lecture from Monday Nov. 30, 2009

The lecture was about a woman who, at first was an artist, and then became a curator. She basically showed artwork that she curates as well as two to three pieces she painted herself. She talked about why she chose some of the artists for her show; and some artists recommended other artists in their stead because they felt the other art fit well in the show. She also does festival shows where she showcases outside art.

One artist she works with is a man that goes to different parts of the world. He has performers from that area and creates a rhythmic vocal performance that utilizes the language and culture of the place he is having the show. He records the sounds and dubs the sounds into a continuous rhythm.

She made a comment on how most galleries keep clean white spaces with art very spaced out. They think it shows the art off, And that makes sense because all the viewers focus on the specific art piece. In reality, viewers like the more cluttered shows. The empty space it what distracts the viewer; so with less space there is less distraction.

Her lecture was quite boring and only a little enlightening. She barely elaborated on her main and interesting points of the actual lecture. I think we could have benefited more if she discussed more on what made her a good curator because of her history as a professional artist. I did however appreciate that she being a curator became her job, whereas painting became a fun thing for her to do.

Chapter 7: The Art of Finding Yourself When You’re Lost

In this chapter Michael Kimmelman develops an idea that says as an artist, you should focus all your energy on your work and get rid of the distractions. While as an artist this idea can be helpful, I do not believe it should be taken literally. Many artists, especially these days, are diverse not only in the art they create, but also in the other aspects of art, the gallery and the curator. An artist could be a fine art creator as well curator of other artists. An artist can have a family, a second job, and still be a quality artist. He featured a photographer and their story in order to convey his point. I felt like the point was a little lost within the information. In comparison to the other reading, An Artist Guide, this reading had to be deciphered in order to completely(in which case I must not have understood it because I did not completely understand it) grasp the ideas behind the actual reading. In the other book was very up front and forward with her advice and information; in other words it was more practical.

artist statement

Throughout my projects and even in my current situation as an art student, I have continuously thought about how I am going to make a life out of being an artist. I have personally chosen to create a path that leads to me being an art teach. By choosing this path that leads to me being an art teacher. By choosing this path, my projects have reflected my decision. Each project is conscious of the future of art and the people that are influenced by it, the students. I choose to work typically in 2D, mostly drawing, because I am still a learning student and wish to perfect that technique in order to learn more about it; this way I can teach it to other people. The project that represents my art the most of this year's course is the art gallery proposal. This project connects the learning world with the art world, just like the conflict I am facing in my life.

Chapter 6: The Art of Maximizing Your Time

In this chapter Michael Kimmelman explores three different artists that faced the same dilemma: will their art survive them and continue to be… well art. Jay DeFeo worked on an art piece called the Rose over a long period of time. She devoted a large chunk of her life to it and sometimes ignored the rest of her life. She worked and reworked it until it became over three thousand pounds made of several layers. She didn’t want to sell or show it because she never felt it was done. Eventually she got kicked out of her home and had to store it. It ended up in the school she sometimes taught at and because it was so vulnerable there, they covered it up. Eva Hesse explored the ugly and abstract side of art. Hesse worked with against the norm at the time and exploited the abnormal in art at the moment. Jay Defeo and Eva Hesse worry about their art not surviving them. Charlotte Salomon made her art solely for herself. She created a story that showcased her life and emotions in the time of Nazi Germany. People did not know how much of an artist she was until she got into a school where the Jewish ratio to the rest of the school was a small percentage. Her acceptance was a strong indicator of good work because of everything that was against her. All three artists wanted to protect and create their art for themselves and the art itself.

The Accidental Masterpiece On the art of Life and Vice Versa by Michael Kimmelman

Chapter 1: The Art of Making a World

In this chapter Michael Kimmelman introduces the idea that perspective is necessary in the understanding of beauty. In order to explain this point Kimmelman remembers seeing a self portrait of Bonnard and photographs taken by Cartier-Bresson of Bonnard. The two images were emotionally and physically different in appearance. Bonnard’s self portrait was that of an old man while the photograph is of a charming man. This idea emphasizes that we see and understand things differently from everyone else. Kimmelman continues to explore and enlighten the reader on the life of Bonnard and how his perspective on his own life came to be. Kimmelman points out up front that Bonnard “was not… a victim” of his relationship with his wife Marthe, but Kimmelman goes on to explain that his life is rather depressing from the outside looking in. Marthe, a loner and sickly woman, kept Bonnard from being too sociable but encouraged his artwork. Marthe is one of Bonnard’s most used subject matter and she is typically in a bath tub. Although her face is usually blurred out, her physical features remain the same throughout his paintings. He also typically adds his own features in the pictures to show that he was in the room. Kimmelman explains that in order to understand his paintings and truly understand the subject matter and his life you would have to be in the actual relationship.

Chapter 5: How to Build Long-Term Professional Relationships

Jackie Battenfield writes in the fifth chapter about networking and the responsibilities that come with these networks. She discusses commercial venues: art galleries, private dealers, art advisors, art fairs, and art consultants. Art galleries have a business to run, and their business is to advertise and sell your product. The relationship with your art gallery is very important. As a gallery it is their job to set up shows and reach out to the right people and as an artist, it is your job to have a good relationship with them. This relationship may last over many years so understanding and communication is very important with them. The gallerist helps artists build their careers and the dealer helps sell the artist’s work. To make sure you have a good relationship with the gallery you must know where you can continue previous relationships with art professionals. Commercial galleries are difficult to get into because most work with a handful of artists of many years, but occasionally they bring in new blood. She warns to stay away from ‘vanity galleries’; they charge the artist to show their work and have no need to help the artist after they already have their money. Private Dealers are different from galleries because they do not keep a space for the art work to be shown. They may bring the buyer directly to your studio or conduct work in an office. They are helpful in getting appraisals and insurance. They can be useful because many private dealers are just starting off but in the future they might have a gallery and wish to use you again. Continuing these relationships will help you as an artist in the present and the future.

The Artist Guide, Jackie Battenfield: Pg. 61-69

Jackie Battenfield writes on page 61 through 69 about the artist’s resume, biography, and the pay off of these tools. The resume is a listing of the education and experience as an artist. The different types of groups that would see the resume will understand where the artist stands in the art community and what the artist has in plan for their future. Jackie Battenfield explains that the resume is not the most important written statement about the artist or the artwork. It is merely a confirmation of “whether the first impression” is wrong or right about the artist and artwork. She also explains that the artist should not stress over the quantity or how close together the shows are because quality is better than quantity. She adds that there should be different resumes for different situations. For example, one should be used for teaching applications and another for exhibition applications. The biography of the artist is a list of facts of schools attended and what grants and awards have been granted to the artist. Art dealers, curators, critics, search committees, grant panel, and exhibition visitors will overview the schooling and grants. They are looking for what type of art the artist does and for what reasons, such as schooling. They are also seeing that other professionals accept and validate the artist’s work. Jackie Battenfield explains that clear formatting is important to the artist because the viewer will understand them easily. She also states that the artist will benefit from these resumes and biographies by looking back at them and questioning where the artist wants to go from here. These tools also help you as a professional in the art community