Statement of intent in show application

<Moderators, I could not find a more appropriate place (ethics? philosophy?) Feel free to move to a more appropriate forum if there is one>
I'm considering to apply to a show. The application should include, a.o. a "statement of intent". I'm of the opinion that, besides a minimum of contextual information, the images should speak for themselves; hopefully viewers will see what I tried to put in my images, or maybe something different. I'm annoyed by a tendency apparent in some shows, where the artist statement becomes more important than the image (sometimes the "artist" has not even made the images).

1. Would the educated photrio members provide me with quotations of Authorities to the effect that the image should speak for itself? Like, a joke that needs explaining is a poor joke, or no joke at all.
   
2. Or, if you believe that confronting the selection committee with such quotations will compromise my admission, what is your advice? I am aware of https://artybollocks.com/ but that is not an option.

I apply not to compete for a prize, just to show my photos. http://www.ipernity.com/doc/1784150/album/1254334

Btw, I like the show and visit every year.
http://www.les-rencontres-de-la-photo-chabeuil.fr/fr/accueil.html
https://www.mairie-chabeuil.com/IMG/pdf/programme-les-rencontres-de-la-photo-2018-chabeuil.pdf

The Artist Statement/Statement of Intent is the most important tool available to you when trying to convince curators to display your work.
Many of them won't even look at your work unless the Artist Statement interests them.
Don't waste the opportunity to interest them.
They can also give you an opportunity to share some technical details, if that matters to you and/or your intended audience.

Here is one I used a couple of years ago for a group show that I had four related prints in:
"Artist Statement - Matthew King - “Water’s Edge”

I’ve always been drawn to the edge of the water. I am fascinated by the shapes, tones and textures I encounter there and the vistas that present themselves - how water and light and shadow interplay, particularly just off the edge. As a photographer I am driven to convert those impressions into photographic prints.

This work is made from my own black and white film negatives. They are individually printed optically, by hand, on light sensitive photographic “Silver Gelatin” paper, toned for enhancement of image colour and longevity and reversibly mounted on high quality mat board.

Individual hand made, matted and framed prints are available for sale."

Yeah dude I went through that same phase where I thought it's just the images that matter. I learned that it's incredibly important to be able to explain who you are, what you do and why you are doing it. Listen to what Matt said it's good advice.

Also trying to tell the curator that what they are asking for is wrong is not going to win you any friends or get you any shows.

Highly recommend the book Art-Write it really helped me work through my bio and artist statements.

By the way, I'd suggest the "Presentation and Marketing" sub-forum is ideal for this discussion.
And most importantly, I wish you lots of success!

MattKing, adelorenzo, thank you for your advice, which is well taken. Matt, the example you give is fairly easy to follow: just a plain and open statement. I won't have to concoct something like what I saw at a show last summer (rough translation from French)
So, I will abide (since adelorenzo thinks I'm the Dude), but I persist to think that this Artist statement thing belongs to the community of photography teachers and curators, who make a living talking/writing about photography. The two extremes, amateurs (like me) and great photographers, don't care too much for explanations.

For my last exhibition in 2017 I happened to run across a quote from Dorothea Lange that expressed what I have thought about the meaning of photography to me for many years. I printed it out (giving her credit for the quote), mounted it and used that instead of an artist's statement. I will be having an exhibition this coming April at the gallery of a top photojournalist . His background and photography are totally diverse from mine even to the point that I am old enough to be his father but during our discussions we found that we felt the same way that Dorothea Lange did. I intend to once again use her quote.
The camera is an instrument that teaches people how to see without a camera - Doretha Lange.

http://www.jeffreyglasser.com/

http://www.sculptureandphotography.com/

bernard_L said:

The two extremes, amateurs (like me) and great photographers, don't care too much for explanations.

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it's all about the conversation

There are levels of sophistication (art speak) that one needs to navigate. I have been involved with many group and solo shows and can say that it is important for the Artist Statement to clearly define
what the viewer is viewing. I always encourage artists to supply one when producing a show. At my gallery we present work with a small simple folder which includes information about the Artist, The Statement, and details of the work, much like what Matt explained in the second post.
I can tell you that a large % of people will first go to the little book to get a bit of background before they start looking at the work.

If you are going to be presenting your work to a public gallery , you can be assured that the curators of those gallery's will most likely have MFA's in fine art and you need to write to their expectations.. Is this right? in the Galleries eyes yes.

