer trying to spoon feed me the meaning of their work. They should have the confidence in their execution of their vision to let the works live on their own.

In the context of this forum however, (away from the galleries, with the images removed from the equasion), I thought it would be fun to mull and chew over some other peoples statements written for their shows. I didn't expect it to warp uncontrollably into personal attacks...but I'm learning!!!

Murray

 

[Dave Parker]

Well, Murry I apologize if I offended your sensibilites, I was having a little fun.

Besides my custom screen business, I have been a working photographer for over 25 years now, deriving a substantial portion of my income from photographic work.

I find that Artistic statements alot of the time are a contrived statement to smooth the wants and desires of Gallery owners and has absolutly nothing to do with what I was to photograph or how I want to portrey that photograph, there are many in the photographic display field that thinks they can make or break the photographer, and tell them they have to have a 'Artistics Statement' which I don't believe, the skills of the photographer/printer is what will make individuals more the a contrived statement to apease the estrablishment.

In otherwords, for me, I find them pretty much useless.

Dave

 

[Jorge]

There you go...an artist's statement against artist statements...maybe it should be called an artists anti-statement statement.

I too believe that all the answers are within the works themselves. I find it highly annoying to hear a poet, author, painter, sculptor, or photographer trying to spoon feed me the meaning of their work. They should have the confidence in their execution of their vision to let the works live on their own.

In the context of this forum however, (away from the galleries, with the images removed from the equasion), I thought it would be fun to mull and chew over some other peoples statements written for their shows. I didn't expect it to warp uncontrollably into personal attacks...but I'm learning!!!

Murray

Hmm...I dont get it, so your intention was for us to post our artist statements and then for each other to critique them?.....IMO this is a recepy for an even greater flame war..

IMO the more basic question is does one need an artist statement? And I think this is what we have been discussing.

In my case I dont make an artist statement, but wrote about my goal in making pictures, it is in spanish but I will translate for you.

Photography, as it teaches us to see and allows us to capture a moment at which we have focused our attention allows us to share these special moments in time.
My intention as a landscape photographer is not so much to create "pretty" pictures but to transport the viwer to that special time and place that captured my attention.
I beleive a succesful print is not only attractive but allows the viewer to examine and experience the individual elements of the image.
If a viewer is capable of saying, " I feel like I am there" or "I feel like I can touch..." then I consider I have acheived my goal and made a succesful image.



As you see, I purposely tried to stay away from explaining my photography, why I chose pt/pd, why I photograph what I photograph. I simply stated what I beleive to be my reason to make photographs and what I consider a succesful photograph FOR ME.

 

[MurrayMinchin]

Hi Jorge,

Perfect! In two paragraphs you pretty much summed up what every artist should aspire to. What we all need to do is agree on the definition of "artist statement", because for me, what you wrote IS an artists statement!

Murray

 

[Jorge]

Hi Jorge,

Perfect! In two paragraphs you pretty much summed up what every artist should aspire to. What we all need to do is agree on the definition of "artist statement", because for me, what you wrote IS an artists statement!

Murray

Perhaps, I feel what I wrote was my philosphy for taking pictures. Inavariably most artist statements I have read attempt to explain the body of work and in may cases it goes even further into zen like bullshit, like "the radiance of the light as I pressed the shutter caused a exiting counterpoint between the deep shadows..." etc, etc..

You have two very different examples here, on one hand you have Hird who owns a gallery for his work and does not have to put up with the "artiste" bullshit, I envy him. On the other hand you have people like me who have to play the game and write something like this because lets face it galleries and Museum are mostly run by artiste types and they are the only ones who care and want something like this. It was a clear indication to me (at least in my show) that most people who visit and buy prints from galleries could not give a rat's ass about them. In the time I was there for my opening, I only saw one person reading my bio.....most were looking at the pictures, chatting and eating all the free food and wine they could..

 

[Alex Hawley]

Quite an interesting thread and discussion, especially these last few pages.

Not coming from the "artiste" circle, its always been puzzling to me the need for these artist statements. There is no doubt that there is some marketing value to them in some circles. Perhaps we should examine why those circles feel the need for such statements. In other words, what compels them to believe they are necessary? Is it Art School doctrine? Some social doctrine? When did they become so fashionable?

My only "statement" is that contained in my APUG signature: "Good things don't just happen, you have to make them happen." I could shorten it by saying "Just go do it!"

This statement is not of my origin; it was what my High School football coach preached so many years ago. It most likely originated in the US Marine Corps, hardly an academy of "artiste" philosophers.

 

[Jorge]

Not coming from the "artiste" circle, its always been puzzling to me the need for these artist statements. There is no doubt that there is some marketing value to them in some circles. Perhaps we should examine why those circles feel the need for such statements. In other words, what compels them to believe they are necessary? Is it Art School doctrine? Some social doctrine? When did they become so fashionable?

My only "statement" is that contained in my APUG signature: "Good things don't just happen, you have to make them happen." I could shorten it by saying "Just go do it!"

This statement is not of my origin; it was what my High School football coach preached so many years ago. It most likely originated in the US Marine Corps, hardly an academy of "artiste" philosophers.

Agreed Alex, it would be interesting to see or read why they feel these statements are necessary. IMO you hit the nail in the head, these artist statements smack too much of "art" school to me, and I get the feeling that as those who started on this track became in charge of administering galleries and Museums they have stuck with what they beleive is necessary.

Bottom line it is all a bunch of bologney with posturing and BS thrown in....but you gotta play the game.. :rolleyes:

 

[Graeme Hird]

Bottom line it is all a bunch of bologney with posturing and BS thrown in....but you gotta play the game.. :rolleyes:

..... unless you can find a way to circumvent the system. Find your own way and you don't need to put up with the BS - ever!

Cheers,

 

[Alex Hawley]

..... unless you can find a way to circumvent the system. Find your own way and you don't need to put up with the BS - ever!

Cheers,

Agree Graeme. I think the way to circumvent the system is to politely explain "I don't have an artist statement. I'm not trying to deliver any hidden message." or some such words.

Wouldn't it be lovely if the refusal to make an artist's statement became the advante garde and a rebellion against the status quo? Then all of us non-statement schmucks would become in high demand? HAH!

 

[Jorge]

Agree Graeme. I think the way to circumvent the system is to politely explain "I don't have an artist statement. I'm not trying to deliver any hidden message." or some such words.

Wouldn't it be lovely if the refusal to make an artist's statement became the advante garde and a rebellion against the status quo? Then all of us non-statement schmucks would become in high demand? HAH!

I think you are onto something...

 

[MurrayMinchin]

these artist statements smack too much of "art" school to me, and I get the feeling that as those who started on this track became in charge of administering galleries and Museums they have stuck with what they beleive is necessary.

Good point. The first art school I went to was all about concepts, or more importantly, how well you could verbalize your concepts. We were given assignments and left to our own devices with no instruction at all. In the end, (no matter what the quality of the finished piece), the best talkers got the most praise. I left before the first semester was out. The next art school I went to believed that its important to have a solid foundation of skills to create art.

Every clique or gang (doctors, car salesmen, plumbers, artists) have their own language that seperates (elevates?) them from the general herd. Some artists may use their statements as a way of saying to the uninitiated, "Since you cannot understand what I have written, how can you possibly understand my art"?

Murray

 

[Alex Hawley]

Good point. The first art school I went to was all about concepts, or more importantly, how well you could verbalize your concepts. We were given assignments and left to our own devices with no instruction at all. In the end, (no matter what the quality of the finished piece), the best talkers got the most praise. I left before the first semester was out. The next art school I went to believed that its important to have a solid foundation of skills to create art.

Good decision, IMO, to leave the first school Murray. A school cannot make a person creative. It must teach the skills and foundation. Creativity always springs from a manipulation of the foundation and the skills bring it to reality. One must sometimes modify a technique, or combine elements of existing techniques to create a new one.

Every clique or gang (doctors, car salesmen, plumbers, artists) have their own language that seperates (elevates?) them from the general herd. Some artists may use their statements as a way of saying to the uninitiated, "Since you cannot understand what I have written, how can you possibly understand my art"?

BINGO! Hey, if the uninitiated can't understand it, how can you expect anyone else to? Honestly, I believe that those who say they can understand some unintelligible gobbledy-gook are actually deceiving themselves and everyone else just so they won't appear to be "un-enlightened". Another trait of the herd.

 

[Claire Senft]

No witchcraft for me

One thing you can be sure of": I have no aspirations of becoming a spirit guide or a shaman.