How many new artists out there have the raw , identifiable talent the stands on its own and requires no introduction... I have been producing shows for quite a while now and can not think of one single person who did not need a story to go along with their work. Some of the best artists I know spend a large % of time speaking and writing about their work to help the audience understand what they are viewing.

I think Brassai ( if he was still here with us)would have a hard time today getting his work appreciated. It is a difficult road to take , with so much uncertainty in how to approach gallery's , In Canada we do shows and hope people like our work and spread the word , it seems that in the States , people enter curated contests or shows and submit fewer pieces , the more acceptance to shows equals more awareness of their work.

Personally I like entering group shows , where I can display new work without the pressure of a solo show needs, over the years people seem to like what I produce and slowly I see sales, I have not as yet approached a gallery to represent me as
I am not sure who is the right person yet.

Bob Carnie said:

If you are going to be presenting your work to a public gallery , you can be assured that the curators of those gallery's will most likely have MFA's in fine art and you need to write to their expectations.. Is this right? in the Galleries eyes yes.

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Bob, thank you for giving your opinion. And in the real world, I have to come to terms with your statement quoted above.

And yet... Last year I took an appointment with the manager of Galerie Agathe Gaillard; the eponymous Ms Gaillard had retired and sold her business, the first (historically) photo-gallery in Paris. After a few words about context (where, when) I put down the pile of 2 dozen 12x16" prints on the viewing table in the middle of the room, took two steps back, and stood silent as she slowly went through the pile. She expressed appreciation. Did not ask about my intent. I did not get a contract, she said, because she had already reached a quota of 30 artists; probably just kind words, but she had no obligation.

But, yes, I'll write an Artist Statement, along the lines kindly suggested by MattKing.

https://www.artybollocks.com/

When all else fails...

bernard_L said:

And yet... Last year I took an appointment with the manager of Galerie Agathe Gaillard; the eponymous Ms Gaillard had retired and sold her business, the first (historically) photo-gallery in Paris. After a few words about context (where, when) I put down the pile of 2 dozen 12x16" prints on the viewing table in the middle of the room, took two steps back, and stood silent as she slowly went through the pile. She expressed appreciation. Did not ask about my intent. I did not get a contract, she said, because she had already reached a quota of 30 artists; probably just kind words, but she had no obligation

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You were fortunate to get that appointment.
The Artist Statement is often the tool used by the gallerists/curators to decide on whether or not to meet with the photographer. It gives them a sense about how clear and focused your approach is. Galleries like work that fits well together - themed projects in particular.
Of course if your Artist Statement is accompanied with a bio that shows that you have exhibited a lot previously (and maybe even sold work!) you can be successful with an Artist Statement that is much less clear!
And if your target is a gallery with an academic focus, all (clarity) bets are off!

bernard_L said:

...
So, I will abide (since adelorenzo thinks I'm the Dude), but I persist to think that this Artist statement thing belongs to the community of photography teachers and curators, who make a living talking/writing about photography. The two extremes, amateurs (like me) and great photographers, don't care too much for explanations.

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"Great photographers" have already written their statements and have received public critique of their work -- they are known entities...words are no longer needed with the images unless a new direction is taken. Amateurs just don't know better.

While I don't take issue with any of of the expert advice given above, I have always hoped that my images speak for themselves. Each viewer can experience and interpret the photographs based on whatever criteria they wish. I do include a "bio" and information about process and media. It seems to me that the artist statement is necessary to get your foot in the gallery door. For my upcoming exhibition the gallery will have an experienced writer compose an artist's statement based on an interview with me. For me editing and writing is the hardest part. None the less it's always exciting to share my work with others.

http://www.jeffreyglasser.com/

http://www.sculptureandphotography.com/

I think images should speak for themselves, but most people are too lazy to think and need a photographer's statement of intent to get them started. Whether you like them or not, they are a fact of life if you want to show your work, so you may as well get used to writing them. You'll quickly get the hang of it and it won't be an imposition. Besides, if your images aren't that strong, you can always jazz up your statement of intent to compensate. Just have a thesaurus handy and throw in a bunch of psychological concepts. It's a win-win.

I photograph common objects and solarize them, but my topic is basic consumption and what we use and throw away.. When I show the work I need to explain a bit about what I am trying to say with my work or nobody and I mean nobody would get what I am doing.Just a bunch of visually appealing common objects.. the statement is what helps me over the years keep it all together.... Without the statement I would be a bit lost... So if I need this statement , I think it is important that the viewers read it as they look at my work and then the can understand what I am trying to say.....