 

[Ed Sukach]

If asked, I would write "My`Artist's Statement' is my work."

 

[Dave Parker]

If asked, I would write "My`Artist's Statement' is my work."

EXACTLY!

Well Said Ed.

Dave

 

[Flotsam]

It is funny. By coincidence, I started reading this thread just as I am working on a letter to accompany a request for the opportunity to hang some of my work in a local exhibition space. Since initially the arts advisory comittee only want to see a few representative slides, I almost made the mistake of writing an artsy fartsy, serious "statement" to attempt to convey to them the wider thought and common philosophy that connects the images that I would like to show. This probably wouldn't be immediately apparent in a few individual slides and I thought that it might be a helpful consideration when they decide which 12 applicants they will choose to offer their space this year.
Good thing I saw this thread because after reading the advice and consensus of opinions here I've decided just to grab a purple crayon and scrawl:

"I photograph what I want, when I want, how I want and print as I choose. Everything I do is automatically fine art because _I_ have decided to apply that lable to it and even though you don't know me from a hole in the ground, if you don't instinctively understand that, then you can all kiss my Fat Pink A**!
Thank you for considering my request to show my photographs in your space, I am anxiously awaiting your final decision.
Yours Truly,
[signature]"

I'll be sure to send you all invitations to the opening

 

[Jorge]

It is funny. By coincidence, I started reading this thread just as I am working on a letter to accompany a request for the opportunity to hang some of my work in a local exhibition space. Since initially the arts advisory comittee only want to see a few representative slides, I almost made the mistake of writing an artsy fartsy, serious "statement" to attempt to convey to them the wider thought and common philosophy that connects the images that I would like to show. This probably wouldn't be immediately apparent in a few individual slides and I thought that it might be a helpful consideration when they decide which 12 applicants they will choose to offer their space this year.
Good thing I saw this thread because after reading the advice and consensus of opinions here I've decided just to grab a purple crayon and scrawl:

"I photograph what I want, when I want, how I want and print as I choose. Everything I do is automatically fine art because _I_ have decided to apply that lable to it and even though you don't know me from a hole in the ground, if you don't instinctively understand that, then you can all kiss my Fat Pink A**!
Thank you for considering my request to show my photographs in your space, I am anxiously awaiting your final decision.

Yours Truly,
[signature]"

I'll be sure to send you all invitations to the opening

Then again instead of being a smart ass you could write something like:

I would like to present my work for your consideration in the upcomming exhibit. I hope my photographs are strong enough to speak for themselves.

 

[Flotsam]

Agreed Jorge.
The smart ass approach is lifted almost word for word from the consensus of the "how dare you ask me about the thought and motivation behind my work" posts here.
Making up a bunch of phoney, pretentious b*llsh*t to try to attach false importance to your work is equally silly.
I just believe that there is a third approach. A photographer can make an honest statement of the motivation and intent behind their approach to photography that goes beyond the particular content of or reaction to their individual images.

 

[Alex Hawley]

A photographer can make an honest statement of the motivation and intent behind their approach to photography that goes beyond the particular content of or reaction to their individual images.

That's basically where I was coming from. Simple and straightforward. All too often, the "artist statement" takes either the SA approach or the highly pretentious one. My question gets back to the basic motivation-why is there a perceived need to make such a statement in either the SA way or the pretentious way?

 

[jp80874]

We just took down my first show at Akron University projects gallery. I described it to Apug Feb. 8th. as:

Macro Metallic Spirals - Illusions of Grandeur

Twenty one, 11x14 inch, black and white photographs, that play with
metallic spirals, scale, reflection and illusion. The negatives were made
with a 4x5 camera, developed and printed in the darkroom your ideas
helped me build. Thank you.

Artist Statement

This exhibit is a study of the continuous curves in spirals. Size becomes an illusion. Surfaces are augmented by the magic of metallic reflectivity. Some abstracted
objects become spirals when they turn in your imagination. The mystery of scale is revealed in some by comparison to the original. This is a tale of large format possibilities examining the beauty of details.


John Powers is a 60+ student reveling in photographic studies, forty years after graduating from college the first time.


As you all said, your first show is a wonderful experience. Many students asked how I could be reveling when they were suffering. I said just wait until you see what is on the other side of the door.

Thanks,

John