I mentioned it briefly above but for anybody reading this thread I really recommend this book. It really helped me understand the whole purpose of writing about my work and then it takes you step-by-step through the writing process.

ART-WRITE: The Writing Guide for Visual Artists

faberryman said:

I think images should speak for themselves, but most people are ...

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not visually literate.

A passing thought: How come there are no Artists Statements for musical compositions, even though music is arguably more abstract (I mean, apart from disco and similar stuff) than photography. Did Miles Davis issue an Artist Statement with Kind of Blue? Or Steve Reich with Music for 18 Musicians?

bernard_L said:

A passing thought: How come there are no Artists Statements for musical compositions, even though music is arguably more abstract (I mean, apart from disco and similar stuff) than photography. Did Miles Davis issue an Artist Statement with Kind of Blue? Or Steve Reich with Music for 18 Musicians?

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It's on the album cover...

Brooks Jensen - the owner and editor of LensWork - has written extensively on these sorts of issues. He is both a good writer, and someone who has had to evaluate a huge variety of photographers' presentation of work.

Peppa Martin is a Vancouver gallerist who deals extensively with photography. The following podcast is an interview she did with Brooks Jensen - it is both interesting and informative. It is fairly long (and the sound quality isn't great) but I recommend it.

https://www.truthandbeauty.ca/journal/the-click-episode-one

an artist statement can probably be a couple of sentences long, it doesn't need to be a thesis.

Vaughn said:

It's on the album cover...

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With my choice of two examples, I shot myself in the foot: Kind of Blue has notes by Bill Evans, who performs with Miles; while Music for 18 Musicians actually has notes by Steve Reich himself. Any other classic jazz album i pick (Mingus, Ellington, Coltrane) has liner notes by a critic. My point being that the writer of the notes was not in the artist's head, and writes after receiving the work of art like the rest of us.

Thank you all for your advice and opinion. The images on your respective sites, when available, show that you should know what you're talking about.

Bob Carnie said:

I photograph common objects and solarize them, but my topic is basic consumption and what we use and throw away.

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That one sentence dispels misunderstandings by the viewers (you are not looking at just objects, but at a statement on the throw-away society) and would be my idea of an artist statement. But my guess is that this would not satisfy "the curators of those gallery's will most likely have MFA's in fine art and you need to write to their expectations"

Bob Carnie said:

I have been producing shows for quite a while now and can not think of one single person who did not need a story to go along with their work.

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You run a gallery, and know better than me. But take a random selection of classic photography books from, say, 30+ years ago from your personal collection. How many have an opening statement by the photographer himself, as opposed to a critic who (possibly better educated) is in the same position as me: communicating with the author through the images? My take on this is that , because "everything has been done" (true or not) the remaining open space is conceptual photography, which requires an explanatory text. I used to go to the Arles show every year, not so anymore, pissed off by the prevalence of conceptual photography.

Vaughn said:

not visually literate.

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IMO the remedy is seeing more images (photos, paintings, engravings); which can be enhanced, but not replaced by reading stuff. Except for conceptual photography, where the text becomes more important than the images.

adelorenzo said:

ART-WRITE: The Writing Guide for Visual Artists

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As I already stated I'm an amateur; so I don't feel the need to invest into such a book, that may well be justified by someone who is professionally a fine arts photographer.

MattKing said:

The following podcast is an interview she did with Brooks Jensen - it is both interesting and informative.

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Thank you. I'll listen through that, but later; I have already spent too much time in front of my computer.

bernard_L said:

With my choice of two examples, I shot myself in the foot: Kind of Blue has notes by Bill Evans, who performs with Miles; while Music for 18 Musicians actually has notes by Steve Reich himself. Any other classic jazz album i pick (Mingus, Ellington, Coltrane) has liner notes by a critic. My point being that the writer of the notes was not in the artist's head, and writes after receiving the work of art like the rest of us.

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But I think one would find that such liner notes written by other than the artist, often come from words that the artist has said about their work to the author or from other sources. So the statement of intent comes indirectly from the artist.

Apologies for resurrecting an old thread, but I'm faced with having to write an artist statement and am struggling to come up with one. Hoping I can write something reasonable before having to resort to this:

https://www.artybollocks.com/



Funny enough, the output of this generator doesn't seem any more nonsensical than most of the artist statements I read...